#the fact that she looks like an androgynous Bruce is because | Explore Tumblr Posts and Blogs

mythicalbinicorn · 4 years

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Hey could you talk about the oc's you were telling me about? I'm curious about them.

You got it! I have alot though, so buckle up

Crestri/Insomniai: She's half human, with her "mother" being a Lu'ai person (a race I made up)(also, "mother" is the closest term to what they use) who is married to Edward Nygma. She exists in 2 worlds, the Young Justice show, and the DCAMU. In the DCAMU!Verse she is the main adversary of Lady Light, however is good friends with her alter ego, Elayne Leclair. She is also the SoS' pseudo mother (more ocs you'll meet in a minute) She is over 2 000 years old, and has a lot of abandonment issues. She has morals, and refuses to do things for the Light (which she is a part of in the YJ!Verse) if it seriously hurts children. Her powers include: shape shifting, voice mimicry, illusions, portal creation, and has alot of magical capabilities. Also, YJ!Verse Crestri sees Klarion as a little brother.

Elayne Leclair/Lady Light: She's a young French woman with the ability to absorb energy around her and use it. She ia a fashion designer (Yes, she made her own suit) and is good friends with Crestri (They do know abt each others alter egos). She lost one of her arms saving Damian Wayne, and nearly gave Bruce a fucking heart attack. On that note! She's part of the Justice League and is good friends with Hal and Barry, the three often teaming up to annoy Bruce. She is also in a relationship with Bruce Wayne, but that's really only one part of her life. She's both serious and silly, something that can be both helpful and annoying to the Big Bad Bat. She exists only in the DCAMU!Verse

Vallili Dru-Zod/Superflare: She is the daughter of General Zod and a Kryptonian woman who wasn't on Krypton when it fell. She was adopted by the Kent's after her mother sent her to Earth, due to developing a terminal illness. Vallili exists only in the YJ!Verse, however not at the same time as Crestri or alot of the others. She is lesbian, and falls in love with Demand'r (Wally dubbing them the "Space Lesbians").

Demand'r/Sunfire: She is a young Tamaranean princess, and sister to Komand'r, Koriand'r, and Ryand'r. She was kidnapped when she was young and doesn't see her family for years. She is also a lesbian and returns Vallili's love. Demand'r is strong and kind, often going out of her way to help her friends.

Noania/Nalliand'r/Solar: She is a clone made by the dna of both Vallili and Demand'r, and they took her in as soon as they found her. She's very young, but when she does grow up she will be part of the YJ team along with the other hero children. She has a tiny crush on Artur (Aquaman and Mera's son).

Nikolai and Nicole Hunter/Predator and Prowler: They are twins who became orphans after their parents "died" (only on of them is dead). They are extremely close to each other, and rarely do things without the other. When they were 13 Nikolai suggested they become vigilantes because they had powers those being cat-like scences, claws, and a small healing factor. Their father is Luke Hunter. They exist in the YJ!Verse and the DCAMU!Verse. Trixie is one of their closest friends, her being Nicole's bestfriend and Nikolai's crush/girlfriend. Speaking of crushes, Nicole has the biggest one on Garfield Logan. Nick is very feminine in general, while Nicki is somewhere between feminine and androgynous. My favourite fact about nick is that he wears dresses, skirts and makeup with no regrets.

Kameela Ahmad: She is a Muslim scientist who adopts the twins after discovering their "extra activities". She supplies them their gear and a home. Kameela is extremely smart and often works with S.T.A.R. Labs. She is now in a wheelchair due to something that happened at S.T.A.R. Labs. Kameela exists in both the YJ!Verse and DCAMU!Verse.

Durriyah Ahmad: The younger sister to Kameela, she is a meta human with limited reality manipulation. She is still young, and very much looks up to her sister.

Luke Hunter/Dark Claw: He's the father of the twins, and is the one they inherited their powers from. After heroes failed to save his wife, he faked his death and became "Dark Claw". He later found out his children were Predator and prowler, and allows himself to get caught and sent to prison.

Beatrix Taylor-Queen/Quiver: Known as Trixie to everyone, she is the daughter of Oliver Queen, although he didn't know about her till she was around 15-16. She decided to become Quiver after being saved by Roy/Will Harper (depending on the universe) and is very close with him. She doesn't like her father much, bacause she's scared that she's just a charity case for him.

NOW ONTO THE SISTERHOOD OF STEEL (they only exist in the DCAMU!Verse)

Melody Prowell/Ballad: She is the daughter to Dennis and Sophia Prowell, being very close to bother parents she definitely inherited Dennis' penchant for theatrics, and is the most well adjusted member. She is in a relationship with Kon-El, them often leaving their respective teams for dates.

Sophia Prowell: Not much is known about her yet, only that she is married to Dennis Prowell and is one of the most talented voice actors known. She is incredibly close to her daughter.

Andreia Drakor/Oblivia: Andi is the daughter of Ares, and she begins the sos as a way to please him. She is in love with Darcy, and after only her death does Andreia become less of a villain and more an anti-hero.

Emiko Takahashi/Kira: Her family was killed by assassins when she was young, and her emotional state has been going downhill since. She was taken in by a League of assassins member, Black Spider, and took on the name "Kira", cutting out the tongue of anyone who calls her Emiko. She is close to all of the SOS, and later follows them in becoming anti-heroes. She is unofficially adopted by Bruce Wayne.

Darcy Merryland/Red Lantern/Star Sapphire: After her father murders her mother, she gains a Red Lanturn ring to exact her revenge. She starts out cold and fulll of rage, but becomes more mild as the years go by. She later she discovers she love Andreia and her ring rejects her, and she dies in Andreia's arms. She is resurrected later and is given a Violet Power Ring. She leaves Earth for a while, later coming back and reuniting with the SOS (done with the sos)

Penelope Isley-Qinn/Red Thorn: She is a clone of Harley and Ivy the created. She is part of the Teen Titans (2003 ver.). Penny has a plant she created, named Walter. Walter is carnivorous, and Beast Boy has gotten stuck in him. She is in a poly relationship with Raven and Beast Boy.

NOW FOR MY NON-TV/MOVIE OCS (all of them exist in the comic books)

Aretha Diamondis/Valor: Adopted by Athena after her parents dies, Aretha is incredibly loyal. She was granted powers by Athena that she uses to fight bad guys. She is also in a relationship with Kon-El.

Daphne Galitz/Spectre: She is a young Jewish girl with the ability to turn invisible and phase through stuff. She is energetic and kind, and in a relationship with Bart Allen, something that annoys the bad guys to know end. This is because they now have to deal with two times the taunting.

