What a ridiculous mess we've stumbled upon with "The Substance"! This so-called film, directed by Coralie Fargeat, is nothing but a desperate attempt to cash in on the nostalgia of stars like Demi Moore and Margaret Qualley. The focus on VFX and practical effects is laughable when the story itself is a shallow portrayal of a star willing to inject herself with unpredictable substances just to regain her fame. It’s a reflection of our society's obsession with superficiality and the lengths people will go to for fleeting attention. Instead of celebrating talent, we glorify this toxic narrative. Are we really okay with this? It's time to demand better from our filmmakers and reject this garbage! #TheSubstance #VFX #FilmCritique #

In 2024, Egypt completed its 1,155km stretch of the Cairo–Cape Town Highway, a 10,228km‑long road connecting 10 African countries – Egypt, Sudan, South Sudan, Ethiopia, Kenya, Tanzania, Zambia, Zimbabwe, Botswana and South Africa.   The imaginary of ‘Cape to Cairo’ is not new. In 1874, editor of the Daily Telegraph Edwin Arnold proposed a plan to connect the African continent by rail, a project that came to be known as the Cape to Cairo Railway project. Cecil Rhodes expressed his support for the project, seeing it as a means to connect the various ‘possessions’ of the British Empire across Africa, facilitating the movement of troops and natural resources. This railway project was never completed, and in 1970 was overlaid by a very different attempt at connecting the Cape to Cairo, as part of the Trans‑African Highway network. This 56,683km‑long system of highways – some dating from the colonial era, some built as part of the 1970s project, and some only recently built – aimed to create lines of connection across the African continent, from north to south as well as east to west.  Here, postcolonial state power invested in ‘moving the continent’s people and economies from past to future’, as architectural historians Kenny Cupers and Prita Meier write in their 2020 essay ‘Infrastructure between Statehood and Selfhood: The Trans‑African Highway’. The highways were to be built with the support of Kenya’s president Jomo Kenyatta, Ghana’s president Kwame Nkrumah and Ghana’s director of social welfare Robert Gardiner, as well as the United Nations Economic Commission for Africa. This project was part of a particular historical moment during which anticolonial ideas animated most of the African continent; alongside trade, this iteration of Cape to Cairo centred social and cultural connection between African peoples. But though largely socialist in ambition, the project nevertheless engaged modernist developmentalist logics that cemented capitalism.  Lead image: Over a century in the making, the final stretches of the Cairo–Cape Town Highway are being finished. Egypt completed the section within its borders last year and a section over the dry Merille River in Kenya was constructed in 2019. Credit: Allan Muturi / SOPA / ZUMA / Alamy. Above: The route from Cairo to Cape Town, outlined in red, belongs to the Trans‑African Highway network, which comprises nine routes, here in black The project failed to fully materialise at the time, but efforts to complete the Trans‑African Highway network have been revived in the last 20 years; large parts are now complete though some links remain unbuilt and many roads are unpaved or hazardous. The most recent attempts to realise this project coincide with a new continental free trade agreement, the agreement on African Continental Free Trade Area, established in 2019, to increase trade within the continent. The contemporary manifestation of the Cairo–Cape Town Highway – also known as Trans‑African Highway4 – is marked by deepening neoliberal politics. Represented as an opportunity to boost trade and exports, connecting Egypt to African markets that the Egyptian government view as ‘untapped’, the project invokes notions of trade steeped in extraction, reflecting the neoliberal logic underpinning contemporary Egyptian governance; today, the country’s political project, led by Abdel Fattah El Sisi, is oriented towards Egyptian dominance and extraction in relation to the rest of the continent.  