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hoperays-song · 11 months

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All LGBTQIA+ Sing Characters Headcanons

Out of all 63 canon characters that we actually get to know a bit about, I headcanon 55 of them are LGBTQIA+. Why? One, why not, two, they told me themselves, and three... this is legitimately a franchise about theatre kids, of course majority are gonna be fruity.

Anyways, here we go!

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Meena Amari - Bisexual Trans Woman (She/Her)

- publicly came out two years before Sing 1 and her family was extremely supportive

- was a member of a LGBTQ+ support club when she was in school

Darius Andeno - Unlabled (He/Him)

- honestly just never has tried to labeled his sexuality and is too lazy to start now

- dating Harry for around a year and a half at the time of Sing 2

Hobbs Atene - Omnisexual (He/Him)

- happily married to his spouse with three kids

- was the first person Eddie ever came out to as a kid

Ash Batalla - Bisexual Demi-Girl (She/They)

- came out to her bio family as a teenager which went horribly

- has coached several others in the troupe through identity crises

Mike Bianchi - Biromantic (He/Him)

- so deep in the closet that he’s in Narnia at this point

- legit thinks everyone is like this she is wrong)

Nancy Bianchi - Graysexual (She/Her)

- didn’t really understand her own identity until she started doing research in case her future kid/s came out

- also legit thought everyone is like this (she was also wrong)

Clay Calloway - Bisexual Trans Masc (He/They)

- one of the first public LGBTQ+ rockstars

- has gotten into fights protecting queer fans from protestors

Ruby Calloway - Pansexual Trans Woman (She/Her)

- she and Clay are the og T4T couple in this series

- worked as a marketing agent almost exclusively with young queer artists

Jimmy Crystal - Bisexual (He/Him)

- tied with Mike for the character with the most internalized homophobia

- was the only one at Crystal Entertainment to not know about Jerry’s crush

Porsha Crystal - Gender Questioning Pansexual (She/Her)

- came out as a younger teenager to her dad’s bodyguards first as “practice”

- started questioning her gender during the Majestic run of Out of This World

Barry Frost - Bisexual (He/Him)

- was outed as a young teenager and was bullied a lot

- he was the first of the gang to realize that Johnny was queer

Norman Harrison - Biromantic (He/Him)

- he and Rosita both came out in college and to each other first

- pan4bi Rosita and Norman is so important to me idk

Gunter Järvinen - Aromantic Homosexual Trans Man (He/Him)

- came out as a kid and transitioned before moving to the US

- genuinely gets confused and slightly worried when someone tries to describe romantic attraction to him

Klaus Kickenclobber - Gay (He/Him)

- been out for years

- that’s all you’re getting because that’s all I thought of

Suki Lane - AroAce (She/Her)

- realized she was AroAce as a teen but just didn’t come out for a few years due to her family not being accepting

- when she did come out, her honorary cousins pointed out that she dressed like the AroAce flag, which they found way funnier than she did

Buster Moon - Gay Trans Man (He/Him)

- he came out as a young kid and his dad was super supportive

- has been dating Eddie since university

Charley Moon (Buster’s Dad) - Greyromantic (He/Him)

- did not realize he was greyromantic til he was in his 50s

- another prime example of “but everyone’s like this”

Eddie Noodleman - Bisexual (He/Him)

- came out to his family as a university student after coming out to Hobbs as a teen

- legit flipped a coin with Buster to see who would propose

Nana Noodleman - Asexual Lesbian (She/Her)

- she was pretty open with her identity her entire career and was well known for not taking any kind of harassment at her shows

- adopted her daughter on her own in her 40s

Harry Ocheing - Intersex Gay (They/He)

- came out as a kid to their siblings

- super supportive of other performers when they come out

Nooshy Peart - Genderfluid Lesbian (They/She)

- came out as a teenager and left home right after, bit is still in contact with her siblings who are supportive

- Marcus was the first supportive parent they ever had

Rosita Pèrez-Harrison - Pansexual (She/Her)

- came out to her college friends before anyone else

- buys all the troupe pride gear if they want or need any

Stan Phillips - Unlabled (He/Him)

- decidedly unlabeled and happy about it

- he protected Barry from bullies when they were kids, which is how they met

Alfonso Romano-Hassan - Biromantic (He/Him)

- did not realize he was biromantic until talking to Meena about her being bi a few months into dating

