Why Melissa McCarthy as Sean Spicer is SNL’s Best Sketch of the Year
It’s no secret that Saturday Night Live has grown more and more liberal over the years. Sure, they make fun of Democrats, but they really go after Republicans to the nth degree, certainly during this election cycle. With President Trump in particular, the SNL writers hold nothing back and neither does Alec Baldwin.
But in the latest episode, they found themselves a new target: Press Secretary Sean Spicer.
It’s a bold statement, especially after months of watching Baldwin channel Trump and Kate McKinnon doing an uncanny Hillary Clinton. But there are two reasons why this sketch in particular was best in the class.
First, it was brilliant satire. Melissa McCarthy captured Spicer’s hostility to the White House press corps. While Spicer in real life isn’t that angry, the sketch pokes fun at what he might want to do like jailing CNN’s Jim Acosta or squirting reporters with a water gun. And his now-iconic way to respond to tough questions was completely spot-on like his bickering with a reporter about who starting using the word “ban”. And like the real daily press briefings, the sketch covered a lot of topics including Steve Bannon, the White House’s statement on Holocaust Remembrance Day, and Trump’s Secretary of Education nominee Betsy DeVos (played briefly by McKinnon). It was a long checklist and this sketch nailed every one of them. And the prop comedy was hysterical (”radical moose lambs” had me crying!).
Second, and most importantly, this was the first political sketch that was funny without having to be malicious. Nearly every sketch involving Trump makes him out to be a racist, a fascist, and an utter moron. Even in the cold open, there were more tiresome jokes that eluded to the president being a Nazi and Steve Bannon literally being the Grim Reaper. But in this sketch, SNL managed to poke fun at Spicer without outrageous personal attacks. The writing was good-natured and disciplined. Even the biggest Trump supporters should be able to laugh out loud at this.
Melissa McCarthy as Sean Spicer is the greatest impression since Larry David played Bernie Sanders last season and this sketch is on-par with Tina Fey’s debut as Sarah Palin. Bipartisan humor that can have both Democrats and Republicans laughing is the winning strategy. While the odds are still strong that President Trump will angrily tweet about SNL at 3 o’clock in the morning, it’s sketches like this that can make SNL great again.
Hello, love your art! Random question: do you have any art that is solely Marg and Loras, or the Tyrells? I saw somebody on A03 with an icon of what looked like Loras and Marg and it was your style, for sure. Thank you. I love you have. Hope your enjoying your day.
Hey! Yes, got lots of the Tyrells sketches actually, but I think you are talking about this one here, right? They are crying there cause Loras broke one of Mace’s most expensive flower vase and Marg is crying too just because her brother is crying. Most of these (i leave some of them i never got to post before here, but there are more tyrell stuff here , here , here and here (tho this last one is pretty old) are sketches I did talking with @khaleesi-in-the-north , she’s pretty fun to talk to tbh ! ALSO she writes AMAZING fics, i’ll leave her ao3 here too <3
Hey guys! My name is Corey but most of you know me as FlameEliwood (or Eli, for short). I’m currently open for commissions and I’m hoping that I might be able to be worth your money! Now I understand that $15/hour might sound like a scary amount however that is only just the baseline for the price of my commissions! You only need to agree to one price upfront and that price will be mutually agreed upon. The hourly rate is just what I base my prices off of, and what you can get is potentially endless, I’m willing to do most things and all you have to do is ask! Avatars? Icons? Banners? Backgrounds for your themes? Want me to color a picture? Just lineart? Sketch only? The possibilities are endless! All you need to do is just ask! I’m also willing to work with you if you’re on a bit of a budget. So just feel free to ask!