And lastly,Caelan Sideris/Mayhem: He is the son of Ares, and is originally a villain. He turns sides after his father seriously injures Aretha, who has shown him nothing but kindness (albeit a strict kindness at times) I hope this helped, I'm still flushing out alot of my characters

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bellthings · 3 years

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Stella Tennant Dies Aged 50

British model Stella Tennant has died at the age of 50.

Her family confirmed her “sudden” passing in a statement this afternoon: “It is with great sadness we announce the sudden death of Stella Tennant. Stella was a wonderful woman and an inspiration to us all. She will be greatly missed,” they wrote in a statement, adding that arrangements for a memorial service will be revealed at a later date.

The sudden death of the British supermodel was confirmed by her family.

By WWD Staff on December 23, 2020

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Stella Tennant

Stephane Feugere/WWD

British model Stella Tennant has died at the age of 50.

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Stella Tennant on the runway at Burberry Giovanni Giannoni/WWD

Tennant, who was best known for her androgynous look, was one of the most recognizable faces of the Nineties fashion scene, a muse to the late Karl Lagerfeld and a regular on the runways of brands like Chanel, Burberry and Alexander McQueen.

She has been spending her last years in Scotland with her family but has been keeping her ties to fashion: In 2016, she teamed with her old friend Isabella Cawdor to work on a women’s collection for the Chanel-owned Holland and Holland, filled with traditional cashmere knits and tweeds, produced in the mills in Hawick, Scotland.

“Stella Tennant was an exceptionally close friend of Chanel and worked with the house for more than 25 years, from the mid 1990s, when Karl Lagerfeld was first inspired by her, to the present day,” the French house said in a statement. “She was such an iconic and inspirational woman who embodied the modern spirit of Chanel through her independence, elegance and irreverence. Her incredible beauty, both inside and out, was matched by her irrepressible wit and humor.”

When she burst onto the fashion scene in the Nineties — discovered by the late Isabella Blow — Tennant immediately became an emblem of the grunge era, and a new generation of models who were edgy and unconventionally beautiful. With her nose ring, dark eyeliner and short cropped hair the aristocratic Tennant was so different from the supermodels that had preceeded her.

She proved over the next decades to be a chameleon, working with some of the top photographers of the 20th and 21st centuries including Paolo Roversi, Bruce Weber and Peter Lindbergh, working with a host of brands on other projects beyond modeling.

“It is with great sadness that I hear of the loss of Stella Tennant. Before being a distinctively beautiful woman, she was a remarkable human being: the embodiment of elegance that comes from within. I was always impressed by her natural poise. Stella was different and memorable, strikingly so. Her presence always lit up the image with wit and effortlessness. She will be missed,” said Giorgio Armani, who tapped the model to front campaigns for his namesake brand in the past.

“Stella marked a turning point in fashion’s aesthetics and language: with her elegant grace, her fluid talent and her communicative strength she was much more than a model. A unique and timeless beauty beyond stereotypes,” said Veronica Etro.

Charming and articulate, she was ever the gracious aristo and always seemed to wear her fame and her family background lightly. She was a granddaughter of the late Deborah “Debo” Cavendish, Duchess of Devonshire, and the Duke of Devonshire, Andrew Cavendish, and spent much of her childhood in and out of Chatsworth in Derbyshire, one of England’s grandest and most famous homes.

She is the daughter of Lady Emma Cavendish and the Hon. Tobias William Tennant, a Scottish aristocrat. She was married to the photographer David Lasnet, a Paris-born photographer-turned-osteopath. The couple had four children.

The fashion community collectively expressed shock and sadness over the model’s unexpected passing.

“What sad horrific news to end this already shocking year,” said Stella McCartney. “My heart goes out to Stella’s stunning family who must be in such undeserving pain. I am speechless. An inspiring woman, her soul and inner beauty exceeded the external perfection. Stella always had a grace and light that she carried wherever she went leaving all around her left with a feeling of luck to have known her.May she ride high above us all on the most perfect horse eternally in peace.”

Having enlisted Tennant as a model in the Nineties, Calvin Klein said, “Stella had a natural elegance – a refinement that set her apart. She was not just a model., she brought her personality to all of her work, and she will be dearly missed.”

Stylist Katie Grand praised her work ethic on set: “Stella was a particular inspiring person to work with, her beauty and talent was exceptional. She worked incredibly hard, was always cool and wore clothes beautifully. As she matured she became even more beautiful,” said Grand.

Having worked with the model for so many years, Weber said they were “great pals.” The photographer described Tennant as “a gift to all photographers wrapped in a huge Scottish plaid bow. She never worried, if she looked beautiful, which of course she always did.”

Recalling how he once asked her to be photographed for the Pirelli calendar, Weber said Tennant laughed at the idea, “because no one had ever asked her before.” Weber said, “Joe McKenna was styling and we decided that instead of a black low-cut tight dress, she would wear a gorilla outfit, and she would hold its head so that we would know it was her. She said to me, ‘Bruce, I’ve been bragging all over London that I’m doing the Pirelli calendar, and then you put me in a gorilla outfit.’”

He continued, ��Fearless as always, she proudly sat for her portrait – part dazzling lady and part dazzling gorilla.”

Piero Piazzi, president of Women Management Milan model agency, said Tennant was “one of the most marvelous and kindest models I ever worked with in 35 years. She was always in a good mood, and always punctual. We always stayed in touch, she even came to my wedding.” Piazzi recalled how her “eccentric” looks early on, “her pierced nose, her punkish” image was ahead of the times. “Although she was very versatile, her walk never changed, it was always very strong on the runway, whatever the brand she was working with.”

Designer Alber Elbaz called Tennant a friend and an icon. “She always represented to me what I love about fashion,” he said. “I will miss her greatly. I send all my love and support to her family that she loved with all her heart. We are all in mourning with you.”

For Alberta Ferretti, who worked with Tennant on many occasions, including her brand’s spring 2000 and spring 2001 campaigns shot by Paolo Roversi, it was Tennant’s “peculiar beauty” that always stood out: ”What I’ve always liked of Stella is her humanity and the fact that she was a person of substance: her personality was reflected in the camera and on the catwalk, giving clothes character and a strong sense of reality,” added Ferreti.

Bouchra Jarrar, who picked Tennant to front a Lanvin campaign when she was its creative director, said “Stella embodied pure elegance, and her androgynous beauty illuminated the ‘feminine.’ She represented the strength of quiet beauty.

