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elekinetic · 1 year

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What are your hcs about the Stranger Things characters’ futures? Like concerning their careers, where they wind up living, pets, colleges, or anything else that you want to talk about!

ohhhh i’m torn. i want them to all end up in the same place. i don’t think this is the canon answer but this is what makes me happy:

the party ends up in california for college. they all go to uc santa cruz, cause they didn’t get a chance to do the whole college application thing while saving the world and owens pulled some strings. el and max are roommates. dustin mike and lucas get put in a triple, but if mike starts staying at a certain party member’s single most of the time…..that’s none of their business. max starts as a neuroscience major until she fucking hates it. she’s at the arcade one night and watches someone repair a broken machine and is like, oh shit. that’s kinda cool. she switches to computer science, then to computer engineering bc CS is for nerds. (dustin does CS.) lucas came in as a political science major, but he realized he was way more interested in helping max with her neuroscience homework. he ends up doing a double major in political science and human health sciences. mike majors in communication cause it’s a compromise between getting a business degree like his parents insist and studying something he’s actually interested in (this is the problem. mike has no clue what he wants to study). will is a visual arts major obv. el switches her major about seventeen different times (zoology, religion, international relations, mechanical engineering). she ends up graduating w mike in communication bc its the easiest to apply her various credits to. el and dustin get really into improv. el also does theatre, and mike ends up getting dragged into the tech scene. lucas plays club basketball and gets involved in student govt. he sets up a lot of food and blood drives. the party goes to a board game club, but will goes EVERY week and makes a bunch of great friends. max learns guitar and starts playing at open mics (el is the only one who knows. and lucas, a little later). they all join the college radio station. first its dustin helping a mutual friend fix radio tech, then its will filling in for a mutual friend’s missing cohost, then it’s will and lucas starting an advice show, and el and max starting a show where max makes the tapes and el just talks about whatever she wants, and mike fucking around in the background of all his friends’ shows and shouting out unsolicited comments. when they all move off campus, mike and will, dustin and lucas, and el and max get their own apartments respectively. lumax starts talking abt moving in together and el is like “i love you both but i am not trying to third wheel in my own home.” thus, henderhop house is born. these two were BORN to be roommates. they become such good friends and are so respectful of each others space and are so so communicative! and they both love to cook. henderhop lives together for like, six years post college. listen, they have two cats together. they don’t want to traumatize them with a divorce. mike and will get a dog when they’re older (late 20s, early 30s). they used to catsit for their neighbor, but mike is crazy allergic. it always sounds like he’s going through puberty again. the party ends up in southern california. el becomes an archaeologist and travels a lot. dustin lives in pasadena and works for JPL. max does some work with him, does some contacts for a few different companies. she eventually becomes a professor and spends her off time doing research. lucas becomes a pediatrician. later in life he serves on city council, then turns to non-profit work. will get a job as an illustration intern at a comic house straight out of college and works his way up from there. mike bounces around office jobs, does some time at a publishing house, and goes back to school for a creative writing MFA. he sells some original stuff but he ends up mostly writing comics for IPs with will. they make a name for themselves in the Star Wars EA and actually get invited to a couple comic-con panels. dustin flips his shit.

#stranger things #comic con panel #stranger things (ella's version)

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opertabry · 7 months

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lost & found ✧ 0.3 ucla

synopsis ✧ minjeong, the resident assistant on your floor of the university dorm, works at the campus lost and found, always seen sorting through misplaced belongings with an air of judgment and skepticism. you, a perpetual partygoer known for your wild antics, seem to constantly lose items during parties and they somehow always end up at the lost and found department. and in the hands of minjeong.

profile 3 ✧ ucla

ucla ✧ @/UCLA : UCLA combines the close-knit learning environment of a spirited public school with the endless opportunities of a world-class city, the university offers everything a students would need to reach their full potential.

ucla women’s soccer team ✧ @/UCLAWSoccer : The UCLA Bruins women's soccer team is an intercollegiate varsity sports team of the University of California at Los Angeles. The team is a member of the Pac-12 Conference of the National Collegiate Athletic Association.

ucla football team ✧ @/UCLAFootball : The UCLA Bruins football program represents the University of California, Los Angeles, in college football as members of the Pac-12 Conference at the NCAA Division I Football Bowl Subdivision (FBS) level. The Bruins play their home games at the Rose Bowl in Pasadena, California.

⦑ previous , masterlist , next ⦒

taglist ✧ [closed] @flolio @rinapomu @imahallucination11 @thefckghost @limbforalimb @1luvkarina @khaepriv @uzumakioden @jeindall777 @petruchiosstuff @rd0265667 @ivers01 @runawaymazola @yerisdumbass @winieter @pandafuriosa60 @manooffline @rosiehrs @yawnzshit @awkwardtoafault @minjeongswife @haerinkisser @jovialsparrow @isanggayfrog

#aespa #aespa winter #winter x reader #kim minjeong x reader #kim minjeong #winter #smau #gxg #idol au #kpop #aespa x reader #minjeong x reader

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usafphantom2 · 4 months

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B-2 stealth bomber will fly over the Rose Parade again after absence last year

Fernando Valduga By Fernando Valduga 12/31/2023 - 12:30 in Military

B-2 Spirit bomber flies over the Rose Bowl in Pasadena, California, on January 1º 2019. (Photo: Mark Holtzman)

USAF's B-2 Spirit stealth bomber is making its big return to the annual Rose Tournament parade after a brief hiatus in the celebration.

The Rose Parade, held in Pasadena, California, to celebrate the New Year, will resume the bomber's overflying tradition during the 2024 parade. The aircraft had to miss last year's event after an aircraft caught fire in flight.

A B-2 Spirit from Whiteman Air Base, Missouri, opens the 108º Rose Bowl game in Pasadena, California, on January 1º 2022. (Photo: Sgt. Coach Dylan Nuckolls/U.S. Air Force)

"We are excited to return to the 2024 Rose Bowl," Colonel Keith Butler, commander of the 509ª Bomber Wing at Whiteman Air Base, said in an official statement. "We have a long relationship with the city of Pasadena and we are honored to bring the B-2 back to demonstrate Team Whiteman's commitment to the American people. Our mission is to carry out nuclear operations and global attacks... anytime, anywhere, and this would not be possible without the support of the people we serve. This is our way of saying thank you."

