Icon by @ThatSpookyAgent. Call me Tir or Julian. 37. He/They. Queer. Twitter: @tirlaeyn. ao3: tirlaeyn. BlueSky: tirlaeyn. 18+ Only. Star Trek. The X-Files. Sandman. IwtV. OMFD. Definitionless in this Strict Atmosphere.
I’m watching an older season of Hell’s Kitchen and there’s a bit with a guy who had a shitty abusive childhood getting triggered (and like, nobody uses the word “trigger” but it’s pretty obvious: his eyes glaze over, he becomes spacey and disoriented, he bursts into tears at inopportune moments) by Gordon Ramsey calling him by a nickname he associates with his abusive father, and like, he explains this to Ramsey, and Ramsey is like “I totally understand and I’m sorry, I only wish you had told me about this sooner so we could have avoided this issue compromising your performance in the kitchen” and it’s like… there’s all these ridiculous anti-sj types who are like “TRIGGERS R DUM, NO TRIGGER WARNINGS IN REAL LIFE!!!!!!!!” and meanwhile Gordon fucking Ramsey, the guy whose JOB it is to berate people until they break down on television, understands the validity of trauma-based triggers and is willing to work around them? like come on
Art of the Day: Ira Aldridge, Possibly in the Role of Othello
The subject of this work shows a marked resemblance to the famous African-American actor Ira Aldridge (1807-1867), praised as one of the greatest tragic actors of his day, he won renown in Europe for his Shakespearean roles, including Lear, Macbeth and, most famously, Othello. On October 10, 1825, Aldridge made his European debut, making him the first African American actor to establish himself professionally in a foreign country (at London’s Royal Coburg Theatre). The following year he played Othello. By the time of his death in 1867 he had won awards and medals all over Europe, having played in Berlin, Brussels, Paris, Frankfurt, Cologne, Bonn, Budapest and the mjor cities of Russia. An innovation Aldridge introduced early in his career was a direct address to the audience on the closing night of his engagement at a given theatre. Especially in the years leading up to the emancipation of slaves in British colonies (by act of 1833) he would speak of the injustice of slavery and the passionate desire for freedom of those held in bondage.
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