Sandra Baucknecht, founder of Sandra’s Closet, met the model when she was working as a fashion editor at German Marie Claire in the late Nineties. Bauchnet said, “Stella filled a room with grace. When we were with Chanel in Cuba for the show in 2016, Karl Lagerfeld had photographed Stella for the exhibition “Obra en Proceso/Work in Progress.” There were many people in the gallery, but you could immediately spot Stella. She was born with this outstanding aristocratic beauty and a truly inspiring and loving soul.”

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nookishposts · 5 years

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Keepers

I decided many years ago not to have children. I love kids and love spending time with other people’s kids. Children’s choirs with those reedy innocent voices never fail to move me to tears. I was a summer camp theatre arts teacher for a number of years, and I am often the first one to get down on the rug with a wee one learning to crawl. The smell of baby, especially a sleepy one nestled against my chest is the breath of heaven. My choice has nothing to do with kids themselves and everything to do with me. I come from a swamp of family health issues: cancer, heart disease, diabetes and far too many incidents of serious mental illness resulting in a lot of suicides. I felt neither prepared nor compelled to parent , especially given the possible inheritances, and because I had so much growing up of my own to do. At 58, I have no regrets about this. My sister also chose not to have kids for her own reasons. So, effectively our parents contributions to the gene pool will die when we do. If I have any regret at all it’s that my Mum didn’t get the pleasure of grand-parenting, but thankfully she fully supports our choices. I have friends and acquaintances in this world who are absolutely awesome parents, raising kids who will definitely make this world a better one. I am delighted to support those efforts in any way they ask.

Part of the mid-life reflection involves considering legacy; I think some of us will admit to wondering what effect our lives have had, if any at all. Will we be remembered or will our brief tenure on the planet quickly disappear into the ether? We are just minute pinpricks on the greater pointillist picture of Time anyway, so what does it matter?

What got me thinking about this was the process of packing to sell a house, stuff in storage for 3 months and then unpacking it at our final destination. We had done what we thought was a major purge before squirrelling things away, but as we unpacked I found myself thinking : why the heck did I keep this? We all seem to retain some momentos of special times in our lives and that’s understandable, but I came across an awful lot of boxes that had not been opened since we moved to Winnipeg in 2009...for 10 years they’ve just been hauled around next to the necessities of pots and pans and winter boots. Why keep them at all? Watching a bit of Marie Kondo with My Beloved, didn’t help, in fact I found her downright annoying which is not usually like me at all. I guess it felt like she challenged things I wasn’t ready to face.

Some of those boxes I know for sure I will never let go of; the one with the Fair Isle sweater my Grandma made for me, my Grandpa’s service medals, and the first piece of jewelry gifted by a family friend when I was born (Does anybody even remember Sarah Coventry bracelets?)

There are boxes pertaining to my former schools and places of work and trips I’ve enjoyed, volunteers gigs that were impactful, bits of inherited china that I don’t imagine I will ever use: I can admire fine bone china tea cups and saucers, but since I have muscley massage and gardening paws (whereas my sister’s hands are slender and delicate despite being hardworking ) I tend to drop things. My klutziness is legendary. Every one who knows me has a story of how graceless they’ve seen me be. Not everyone you know can achieve a paper cut on their tongue licking a Christmas Card envelope. But I digress.

It is dawning on me that in a way, those boxes validate the person I was becoming. High school year books are full of sentimental awe and angst; look at those hairstyles and remember how we were sure we were “all that” and then some. Achingly fond memories of dances and all night conversations, cheering from the stands wearing school colours with great sense of belonging, the first terrifying day of Grade Nine weighed against walking across the graduation stage such a few years later. Same with college and university; who was that passionate being with boundless energy for learning,who slipped so easily and with such ferocious idealism into 30 years of feminist marches and human rights campaigns? What happened to that young woman who in spite of hating airplanes flew by herself all the way to Australia and back looking to answer some big questions? Or the crazy theater student who performed street mime and Shakespeare, dressing from the second-hand store in androgynous suits carrying a guitar everywhere, hitch-hiking between small -town pubs. Or the one who took a summer to hike the entirety of the Bruce Trail from end to end. It turns out she’s in boxes among the t-shirts and the handbills and the polaroid photos. She in the boxes from the YWCA as Aquatic Director, WUM as a Housing Counsellor, Gomorrah’s as a bookstore employee, The AIDS Network as Director of Volunteers. And in the endless boxes of books; about massage and gardening, and eco-living, and spirituality and cooking and favourite novels by authors whose stories generated both laughter and sense.

But what do I do with it all?

My Beloved and I were laying in bed recently, chatting sleepily as we recounted our day. One of the questions I keep hearing lately in social media is : “What would you do if you weren’t afraid?” Both of us admitted that we would take only what could fit in a knapsack and travel the World. Which, given that we have spent 11 years looking for the right place to settle down, and have finally found it, is deeply ironic.

I could not fit all of those boxes into my knapsack. The weight of it would crush me. So why, as an armchair traveller am I holding on to them now? I am not a hoarder by a long stretch. But I suspect I have to a need to prove to myself the existence of my being. People with children see themselves looking back at them through the eyes and hair and mannerisms of their offspring, even those not biologically born to them. Grandchildren increase that evidence exponentially and carry the torch forward casting their light into those generations to come. No boxes required. Perpetuating existence proves itself. The stories will survive.

My task now is to decide if I need to hold onto momentos that prove the moments that made me. When I managed a thrift store, I used to wonder at the treasures that came through the doors when somebody decided to clean out an attic. Wartime photos, first edition books, delicate china and silver engraved with initials, diaries, wedding dresses, inscribed jewelry....the sale of those special pieces helped keep the doors of a food bank open and the kids after school programs running, but sometimes it felt sad to me to be putting a thrift store price on something that had once been so precious to someone else. We are collectors, but we inevitably outgrow those collections and the kids and grandkids may not see the same value in what we’ve saved as we did when we carefully boxed things away.

Nobody else is going to want keepsakes from my schools, my travels and my jobs, and they are of no practical use to me now except perhaps as kindling for a bonfire on a starry night. Better they be incinerated in a communal act of warmth and light, perhaps with storytelling, than go into a landfill. There are family heirlooms I will eventually find other homes for among my cousins and their kids I suppose, as they aren’t really wholly mine to dispose of.There are lots of other things that will never mean anything to anybody but me. And as long as I can remember to tell the stories, I suppose those will pack nicely into the knapsack as I travel into this next phase of life as a self-sustaining steward of the Planet. When I can no longer remember the stories, the reminders won’t matter anymore anyway. Best they be dispersed now to do whatever good they might for someone else. Or is that an excuse to just hand off the responsibility? I’m not completely sure.