The bomber lost the last Rose Parade because of an air operation it was carrying out in December 2022, when it suffered a malfunction in the middle of the flight and had to make an emergency landing. Filling the B-2 spot in the last parade were two B-1B Lancer bombers from Ellsworth Air Base, North Dakota.

A Northrop Grumman B-2 stealth bomber flies over Colorado Boulevard announcing the start of the 2022 Rose Parade.

Before that, the Rose Parade had a flyover of the B-2 stealth bomber every year since 2005.

The Rose Parade began in 1890, before the annual college football game Rose Bowl. The parade runs 8 and a half km and features several floats and martial bands.

The B-2 will kick off the long-awaited Rose Bowl playoff game between the University of Michigan Wolverines and the University of Alabama Crimson Tide - whose winner will advance to the national championship game on January 8. The game will air at 6 p.m. Brasilia time on New Year's Day on ESPN.

Tags: Military AviationB-2 SpiritUSAF - United States Air Force / U.S. Air Force

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Fernando Valduga

Aviation photographer and pilot since 1992, he has participated in several events and air operations, such as Cruzex, AirVenture, Dayton Airshow and FIDAE. He has works published in specialized aviation magazines in Brazil and abroad. He uses Canon equipment during his photographic work in the world of aviation.

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tokillamockingbird427 · 1 month

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More Alex, whoop:

He left together with his best friend shortly after said friend graduated and moved away for college. He asked Alex to come because he knew his situation at home. That's also the reason why Alex left Elias, there was barely enough space for Alex already, so little, still in school (is 14 still middle school or is it already high school? I don'tknow american schools well enough for that) Elias would've not worked. He stayed there only for a couple of months tho, still too close to home for him, cause Pasadena (did i put the friend into caltech? I might have). From there he started travelling (mostly tramping at first) through firstly just the western states, getting by, by working every odd job he could get. Never really settled anywhere, stayed the longest in an outskirt of Seattle, with about 1 1/2 years and then made his way east.

Not really any further now, still not sure where he eventually ends up for the most part, but i figured he ain't the big city guy, rather stays in smaller towns or the outskirts

-🐑

(Also what i always forgot, i asked about if i can use my stuff but never followed up with you, so here the "fic" compilation of my thoughts https://archiveofourown.org/works/53220619/chapters/134672155)

Elias also would not have worked (Going with his brother) because I bet their parents would have refused to let Elias (Legal minor at the time) to go with Alex. How understanding Elias is of that however.... is up to you. But I bet the answer is "Little" given it'd be nice for angst lmao. But maybe when he gets older he becomes more understanding.

Alex is a drifter! Very cool.

Hey, you think when Elias met Ajax and learned his legal name was Alex he had a moment? Like... "What's your name again?" "Everyone calls me Ajax, but my first name is Alex, Sir. Why?" *Sad little smile* "I just... know someone with that name." Also the first time Elias+Ajax meet would be during Sand Viper... hmmmm. Elias maybe feeling a bit comforted that his brother is there for him, in more a symbolic than a literal sense, but there in some kinda way at the least.

(Ooooo, nice. Thank you, I'll try to get around to reading this lol.)

#call of duty #call of duty ghosts #elias walker #alex walker (sheepy's oc)#alex v johnson aka ajax #me-is-confused #🐑 anon

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kemetic-dreams · 11 months

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Author Octavia E. Butler Author (1947–2006)

Known for blending science fiction with African-American spiritualism. Her novels include Patternmaster, Kindred, Dawn and Parable of the Sower.

Writer Octavia Estelle Butler was born in Pasadena, California, on June 22, 1947, later breaking new ground as a woman and an African American in the realm of science fiction. Butler thrived in a genre typically dominated by white males. She lost her father at a young age and was raised by her mother. To support the family, her mother worked as a maid.

As a child, Octavia E. Butler was known for her shyness and her impressive height. She was dyslexic, but she didn't let this challenge deter her from developing a love of books. Butler started creating her own stories early on, and she decided to make writing her life's work around the age of 10. She later earned an associate degree from Pasadena City College. Butler also studied her craft with Harlan Ellison at the Clarion Fiction Writers Workshop.

To make ends meet, Butler took all sorts of jobs while maintaining a strict writing schedule. She was known to work for several hours very early in the morning each day. In 1976, Butler published her first novel, Patternmaster. This book would ultimately become part of an ongoing storyline about a group of people with telepathic powers called Patternists. The other related titles are Mind of My Mind (1977), Wild Seed (1980) and Clay's Ark (1984). (Butler's publishing house would later group the works as the Patternist series, presenting them in a different reading order from when they were chronologically published.)

In 1979, Butler had a career breakthrough with Kindred. The novel tells the story of an African-American woman who travels back in time to save a white slave owner—her own ancestor. In part, Butler drew some inspiration from her mother's work. "I didn't like seeing her go through back doors," she once said, according to The New York Times. "If my mother hadn't put up with all those humiliations, I wouldn't have eaten very well or lived very comfortably. So I wanted to write a novel that would make others feel the history: the pain and fear that black people have had to live through in order to endure."

For some writers, science fiction serves as means to delve into fantasy. But for Butler, it largely served as a vehicle to address issues facing humanity. It was this passionate interest in the human experience that imbued her work with a certain depth and complexity. In the mid-1980s, Butler began to receive critical recognition for her work. She won the 1984 Best Short Story Hugo Award for "Speech Sounds." That same year, the novelette "Bloodchild" won a Nebula Award and later a Hugo as well.