- the creator of bi wife energy lets be honest

Mizuki Satō - Nonbinary Lesbian (They/She)

- moved states away from their family after coming out in their twenties

- she has a long term girlfriend of three years

Jerry Swell - Gay (He/Him)

- came out in his late 20s

- had a crush on his boss since he started working for him

Johnny Taylor - Gay Demi-Boy (He/They)

- came out to his family a few months before Sing 2 despite the closet being made of glass with no doors for years

- found out that he was legit the last person to know he was gay out of his entire family

Marcus Taylor - Demisexual (He/Him)

- figured out that he was demisexual after researching how to be more supportive of Johnny

- married an omnisexual woman and was a very vocal ally since he was a teen

Ryan Willis - Gay (He/Him)

- came out to his moms as a really young kid and legit forgot about it until he tried to come out years later and they just said that they knew already

- had a crush on Johnny since meeting him but actually hid it for several months pretty well

Garry Wishmann - Asexual Trans Man (He/Him)

- came out in his late teens

- owns a ton of pun centered asexual shirts

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nntodayblog · 6 years

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Don’t Let Blockbusters Keep You From Seeing Indie Movies This Month

A24 Great Point Media/Paladin Film Amazon Studios

Snag a ticket to "Lean on Pete," "Where Is Kyra?" or "You Were Never Really Here" before the blockbuster deluge.

Now that blockbusters ― namely reboots and franchise fare ― have graduated from summer escapism to year-round fixtures, April is no longer a safe space at the multiplex. The month that once birthed “Field of Dreams,” “The Matrix,” “Election” and “Mean Girls” now belongs to the “Fast and the Furious” vehicles, Marvel and “Clash of the Titans.”

To see “A Quiet Place” rumble into theaters last weekend was to witness a small miracle. Heralding John Krasinski’s directing talents and notching an august $50 million opening, the post-apocalyptic creature feature is the sort of studio product meant to warm jaded cinephiles’ hearts: a high-concept crowd-pleaser that manages to be fresh andwhip-smart ― an increasingly rare sight in the year of our big-budget Lord 2018. “A Quiet Place” boasts the highest-grossing April debut for an original film in history, as well as the heftiest intake for an original live-action release since “Happy Death Day” last October.

The rest of April’s wide releases are, well, less thrilling. Oversized beasts are stampeding Dwayne Johnson and Naomie Harris, “Isle of Dogs” barks its way into more corners of the country, Shia LaBeouf flaunts short shorts in the otherwise staid “Borg vs McEnroe,” Amy Schumer stars in a feminist “Shallow Hal,” we finally get a sequel to ... “Super Troopers” (?), “Truth or Dare” turns its titular pastime into something deadly (Tyler Posey doesn’t take his shirt off in the trailer; skip it), and the Avengers threaten to put more superheroes on one screen than a VH1 Divas telecast.

Those movies will flood multiplexes in the coming weeks, ushering us toward the blockbuster domination that is May, June and July. Meanwhile, three worthwhile underdogs opened opposite “A Quiet Place,” shouldering the month’s indie marketplace. “Lean on Pete,” “Where Is Kyra?” and “You Were Never Really Here” are hardly light fare, but isn’t there some adage about bleak movies being the perfect way to escape April showers? No? You’ll want to invent one after seeing this trio.

We talked to the filmmakers responsible for these gems. If you don’t live near a theater where the movies are playing, add them to a list of rainy-day streaming options for later in the year, when you find yourself wondering who among us requested yet another Robin Hood retelling.

“Lean on Pete”

For fans of “Boyhood,” “The 400 Blows” and “The Black Stallion”

Written and directed by Andrew Haigh Starring Charlie Plummer, Steve Buscemi, Chloë Sevigny, Travis Fimmel, Amy Seimetz and Steve Zahn

A24

Lean on Pete is a racehorse whose cantankerous trainer (Steve Buscemi) describes him as a “piece of shit” ― catnip for our protagonist, Charley (Charlie Plummer), a motherless 15-year-old working the stables for $25 a day, partly as a respite from his aloneness and partly to gird his father’s (Travis Fimmel) limited income. Gentle Charley can’t stomach the thought of Pete being carted off to Mexico, where aged steeds are slaughtered once they are no longer moneymakers. So, in the dark of night, this spindly boy absconds with his beloved horse (an expert listener), trekking through the Oregon desert toward a broader horizon.