Not convinced? That’s understandable. Just because you have an hourly rate doesn’t mean you know how much I can get done, so here are some examples with both prices and hours posted next to it
i actually use the same blocky/chalky textured looking brush for almost everything! most my sketches, lineless stuff, and digital painting, alluvit yo. it’s actually just one of photoshop’s default brushes tweaked a bit. *i work in cs5*
so the brush i use is hidden away a bit. for those unaware; in the brush settings menu (little arrow or gear icon to the right of where you type in brush size) you’ll find a bunch of brushes photoshop has hidden away! click on the dry media brushes. i recommend selecting ‘append’ in the following dialogue box, this means the new brushes will be added to your current brush inventory instead of replacing them.
you’ll then get the highlighted brushes below, which are all part of the dry media brush pack:
i go with the rectangular looking one that defaults to 36 px size, here’s what it looks like with all its defaults untouched:
i customize it in the dual brush tab in the brush’s individual settings by adusting spacing to 10% and scatter to 90%.
y voilà! you have the brush i use 90% of the time. hope that is helpful!
I feel like the s1 soundtrack (as everything else from s1 tbh) is sooo underrated!! Like it's one of my fave from the four seasons and it's just so perfECT. Like if I need to chill out I'll just put on the s1 soundtrack and like start sketching or smth. Also like s1 had so many iconic music moments...
omg yes!! i think i listen to the s1 soundtrack the most
Made in Brazil devotes their latest issue to one of male modeling’s most iconic Brazilians, Marlon Teixeira, whose curly locks, tanned skin, and toned abs have made him a constant presence in campaigns and magazines throughout his many years in the industry. The incomparable Bruce Weber opens the issue with a hand-drawn sketch of Teixeira and a tender introduction comparing him to “some unexplainable aquatic mystery.”
I wanted to draw one of my favourite and the most iconic scene from the movie for the print. Firstly, I do several different sketches before the first picture in this to get the pose and composition down. All this planning usually takes the longest time out of the entire progress. After that I draw a somewhat cleaner sketch before the lineart. Then I put down some flat colours and start colouring. That’s it! This print actually took a shorter amount of time than I expected.
📷 photo icon + 1- self? OR if not applicable, replace with ____ (asker’s choice) 2- phone lock/home screen 3- computer desktop background 4- most used tabs on browser / most used programs 5- bookshelf 6- closet/fav shirt 7- one interesting thing you current have in your possession 8- how you hold a pen
✍pen icon + 1- your url / name 2- askers url / name 3- the title of your blog 4- the first sentence of a book you’re currently reading / have nearby 5- a memorable line of dialogue you’ve written 6- a memorable line of dialogue someone else has written 7- one of the notes you have saved on your phone 8- 5-10 urls to promo
draw a sketch of…
pallet + 1- your main muse 2- a secondary muse you play 3- asker’s muse 4- your favourite animal (or asker’s choice) 5- a scene in (asker’s choice) one of your role plays (if not specified, pick any) 6- your otp (or however many) 7- your notp (or however many) 8- (asker’s choice) custom request!
Opening these up again because I am quite in needs of funds this month. Also added a new icon type style! Free to use as an icon wherever you want. Will be 1000x1000px so you can resize down to fit your needs.
@athena1138 the painting isn’t a specific scene (as I sketched it before the game was out) but the scene I refer to in the description is the one after the final battle, where you’re standing with your crew and allies and you get one last chance to say something and then *most* LIs get a kiss scene.
If you’ve played through that and didn’t get the kiss with Jaal, you probably chose the wrong dialogue option. For some reason the kiss is dependent on choosing the emotional option (the icon that looks like a little head with a heart). That’s the only one that leads to a kiss.
In the million years I’ve been alive, I never thought I’d be able to add ‘Muppet taxidermy’ to my resume. I’m just over a year deep in it with a couple more ahead of me. Now that the Atlanta Journal-Constitution has published some images (this one included) from the Jim Henson legacy conservation project, I’m finally allowed to talk about it. Unfortunately I’m not allowed to post any pictures, however, if you wanna chat about it or want me to create sketches or perhaps perform some interpretive dance related to my experiences in the project, holla.