In the late 1980s, Butler published her Xenogenesis trilogy—Dawn (1987), Adulthood Rites (1988) and Imago (1989). This series of books explores issues of genetics and race. To insure their mutual survival, humans reproduce with aliens known as the Oankali. Butler received much praise for this trilogy. She went on to write the two-installment Parable series—Parable of the Sower (1993) and Parable of the Talents (1998).

In 1995, Butler received a "genius" grant from the MacArthur Foundation—becoming the first science-fiction writer to do so—which allowed her to buy a house for her mother and herself.

#african #afrakan #kemetic dreams #africans #brownskin #brown skin #afrakans #african culture #afrakan spirituality #octavia e butler #science fantasy #science fiction #science fair #science facts

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astramthetaprime · 10 months

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IceMav Landmarks

For the curious, here’s a few real-world points of interest with regards to the Shooting Star series:

Ice and Mav’s first little house that they buy in “The Night Road” is located just to the west of Oxnard College in Oxnard, CA. There is no specific neighborhood to pinpoint. It’s within a quarter-mile of the college, with a natural foods co-op market within a mile west or southwest of it.

Their second house is located in Simi Valley, in a relatively new and actually quite wealthy subdivision. It’s within 2 miles of the Simi Dog Park, so that when Mav goes out for his daily run he runs to the dog park and back for the full 4 miles as he intends to do in “Hiding and Hunted”. Ice and Mav mostly designed the new house (with the help of an architect) and had it built in 2018, so it’s still very new.

Sarah’s psychotherapy practice is in Pasadena, CA. Look up the Fuller Theological Seminary, Pasadena, CA and the picture that comes up on Google Maps is the model I had for her office as used in “The Devil You Know”.

NAS Point Mugu and Point Mugu State Park are as in the real world, though of course with my own inventions as to their layouts and contents. They’re quite a ways west of the city, on the coast. Oxnard is north and west of the base so it’s an easy drive in to work for Ice and Mav, and not too much longer later once they build the Simi Valley house.

Slider went home to New York after he left the Navy but once Avex Aeronautics became a real going concern they relocated their operations to Phoenix, AZ and he relocated there himself. I don’t have a specific location for where he lives though, but I imagine it’s near Sky Ranch at Carefree in the northeast part of the city where he keeps the little red jet. When he comes up to see Ice and Mav he flies out of there and lands at Camarillo Airport which is near their Simi Valley house.

Sayyad, Kholm, the AH-76 and FOB Robatak in "The Night Road” are real places, as is the narrow valley where Mav was shot down. Look up Sayyad, Afghanistan and you’ll see the AH-76, then just west of that you’ll see the mountains that constitute the narrow valley. The south end of those mountains are the narrow part where Mav flies sideways on one wingtip, and what told Ice he’d been bored with the patrol pattern and was playing when he was shot down. The place where Mav was found by Bowcott and his squad is Saighanchi between Sayyad and Kholm. I used the pictures on that entry quite a lot as to what the terrain was like in the area, the caves, etc.

Dryden Flight Research Center is a real place, though these days it’s been renamed to NASA Neil A. Armstrong Flight Research Center. If you look it up on Google Maps and switch to the terrain view, look at the dry lake bed to the east of the center. They’ve got a very convenient compass and several landing strips carved into the dry lake bed. Almost directly east from the center, at the edge of the lake bed, you’ll see a small mountain with no name that looks like it’s been split down the middle from east to west. This is Turnaround Hill, where Slider and Sarah went to watch Mav on his Mach 10 flight in “The Shooting Star” and where the disturbance and Alan appeared in “Windfall”.

Hope you enjoy!

#writing #The Shooting Star #Windfall #IceMav #using Google Maps for writing

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papermoonloveslucy · 1 year

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RIP CINDY WILLIAMS

1947 - 2023

Cindy Williams was born in the Van Nuys California on August 22, 1947. Her family moved to Dallas, Texas when she was a year old, and returned to Los Angeles when she was ten. She had one sibling, a sister named Carol Ann. Williams wrote and acted during childhood at a church and later acted at Birmingham High School, graduating in 1965. She attended Los Angeles City College where she majored in theater .

Three years after playing small roles in film and television, Williams landed the role of Laurie in American Graffiti (1973) which she repeated in the 1979 sequel. She was nominated for a BAFTA Award for the original film.

That same year, Williams shared Ringmaster duties with Lucille Ball and Telly Savalas on “Circus of the Stars 2″. Ringmaster Williams introduces her future co-star Penny Marshall, who works with a baby elephant named Tika. Williams also does a stunt with Michael York that ends with her being shot out of a canon.

Williams was first introduced to Penny Marshall by Marshall’s brother Garry, who had written 11 episodes of “The Lucy Show” from 1964 to 1966.

Garry cast them on “Happy Days” as Fonzie’s dates on a November 1975 episode of the popular series. She was reunited with her American Grafitti co-star Ron Howard. A spin-off followed in 1976.

“Laverne & Shirley” ran six seasons, although Williams departed the show after season five and 158 epsisodes.

Laverne and Shirley’s high jinks were reminiscent of those of Lucy Ricardo and Ethel Mertz on “I Love Lucy.” Williams demonstrated a flair for portraying the awkwardness of youth in broad physical comedy. Both series featured redheads and both took place in the 1950s.

Although Laverne and Shirley were evocative of Lucy and Ethel, sometimes the homage was a bit more specific.

“Laverne & Shirley” - “The Diner” (May 6, 1980) inspired by “I Love Lucy” - “The Diner” (April 26, 1954)

No other female comedy team in the history of television has been so often compared to Lucy and Ethel as Laverne and Shirley. Add in their pals Lenny and Squiggy, you’ve got a reasonable facsimile of the Ricardos and Mertzes, especially when the plots pit men against the women. In this episode, which has the same exact title as its inspiration, Lenny has inherited a diner that he gives over to the girls to run.

Just as Ethel was confined to the kitchen, so is Laverne. She even does a bit of business with a pop-up toaster, something that Lucille Ball often did. Both sets of ladies indulge in “diner lingo” and get overwhelmed by their new business ventures.