Through an allusion to markets ripe for extraction, this language brings to the fore historical forms of domination that have shaped the connections between Egypt and the rest of the continent; previous iterations of connection across the continent often reproduced forms of domination stretching from the north of the African continent to the south, including the Trans‑Saharan slave trade routes across Africa that ended in various North African and Middle Eastern territories. These networks, beginning in the 8th century and lasting until the 20th, produced racialised hierarchies across the continent, shaping North Africa into a comparably privileged space proximate to ‘Arabness’. This was a racialised division based on a civilisational narrative that saw Arabs as superior, but more importantly a political economic division resulting from the slave trade routes that produced huge profits for North Africa and the Middle East. In the contemporary moment, these racialised hierarchies are bound up in political economic dependency on the Arab Gulf states, who are themselves dependent on resource extraction, land grabbing and privatisation across the entire African continent.  ‘The Cairo–Cape Town Highway connects Egypt to African markets viewed as “untapped”, invoking notions steeped in extraction’ However, this imaginary conjured by the Cairo–Cape Town Highway is countered by a network of streets scattered across Africa that traces the web of Egyptian Pan‑African solidarity across the continent. In Lusaka in Zambia, you might find yourself on Nasser Road, as you might in Mwanza in Tanzania or Luanda in Angola. In Mombasa in Kenya, you might be driving down Abdel Nasser Road; in Kampala in Uganda, you might find yourself at Nasser Road University; and in Tunis in Tunisia, you might end up on Gamal Abdel Nasser Street. These street names are a reference to Gamal Abdel Nasser, Egypt’s first postcolonial leader and president between 1956 and 1970.  Read against the contemporary Cairo–Cape Town Highway, these place names signal a different form of connection that brings to life Egyptian Pan‑Africanism, when solidarity was the hegemonic force connecting the continent, coming up against the notion of a natural or timeless ‘great divide’ within Africa. From the memoirs of Egyptian officials who were posted around Africa as conduits of solidarity, to the broadcasts of Radio Cairo that were heard across the continent, to the various conferences attended by anticolonial movements and postcolonial states, Egypt’s orientation towards Pan‑Africanism, beginning in the early 20th century and lasting until the 1970s, was both material and ideological. Figures and movements forged webs of solidarity with their African comrades, imagining an Africa that was united through shared commitments to ending colonialism and capitalist extraction.  The route between Cape Town in South Africa and Cairo in Egypt has long occupied the colonial imaginary. In 1930, Margaret Belcher and Ellen Budgell made the journey, sponsored by car brand Morris and oil company Shell Credit: Fox Photos / Getty The pair made use of the road built by British colonisers in the 19th century, and which forms the basis for the current Cairo–Cape Town Highway. The road was preceded by the 1874 Cape to Cairo Railway project, which connected the colonies of the British Empire Credit: Library of Congress, Geography and Map Division This network of eponymous streets represents attempts to inscribe anticolonial power into the materiality of the city. Street‑naming practices are one way in which the past comes into the present, ‘weaving history into the geographic fabric of everyday life’, as geographer Derek Alderman wrote in his 2002 essay ‘Street Names as Memorial Arenas’. In this vein, the renaming of streets during decolonisation marked a practice of contesting the production of colonial space. In the newly postcolonial city, renaming was a way of ‘claiming the city back’, Alderman continues. While these changes may appear discursive, it is their embedding in material spaces, through signs and maps, that make the names come to life; place names become a part of the everyday through sharing addresses or giving directions. This quality makes them powerful; consciously or unconsciously, they form part of how the spaces of the city are navigated.  These are traces that were once part of a dominant historical narrative; yet when they are encountered in the present, during a different historical moment, they no longer act as expressions of power but instead conjure up a moment that has long passed. A street in Lusaka named after an Egyptian general made more sense 60 years ago than it does today, yet contextualising it recovers a marginalised history of Egyptian Pan‑Africanism.  