ASSAD ZAMAN as ARMAND THE VAMPIRE LESTAT 1.05
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ASSAD ZAMAN as ARMAND THE VAMPIRE LESTAT 1.05

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Meet Mini-Nedward. Standing 1.5 apples tall, he's fully poseable and comes with his own emergency-lemon and a leather coat with patches of all his favourite bands.
I'm rubbish at sewing, so his clothes are a bit tattered. But I made him as a gift and his now owner is a master of wool and yarn, so perhaps he'll receive a tiny knitted vest or jumper in the future.
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test weaving of penelope's tapestry on the chiusi skyphos:
reference:
there are some adjustments I need to make for tension, but I'd like to make the next version into a header band for a warp-weighted loom so I can try weaving the whole pot, including telemachus and penelope.
progress?
the proportions on the header band have improved, but I think I maybe should have doubled the weft threads for the warp.
also if anyone wants to knit the heddles for me, please be my guest. the last time I tied on heddles, I put the bar in the wrong place and had to redo the whole thing.
in true penelope fashion, I may need to unweave and start over, but at least now I've got the loom weights and heddles in place.
I started weaving the spear, penelope, and the right border via double-weave with the intent to leave the remaining warp threads unwoven (as they would be on penelope's loom on the pot), but predictably this is giving me tension problems. I either need to increase the loom weights or just weave the black layer and leave the orange warp threads unwoven, and then switch colors once I get to the heddle bars in the drawing, with the black warp threads floating on top. (I guess weft-faced tapestry would be a third option, if I add a ton more tension.)
either way, this is going to take me the full three years of penelope's stratagem, or perhaps the entire twenty years of odysseus's absence, primarily because clearing the sheds takes a monumental effort each time with this double-weave setup (which I'm not even sure is how it's supposed to be done, I kind of set it up based on vibes and what I thought made sense from floor loom setups).
I have 999 problems and warp tension is 997 of them (the other two are my selvedges).
jowls are normal double chin is normal stretch marks are normal armpit fat is normal. none of the things that tiktok and instagram are telling you to change are things you need to even consider changing. you can have a normal body, it will be okay
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My memory of The Birdcage (1996) is always that it's more dated and more difficult to watch than it actually is. You hear "drag-themed comedy from the 90s based on a musical from the 80s based on a play from the 70s" and you brace yourself just a little, right? But the film has a strong gay perspective, so the fruity fag jokes mostly come off as warmly affectionate. There is a surprising amount of poignancy in Robin Williams' portrayal of Armand, grudgingly agreeing to his beloved son's request that he go back into the closet for an evening ("do me a favor and don't talk to me for a while"). The drag club's staff attempting to redecorate the apartment with stuff straight people might like (a taxidermy moose head, an enormous crucifix, and Playboy magazine) is extremely funny. Albert's histrionics are a point of tension because he does often come off as a stereotypically pathetic/comic figure, but towards the end of the movie he makes it very clear that he's aware of how people see him, and asserts that trying to copy a stoic masculinity he doesn't possess for the sake of social approval would be more pathetic. In the 1983 musical adaptation, they give "Albert" (Albin) the only good song in the whole show, "I Am What I Am", which Gloria Gaynor covered to the delight of gays everywhere. Apparently Nathan Lane wasn't (publicly) out yet in 1996, which is amazing because it means that at one point in this movie you're watching a gay man playing a straight man playing a gay man playing a straight man, in a movie about how it's important to be yourself, an absurdity that does seem to encapsulate the state of gay America in the 90s.
I'm seeing a couple of posts circulating about the gay 90s and this movie. The above is a very good summary, and I think it's worth adding a few other points.
This movie got made because Robin Williams said yes to it (and it's important that Gene Hackman did as well). Williams in the 90s was a mega-star of a type that's not present in the current media environment (maybe Tom Cruise, but I personally think that's echo from his salad days). Even his flops made money on the back end in the video rental market, which also doesn't exist anymore (streaming is different). Hackman was on the other side of his A-list career but still Hollywood nobility if not full royalty.
Playing gay was considered career suicide in the 90s. There had been a number of actors who put lie to that belief stretching back decades, but this was Williams and Hackman (yes, being on screen next to a gay character was enough to get you blacklisted) saying "screw that" and doing it anyway.
Being gay and out was career suicide in the 90s.
Nathan Lane had a really nice gig going for himself. The Lion King put him into the Disney rep company with people like Williams, Bette Midler, and Whoopie Goldberg (check their IMBD list from the 90s--they were making bank at Disney).
Lane didn't come out until several years later (nice summary: https://deadline.com/2024/06/nathan-lane-robin-williams-advice-coming-out-birdcage-1235975010/).
I don't want to imply that this was a Sorkinized moment where everything changed because of one thing, but this was a very important movie that caused real movement in the needle on queer acceptance.
It also proved that there was a market for films with gay characters, which had the knock-on effect of gay filmmakers being able to find distributors of their gay-themed films. Which meant that more people than ever (queer and non-queer) got to see representation on-screen.

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When I was training to be a battered women’s advocate, my supervisor said something that really blew my mind:
“You can always assume one thing about your clients; and that is that they are doing their best. Always assume everyone is doing their best. And if they’re having a day where their best just isn’t that great, or their best doesn’t look like your best, you have to be okay with that.”
Any now whenever anyone in my life, either a friend or a client, frustrates me, disappoints me, or pisses me off, I just tell myself They are doing their best. Their best isn’t that great today, but I have days where my best isn’t that great either.
Op I’d like to thank you for sharing this. Ever since the first time I’ve read it I’ve held it in my mind and it really has helped me to be kinder to others and to myself.
There’s a pretty famous Tweet that goes around from someone’s therapist, who told her “You can’t do your best all the time. If you did, it would be your normal.”
That…yeah. Rewired me a little.