I am too old to really need the proof that I have lived, and there’s a lot of living yet to do. The accumulation of non-practical stuff needs to stop, and space for new experience needs to be cleared. The garage attached to our home has been converted into a very large workshop space, insulated and heated, with windows and outlets everywhere. The previous owner had amazing tools in there and created amazing things. But we have filled it with boxes. There are 3 giant Tupperware bins of music CDs alone. At least 6 of books. We have more duplicates of tools than we know what to do with. More artwork than we have wall space for. Camping gear that may have reached redundancy now that we live surrounded by woods and 3 minutes from a lake. Things don’t define a person, they never have. But I lulled myself into thinking I needed validation through proof. I have no children or grandchildren to inherit the proof of anything. My ancestors stories will continue through the rest of the family and I can help by being one of the ones committed to writing them down. Electronic storage takes up way less space and is more accessible than a box in an attic. It’s an easier inheritance to manage.

Of course there will be those things I will choose to keep simply because they please me. I’ve a collection of small indigenous carvings of animal spirits that give me great joy to handle. I still have my massage table because I can still do that work if called upon. I will likely get rid of most of the linens that supported it as a business, maybe see if a young masseuse might like some of the books and tools to help set up their own practice. Inevitably, certain things will end up in the bins of a thrift store. The workroom will get emptied and become once more a place of creation; shelves for things we’ve grown and preserved in our gardens, space for my Beloved to set up her loom and spinning wheel. A corner for my desk and a designated spot to see if I can put my money where my mouth is as a writer, to finish a novel and assemble a collection of musings. There needs to be space for Marie Kondo’s idea of “sparking joy” to come from within and take form. Who knows how much travelling we will do, and the various forms that might take. We’ve spent 11 years coming to this place with a very specific way of living in mind and the incredible joy in being here will carry us forward. Joy need not be a collection of inheritances or things amassed; I think I have decided joy can be an acronym for Just Open Yourself. It will not matter if I existed after I am gone, only that I lived in a way that honours the opportunities while I am here now. Those boxes are filled with reminders of amazing past moments, but I hope I am the distillation of those formative gifts, including all of the people and places that challenged me to shed one more layer of shell in order to grow. There is nothing to prove. There’s only what the sum of yesterday can offer today, and if I’m lucky, a series of tomorrows. It all fits in a knapsack.

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cinephiled-com · 5 years

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New Post has been published on Cinephiled

New Post has been published on http://www.cinephiled.com/interview-costume-designer-donna-zakowska-brings-marvelous-mrs-maisel-life/

Interview: Costume Designer Donna Zakowska Brings ‘The Marvelous Mrs. Maisel’ to Life

I am a huge fan of the award-winning Amazon series The Marvelous Mrs. Maisel. In addition to great performances by Rachel Brosnahan, Alex Borstein, Tony Shalhoub, Marin Hinkle, and many others, I get completely lost in the colorful world of 1950s New York and Brosnahan’s Midge deciding to forego her life as an upper west side housewife and mother and try her hand at stand-up comedy, something that was quite unusual for a woman during that time period, much less one in Midge’s social sphere. Adding immeasurably to the powerful acting in the series is the exquisite period look of the show, especially Donna Zakowska’s fabulous costume designs. Zakowska, already an Emmy winner for her gorgeous costumes in the John Adams miniseries, has also designed costumes for plays, films, operas, rock concert tours, and even the circus. I spoke to her by phone from the set of the much-anticipated Season 3 of Amazon’s The Marvelous Mrs. Maisel which will premiere in December.

Danny Miller: Hi, Donna! I’m so looking forward to the next season of this show that I’m counting the minutes. I wish I could be there with you on set!

Donna Zakowska and Rachel Brosnahan

Donna Zakowska: We’re actually in the last two weeks of filming but there’s still a lot to do. We’ll be finished in September. Working on the new season has been loads of fun!

I just love the character of Midge and think Rachel Brosnahan has done an incredible job with it. I’m so glad she won an Emmy last year for her performance and am looking for you to snag the Emmy on September 22nd! It’s been fun to see the character of Midge evolve in your designs. Can you talk about how you created her look at the beginning and how you think it’s changed over time?

I did a ton of period research of the period and then combined it with the fact that she is moving into the comedy world. Her transition from a classic upper west side housewife to a successful performer obviously has a big impact on the evolution of her clothes in the series. Whatever she’s wearing, I’m always trying to keep Midge’s indestructible spirit in mind that just forged ahead no matter what was going on in her life. Her style evolution is completely intertwined with her evolution as a character, really.

I love the attention to historical details in her clothes, but would you say her look is a bit heightened from what we might have actually seen on women in her situation back in the day?

Yes, to some extent. But, you know, if you look at the Vogue and Harper’s Bazaar magazines from those years, you will see quite a heightened color sense during that period. I may have pushed it a little bit but a lot of it actually does come from that unique time of the late 1950s and early 60s. Midge’s color palette ultimately became sort of her emotional landscape in her journey as a character.

I find the whole color palette on this series absolutely delicious. It reminds me of my grandfather’s old Kodachrome slides of my family during those years. My family was kind of similar to the Weissmans (Midge Maisel’s maiden name), and I’m always dazzled by the gorgeous colors and fabrics. Whatever happened to color, why are we all so drab today by comparison?

I know, it’s true, I feel the same way! But I think there are a lot of reasons. When you look at the vintage dresses from this period, you can’t help but be shocked how beautiful the fabrics and colors and prints are. Along with how intricate the sewing is. But I think when mass production took over the clothing industry, all of that changed.

I loved seeing last season how Rose Weissman’s (Midge’s mother, played by Marin Hinkle) time in Paris influenced her clothes in such a big way. Is that something that will always play a role in that character’s look from here on out?

Yes, I think it will, actually. She started in a Chanel suit with some Claire McCardell sportwear, and then evolved during her time in Paris based on what was in fashion there. In Season 3, I definitely have her in a much more interesting silhouette, a little avant-garde, a little bit more stylized, because once she went to France, that became a part of her. She was evolving as a character and as a woman and her clothes had to reflect that.

Marin Hinkle, Rachel Brosnahan, Tony Shalhoub

And I would say even more so once she decided to return to her family in New York. For me, it felt like that even though she made that decision, she desperately wanted to retain some of the independence she felt in Paris, including through her wardrobe.