On paper, it’s a quintessential coming-of-age tale. But in practice, writer and director Andrew Haigh sees “Lean on Pete” as the events that occur before Charley comes of age. And he’s right: Charley doesn’t yet have the means ― the familial support, the peers, the finances ― to determine his place in the world. The only thing that steadies him is a tender heart. “Until he finds somewhere to have a base, in order to grow, he can’t even deal with ideas of identity or who he’s going to be or what kind of man he wants to be,” Haigh said. “And also, I suppose, in all of my films, I can’t help but want to show a different version of masculinity.”

Haigh is the master of compassionate relationship dramas, having explored a one-night stand in “Weekend,” a long-term marriage in “45 Years,” a group of gay friends on HBO’s “Looking,” and, now, a teenager and his equestrian companion in “Lean on Pete,” based on the novel of the same name by Willy Vlautin. It’s Charley’s desperate need to be kind, and to receive kindness from others, that grounds this particular relationship and separates him from the average teen boy. Whereas most kids his age are striving to master schoolyard politics or sibling rivalry, Charley is trying to conquer the oppressive ugliness of the world around him, hoping that relatives in nearby Wyoming will provide the stability he lacks.

“What do you do in your life if you don’t have support from your loved ones?” Haigh said. “Or you don’t have support from the society around you? It felt like it was something more important, almost, than just questions of identity. It was about something like, how do you survive in the world if you don’t have a framework?”

Charley’s journey makes for a magnificent travelogue in which none of the travel is glamorous. With a parting shot that evokes “The 400 Blows,” this is one of the year’s best movies to date. Another recent release, “Ready Player One,” centered on an orphan in an ugly world, but its virtual-reality bedlam lacked humanity. “Lean on Pete” more than makes up for it, sending its hero ― Plummer’s performance is a wonder; a true star is born ― on an expedition through the great Northwestern outdoors that ends with an introspective discovery. Bring tissues; you’ll need a bunch.

“Where Is Kyra?”

For fans of “Klute,” “99 Homes” and Gena Rowlands movies

Written by Darci Picoult • Directed by Andrew Dosunmu Starring Michelle Pfeiffer, Kiefer Sutherland, Suzanne Shepherd and Sam Robards

Great Point Media/Paladin Film

“Some people say it almost feels like a horror film,” Darci Picoult, the writer of “Where Is Kyra?,” said. “It becomes this terrorizing psychological deterioration.”

Those horror trappings are evident in Picoult’s sparse script, but they’re largely owed to Andrew Dosunmu’s shadowy direction. Working with Oscar-nominated cinematographer Bradford Young (“Selma,” “Arrival”), Dosunmu shades Michelle Pfeiffer’s titular Brooklynite with fuzzy grays and anesthetized blues. Laid off from her job and cashing her late mother’s pension checks for income, Kyra is often framed from a distance, the atrophy she’s facing as she nears senior citizenship foregrounded to reveal a genre of poverty rarely explored in popular culture.

Picoult wrote “Where Is Kyra?” in 2013, surveying the aftereffects of the late 2000s’ economic crisis. She first set the movie in Detroit, which filed for bankruptcy that same summer. But Picoult and Dosunmu, who also collaborated on the Nigerian drama “Mother of George,” relocated the backdrop to New York, where the glaring disparity between haves and have-nots underscores everyday economic strife. What is a middle-aged woman to do when she finds herself unemployed and undesirable, reduced to placing advertisements on vehicles’ windshields and being turned down for gigs at fast-food restaurants in favor of younger candidates?

“I always envisioned Kyra being someone who, if you will, had a life that had promise, someone who believed things were going to work out,” Picoult said. “And then, when they don’t, it becomes even more disparaging because she’s holding on, hoping for something better that doesn’t happen.“

Pfeiffer, who made something of a comeback last year with “mother!” and “Murder on the Orient Express,” has found one of the richest roles of her career, looking more desperate with each rejection and more weathered with each dignity-shattering wakeup. Kyra’s corner of the world struggles to blossom into anything sunnier; farther and farther she drifts down the rabbit hole of anguish, Pfeiffer’s oceanic eyes absorbing every psychic bruise.