Weekly, I open old busted road cases to find some of the most iconic TV and film characters in entertainment history. I typically don’t have a clue what’s in the box when I get it but it’s consistently gold. Most of it is metaphoric gold, however, much is simply gold-colored airborne particles what used to be various types of foam. The stuff breaks down and that’s simply what happens. I’ve both figuratively and literally been breathing in the essence Henson’s work over the past year. Tiny floating bits of Sam and Friends, Sesame Street, Tales from Muppetland, The Muppet Show, Emmet Otter’s Jug Band Christmas, Fraggle Rock, Storyteller, Dog City, Dinosaurs, The Dark Crystal, Labyrinth, and the list goes on for quite a while. I only hope my future lung tumors resemble Muppets.
In case you don’t recognize the critter in this pic, it’s Fizzgig (”Fizgig” according to the Henson Organization production label), pet companion to the ever-so-enchanting Kira from Henson’s The Dark Crystal. When Fizzgig 1st appeared on my workbench he was just a loose mess of patch-worked animal fur, barely held together by a loosely woven fabric. This fabric was mostly, and accidentally, adhered to the fur by tiny mummified fists of dried, brittle, cast foam latex that once made up his inner structure. That’s just the nature of foam latex. He had no mouth at all when I received him, it completely disintegrated, taking along some of the fur around the set of lips that also used to be there. It appeared seamless from someone’s previous attempt at simply pinning
together the fur around the mouth. Those pins eventually rusted in place, taking a few strands of fur hostage when removed. Orange crumbles of dead foam were left behind and the nose and eyelids were well on their way out. The bulk of him was a small pile in the box he had been stored in for so many years. I sifted through the debris and found some slightly bigger chunks which ultimately proved to be a very small portion of the roof of his mouth. I also eventually came across his shriveled little tongue, only ½ the size of it’s original cast form. I performed some re-hydration/suspension voodoo of the dead foam using a “magical,” archival potion. Then I fixed the new mouth plate to the body. I restructured the nose from the inside, building up small layers from within, then filling any tiny fault lines left on the surface of the original foam nose. I removed some inconspicuous fur from his performer sleeve to surround the new set of lips, matching the original design.
After a little match-painting, voila! Certainly not perfection but I’m only allowed to do so much to be considered conservation work. I should mention that since all of Jim’s work is bound for a museum retirement, I can only use a very small library of archival-safe materials to mimic the stuff I would typically build a puppet from, that awesome toxic stuff. This has been the major crux of the entire project. Lots of trial by fire. Lots.
Though never to function again, I have to mention the mechanism in this Fizzgig fella. It is unbelievably tiny and clever. Fizzgig had side-to-side eye movement as well as eye-blinkers and a nose-twitching mech. The tiny 4 mm pulleys mounted to his fiberglass skull fed the even tinier polyester cord through 1 mm plastic tubes embedded in cast foam between the skull and fur skin. The 4 tubes (2 eyes, 2 eyelids), along with a 35mm camera whip (triggering the nose) ran to a second, remote puppeteer who controlled all the facial nuance through the mighty powers of analog action. All the tiny brass and steel mech hardware was soldered with a jeweler’s precision. It is now all seized by heavy corrosion. The mouth was simply hand puppeteered.
Concluding for the moment I want to leave you with some final insight. There is one major destructive force what is the ultimate enemy of all puppetdom in every form; it’s atmosphere + time. This mix has singularly and universally affected every last piece of the Henson collection. Soon, much of Henson’s early engineering magic will be permanently sealed away, if not destroyed by this evil sum. *sighs* There is just sooo much mechanical genius within the entire collection which should be made publicly visible before it’s too late. I only hope the powers that be will someday allow me to share even just a few of my thousands of images with you. There is an absolute treasure trove in every piece from this collection. I can only suggest that you check in from time to time because just maybe, one day, perhaps…?
Happy New Year! Thank you so much to all of my amazing followers- I can’t believe how quickly this blog has grown over the past year, and how much support I get from all of you. I just love hearing your feedback and getting your questions. And I can’t think of better way to kick off 2015 than with a FRIDAY FASHION FACT! How many of you couldn’t come up with something to wear on New Years Eve, and went with an old standby- the little black dress? It’s one of the most common and classic pieces of fashion, appropriate for nearly every occasion. So where did such an iconic dress come from?