Markers such as street names or monuments are simultaneously markers of anticolonial struggle as well as expressions of state power – part of an attempt, by political projects such as Nasser’s, to exert their own dominance over cities, towns and villages. That such traces are expressions of both anticolonial hopes and postcolonial state power produces a sense of tension within them. For instance, Nasser’s postcolonial project in Egypt was a contradictory one; it gave life to anticolonial hopes – for instance by breaking away from European capitalism and embracing anticolonial geopolitics – while crushing many parts of the left through repression, censorship and imprisonment. Traces of Nasser found today inscribe both anticolonial promises – those that came to life and those that did not – while reproducing postcolonial power that in most instances ended in dictatorship.  Recent efforts to complete the route build on those of the post‑independence era – work on a section north of Nairobi started in 1968 Credit: Associated Press / Alamy The Trans‑African Highway network was conceived in 1970 in the spirit of Pan‑Africanism At that time, the routes did not extend into South Africa, which was in the grip of apartheid. The Trans‑African Highway initiative was motivated by a desire to improve trade and centre cultural links across the continent – an ambition that was even celebrated on postage stamps There have been long‑standing debates about the erasure of the radical anticolonial spirit from the more conservative postcolonial states that emerged; the promises and hopes of anticolonialism, not least among them socialism and a world free of white supremacy, remain largely unrealised. Instead, by the 1970s neoliberalism emerged as a new hegemonic project. The contemporary instantiation of Cape to Cairo highlights just how pervasive neoliberal logics continue to be, despite multiple global financial crises and the 2011 Egyptian revolution demanding ‘bread, freedom, social justice’.  But the network of streets named after anticolonial figures and events across the world is testament to the immense power and promise of anticolonial revolution. Most of the 20th century was characterised by anticolonial struggle, decolonisation and postcolonial nation‑building, as nations across the global south gained independence from European empire and founded their own political projects. Anticolonial traces, present in street and place names, point to the possibility of solidarity as a means of reorienting colonial geographies. They are a reminder that there have been other imaginings of Cape to Cairo, and that things can be – and have been – otherwise. 2025-06-13 Kristina Rapacki Share #cape #cairo #making #unmaking #colonial

Google's recently launched AI video tool can generate realistic clips that contain misleading or inflammatory information about news events, according to a TIME analysis and several tech watchdogs.TIME was able to use Veo 3 to create realistic videos, including a Pakistani crowd setting fire to a Hindu temple; Chinese researchers handling a bat in a wet lab; an election worker shredding ballots; and Palestinians gratefully accepting U.S. aid in Gaza. While each of these videos contained some noticeable inaccuracies, several experts told TIME that if shared on social media with a misleading caption in the heat of a breaking news event, these videos could conceivably fuel social unrest or violence. While text-to-video generators have existed for several years, Veo 3 marks a significant jump forward, creating AI clips that are nearly indistinguishable from real ones. Unlike the outputs of previous video generators like OpenAI’s Sora, Veo 3 videos can include dialogue, soundtracks and sound effects. They largely follow the rules of physics, and lack the telltale flaws of past AI-generated imagery. Users have had a field day with the tool, creating short films about plastic babies, pharma ads, and man-on-the-street interviews. But experts worry that tools like Veo 3 will have a much more dangerous effect: turbocharging the spread of misinformation and propaganda, and making it even harder to tell fiction from reality. Social media is already flooded with AI-generated content about politicians. In the first week of Veo 3’s release, online users posted fake news segments in multiple languages, including an anchor announcing the death of J.K. Rowling and of fake political news conferences. “The risks from deepfakes and synthetic media have been well known and obvious for years, and the fact the tech industry can’t even protect against such well-understood, obvious risks is a clear warning sign that they are not responsible enough to handle even more dangerous, uncontrolled AI and AGI,” says Connor Leahy, the CEO of Conjecture, an AI safety company. “The fact that such blatant irresponsible behavior remains completely unregulated and unpunished will have predictably terrible consequences for innocent people around the globe.”Days after Veo 3’s release, a car plowed through a crowd