"Laverne and Shirley” was filmed at Stage 20 on the Paramount lot, which was formerly Desilu. The show was known for fearless physical comedy not seen since the days of “I Love Lucy.”

“Lucy was a physical comedienne, and she would be all over the stage, so Desi Arnaz, being the genius he was, put all of their cameras on these dollies. So [on Laverne & Shirley] there are three cameras, you’ve got the stage, as though you are watching a play, and you have the cameras moving with us on dollies. Usually, [sitcom] cameras are set in place and stagnant, but our cameras were like Lucille Ball’s cameras.” ~ Cindy Williams, 2001

Actors who also appeared with Lucille Ball that appeared on “Laverne & Shirley” include Hans Conried, Mary Treen, Robert Alda, Gino Conforti, Dick Patterson, and Leoda Richards.

In 1995, she participated in “The Laverne & Shirley Reunion”. In 2002, Williams once again re-united with Marshall for “Laverne & Shirley: Together Again”, a TV special.

In 1978, Williams and Ball were part of “Gene Kelly: An American in Pasadena”, a variety show tribute to Kelly that also featured her “Laverne & Shirley” co-star Betty Garrett (Edna Babish).

That same year, Lucy and Cindy were also seen on “General Electric’s All-Star Anniversary.” Here she was teamed with her former co-star Penny Marshall.

Williams was also seen with Ball at "The Sixth Annual American Cinema Awards” honoring Bette Davis on January 6, 1989. This was one of Ball’s last appearances before her death.

Williams was married to Bill Hudson in 1982. Together they have two children: Emily and Zachary. The marriage ended in divorce in 2000. Cindy Williams died at home after a short illness. She was 75 years old.

#Cindy Williams #Laverne and Shirley #Lucy and Ethel #Lucille Ball #I Love Lucy #Happy Days #Garry Marshall #Penny Marshall #TV

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cozyaliensuperstar7 · 3 months

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Weathers was born January 14, 1948, in New Orleans, Louisiana. His father was a day laborer. As an eighth-grade student, he earned an athletic scholarship to St. Augustine High School, a private school. He was an all-around athlete, involved in boxing, football, gymnastics, judo, soccer, and wrestling. He played football and graduated from Long Beach Poly High School in 1966.

Weathers played football as a defensive end in college. He started his college career in 1966 at Long Beach City College, where he did not play in 1966 due to an ankle injury suffered when he tripped over a curb surrounding the running track while warming up for practice with another linebacker. He then transferred and played for San Diego State University, becoming a letterman for the San Diego State Aztecs in 1968 and 1969, helping the Aztecs win the 1969 Pasadena Bowl, finishing with an 11–0 record, and a No. 18 ranking in the Final UPI Poll, playing for head coach Don Coryell. At San Diego State, Weathers received a master in theatre arts.

Weathers signed with the Oakland Raiders of the National Football League (NFL) as an undrafted free agent in 1970. Now playing as a linebacker, Weathers played in seven games for the Raiders in 1970, helping them win the AFC West Division title, on their way to the first-ever AFC Championship Game. Before the 1971 season, Weathers converted into a strong safety. He only played in one game in 1971, before the Raiders released him in September 1971.

Later that month, Weathers signed with the BC Lions of the Canadian Football League. He played for the Lions until 1973, playing 13 games in total. During the off-seasons, Weathers attended San Francisco State University and earned a bachelor's degree in drama in 1974.

Weathers began working as an extra while still playing football. He had his first significant roles in two blaxploitation films directed by his longtime friend Arthur Marks: Bucktown (1975) and Friday Foster (1975). Weathers also appeared in an early 1975 episode of the sitcom Good Times titled "The Nude", portraying an angry husband who suspected his wife of cheating on him with J.J. He also guest-starred in a 1975 episode of Kung Fu titled "The Brothers Caine", and in an episode of Cannon titled "The Hero". In 1976, he appeared as a loan shark in an episode of the crime-drama Starsky & Hutch, and in the Barnaby Jones episode "The Bounty Hunter" as escaped convict Jack Hopper.

Weathers retired from football in 1974, and began pursuing an acting career. In his NFL career he appeared in 8 games in two seasons, but did not record any stats. The only stat he recorded in his CFL career was a single fumble recovery. In later years, Weathers narrated NFL Films' season recap of the 1999, 2000 and 2001 seasons.During the 2017 NFL Draft, he appeared on NFL Network's pre-draft coverage.

Weathers briefly appears as an Army MP in one of the three released versions of Close Encounters of the Third Kind (originally released in 1977). In 1978, Weathers portrayed Vince Sullivan in a TV movie, Not This Time. In the late 1970s and 1980s, Weathers starred in a number of action films for the small and big screen, including Force 10 from Navarone (1978), Predator (1987), Action Jackson (1988), and Hurricane Smith (1992). As a member of the cast of Predator, Weathers worked with future California governor Arnold Schwarzenegger and future Minnesota governor Jesse Ventura. Many years later he appeared in a spoof segment on Saturday Night Live, announcing that he was running for political office and urging viewers to vote for him on the basis that "he was the black guy in Predator".

He also appeared in Michael Jackson's "Liberian Girl" music video and co-starred in the 1996 Adam Sandler comedy Happy Gilmore, as Chubbs, a golf legend teaching Happy how to play golf. He reprised the role nearly four years later in the Sandler comedy Little Nicky. Filming a fall stunt in Happy Gilmore, Weathers fractured two vertebrae and his osteophytes grew out and connected and self-fused badly. He says he was in excruciating pain for three to four years.

Another notable television role was Sgt. Adam Beaudreaux on the cop show Street Justice. Afterwards, during the final two seasons of In the Heat of the Night (1992–1994), his character, Hampton Forbes, replaced Bill Gillespie as the chief of police. He also played MACV-SOG Colonel Brewster in the CBS series Tour of Duty.

In 2004, Weathers received a career revival as a comedic actor beginning with appearances in three episodes of the comedy series Arrested Development as a cheapskate caricature of himself, who serves as Tobias Fünke's acting coach. He was then cast in the comedies The Sasquatch Gang and The Comebacks. Weathers had a guest role in two episodes of The Shield as the former training officer of main character Vic Mackey.