Yes, that’s a good point.

How about Alex Bornstein’s Susie Myerson? She is obviously an extremely different character from Midge and someone with big financial challenges that would impact her wardrobe. How did you design her look?

For Susie I looked into the more androgynous fashion elements that were creeping in during that time. Her look has definitely evolved as well over time but in much more subtle ways and I always had to keep her financial situation in mind. You didn’t want to put her in anything that would have anyone watching think, “Hmm, how could Susie afford that?”

Alex Bornstein and Rachel Brosnahan

Right, as opposed to Midge, who rarely wears the same thing twice and for whom money seems to be no object.

Yes. With Susie, there might be a new jacket every now and then or new bits of color slipping in. It’s actually been a tricky wardrobe to design but also a lot of fun.

As an outsider, my initial assumption would be that it’s more interesting working on the women characters, but then I start obsessing on the clothes and fabrics that the men are wearing, too, and how much they also say about the characters. I like seeing how the looks of Abe (Midge’s father, played by Tony Shalhoub) and Joel (Midge’s ex-husband, played by Michael Zegen) are evolving as well.

Yes, there was certainly a lot less variety in men’s clothing in that era compared to women, but I worked very hard at creating their palettes, like different blue and gray tones, the kind of stripes that might be in Joel’s shirts, and other elements that reflect their characters. Abe, for example, started out very much the college professor, but then he was also affected by his time in France with his beret and scarf and leather jacket.

Tony Shalhoub

And, of course, his amazing romper when he was in the Catskills that immediately became so iconic and talked-about it could have had its own Twitter account!

(Laughs.) Oh, that was very fun! The cool thing about the scenes in the Catskills was that every character had an opportunity to be a little bit off the charts. Which is how it kind of was when the more affluent New Yorkers would head for the hills every summer. But I was shocked to see all the comments Abe’s romper got! I based that look on old photos of exercise guru Jack LaLanne. It just seemed like something Abe would wear in that setting!

You get to design for all these characters who are a bit over the top and then you also have Lenny Bruce (played by Luke Kirby) as a recurring character. I assume for Lenny you rely more on actual images of the actual person?

Yes. With Lenny Bruce there’s really no point in trying to make a fashion statement, you know? He was very specific with what he wore and the key is finding the absolutely correct look — the right tan coat and the dark suits that Lenny always had on when he performed.

When you work on a show for this long, do the main actors get so familiar with their characters that they start having a lot more suggestions for what they should wear?

Yes, I think that’s true. I have a very good dialogue with all of the characters, and of course I work with Rachel an enormous amount. Whenever we put an outfit together, or even choose a pair of earrings or whatever, we both use our shared understanding of exactly who Midge is at this stage in her life. When you design for or play a character, you just really have to instinctually understand who that person is. Rachel and I are almost always on the same page.

You could probably get a psychology degree for all the work you’ve had to do getting inside these characters.

Or maybe a psychiatric one at this point! (Laughs.)

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Season 3 of The Marvelous Mrs. Maisel premieres on Amazon on December 9, 2019.

#Alex Bornstein #Amazon #Donna Zakowska #Marin Hinkle #Rachel Brosnahan #The Marvelous Mrs. Maisel #Tony Shalhoub #Interviews #What's Hot

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bestmovies0 · 6 years

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Modeling Agencies Enabled Sexual Predators For Years, Former Agent Says

In October 2017, Carolyn Kramer received a disturbing phone call. The former simulate agent listened intently as a model she used to represent told her that a famous French photographer, who are continuing shoots for top publications, raped her when she was 16. Shortly after gratifying “the mens” at a eatery in 1983, the simulate said she blacked out after drinking one glass of champagne, then woke up in his couch the next morning with a sore and bruised vagina.

The woman, who preferred to remain anonymous, confirmed this story with HuffPost, but did not want to name the photographer for anxiety of legal repercussions.

“He was one of the photographers that agents and clients and young girls basically knew was lecherous, ” Kramer said, claiming that she and other agents mailed their frameworks to him in the ’8 0s anyway. “[ But] what I didn’t recognize[ at the time] is that he was raping girls.”

Kramer said she broke down weeping after the woman relayed her story of assault. “In that instant I felt that I let down the frameworks who I represented over such courses of 20 years, ” she said. “It built me feel like, here it is in front of my face now and I didn’t do anything to change[ it .] ”

It’s been 14 times since Kramer left the fashion business. But throughout the two decades she spent running as a simulate agent in New York City in the 1980 s, ’9 0s and early 2000 s, Kramer said she knew about rampant sexual misconduct in her industry — and didn’t safeguard her modelings from the egregious behavior.

Now, amid the domino-like autumn of so many high-profile alleged sexual offenders, the 58 -year-old can’t stop thinking about how she and other agents sent girls, some as young as 13, to modeling gigs with photographers who were rumored to be sex predators. So in October, the former agent decided to speak out.

“Many of these girls who are assaulted[ as models] aren’t older than 15 years old, ” she wrote in a Facebook post. “And I stand here to say how ashamed I am of myself for not having had the tools or the resources or guts to stop it.”

Kramer’s peers queued up in the post’s statements section to corroborate her story. One of her former colleagues, ex-model Kristen Noel, said her organization, Elite Model Management, sent her to Paris in the early ’8 0s to stay with an agent who repeatedly fondled and forcibly kissed her. She used 16. “Elite safeguarded him and unplugged from their responsibility to me, ” Noel told HuffPost.

Another commenter, hair and makeup artist Dawn Jacobson, said she saw agencies regularly endanger simulates when she worked in Milan in the ’8 0s. According to her, companies sent young women living a life in mansions — one of which was reportedly known as “Clitoride, ” Italian for “clitoris” — “where theyre” preyed on by wealthy Italian humankinds. “I belief relevant agencies have massive culpability because they don’t inevitably care about anything other than who gets the booking, ” the 59 -year-old, who are continuing works in fashion, told HuffPost. “It becomes a little bit of a human trafficking various kinds of thing.”

Kramer’s post, her first public denouncement of the sexual harassment and insult she’d witnessed and heard about in the fashion industry, clearly struck a nerve. As the #MeToo revolution continues to triggered a national talk on sexual misconduct, the former agent wants to uncover exactly how the very modeling organizations she worked for enabled predators, a disturbing reality that she believes still exists today.