“You Were Never Really Here”

For fans of “Taxi Driver,” “Good Time” and “Drive”

Written and directed by Lynne Ramsay Starring Joaquin Phoenix, Judith Roberts, Frank Pando, Ekaterina Samsonov, Alessandro Nivola and Alex Manette

Amazon Studios

“You Were Never Really Here” demands to be seen twice: once to absorb its ethereal grime, and another to peek more clearly into its protagonist’s fractured mind. As Joe, a contract killer (and PTSD-addled war veteran) paid to extricate young girls from corruption, Joaquin Phoenix dances with the camera, angling through the New York streets, slipping between past and present, reality and hallucination. Joe is purposefully elusive, a design that is at once frustrating and hypnotic.

“I thought I was making an action movie, but it also became a character study,” Scottish director Lynne Ramsay, who adapted Jonathan Ames’ novella of the same name, said. “I think I just gravitated to the inner workings of the character.”

Those inner workings are bleak: At home, where he cares for his ailing mother (Judith Roberts), Joe sometimes covers his head with a plastic bag, wondering what would happen if he finally ended it all. Outside, he seems as likely to take a gun to his own head as he does to avenge the brutes holding innocent preteens hostage. But that’s familiar territory for Ramsay, who treats grief and death as leitmotifs (her other credits include “We Need to Talk About Kevin,” “Morvern Callar” and “Ratcatcher”). What makes “You Were Never Really Here” powerful is its ability to place us next to Joe, psychologically and physically, as he flits between avenger and avoider. Think Travis Bickle with a splash of the adrenaline-pumping “Good Time.” The movie telegraphs a woozy paranoia, aided by another stirring score from Jonny Greenwood, who composed the music for “We Need to Talk About Kevin” and last year’s “Phantom Thread.”

For Phoenix, the role encouraged a certain visceral improvisation. “We would make decisions in the moment, and sometimes there are things I’m reacting to in the moment,” he said. “There are times when other actors didn’t know what was going to happen because we didn’t know what was going to happen in that moment. And I think I probably like that way of working in general, but I think it was probably really applicable to that character and this experience.”

You won't find that in "Rampage."

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BEFORE YOU GO

Matthew Jacobs

Entertainment Reporter, HuffPost

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MoviesSteve BuscemiJoaquin PhoenixAndrew HaighCharlie Plummer

Reference source : Don’t Let Blockbusters Keep You From Seeing Indie Movies This Month

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usnewsaggregator-blog · 6 years

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The D.C. sportswriter who went from covering the Redskins to selling organic food

New Post has been published on https://usnewsaggregator.com/sport/the-d-c-sportswriter-who-went-from-covering-the-redskins-to-selling-organic-food/

The D.C. sportswriter who went from covering the Redskins to selling organic food

(Jen Dominic for The Washington Post)

STAUNTON, Va. — The tin of cookies emerged from behind his desk, three dozen or so. They were dark chocolate-cranberry-pumpkin-maple. The pumpkin came from real pumpkins, which Joseph White had acquired by asking businesses in this marvelous downtown whether they still needed their decorative Halloween gourds. The cookies were delightful.

If White had brought a baked treat like this to the Redskins Park media trailer — which he did, week after week, year after year, during some of the craziest moments in franchise history — “I’d have to hire two guards to keep [reporters] away,” he noted.

But his new colleagues are a bit different than the ones he left behind in Ashburn. Three dozen homemade cookies here last days, not seconds. He’s given up on the idea of throwing parties centered around food. And when White takes his employees out for dinner, he can pay with a $20 bill and get change. “These people just don’t eat,” he said of the staff at at Cranberry’s Grocery & Eatery.

There are other differences, too. The folks inside Cranberry’s aren’t glued to Twitter, aren’t surgically attached to their phones and don’t particularly care whether the Redskins opt for continuity or chaos this offseason. Which isn’t to say nothing changes here. On the day I visited the natural-food outpost now owned by White, he offered up a brand-new creation dreamed up by his staffers: Earl Grey rolls. Imagine a cinnamon roll dipped in bergamot oil, and served warm. They were delightful, too.