Weathers provided the voice for Colonel Samuel Garrett in the Pandemic Studios video game Mercenaries: Playground of Destruction. In 2005, he was a narrator on Conquest! The Price of Victory — Witness the Journey of the Trojans!, an 18-part television show about USC athletics. Weathers is a principal of Red Tight Media, a film and video production company that specializes in tactical training films made for the United States armed forces. He also appeared in one episode of ER as the father of an injured boxer during their 2008 finale season.

For the sixth film in the Rocky series, Rocky Balboa (2006), Stallone asked Weathers, Mr. T, and Dolph Lundgren for permission to use footage from their appearances in the earlier Rocky films. Mr. T and Lundgren agreed, but Weathers wanted an actual part in the movie, even though his character had died in Rocky IV. Stallone refused, and Weathers decided not to allow Stallone to use his image for flashbacks from the previous films. They instead used footage of a fighter who looks similar to Weathers. Weathers and Stallone patched up their differences and Weathers agreed to allow footage of him from previous films to be used throughout Creed (2015).

Weathers portrayed the father of Michael Strahan and Daryl "Chill" Mitchell's characters on the short-lived 2009 Fox sitcom Brothers. Weathers acted as Brian "Gebo" Fitzgerald in advertising for Old Spice's sponsorship of NASCAR driver Tony Stewart. He also appeared in an ongoing series of web-only advertisements for Credit Union of Washington, dispensing flowers and the advice that "change is beautiful" to puzzled-looking bystanders. He also starred in a series of commercials for Bud Light, in which he introduced plays from the "Bud Light Playbook." At the conclusion of each commercial, Weathers could be seen bursting through the Bud Light Playbook and shouting "Here we go!"

In 2019, Weathers appeared as Greef Karga in several episodes of the first season of the Star Wars series, The Mandalorian. He returned for the second season and also directed the episode "Chapter 12: The Siege". He returned for season 3 and directed the episode "Chapter 20: The Foundling". His performance earned him an Emmy nomination for Outstanding Guest Actor.

Weathers died at his home in Los Angeles on February 1, 2024, at the age of 76. His family issued a statement saying he died "peacefully in his sleep.

#rest in peace carl weathers

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inloveforlokius · 3 months

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hey, I wrote a Oneshot of an Oc of mine and Gil Pender

English is not my native language, in fact I am Brazilian. I will post the original version in Portuguese too but for now stick with the English version. There will probably be errors in the English language because I put most of the things for Google Translate to do in English (Don't judge me, I'm still newbie at this).

Previously: Gil, on one of his trips to Paris in the 1920s, met a young attendant at a local cafe from the 20s who was walking along the narrow river Seine, known as Julye.

(the oc is of legal age)

Word count: 2611 words.

the denial of living in the present ♡

Gil Pender is an idiot man from Pasadena, California, in the United States and is about to marry an authoritarian preppy named Inez.

Since Gil got engaged to Inez, he has been having frequent panic attacks. He never understood the real meaning of his attacks, however, he thought it must be something about the book he was writing or his work as a Hollywood screenwriter.

Gil and Inez visited and stayed at a hotel in Paris.

The reason for this was that as Inêz's parents had done important business, the couple stayed for a while to enjoy the ride.

Inez was a beautiful and very intelligent woman, but she and her fiancé had almost nothing in common, the two were completely opposite people and not at all indifferent, Gil was always passionate about literature and the 20s, and dreamed of living in the City of Light after the wedding, more precisely in the rain as he told his fiancee, and he was willing to give up all his work as a screenwriter to become a writer, however, Inez wanted to live in Malibu, in the hot sand of California, after the wedding.

And although Gil loved his future wife there was something that made him feel out of place about her. Even when she had defended him from her own parents who criticized Gil about his illusions about politics and his choices.

But something happened as the couple's time in Paris went on.

In the blink of an eye, the two moved apart drastically, and of course the reason could have been that Inez had had a super crush since college on a man called Paul Bates, a kind of dashing gentleman who was going to give a lecture nearby. from Paris, And she stayed with this guy for a few nights in the meantime that Gil was taking his nightly "walks" to get even more inspired when he was going to write his romance.

However, Gil had no idea that she had kept the stupid pendant.

But Gil also had his secrets, for example: whenever (or almost every day) that Inez wanted to stay late somewhere with her parents or with Paul and Carol, he would always leave early and walk the streets of Paris until midnight and he did that instead of going to the Hotel Bristol where the two stayed waiting for Inez to return.

And when the clock struck midnight, a vintage car from the 1920s always passed by as if it were a taxi from the time and Gil always got into it because it would mean that he had gone to the year 1920, the year where he dreamed of living for so long. , it was a dream to be in Paris at that time where there were so many incredible artists and writers that he couldn't even describe, it was so spectacular.

And there he met the illustrious and talented F. Scott and Zelda Fitzgerald, Pablo Picasso, Gertrude Stein, Salvador Dali, Luis Boňuel, Man Ray, Ernest Hemingway and TS Eliot.

Gertrude Stein even read and evaluated the book that Gil Pender was finishing and it made his heart almost stop working with excitement.

EDuring these trips to 1920, Gil met a beautiful young girl, Adriana, he seemed to have liked or loved this young woman very much. She was known to be a prostitute and former lover of Picasso himself, but unfortunately, he himself realized that she was fascinated to other things like the golden age and I couldn't stop her from getting lost in another era trying desperately to fill her feeling of loneliness and emptiness.

Just like he did, but he would never admit it.

Gil discovered that Inez was probably cheating on him with Paul shortly after he returned to 2010 and he thought about this possibility with the help of words from one of his conversations with some of the best writers of the 1920s.

When he had the courage and discussed it with Inez, she simply admitted it after a while, causing the two to break up, as well as belittling him by calling him crazy, sick, among others.

Now, Gil no longer had Adriana, who lost her to the golden age, nor his ex-fiancée who left.