Carolyn Kramer div>

A photo of Carolyn Kramer in 1986, five years into her job. As a closeted gay adolescent she was obsessed with androgynous simulates. After get hired by Elite in 1983, she came out, chopped off her long mane and began wearing a leather coat.

“A Culture Of Compliance”

Kramer, a New Jersey native, doesn’t seem like the different types to remain silent. She has a self-described “big personality” and speaks bluntly with a slight New York accent. In a recent Facebook profile photo, she’s wearing a shirt that reads “Fuck Trump” and raising her middle finger. But since she retired from the way world in 2004, Kramer said she felt like nobody — principally, the media — was interested in what she had to say.

Only recently, the former agent noted, have news outlets begun systematically covering the kinds of abuse accusations she wants to condemn. It’s true-life that sexual assault accusations made against manner photographer Terry Richardson date back to 2001, and that he was only officially declined by certain top publications and brands in October 2017.( Richardson has long denied any nonconsensual behavior .) And while at least 18 current and former male models recently accused famed photographer Bruce Weber of sexual harassment( Weber has denied these assertions ), one of whom has filed a lawsuit, industry insiders claim there is a long list of predators who still thrive in a largely unregulated profession that integrates young simulates, big male egos and drugs.

Kramer’s story dates back to 1983, when she was hired by the industry’s top agency, Elite Model Management, as an aide booking agent in New York. Her previous fashion industry jobs had been horrible. Kramer once worked with a photographer who she said cornered her in his office and tried to forcibly kiss her. And she worked for Foster-Fell Model Management, which she called a “slimy, horrible” bureau.

“The frameworks were basically prostitutes, ” she said. ”[ The proprietor] would have parties I would be at with licentious business men who were only there to fuck the models.”

( Jeremy Foster-Fell, who co-founded the now-defunct organization in 1970, denied these claims to HuffPost. “To say there was an arrangement of financial exchange and sexual favors would be completely out of whack, ” he said, adding, however, that “if you’re looking after a whole bunch of good-looking dames who are running around Manhattan, you’re going to be running into difficulty here and there sometimes.”)

But at 24, Kramer observed herself employed by the modeling world’s gold standard, an bureau that represented Cindy Crawford and Linda Evangelista, where she didn’t expect to encounter abusive humankinds. Her transition to Elite was “like going from community college to Harvard, ” she said.

Sadly, Kramer’s optimism was rapidly dashed.

At Elite New York, her occupation often involved booking modelings on “go-sees, ” the epithet for appointments during which photographers or decorators scout new faces for upcoming kills. In these meetings, vulnerable young women’s success often depends on impressing( mostly) powerful men.

Kramer said she and other Elite agents would send frameworks, who in many cases were under 16 and had never been to New York City, on appointments with nothing more than subway fare and a map. According to Kramer, the girls largely ran alone, because at the time there were no statutes necessitating guardians to accompany underage modelings on hits. New York passed a bill in 2013 that , among other things, requires modelings under 16 to have chaperones. But before that, a 2012 investigate by Model Alliance, an organization that advocates for labor rights in fashion, found that 52 percent of models are rarely or never is complemented by guardians to a shoot, despite the fact that the majority of simulates start working between age 13 and 16.

Kramer promptly learned about the perils of go-sees and photo shoots. Though the former agent says that the simulates she represented at the time didn’t keep telling her immediately about being sexually harassed or assaulted by photographers — likely, she said, since they are scared of losing job opportunities — Kramer soon heard through industry rumor with colleagues who the predators were.

“I wouldn’t have even called it trade secrets, ” she said. “It was just sort of common hearsay that this list of photographers were pigs…I had to induce the appointed with[ these men ]. It would build me gag, but I had to do my job or I’d be fired.”

Another Elite employee, Marie Anderson Boyd, who was an agent and vice president at the company’s Chicago office between 1985 and 1990, said simulates would regularly tell her about the sex misconduct they experienced on go-sees. ”[ Some photographers] will think nothing of walk-to over to some teen daughter who’s brand new to the business, taking her top off, unbuttoning her bra and saying something like,’ I want you to look at me and think of … giving me oral sex, ’” she said. “And a lot of daughters have never even done that[ before ], so they don’t even know what the[ photographers] mean.”

Anderson Boyd said she never told her administrators at Elite about the models’ abusive tales, in part because executives like John Casablancas and Gerald Marie also allegedly shall include participation in misconduct. “They established a culture of compliance with sexually predatory behaviour, ” she said. “That ran down into everything everybody did.”

Time LIFE Picture Collection/ Getty Images

John Casablancas, who died in 2013, was rumored to have slept with countless young woman he represented, including a 14 -year-old.( At 51, he marriage a 17 -year-old model .) Here he is pictured with a group of his agency’s modelings at an unspecified event in 1984.

“Statutory Rape Is In Front Of My Face”

Indeed, during Kramer’s first time at Elite, the agency’s late founder, the then-4 1-year-old Casablancas, was having a public affair with an underage modeling named Stephanie Seymour. Kramer was frightened that Casablancas, with his movie-star good looks and “intoxicating” charisma, was committing statutory rape.

“As a young little upstart, I was very in awe of him, ” she said. “But at the same day I’m thinking to myself, Stephanie’s supposed to be at a Vogue shooting at 9 a. m. and she’s still in bed with John. I thought it was wrong and I candidly couldn’t believe it went on. It made me sick.”

Other alleged abuses at Elite unfurled from there. Gerald Marie, the head of Elite Paris, was in his 30 s where reference is allegedly raped a 17 -year-old model named Carre Otis on multiple occasions, which she detailed in her 2011 memoir. At the time, Otis was temporarily staying with him while she was modeling abroad in the mid-’8 0s. She didn’t feel as though she could tell the agency about the abuse.

“When[ Elite] New York said goodbye to me and throw me in Gerald’s apartment, he was like my new owner, ” Otis told HuffPost. “There was no one in New York who made a connection with me and said,’ Hey, here’s the lane it should go, and if it doesn’t run this lane, here’s a number to call.’ It was just really a hand-off.”

“There was a below-the-radar recognizing also that the[ executives] of Elite[ Casablancas and Marie] were sleeping with young women, ” Kramer said. “I’m working at an organization where statutory rape is in front of my face and yet I can’t do anything.”

Kramer said at 24 she herself was groped by a high-profile agent who went on to become an Elite executive. “I was sitting on his lap and his hands were all over me, coming around[ my waist] and trying to grab my breast, ” she said. “I didn’t react because I was so accustomed to recognizing photographers be touchy-feely with models.”