Through the turn of the 20th Century, black was associated with mourning. The rare times when a woman would wear black outside of mourning were considered shocking and improper. However, during World War I and the Spanish Flu epidemic, mourning became so widespread and universal, that people had little choice but to abandon the traditional rules of mourning dress, and thus the color black began to be worn more commonly.
On October 1, 1926, Vogue printed a sketch of a simple black dress by Coco Chanel. The dress was dubbed, “Chanel’s Ford” in reference to Henry Ford’s famous line about the Model-T, “Any customer can have a car painted any colour that he wants so long as it is black.” The image was small, easily passed over by a casual reader. It was accompanied by this short paragraph:
“The Chanel ‘Ford’- the frock that all the world will wear- is model 817 of black crepe de chine. The bodice blouses slightly at the front and sides and has a tight bolero at the back. Especially chic is the arrangement of tiny tucks which cross in front. Imported by Saks Fifth Avenue.”
Though this was not the first simple black dress ever to appear in a fashion magazine, the following month Vogue Paris dubbed Chanel’s dress “the uniform of the modern woman.” However, while Chanel continued to promote the basic dress, it took quite a bit of time for the LBD to garner widespread praise. When the stock market crashed in 1929, people would escape to the movie houses where it was a common sight to see a starlet dressed in black, which photographed sharply in black and white films. Even with the rise of Technicolor, black remained common for stars, as the technology was still being perfected and colors would often distort. Department stores began to advertise the little black dress, using Chanel’s mantra that, “One is never over nor under-dressed in a little black dress.”
The versatile style would be seen on Hollywood bombshells and old-money socialites alike. When Audrey Hepburn donned her basic black Givenchy dress and pearls in Breakfast at Tiffany’s, the little black dress officially secured it’s place in every woman’s wardrobe.
Want to learn more about the little black dress? Check out these books:
Little Black Dress, by Andre Leon Talley
Little Black Dress: Vintage Treasure, by Didier Ludot
Have a question about fashion history that you want answered in the next FRIDAY FASHION FACT? Just click the ASK button at the top of the page!
Updated- 10/11/2016 with MOD brush and brush captions
For fun, and for my own reference, I wanted to post my main brushes on here. I drew all of these examples for this past the ink one cause I am not a fan of inking unless needed, so I was lazy to draw and ink something. :P But yeah, that’s my settings for my brushes on Sai. For most part it’s nothing special. The last three are recent brushes I started using.
Couple notes: - Sketch and dark sketch are just a size difference. - I default draw on a 2000x2000 canvas at 50% size for normal drawings and 1000x1000 for inverted sketches and icons. - A better example of the dirt brush in action is this Friday the 13th picture. It was fully colored with the dirt brush. It’s good for coloring mainly. - Example of MOD brush is this summer image. It’s slightly rougher for inking which I like for fast drawings.
Artist Spotlight : Fashion Illustrator Hayden Williams
Twenty-three year old British fashion designer and illustrator Hayden Williams plans to take over the fashion industry one sketch at a time. Indeed he has taken over the industry by storm by getting attention from celebrities like Rihanna who showcased his work as her twitter profile picture and teaming up with Kate Moss on her new collection for Rimmel London. His work portrays the ideal female as seductive and glamorous. After being completely infatuated by his work, I caught up with the Brit to ask him about his illustrations and life in the fashion industry.
For more inspiring words from literary faces, follow @lastnightsreading on Instagram.
Kate Gavino (@lastnightsreading) lives and breathes books. By day, the New York City resident works in publishing, and by night she attends literary events around the city. Every time Kate sees an author speak, she illustrates the experience. The habit started two years ago, after an inspiring talk given by acclaimed Dominican-American novelist Junot Díaz.
“One quote stood out to me so much I just had to illustrate it,” she says. Soon, Kate started bringing a small notebook and pen with her to every reading. “Authors have been very positive, which means a lot to me. Most of them don’t know I’m sketching them at the reading, but a few of them have liked the drawings enough to ask me for them, which I am always happy to do.”
Among her favorite author experiences was listening to iconic American writer Toni Morrison. “I like seeing authors who make the audience go ‘mm-hmm!’ after each sentence they say,” she says.