He was left ungrounded, confused, displaced but still free.

And now he was more anxious than ever walking around at 2 am in Paris in the 20th century...he knew he shouldn't be in another century trying desperately to escape all his morbid sadness that hit him like daggers in the back but therefore he he still couldn't stay definitively in 2010 knowing that he could live what he so longed to have.

He walked and walked while it was raining heavily on the narrow Seine River, he saw a young woman who made his eyes go a little wide and wide and made his heart flutter a little.

The beautiful lady was without any means of protection against the rain like Gil. She was wearing a loose and short black dress made of silk with satin gloves and black heels, she looked like she had just left a ball at that time, she had beautiful light blonde hair in the style of an almost classic Bob. like Marilyn Monroe.

The lady looks at Gil, seeing the man in a gray suit and red tie there looking at her fascinated, she approached him and spoke without hesitation, her voice was soft and sweet, as if it were a beautiful melody from Cole Porter's classic songs.

-Bonjour, you are lost? - she says looking at Gil, still unsure about the man.

- hey! Yes, I mean, no. -Gil says no with a fake, high-pitched laugh at the end of the sentence.

The woman nodded and turned to leave, but she stopped when she heard the man's voice again.

- Excuse me but are you American? - He asked hesitating while breathing faster. "What the hell got into you?" he mentally asked himself.

- no, I'm just a random Parisian but I learned to speak American English a few years ago - the woman smiles slightly, her red lipstick stands out on her adorable face .

- Could I know your name? - Gil asked, he had his hands in the pockets of the black dress pants he was wearing as he asked.

- well...my name is Julye, and would you be it? - Julye looks at him a little confused, the rain started to get thicker making the lady cross her arms and look down.

- oh, my name is Gil Pender - he speaks awkwardly and sees that Julye was bothered by the rain that had gotten heavier, he then went to her and guided her gentlemanly to under the bridge.

He was always taught by his mother to be a good gentleman, so he lightly puts his arm around Julye as they walk under the bridge out of the rain, she still looks at him suspiciously but with a hint of gratitude in her eyes. almost cyan blue.

- Oh, I'm sorry, I just wanted to make you less uncomfortable in this rain - Gil says, trying to clarify his intentions.

- Should I say thank you? - Julye says smiling sarcastically.

- I don't think it's necessary and if I may, why are you wearing that dress? It's cold today in Paris, you could catch a cold - Gil says with an air of doubt because although the woman looked stunning in the dress he didn't see the point in wearing it on this specific night.

- oh..well, I was in a bar before it started raining with Zelda and Scott - she says raising her face up to look at Gil, she was shorter than him.

-Zelda and Scott? Like the Fitzgeralds?

-Yes, themselves, do you know them? - Julye says looking into Gil's eyes when he asked.

- Yes! Yes, I've been out with them twice and I really admire Scott - he remembered, he was in 1920! He couldn't say how good Scott and Zelda were as if he were talking to someone in 2010 - but, well, on that note, what does a woman like you do?

-I'm an attendant at a local coffee shop, you should visit there, I work from nine in the morning to six in the afternoon - Julye says while looking away from Gil.

Gil blushed, the pretty girl invited him to go to the cafe where she works in such an adorable way? Yes, and it left him like a little pepper. Between that, he knew he could never go, especially because he only has access to Paris in the twentieth century from midnight to dawn... that is, he could never see it in his daily life.

- Thank you for the invitation, I will certainly go to the cafe - he says lying, The two then walked to a local bar out of the rain and in the meantime they talked about various things and Gil even forgot about his sadness about his and Inez's separation.

When the two arrived in front of the bar but didn't go in and instead they sat on a bench where the rain didn't hit and continued talking, and so much time passed that Julye ended up sleeping with her head on Gil's chest.

And certainly, Gil loved it and even stroked her hair while she slept. When he realized that it was going to dawn, he placed the lady on a bench and laid her down gently and placed his jacket on her, he left and as he walked through the streets, he realized that he had gone back to 2010, he looked back at that same place but he didn't even know. There was more bench, it was replaced by a large pole and the bar was now a jewelry store.

He gave a weak smile and sighed deeply - I'll see you again, I promise, Julye.

And so he did. Every day after midnight he goes back to 1920 just to look for the woman, he even knew her address so he could go to her house.

They talked about everything, Gil talked to Julye about cognitive actions and the fear of death that everyone has and at the end of the night, he always ends up leaving or sleeping on his shoulder. They understood each other, they talked about everything, literature, arts, artists, the future, their personal lives and more.

Julye didn't understand why Gil didn't want to see her during the day, they are friends and friends see each other during the day, she thought, so why is that?

On one of Gil's trips to 1920, he found Julye in a square near the elfiel tower. He hugged her and greeted her.

- Julye! It's good to see you - he says sweetly and smiles at her.

- Bonjour, Gil... - she says, leaving the hug, her eyes made it seem like she was in a dilemma.

- what happened? You look thrilled - Gil puts his hand on her shoulder and his face had such a softness that it would easily make someone tell him what he was hiding.

-I don't understand you sometimes. You say we are friends but we never meet during the day and you always disappear and then pretend that none of this happened... why is that? - Julye says a little angry and sad at the same time.

Gil pulls her and comforts her, and starts to talk - look... it's okay, I know I haven't been giving you explanations but I'm just trying not to hurt you and apparently I failed at that, I'm sorry - he says as he watches Julye lay on his chest.

- Look, you know when you have one kind of life during the day and at night it's like you're in another life? - Gil says, lifting Julye's face to look at her face to face.

- I think so... - Julye says quietly - so you kind of have two different lives?

-It's almost that, but I'll tell you something, when I'm here, with you I feel like this is my place - Gil smiles and Julye also smiles lightly caressing her cheek.

Even though Gil lied about some things, not all of them were lies, he really feels like when he's with Julye it's like he's in the right place.

The two stayed there, hugging each other, feeling the breeze of the wind, they were both in the early morning moonlight.