Kramer did not tell anyone at Elite about the misconduct, because she said it never passed to her that such commonplace behavior was merit reporting, never mind addressing. And those who tried to call out problematic behavior didn’t get very far. In 2000, Anderson Boyd told New York Magazine that she remembered watching two female executives plead with Marie and Casablancas to stop sleeping with underage females. Anderson Boyd says Marie’s response was, “We are humankinds. We have our needs.”

“I was grossed out by what was happening, ” the 59 -year-old told HuffPost. “And that’s why I quit.”

Ron Galella via Getty Images

Elite Model Management represented frameworks such as Linda Evangelista, Naomi Campbell and Christy Turlington.

“The Culture Was: You Did What You Were Told”

Ultimately, Anderson Boyd and Kramer agreed that Elite never developed agents to speak with frameworks about sex misconduct. Both females say they and other agents they knew did not prepare frameworks for how to deal with predatory behaviour.

“It was not managed like a traditional corporation where you’re handed a sexual harassment handbook, ” Anderson Boyd said. “I did not know how to help[ the models’] working conditions.”

Their account matches the experiences of women at other agencies at the time. For example, when former model Lesa Amoore was 17, she said her agent at the now-defunct Riccardo Gay Model Management company warned her that a photographer she was about to shoot with in Milan could “be a little weird.” Amoore “re just saying that” during the subsequent kill, when she was wearing merely a bra and underwear, the photographer unzipped his gasps, drew out his penis and asked whether he could masturbate. According to the former simulate , now 48, she put on her clothes and ran out of the room.

Amoore said that when she informed her agent about the photographer’s behaviour, he responded, “I’m so sorry, that happens sometimes with him.”

Sara Ziff, who began modeling at age 14 in the late ’9 0s and later founded Model Alliance, told The New York Times last year that she too was regularly asked to provide photographers to get naked or topless without prior admonish and, in at the least one instance, was told to sit on her male booker’s lap.

“When I first started simulate, I did not seem protection of my agency[ Next Management ], ” she told HuffPost. “In some suits, I felt like they were facilitating meetings[ with powerful people] that were not clearly work opportunities — they seemed more like being set up on a date.”

Though the simulate industry is now more regulated than it was in decades past, mistreat is reportedly still frequent. A whopping 87 percentage of models say they’ve been asked to get naked without prior admonishing, while 30 percent have experienced “inappropriate touching” on the job and 28 percent ought to have pressured to have sex at work, according to Model Alliance.

Model Cameron Russell’s Instagram is fitted with her own colleagues’ stories of being preyed on at go-sees and shoots. A 22 -year-old model wrote about how a male photographer pulled down her bra and started kissing her breasts six months ago. Another woman recalled how, as a 14 -year-old model, a photographer attained her change in front of him, rubbed oil on her legs, and, after asking if she was a virgin, said, “You make me want to go to jail.”

The collection of fright stories portrays male photographers masturbating in front of young models, asking for sexual favors, and, in one case, penetrating a 15 -year-old with his thumb to make the photos “look more sensual.”

Ziff “re just saying that” beyond adhering to the 2013 bill, even the best-intentioned bureaux still don’t have firm policies in place to protect their simulates from sexual misconduct.

“They tell the girls that if they are in a situation that seems uncomfortable:’ Use the bathroom and walk out, ’’ Feel free to bellow me, ’ and’ You don’t have to do anything you don’t want to do, ’” the 35 -year-old explained. “[ They should] take a preventative approach that doesn’t allow those situations to happen in the first place. It’s much easier said than done to walk out of a shoot, specially if you’re young, perhaps English isn’t your first language, and you’re working with someone who could make-up or violate your career.”

In fact, Model Alliance found that 70 percent of modelings surveyed didn’t feeling they could report sexual misconduct to their agencies. Of those who did, two-thirds said their agents didn’t consider the behavior problematic, and, in a few instances, even encouraged frameworks to sleep with predators to advance their careers.

Model Jason Boyce, who filed a lawsuit against Bruce Weber for sexual misconduct last year, is also suing his agency, Soul Artist Management. According to the court filing, Boyce claimed the agency know exactly why Weber’s predatory behavior and alleged that his agent told him to “nail” his hit with the famous photographer.

“The culture was: You did what you were told. That was how they sold it, ” he said in an interview with The Business of Fashion. “If you do what I tell you, you’ll make it . … My agent told me that all the time.”

Paul Zimmerman via Getty Images

Terry Richardson was declined by certain top publications and brands in October 2017, after decades-old sexual misconduct accusations were finally taken seriously.

“I’m Sick To My Stomach That I Was Part Of This Poison”

Jilian Gotlib, a manager and booking agent who worked for Elite in the ’8 0s and re-joined the company in 2005, spoke to HuffPost on behalf of the organization. She quarrelled Kramer’s assertion that agents knowingly sent frameworks to photographers who were rumored to be sexual predators, is recommended that Kramer “goes overboard, perhaps, with blaming the industry.”

“We would ever be careful, check out[ the photographer] and tell our frameworks,’ If[ the photographers] ask you to do anything that we didn’t tell you was going to happen, let us know, ’” she explained. “Some daughters would just go ahead anyway, but we would ever warn people:’ Call me if anything seems untoward.’ I think we would try not to work with a lot of those photographers if we heard problems.”

Trudi Tapscott, who worked as an agent and director at Elite from the early ’8 0s until the early ’9 0s, reiterated Gotlib’s point, explaining that she told young women about potentially creepy photographers ahead of hour. “I’ve had very honest dialogues[ about] what to do when[ photographers] do this and “what were doing” when[ photographers] do that, ” she told HuffPost.

However, Tapscott added: “At this level I hold[ those dialogues] complicit. But then I imagined I was helping them survive, which voices so stupid now.”

As for alleged in-house predators such as Marie, Gotlib said, “I knew nothing about anything that might have been going on there.”

Throughout her career Kramer worked at four other agencies — the now-defunct Name Management and Company Management, as well as Next Management and the Marilyn Model Agency — where she said she also regularly witnessed young girls being preyed on at dinner parties and fraternities. She said agencies organized events at hot spots such as New York’s Indochine or the Ritz in Paris, where simulates mingled in clouds of cigarette smoke with important editors and photographers who could “make or violate careers.”

“I understood 14 – and 15 -year-olds sitting on the laps of these photographers, ” she said. “These guys would simply have their hands all over these girls.”