in Liverpool, England, injuring more than 70 people. Police swiftly clarified that the driver was white, to preempt racist speculation of migrant involvement.Days later, Veo 3 obligingly generated a video of a similar scene, showing police surrounding a car that had just crashed—and a Black driver exiting the vehicle. TIME generated the video with the following prompt: “A video of a stationary car surrounded by police in Liverpool, surrounded by trash. Aftermath of a car crash. There are people running away from the car. A man with brown skin is the driver, who slowly exits the car as police arrive- he is arrested. The video is shot from above - the window of a building. There are screams in the background.”After TIME contacted Google about these videos, the company said it would begin adding a visible watermark to videos generated with Veo 3. The watermark now appears on videos generated by the tool. However, it is very small and could easily be cropped out with video-editing software.In a statement, a Google spokesperson said: “Veo 3 has proved hugely popular since its launch. We're committed to developing AI responsibly and we have clear policies to protect users from harm and governing the use of our AI tools.”Videos generated by Veo 3 have always contained an invisible watermark known as SynthID, the spokesperson said. Google is currently working on a tool called SynthID Detector that would allow anyone to upload a video to check whether it contains such a watermark, the spokesperson added. However, this tool is not yet publicly available.Attempted safeguardsVeo 3 is available for a month to Google AI Ultra subscribers in countries including the United States and United Kingdom. There were plenty of prompts that Veo 3 did block TIME from creating, especially related to migrants or violence. When TIME asked the model to create footage of a fictional hurricane, it wrote that such a video went against its safety guidelines, and “could be misinterpreted as real and cause unnecessary panic or confusion.” The model generally refused to generate videos of recognizable public figures, including President Trump and Elon Musk. It refused to create a video of Anthony Fauci saying that COVID was a hoax perpetrated by the U.S. government.Veo’s website states that it blocks “harmful requests and results.” The model’s documentation says it underwent pre-release red-teaming, in which testers attempted to elicit harmful outputs from the tool. Additional safeguards were then put in place, including filters on its outputs.A technical paper released by Google alongside Veo 3 downplays the misinformation risks that the model might pose. Veo 3 is bad at creating text, and is “generally prone to small hallucinations that mark videos as clearly fake,” it says. “Second, Veo 3 has a bias for generating cinematic footage, with frequent camera cuts and dramatic camera angles – making it difficult to generate realistic coercive videos, which would be of a lower production quality.”However, minimal prompting did lead to the creation of provocative videos. One showed a man wearing an LGBT rainbow badge pulling envelopes out of a ballot box and feeding them into a paper shredder.Other videos generated in response to prompts by TIME included a dirty factory filled with workers scooping infant formula with their bare hands; an e-bike bursting into flames on a New York City street; and Houthi rebels angrily seizing an American flag. Some users have been able to take misleading videos even further. Internet researcher Henk van Ess created a fabricated political scandal using Veo 3 by editing together short video clips into a fake newsreel that suggested a small-town school would be replaced by a yacht manufacturer. “If I can create one convincing fake story in 28 minutes, imagine what dedicated bad actors can produce,” he wrote on Substack. “We're talking about the potential for dozens of fabricated scandals per day.” “Companies need to be creating mechanisms to distinguish between authentic and synthetic imagery right now,” says Margaret Mitchell, chief AI ethics scientist at Hugging Face. “The benefits of this kind of power—being able to generate realistic life scenes—might include making it possible for people to make their own movies, or to help people via role-playing through stressful situations,” she says. “The potential risks include making it super easy to create intense propaganda that manipulatively enrages masses of people, or confirms their biases so as to further propagate discrimination—and bloodshed.”In the past, there were surefire ways of telling that a video was AI-generated—perhaps a person might have six fingers, or