Gil sometimes wondered if he and Julye could be more than friends, but he never really persisted with that thought. .

He decided to lighten the mood by changing the route of his affairs.

- Julye, do you think I would be a good writer?

- Yes for sure! You are incredible at writing and if it is your passion then you should embrace it and not be afraid of failure - she says smiling, she has always supported Gil in all possible circumstances.

- Don't exaggerate, I'm not that good - Gil says and smiles seeing Julye pout.

- I disagree, you are very good at writing, you are like a poet - Julye says persisting in the idea - you should at least try to do what you like.

- Thank you, you really know how to keep me going - Gil smiles at her - that's what friends are for - Julye says and smiles too, she takes Gil's arm and the two walk down the sidewalk together.

- friends...yes, we are friends - Gil says walking with her.

At the end of the night, Julye turned to Gil and gave a smile that was pleasant to see.

- so this is where I say goodbye to you.

- Yes, I know, but first I want to test one of the theories Ernest Hemingway told me a while ago - Gil says, taking her hand.

-And what theory would that be? - She asked with a hint of curiosity.

Then Gil lightly pulled her by the waist until their lips connected.

He kissed her sweetly but firmly, Julye returned the kiss with the same soft intensity, placing her arms around Gil's neck and the two of them deepened the kiss, totally immense at the moment.

Julye bit Gil's lower lip, asking for passage and Gil gave in, making Julye slide her tongue into his mouth where their tongues meet, they now have their tongues almost dancing in Gil's mouth fighting for dominance.

They separate when they both become short of breath.

- so that was your theory? - Julye says breathlessly.

- Not exactly, but it made me realize and feel many things and one of the things I felt for those seconds when I kissed you was that I was able to dazzle immortality for a while - Gil says smiling, giving Julye a light peck.

It's like Ernest Hemingway said and believed that the moment two people who have a true passion kiss or have sexual relations, they can create a truce over the fear of dying and that's exactly what Gil felt with Julye, he managed for a few moments get a glimpse of what it's like to be immortal.

He felt like his heart was going to explode with so much love and he wanted to show Julye that day but time was about to run out so they said goodbye with a few more passionate kisses and sweet words of affirmation, and went each their way.

And Gil was still certain at that moment, he would still do and give all the love that Julye deserved.

#midnight in paris #fanfic #owen wilson #oc #my writing #oneshot #1920s #paris #scott fitzgerald #my fic #mobius #mobius x reader #gil pender

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keanuquotes · 10 months

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Artist Bio

Alexandra Grant (b. 1973 in Fairview Park, OH) received her Master of Fine Arts from the California College of Arts and Crafts and her Bachelor of Arts from Swarthmore College. Grant is the co-founder of X Artists’ Books and the founder of grantLOVE, an art project to raise awareness and money for various nonprofits through the gift and sale of her LOVE artwork. Her work has been the subject of solo exhibitions at Galería Marco Augusto Quiroa en Casa Santo Domingo, Antigua, Guatemala; Galerie Gradiva, Paris, France; Honor Fraser Gallery, Los Angeles, CA; Lowell Ryan Projects, Los Angeles, CA; Museum of Contemporary Art, Los Angeles, Los Angeles, CA; Night Gallery, Los Angeles, CA; Ochi Gallery, Sun Valley, ID; Orange County Museum of Art, Costa Mesa, CA; Positive Art Center, Seoul, South Korea; 18th Street Arts Center, Santa Monica, CA; the 20th Bienal de Arte Paiz, Guatemala City, Guatemala, and elsewhere. Grant has been included in group exhibitions at numerous international institutions including the Armory Center for the Arts, Pasadena, CA; Center for Contemporary Art, Tel Aviv, Israel; El Paso Museum of Art, El Paso, TX; Eli and Edythe Broad Art Museum, East Lansing, MI; Los Angeles County Museum of Art, Los Angeles, CA; Museo Archeologico di Amelia, Italy; Museum of Contemporary Art Denver, Denver, CO; Orange County Museum of Art, Newport Beach, CA; The Contemporary, Baltimore, MD; Torrance Art Museum, Torrance, CA; and the USC Fisher Museum, Los Angeles, CA. Her work may be found in the collections of Blanton Museum of Art, Austin, TX; Hammer Museum, Los Angeles, CA; Los Angeles County Museum of Art, Los Angeles, CA; Museo Santo Domingo, Antigua, Guatemala; Museum of Contemporary Art, Los Angeles, Los Angeles, CA; and the Orange County Museum of Art, Costa Mesa, CA. The artist lives and works in Los Angeles, CA.

Interview Artist

Alexandra Grant

By Carol Real

How does literature serve as a catalyst for your artistic practice, and how does it influence your creative output? Can you share examples of specific literary works that have inspired your art?

When I was a graduate student studying drawing and painting at the California College of the Arts, the main question that preoccupied me was finding a stream of ideas that would both interest me in the long term and be the intellectual bedrock for my artistic career. I asked myself what I liked to do when no one was looking and what I liked to do when everyone was looking. What I enjoyed thinking about in my life to that point and what I would imagine enjoying for the rest of my life. The answer was literature and reading. So I began my career using painting to represent and interpret literature, poetry, and writers I admired. It’s what I still do today. My early text-based works examined poems by Pablo Neruda and Wislawa Symborszka. When I moved to Los Angeles in 2001, I searched out living writers interested in an exchange. That’s when my collaboration with hypertext pioneer Michael Joyce began. I have had the pleasure and privilege of engaging with a diverse group of writers and thinkers, from James Joyce to Hélène Cixous, from Szymborksa to living Polish writers such as Anna Adamowicz, Krystyna Dąbrowska, Julia Fiedorczuk, Bianka Rolando, Olga Tokarczuk, and Urszula Zajączkowska.

How do the languages we speak and the images we see influence our thoughts and shape our exchange of ideas? How does this understanding inform your artistic exploration of text and language?