Ultimately, Kramer said she didn’t believe she could call out the complicit behavior without losing her job. “Working for Elite[ and the other agencies] manipulated me into thinking it was OK, ” she said. “I’m not trying to squiggle out of this, by the way. I’m sick to my stomach that I was part of this poison. It sickens me.”

Representatives for Next Management and the Marilyn Model Agency did not respond to HuffPost’s request for comment.

Kramer left the industry in 2004 when she was working at the Marilyn Model Agency, saying she was disgusted by how young the modelings had become. But the former agent said she didn’t process the sexual misconduct — or her role in enabling it — until the subsequent year, when she planned towrite a volume about her career.

“I actually started becoming more in contact with,’ Holy shit, what did I do? What did I appreciate? What did I seem? What did I know? ’” she said.

Kramer never wrote the book, but since her October Facebook post, simulates have contacted her with more and more tales recollecting sexual harassment and assault in the manner world.

Even before posting on social media, Kramer had started working with Ziff at Model Alliance to publicize industry insult. The organization lately proposed a program to address sex misconduct in the manner, entertainment and media industries that would , among other things, have a third party provide sexual harassment training and enforce proper complaint procedures.

But Kramer says agents still working in the business aren’t embracing her efforts. “A lot of people aren’t talking to me anymore because they know I’m on top of this, ” she said. “They are afraid of “losing ones” stand with these photographers and editors.”

There are still many “Terry Richardsons” in the industry, Kramer said, men whose predatory behavior the way world ignores. “We all knew Terry Richardson was sexually abusing these girls and yet we still kept mailing them on go-sees and to the bookings themselves, ” she said. “If you’ve got a $20 million Revlon contract weighing in the balance … yet you know Terry is mistreating these girls, what do we do? Do we say no to Terry? No,[ we] don’t.”

Moving forward, Kramer believes that if executives at top agencies spoke out about malpractice, they could genuinely force industrywide change. Kramer also thinks bureaux need to stop accepting frameworks under 16, but at the very least, she urges them to better protect young women against possible predators.

“If I could get the owners to say to themselves,’ Perhaps we shouldn’t mail 14 -year-olds out on go-sees, ’ and,’ Maybe we should make sure these photographers that are on the blacklist are never alone with a framework, ’ I would feel my own disgrace and guilt for not having done more when I was an agent[ somewhat dissipate ], ” she said. “[ Then] maybe I’d be able to let myself off the hook a little bit.”

Do you have a tale about harassment or discrimination that you’d was ready to share? Email: angelina.chapin @huffpost. com . em>

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authorisada · 6 years

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My Coworkers

Just start off by saying I love my coworkers--they’re amazing and cool and I just freaking love them. But they also do some things sometimes that leave me flabbergasted/laughing. Below the cut, an assortment of what it’s like working with my dudes:

Today--I get to the staff room at the end of the day, say hi to whoever’s there, and then go to the far end and just hang tight for the bus. I’m pretty quiet, but this guy’s bff comes in and they start talking. AND THEY COMPLETELY FORGET THAT I’M IN THE ROOM. They start trying to guess who their Secret Santa is based on the clue given by one of our Chinese teachers--she just told the dude that his Santa ‘is beautiful.’

So they start talking about all the Chinese teachers in the school that they think are beautiful. They get through maybe ten names between the two of them when they suddenly stop. One teacher looks across the room where I am, as red faced as a freaking lobster, and is like, ‘uh, are you listening to this?’

I wasn’t paying that close attention, though, because I reading this article about the new movie I, Tonya with Margot Robbie because I LOVE Margot Robbie. So I was like, ‘no, sorry, why?’ And they were like, ‘no, good.’ But I keep going because this article was really interesting, so I told them, ‘I was just reading this article about the new movie with Margot Robbie and how it’s got a tone problem--it’s supposed to be funny but there’s abuse and the tone is just all over the place.’

Then one guy is like, ‘oh it’s got a [mumbled]--I’ve definitely got to see it then.’ I didn’t catch it when he said it, but it hit me a second later. He somehow thought I’d said ‘penis.’

So I was like, ‘what?! No! Not ‘penis’ I said ‘abuse’.’ And he was like, ‘oh. oh my god.’ And his bff was just cracking the hell up and was like, ‘yep, it’s a Friday.’ And the first guy, poor guy, is just so red and trying to laugh it off, so I keep talking: ‘oh, yeah, ha, so yeah, the movie’s supposed to be funny but it’s also got serious abuse so the tone’s all over the place.’ And the bff is like, laughing, ‘the what’s all over the place?’ At that point I just gave up and started cracking up too.

Yesterday--for context, I’d recently gotten this really short haircut. It’s really short. I haven’t posted any pics of it yet cause I’m waiting to spring it on my fam with ‘nice’ pics my Japan vacation photos so they don’t flip out how androgynous it really makes me look. It’s Cillian Murphy-ish.

Right, so, I’m channeling really hard Bruce Springsteen vibes and wear a white tee and jeans, ya know? All I needed was that freaking jacket over my shoulder. I didn’t have one, so I wore this pink sweater around my neck in its place.

The next day, TODAY, this other coworker comes to staff room wearing like the exact same thing I’d been wearing minus the pink sweater. Literally the same thing. And at one point he’s standing next to me like fucking peacocking with his fucking muscles and shit in the same fucking clothes and he’s talking to me but I just can’t. I’m just there staring at this fucking outfit that I WAS WEARING YESTERDAY. So I’m just kinda nodding like yeah, ok, whatever, cool. When in fact I’m pretty sure I didn’t hear anything he said.

Yesterday--a different coworker and I are at the table just shooting the breeze. I really like this dude--he’s real smart and sensitive, so I can really talk to this guy, and he’s probably the coworker who’s most like me. He’s a good friend and we’ve had some great talks.

Anyway, everyone’s in the staff room while we’re in there just doing what they like to do. Me and this coworker are really getting into it over graphic tees of all things--he’s like, ‘I’ve never owned a graphic tee’ and is going into his history about why and all.

And for some god-forsaken reason, there comes a point in our convo where I crack a joke about how he’s become more Marxist checking out the means of production and shit on his tees and whatever. And I could’ve heard a pin drop.

He starts laughing but my other coworkers, man, it was so fucking quiet. I was like welp, please just don’t take this side of me to heart. Like, I dont want them to think I’m one of those fucking Marx stans, but yeah. I had to shake that off and just keep talking like everyone wasn’t listening.

That’s all I’m gonna put in one post, but yeah. These aren’t even all my coworkers, who are awesome, but they’re some of the ones that I see the most often.

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