You might not know White’s name, but you’ve probably read his work or heard his voice. For about two decades, he was the Associated Press’s D.C. sports correspondent, the guy who asked the first question at most Redskins news conferences, the man tasked with describing Christmas Eve at FedEx Field for readers across the country. He wrote about Norv Turner and Marty Schottenheimer, about Steve Spurrier and Joe Gibbs, about Clinton Portis’s costumes and Sean Taylor’s death. He chronicled the return of baseball, the rise of Ovechkin and the fall of Arenas. He traveled to five Olympics, covered the National Spelling Bee as well as anyone has ever covered anything and was named the 2005 AP Sportswriter of the Year. Then he left, taking a sabbatical from the AP and buying a health-food store and restaurant 140 miles from Ashburn.

The sabbatical is over. White isn’t coming back.

How do you go from covering one of the NFL’s most chaotic franchises to selling local honey (“the greatest honey you’ll ever have”) and local kombucha (“you can feel the probiotics flow through you”) and an exclusive label of organic fair-trade coffee, while bragging that “there is not a drop of high-fructose corn syrup anywhere in the building”?

“After a while, you’re just ready for a new adventure,” White said as we munched on cookies and listened to classical music near a stack of local newspapers. (“7-Eleven Removes Gas Pumps to Allow for More Parking,” read one front-page headline.) “I was originally a theater person, then I became a radio person, then I became a writer, and now I do this. You move on to the next thing, because there’s another cool thing to do.”

If nothing else, I am consistent. First snow creature my store’s street. Meet Charley, the @GoCranberrys snow gnome. pic.twitter.com/8rulLjVjuE

— Joseph White Jr. (@JGatlinWhite) February 17, 2015

I’m not sure if this is a sports story. Maybe it’s a media story, or a retail story. There’s probably more than a little wish fulfillment involved. But I do know this: The sportswriting business once had an allure of authentic characters, one-of-a-kind types you wouldn’t meet elsewhere, people you couldn’t possibly forget. I’m sure they still exist, but they seem harder to find every year. And I promise you this: You would never forget Joseph White.

What other sportswriter would pull over on his way out of Redskins Park, set up his telescope on top of his car and observe the four moons of Jupiter? What other sportswriter would bike to Redskins Park — and then keep his helmet on while interviewing Mike Shanahan? What other sportswriter would produce logic puzzles for other writers to work on during rain delays? What other sportswriter would leave the baseball stadium and immediately go camping; or build an igloo; or travel to Edgar Allan Poe’s grave for an annual birthday vigil; or present his media-room pals with homemade pumpkin-mint-chocolate chip cookies, or butterscotch pie, or treats made with hand-picked mulberries, or a full barbecue feast brought back from North Carolina?

That one came after his father’s death. His dad had taught him that if he ever had spare change, he should do something nice for someone else. When he was tidying up his dad’s house, he found some spare change. So he brought back lunch for his friends.

On his last day covering the Redskins, the other reporters gave him a standing ovation.

“Joe really is one of a kind,” wrote former Skins beat writer Mike Jones, when I asked about White. “You could say that about a lot of people, but it really did apply to him, and his quirky ways were part of the reason why everybody liked him.”

“When I think of Joe, I think of a true original — a man who marches to a singular tune in his head,” The Post’s Liz Clarke wrote. “I think what has made him so beloved among fellow sportswriters is that unlike so many journalists, Joe rarely, if ever, complains and lacks the cynicism and pettiness that too often mars the profession.”

“We all find him endearing and gentle and down-to-earth,” former Washington Times writer Zac Boyer wrote, “but there’s also a quirkiness to him that warms your heart.”

“Joe will be missed because he’s simply a good guy,” wrote ESPN’s John Keim, “and because he liked to bake for us.”

If White didn’t act like everyone else, he didn’t write like us, either, glorying in the weirdest stories, the goofiest anecdotes, the most outlandish quotes. I always figured that’s why he reveled in covering every inch of the Spelling Bee, an event he has attended even after leaving the business. Turns out it was more than that.

“I felt like it was important to tell the stories of the Spelling Bee kids, because they get such a stereotype about them,” he told me. “Hey, this is an awesome kid who plays baseball and the violin and goes to public school — and these are the kids who are going to make a difference in the world. They’re going to be the doctors and lawyers and scientists and so forth, which is a whole heckuva lot more important than making a bunch of three-pointers.”