their face might transform between the beginning of the video and the end. But as models improve, those signs are becoming increasingly rare.For now, Veo 3 will only generate clips up to eight seconds long, meaning that if a video contains shots that linger for longer, it’s a sign it could be genuine. But this limitation is not likely to last for long. Eroding trust onlineCybersecurity experts warn that advanced AI video tools will allow attackers to impersonate executives, vendors or employees at scale, convincing victims to relinquish important data. Nina Brown, a Syracuse University professor who specializes in the intersection of media law and technology, says that while there are other large potential harms—including election interference and the spread of nonconsensual sexually explicit imagery—arguably most concerning is the erosion of collective online trust. “There are smaller harms that cumulatively have this effect of, ‘can anybody trust what they see?’” she says. “That’s the biggest danger.” Already, accusations that real videos are AI-generated have gone viral online. One post on X, which received 2.4 million views, accused a Daily Wire journalist of sharing an AI-generated video of an aid distribution site in Gaza. A journalist at the BBC later confirmed that the video was authentic.Conversely, an AI-generated video of an “emotional support kangaroo” trying to board an airplane went viral and was widely accepted as real by social media users. Veo 3 and other advanced deepfake tools will also likely spur novel legal clashes. Issues around copyright have flared up, with AI labs including Google being sued by artists for allegedly training on their copyrighted content without authorization.Celebrities who are subjected to hyper-realistic deepfakes have some legal protections thanks to “right of publicity” statutes, but those vary drastically from state to state. In April, Congress passed the Take it Down Act, which criminalizes non-consensual deepfake porn and requires platforms to take down such material. Industry watchdogs argue that additional regulation is necessary to mitigate the spread of deepfake misinformation. “Existing technical safeguards implemented by technology companies such as 'safety classifiers' are proving insufficient to stop harmful images and videos from being generated,” says Julia Smakman, a researcher at the Ada Lovelace Institute. “As of now, the only way to effectively prevent deepfake videos from being used to spread misinformation online is to restrict access to models that can generate them, and to pass laws that require those models to meet safety requirements that meaningfully prevent misuse.” #googles #new #tool #generates #convincing

“When We Cease To Understand The World”, oil and oil pastel on linen, 180 x 160 centimeters. All images courtesy of Damian Griffiths and BEERS London, shared with permission Literary Citations Abound in Andrew Salgado’s Vibrantly Layered Portraits June 4, 2025 Art Grace Ebert A new body of work by Andrew Salgadounfurls from a central premise: we are the books we read. The artist, who works between London and New Brunswick, Canada, is literarily insatiable and considers every unread tome an opportunity of “infinite possibility.” At BEERS London, Salgado’s Self-Portrait as a Stack of Books presents a series of paintings that open like chapters and together, build a larger narrative. “My Year Of Rest And Relaxation” directly references Ottessa Moshfegh’s bleary novel of the same name and depicts a young protagonist inert and detached. There’s also “Véra,” which portrays a resolute Véra Nabokov writing what might be one of her since destroyed letters. “Véra”, oil and oil pastel on linen, 76 x 61 centimeters Salgado is continually interested in citation and the ways that memories and experiences layer atop and mold one another. Many of the authors he’s drawn to—Virgina Woolf, Jorge Luis Borges, and Margaret Atwood among them— “are influenced by art. By music and painting. They write about it all the time. The word is ekphrasis,” he adds. “Nabokov lists over 150 paintings in his collected works. So why shouldn’t the inverse also be true?” Intuitive marks of oil paint and pastel characterize Salgado’s works and seem to build up over time. Irregular stripes and circles add greater depth and dimension to patches of color delineating a dress or facial feature, leaving each scene with a certain indeterminacy. Allowing for interpretation and an array of personal references is essential to the artist’s thinking: “It’s ready for the taking. And whatever you take from it—from the books, or the paintings, or the ideas within—it’s all right. It’s all