I grew up traveling and living in many countries, speaking Spanish and English as a small child and learning French as a teenager. I have clear memories of landing in a place where I didn’t speak the language. I looked for visual and other clues to make sense of words and phrases as I adopted and adapted to French. So I’d say that my understanding of language comes from speaking three languages and being curious about the rhythms and intonations of other tongues that I don’t know.

Since my first solo show in Asia last year—MANTRA at the Positive Art Center in Seoul, Korea—I encountered curiosity about my work in a place where the alphabet itself is pictorial. I learned about artist Lee Ungno and how he approached abstraction from pictogram shapes present in Korean writing and representation. Inherent in my speaking English and two romance languages are the visual and philosophical limitations of the Roman alphabet.

Can you explain the connection or evolution between your earlier “Antigone 3000” paintings and your more recent works? How has your artistic vision evolved over time, and what inspired these shifts?

I’ve been working with and depicting the story of Antigone in my paintings since 2014. The reason it has held my attention is that the work continues to evolve. Each composition is based on three main elements: horizontal pours of paint, which represent the organic or messy qualities of real living; ruled lines, which represent the rule of law or idealized life; and words, in particular, a phrase by Antigone from Sophocles: “I was born to love not to hate.”

Since beginning my career, I have shifted my focus and style both gradually and suddenly, and the former is the case for the “Antigone 3000” series. If I look at the earlier paintings in the “Antigone 3000” series, they are more architectural and formal, more rigid, even, in their construction and composition. The paintings most recently exhibited at Miles McEnery Gallery in New York still have the three elements—pours, lines, and text—but are much more free, joyous, and visually cacophonous, like a firework explosion. I think you can see that I’m enjoying painting them.

The Rorschach-like text in your artwork enhances its abstract nature. Can you elaborate on how this technique contributes to abstraction and deepens meaning in your work?

I began my career in drawing and painting with all the text elements in reverse or backwards. It created a Through the Looking Glass experience, of being on the other side of a world, looking in. It invited the viewer to stop reading the text and instead make sense of it through other visual cues, like color, scale, and the emotional intensity with which the words themselves were written.

In “bodies,” a series of paintings from 2010 based on texts by Michael Joyce, the words double, representing the symmetry of the human body. This idea of symmetry and repetition influenced my representation of Antigone’s voice. Represented symmetrically, “I was born to love not to hate” becomes a totem. The original image was created as a wax rubbing on paper over a plaster sculpture. The image was both a font from the sculpture but also showed that my hand was involved in the frottage. As the work evolved, I began to use a silk-screened version of the text-image, which allowed me to move onto canvas and use different colors in the printing process.

At an opening in 2019, my godson, who was 10 at the time, came running across the gallery and said, with obvious delight, “I decoded the painting!” I like that the viewer has to puzzle out and decode the text when it is, as you have said, abstracted into a form.

How does the scale and size of your paintings impact viewers’ experience and interaction with the artwork? In what ways does it affect the emotional or sensory impact?

There’s a performative aspect to all paintings—though the studio space is private, the paintings are a record or traces of a series of physical actions. Scale allows me is to stretch my arms and spine and get on my tippy-toes and sometimes even a ladder, and to draw and paint to the edges of my physical limitations. I also walk back and forth to look at the painting. I get up close and granular with a small brush and then move several paces back to see the overall effect. I think the viewer intuits that the artist is moving backward, forward, up and down… as I solve what is, in the end a visual puzzle. And the bigger it is, like any real puzzle, the more pieces there are to unite.

Small paintings, however, can be difficult to resolve and I admire painters who work on a smaller scale.

Can you share any upcoming projects or exhibitions you’re excited about? What can viewers and art enthusiasts anticipate from your future creative endeavors?

I’m looking forward to several months of quiet studio time. I just completed a painting in Berlin in unusual circumstances. There was a flood in the studio and so I painted in a corner of my kitchen instead, with extreme lighting that ranged from direct sunlight to near-darkness. The lighting and the fact that I was only working on one painting—I usually work in a larger space with many paintings underway at the same time—led to a new evolution in the “Antigone 3000” works: a strong palette of contrasting colors, both light and dark. I’m excited to see where these new, accidental ideas take me. As is often the case, an accident is an invitation to innovate.

I’m continuing to develop six large-scale paintings for a project with six Polish poets—a chapel-like installation of women’s voices.

I’m working on an upcoming project with the French writer and theorist Hélène Cixous, Itinéraires Fantômes (Phantom Itineraries) which will be part of an exhibition at the CAPC in Bordeaux next year curated by Marion Vasseur and Ana Iwataki.

How do you maintain a balance between staying true to your personal artistic vision and navigating external influences or expectations? How do you ensure your art remains authentic and reflective of your creative intentions?

As I respond to your questions, I’ve used the words joy, joyous, and enjoy. I think those are key to balance in any creative endeavor. I enjoy my work very deeply. I trust my instincts about my next step and have sought to work with curious, rigorous, and kind people. When asked recently what the best preparation is for an artistic career, I answered that playing sports as a young person gave me the tools to understand the importance of daily discipline and how to work with others. I learned to both be present in today’s work and to recognize that art, like sport, is a continual activity, not just a single piece or game. In addition, being an artist requires multiple skills. In the same way, a baseball player on offense both hits the ball and runs the bases and then switches to a defensive skill set with a glove, artists must master several different skills. For my work, they are reading and researching, thinking and writing, and then the production of works in collaboration with others. And then there’s the bigger picture: my interest in both the history of global art and literature keeps my mind curious, and engaged and gives me a sense of being part of something bigger than myself.

What advice would you give emerging artists who explore text, language, and art? How can they navigate and leverage these elements to create meaningful and impactful artworks?

Making text-based art is difficult! From graffiti tagging to conceptual practices and more painterly approaches like my own, it takes practice. The first piece of advice I would give is not to give up…and try different approaches. Also, the questions I asked myself as a student was useful. Ask yourself what do you care about when everyone is looking, and what do you care about when no one is looking? Hopefully, in your art, it will be the same thing.

* All images courtesy the artist and Miles McEnery Gallery.

#Alexandra Grant

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