Résultats lu par "Dani Martineck" dans Toutes les catégories

Lourna Dee is not a villain. She’s not a hero. She’s a survivor. The former Tempest Runner, wanted by both her Nihil allies and the Republic, has evaded imprisonment and death from both groups more times than she can count. But even Lourna cannot outrun the mysterious blight that devours everything wherever it appears. And Marchion Ro, the Eye of the Nihil, has announced that only he knows the secret to stopping it.

It's 1993 and Paul Polydoris tends bar at the only gay club in a university town thrumming with politics and partying. He studies queer theory, has a dyke best friend, makes zines, and is a flaneur with a rich dating life. But Paul's also got a secret: he's a shapeshifter. Oscillating wildly from Riot Grrrl to leather cub, Paul transforms his body and his gender at will as he crossed the country–a journey and adventure through the deep queer archives of struggle and pleasure.

In June 1993, a group of young guerilla filmmakers spent four weeks making Horror Movie, a notorious, disturbing, art-house horror flick. The weird part? Only three of the film’s scenes were ever released to the public, but Horror Movie has nevertheless grown a rabid fanbase. Three decades later, Hollywood is pushing for a big budget reboot.

On the night Miles Abernathy—sixteen-year-old socialist and proud West Virginian—comes out as trans to his parents, he sneaks off to a party, carrying evidence that may finally turn the tide of the blood feud plaguing Twist Creek: Photos that prove the county’s Sheriff Davies was responsible for the so-called “accident” that injured his dad, killed others, and crushed their grassroots efforts to unseat him. The feud began a hundred years ago when Miles’s great-great-grandfather, Saint Abernathy, incited a miners’ rebellion that ended with a public execution at the hands of law enforcement.

Najwa Zebian, EdD, has been grappling with the concept of letting go for years, both in her own journey and in her interactions with community members, students, and friends. More and more, Najwa has observed that while our problems are personal, the themes surrounding them are universal. She concluded that letting go is a topic that deserves specific attention and consideration.

It's the beginning of sophomore year, and Robin's Odd Squad friends have decided: This time, they're going to fit in. They couple up, they won't stop talking about college and their future careers, and they're obsessed with trying to act "normal". Robin knows that game well - she's been pretending for years, hoping nobody would notice the sarcastic polyglot French horn player with a bad perm in the back of the room. But there's one aspect of her identity that she knows for sure doesn't fit in with her carefully controlled image.

Gerald, a mid-level employee of a New York-based public relations firm, has been uploaded into the company’s internal Slack channels - at least his consciousness has. His colleagues assume it’s an elaborate gag to exploit the new work-from-home policy, but now that Gerald’s productivity is through the roof, his bosses are only too happy to let him work from...wherever he says he is. Faced with the looming abyss of a disembodied life online, Gerald enlists his coworker Pradeep to help him escape and to find out what happened to his body.

In Asalin, fae rule and witches like Wyatt Croft…don't. Wyatt's betrothal to his best friend, fae prince Emyr North, was supposed to change that. But when Wyatt lost control of his magic one devastating night, he fled to the human world. Now a distant Emyr has hunted him down. Despite transgender Wyatt's newfound identity and troubling past, Emyr has no intention of dissolving their engagement. In fact, he claims they must marry now or risk losing the throne. Jaded, Wyatt strikes a deal with the enemy. But as he gets to know Emyr, Wyatt realizes the boy he once loved may still exist.

A young boy and his older sisters find themselves suddenly and utterly alone, orphaned in an abandoned fishing village. Their food supplies dwindling, they set out across a breathtaking yet treacherous wilderness in search of the last of their people. Down the coast, raiders deliver the children's mother, along with the rest of their human cargo, to the last port city of a waning empire. Determined to reunite with her family, she plots her escape—while her fellow captives plan open revolt.

Being a hero is nothing like the ballads promised it would be. Scattered across the realm, Callie, Willow, Elowen and Edwyn have learned that when the fate of their world is at stake, choices are hard and the consequences are harder, even when striving for good. Hunted by both Helston and Dumoor, Callie and Willow flee to the walled city of Fairkeep in a last ditch effort to find allies.

The first time I heard about Planet Choom, we'd been on Mars for almost a year. But life on the Mars station was grim, and since Earth was no longer an option (we may have blown it up), it was time to find a new home. That's how we ended up on Choom with the Zhuri. They're very smart. They also look like giant mosquitos. But that's not why it's so hard to live here. The Zhuri don't like us. And if humankind is going to survive, it's up to my family to change their minds. No pressure.

It’s 2003, and artist Dawn Levit is stuck. A bookbinder who works in conservation at the Met, she spends her free time scouting the city’s street art, hoping something might spark inspiration. Instead, everything looks like a dead end. And art isn’t the only thing that feels wrong: wherever she turns, her gender identity clashes with the rest of her life. Her relationship, once anchored by shared queerness, is falling apart as her boyfriend Lukas increasingly seems to be attracted to Dawn only when she’s at her most masculine.

Halfway through sixth grade, Noah’s best friend and the only other trans boy in his school, Lewis, passed away in a car accident. Lewis was adventurous and curious, always bringing a new paranormal story to share with Noah. Together they daydreamed about cryptids and shared discovering their genders and names. After his death, lonely and yearning for someone who could understand him like Lewis once did, Noah starts writing letters to Mothman.

Logan Gray is Hollywood's bad boy—a talented but troubled actor who the public loves to hate. Mattie Cole is an up‑and‑coming golden boy, adored by all but plagued by insecurities. When Logan and Mattie are cast as leads in a new romantic film, Logan claims that Matt has “zero talent,” sending the film’s publicity into a nosedive. To create positive buzz, the two are persuaded into a fake‑dating scheme—but as the two actors get to know their new characters, real feelings start to develop.

Ann M. Martin’s Baby-Sitters Club series featured a complex cast of characters and touched on an impressive range of issues that were underrepresented at the time: divorce, adoption, childhood illness, class division, and racism, to name a few. In We Are the Baby-Sitters Club, writers from the original BSC generation will reflect on the enduring legacy of Ann M. Martin’s beloved series, 35 years later - celebrating the BSC’s profound cultural influence.

Culinary creator, writer and community advocate, Sohla El-Waylly selects the best twenty articles published in 2021 that celebrate the many innovative, comforting, mouthwatering, and culturally rich culinary offerings of our country.

All they need to do is get out. Alissa, Sky, Miles and Mint are ready for a night of fun at the Escape Room. It's simple. Choose their game. Get locked in a room. Find the clues. Solve the puzzles. And escape the room in 60 minutes. But what happens if the Game Master has no intention of letting them go?

Libby comes from a long line of bullies. She wants to be different, but sometimes that doesn’t work out. To bolster herself, she makes a card with the message You are amazing. That card sets off a chain reaction that ends up making a difference in the lives of some kids who could also use a boost - be it from dealing with bullies, unaccepting families, or the hole that grief leaves.

Among a crop of fresh filmmakers including Steven Spielberg, George Lucas, Martin Scorsese, and Francis Ford Coppola revolutionizing Hollywood in the ’70s, Brian De Palma—a director from Philadelphia with a few social satires under his belt—charted a cinematic path unlike any of his peers. At times he was unfairly dismissed as a Hitchcock copycat; other times he was misunderstood for his peculiar mix of sexuality, humor, music, and violence. But, over the course of ten years, he created a new cinematic language.

From the vast lore surrounding King Arthur, Camelot, and the Knights of the Round Table comes an anthology of gender-bent, race-bent, LGBTQIA+ inclusive retellings.