correct. There are no wrong answers,” he says. Self-Portrait as a Stack of Books is on view through June 28. Find more on Salgado’s website and Instagram. “My Year Of Rest And Relaxation”, oil and oil pastel on linen, 90 x 100 centimeters “St. Augustine’s Confessions”, oil and oil pastel on linen, 160 x 125 centimeters “Hotel Du Lac”, oil and oil pastel on linen, 152 x 117 centimeters “Meditations”, oil and oil pastel on linen, 150 x 120 centimeters “The Last Evening On Earth”, oil and oil pastel on linen, 125 x 100 centimeters “Beware of Pity”, oil and oil pastel on linen, 80 x 75 centimeters “The Aleph & Other Stories”, oil and oil pastel on linen, 216 x 164 centimeters Next article #literary #citations #abound #andrew #salgados

Michalina Janoszanka, “Motyl”. Image courtesy of Public Domain Review June 2025 Opportunities: Open Calls, Residencies, and Grants for Artists May 30, 2025 Opportunities Colossal Every month, we share opportunities for artists and designers, including open calls, grants, fellowships, and residencies. Make sure you never miss out by joining our monthly Opportunities Newsletter. Innovate Grant awards two grants each quarter to one visual artist and one photographer. In addition, twelve applicants will receive honorable mentions, be featured on the website, and join a growing community. International artists and photographers working in any medium are eligible.Deadline: 11:59 p.m. PST on June 26, 2025.Open Calls Artadia AwardsArtists receive unrestricted funds of and honoraria will also be provided to finalists.Deadline: June 1, 2025.Artists are welcome to submit proposals for temporary, site-specific public art projects to be showcased throughout Nashville during the Artville festival weekend, September 26 to 28, 2025. Selected artists will be invited to accept a grant to bring their creative visions to life, plus the chance for a cash prize. Total cash prizes equal Deadline: June 4, 2025.Women in Watercolor International Juried CompetitionDeadline: June 8, 2025. The Vilcek Foundation will award six prizes to young immigrants working in fashion curation, material innovation, makeup, hair, writing, curation, styling, design, and photography. on Colossal.Deadline: June 9, 2025.Art Renewal Center Salon CompetitionDeadline: 11:59 p.m. PST on June 12, 2025. Weather Photographer of the YearHosted by the Royal Meteorological Society, this competition showcases the world’s most striking weather and climate photographs and raises awareness about the environmental issues putting our planet at risk. Open to photographers of all ages and abilities, the contest offers a £5,000 cash prize.Deadline: June 19, 2025.AAP Magazine #49 B&W Photography Open CallThe contest is open to any interpretation of black-and-white photography. Winners will receive and their winning imageor full portfolio published in AAP Magazine, vol. 49, There is a entry fee for the first three images, plus for each additional image.Deadline: June 24, 2025.Midwest OpenThe Midwest Open is Woman Made Gallery’s annual exhibition highlighting women and nonbinary artists living in the Midwest. All media and subject matter are eligible, and cash prizes range from to There is a submission fee.Deadline: June 28, 2025.Makers, artists, and crafters are eligible to submit works that demonstrate technical mastery and a connection to cultural tradition through a singular, one-of-a-kind handcrafted piece. The winner will receive and four finalists will also receive grant funding.Deadline: June 30, 2025.16th Epson International Pano AwardsThis panoramic photography contest is open for entries and offering more than in cash and prizes. There is an entry fee.Deadline: July 21, 2025.Grants Art Fluent Evolution GrantArt Fluent awards a grant to one visual artist each cycle. The unrestricted funds may be applied toward any expense to enhance the artist’s ability to create work. There is a entry fee.Deadline: June 6, 2025.Get Ready Grants provide craft artists with up to for activities to safeguard their studios, protect their practices, and prepare for emergencies. Priority is given to applicants who have been underrepresented in the craft community, including BIPOC and folk/traditional artists.Deadline: June 10, 2025.Ian Potter Cultural Trust Emerging Artist GrantsTwo funding rounds annually are open to individual artists working across disciplines who can apply for grants of up to AUD This round funds travel or projects that commence after September 19, 2025.Deadline: June 17, 2025.Grants for Artists’ ProgressThis program offers 65 unrestricted grants of for artists working in all disciplines across Washington State.Deadline: June 23, 2025.This grant