Arrived inBaltimore for the Poe Vigil w/ cookies for all and scorecards to judge the Faux Toasters. Join us! pic.twitter.com/IDreyw4jwP

— Joseph White Jr. (@JGatlinWhite) January 19, 2014

He didn’t dress like us, either. Former Redskins lineman Stephen Bowen — who called White “F-Dot” because of his Freddy Krueger attire — once stopped an interview, looked at White’s sweater and asked, “What the hell are you wearing? Is that sweater from 1989?” White thought about it, and told Bowen the sweater was probably five years older than that. He recently told a friend that there are three things left he wants to buy — a new telescope, a straight razor and a pair of cross-country skis — “and once I get those three things, I’ll own everything I want.”

It’s a lifestyle that helped open the possibilities of a new business adventure. White, now 54, previously had worked as a country-music DJ in North Carolina, and for AP radio in London. Nearly two decades covering Washington sports was a long time tilting at the same windmill. By the end, it felt like he didn’t need to use his tape recorder anymore; he had heard the same quotes in 1997, and 2001, and 2005; heard rookies saying how happy they were to be in Washington and optimistic coaches promising a fresh new era.

His brother had lived in Staunton for years, and White and his son loved visiting the arts-and-theater town. So out of nowhere, he e-mailed the owners of Cranberry’s, asking what retail niches in the active downtown district still needed filling. They told him they were ready to retire and suggested he just buy their store. Many months later, he did. He took a two-year sabbatical from the AP but knew pretty quickly that he wouldn’t be going back.

And so, on the day I visited, instead of chronicling the melancholic end of yet another playoff-free Redskins season, White was rejoicing about a delivery from Blue Ridge Bakery, and getting change from the bank (“you’re awesome!” he told the teller as he left), and singing showtunes from “South Pacific” with a customer-turned-friend, and getting ready to make posters for that week’s trivia night. (Introducing a weekly trivia night was one of his first innovations as store owner. He writes the questions himself.)

When protesters gather in front of the nearby courthouse, he brings them free coffee. When staffers need a break, he fills in behind the register. His favorite thing about the gig is meeting new people: the backpacker from Finland, the random late-night shopper who became one of his new best friends, the Amtrak travelers who hop off the thrice-weekly Cardinal Route, telling him about their adventures and listening to his.

He’s trying to launch an “Amazing Race”-style event in Staunton, and a program to offer low-income kids a meal at Cranberry’s, and a show at the adjacent Blackfriars theater. Many of his staffers are into the city’s thriving theater scene; one directed “Doctor Faustus,” and another directed “A Winter’s Tale.” He’s embraced Staunton’s Harry Potter festival; “we definitely have to order more chocolate frogs this year,” he noted. On Thursday night, he hosted a Solstice Bonfire.

The store and cafe were already successful before he arrived, and he mostly tries to stay out of his employees’ way — “all I did was just hop on a galloping horse,” he said. So he waters the plants and changes the light bulbs and designs the monthly placemats and tries to make the place feel like a home.

His mom ran a country store for more than two decades in rural North Carolina — that was his living room as a kid — and he wants Cranberry’s to have that same community-gathering-place appeal. He even made a replica of a sign that used to hang in her store. “You are a stranger here but once,” it reads. It feels like it.

“Why do I like this?” he said, repeating my question, as it snowed gently outside. (“It’s snowing!” he had shouted, when the first flakes appeared.)

“It’s a really cool place,” he finally answered. “I have really cool people working for me. I’ve got really cool customers. There’s not a day I turn that corner to come down here and look at the building and go, ‘Man, I don’t want to come to work today.’ I mean, there are times you could easily feel that way as a sportswriter — ‘Man, I don’t feel like going to practice today: It’s day 17 of training camp, I’d rather be home with my family.’ There’s not a day that I’ve come here where I was like, what did I get myself into?”

Mom used to have a sign like this in the country store she ran for 22 years. Figured I’d get one for @GoCranberrys. pic.twitter.com/ijJEWyiXf8

— Joseph White Jr. (@JGatlinWhite) February 11, 2015

He was talking about this general idea with Rob, his grocer, just the other day. They always banter about song lyrics and conspiracy theories and philosophy, and this time they were talking about how time is more valuable than money, because one is finite and the other isn’t. Why is that so easy to forget?

“You know, you don’t get moments back,” White said. “And I don’t know what the next adventure will be beyond this. Who knows?”

He’s having one now, though. Maybe stop in and see him if you’re ever in Staunton. Ask for the Earl Grey rolls.