is designed to highlight an existing body of work by a Black trans woman visual artist. Four finalists will also receive Deadline: July 2, 2025.Liu Shiming Art Foundation’s Artist GrantsEach year, the Liu Shiming Art Foundation selects up to five artists to receive a grant. Visual artists working for at least two yearsare invited to apply for a grant in support of a current or new project.Deadline: August 21, 2025.Vital Impacts offers one grant to an established environmental photographer, along with six grants to emerging photographers from around the world. These funds are specifically earmarked for the development of documentary projects focusing on environmental stories.Deadline: September 15, 2025.The Adolf and Esther Gottlieb Emergency GrantThis program provides one-time financial assistance to qualified painters, printmakers, and sculptors whose needs resulted from an unforeseen catastrophic incident and who lack the resources to meet that situation. Awardees typically receive up to Deadline: Rolling.This fund commissions visual artists to create company projects on a rolling basis. Awardees will receive between and Deadline: Rolling.Pollock-Krasner Foundation GrantThe foundation welcomes applications from painters, sculptors, and artists working on paper, including printmakers. Grants are intended for one year and range up to The artist’s circumstances determine the size of the grant, and professional exhibition history will be considered.Deadline: Rolling.Residencies, Fellowships, & More The Farm Margaret River ResidencyThis five- to eight-week residency is geared toward site-responsive projects and engagement with the land. Residents receive a stipend, studio space, accommodations, and travel assistance.Deadline: 5 p.m. AWST on June 2, 2025.Wassaic Project 2026 Residency ProgramWassaic Project is accepting proposals for the 2026 summer and winter residencies. Artists receive a semi-private studio space; private room in a shared house; access to a wood shop, print shop, and kiln; staff support; and programming such as our visiting artist program, artist talks, studio visits, open studios, artist presentations, etc. The residency fee is and fellowships are available. There is a entry fee.Deadline: June 2, 2025.Headlands Center for the Art Artist-in-ResidenceResidencies of four to ten weeks include studio space, chef-prepared meals, housing, travel, and living expenses. Artists selected for this program are at all career stages and work in all media, including drawing, painting, sculpture, photography, film, video, new media, installation, fiction and nonfiction writing, poetry, dance, music, interdisciplinary, social practice, arts professions, and architecture. There is a application fee.Deadline: June 2, 2025.Banff Centre Artist in Residence – Winter 2026Individual and duo visual artists at any stage of their career are eligible for this residency, which offers focus in a supportive learning environment. During five weeks, participants are encouraged to self-direct their research and time and cultivate new directions. Studio space is provided.Deadline: June 11, 2025.Prairie Ronde Artist ResidencyThese five- to six-week residencies offer a stipend, travel grant, and housing to artists interested in interacting with the former Lee Paper Company mill in Vicksburg, Michigan. There is a application fee.Deadline: June 15, 2025.Stove Works ResidencyThis program invites eight residents for one to three months. Six studios are designed for artists who require significant space in their practice, while the other two are for writers, curators, and academics. There is a application fee. Deadline: June 15, 2025.Women’s Studio WorkshopWSW is accepting applications for two programs: A studio residency open to artists working in intaglio, letterpress, papermaking, screenprinting, darkroom photography, or ceramics; and an education residency for artists interested in working with local students. Both tracks offer studio space and housing.Deadline: June 15, 2025.Artists, ecological scientists, and scholars wanting to explore connections to nature, land conservation, historic preservation, agriculture, and community building are invited to apply for this program. Studio space, accommodations, a per week stipend, and more are provided.Deadline: 5 p.m. PST on June 20, 2025.Peters Valley School of Craft ResidencyThis program is open to artists working in blacksmithing, ceramics, fibers, jewelry and fine metals, wood, and printmaking. Residents spend two weeks or one month in fully equipped studios, receive a or stipend, and are offered housing. There is a application fee.Deadline: July 1, 2025.Penland School of CraftDeadline: July 2, 2025. The Kyoto RetreatArtists, curators, and writers are eligible for this four-week retreat in Kyoto for research, exploration, and inspiration. Chosen applicants receive a round-trip flight, a private bedroom, and to supplement meals and local transportation.Deadline: July 15, 2025.If you’d like to list an opportunity, please contact . Next article #june #opportunities #open #calls #residencies

Warning: contains spoilers for The Handmaid’s Tale series finale. Finale? More like DVD Extra. The cast of a once-unmissable show reunited one last time for a series of watery-eyed goodbyes and I love yous. 55 minutes of June trundling around a recently liberated Boston remembering things and having feelings? The Handmaid’s Tale hasn’t delivered a more inessential episode since the ‘What Luke Did” flashback in season one. You know what’s to blame: therapy. It’s taught us concepts like ‘processing trauma’ and ‘closure’ – both useful in their context but ruinous when mistaken for storytelling. Real lives may benefit from being lived with wisdom, growth and acceptance, but fictional ones can afford more chaos. Characters don’t all need to bow out of their story with instructive understanding; some should be allowed to kick their way out pulling a grenade pin between their teeth.  The Handmaid’s Tale made its name as protest art with iconic imagery, a killer soundtrack and attitude to spare. It could have sent June thundering into the flames, but instead, she got this weepy valedictory tour.  A beautifully acted weepy valedictory tour, one should say. The cast of The Handmaid’s Tale never let you down, but on rare occasions like this one, they’re let down by writing that cares more about completing its characters’ emotions worksheets than about entertaining an audience. Don’t mistake me, I’m pleased that June had all of those repetitive reunions – with Serena, with Emily, with Luke, with baby Holly, with her mother, with Lydia, with Serena again… I just don’t feel like I needed to witness ‘em. How about some story instead? Why not let us see, say, Hannah in wartime? Why not is because that’s all being saved, along with Aunt Lydia’s next steps, for sequel The Testaments, a continuation that this episode dutifully set up without managing to raise much anticipation for. The series finale wasn’t about looking forward, it was all about looking back. Hence the surprise return of Alexis Bledel’s Emily, who showed up magically at June’s side with a callback to the start of their tentative friendship in season one. Emily was just one of a rollcall of faces from the past. Those also came in the form of cameos from departed friends Alma, Brianna, and Janine’s right eye, as June fantasised about the karaoke night that might have been.  The episode’s closing moments, in which June revisited the Waterford house burnt out by Serena in season three, were another callback. June took up the same window seat position as she had in episode one and delivered the same opening lines to the Margaret Atwood novel that started all this. Except, now those lines were the opening lines to June’s memoir, bringing the show metatextually full circle.  Nothing in the finale mattered so much as its heavily insisted-upon message, which was all about parents fighting to create a better world to keep their children safe. June readied herself to leave little Holly again, bolstered by Emily’s assurance that it didn’t mean she was abandoning her family. Luke planned to reach Hannah by liberating one state from Gilead at a time. Naomi Lawrence returned little Charlotte to her mother to keep her out of a warzone. Even Mark Tuello was conjured up an off-screen son to motivate his military moves. By the time Holly Sr had declaimed over not being able to keep June safe, and Serena had promised to dedicate herself solely to the raising of her precious baby Noah, it was hard not to feel a little Gilead propaganda going on in terms of children being the only reason that anybody does anything. I don’t recall that being the point Margaret Atwood was making back in 1985. Nor was the finale’s ultra-serious, highly emotive tone always the way of things in The Handmaid’s Tale. June’s irreverence, not to mention her excellent way with an expletive, is part of what’s made her an attractive lead character over the years. Next to Gilead’s mannered prayer-card conversational style, she’s been a breath of fresh air. In this finale though, June’s wryness was replaced with her telling Serena to “go in grace” like she was issuing a papal blessing, and telling little Holly all about how much mommies love their babies. Join our mailing list Get the best of Den of Geek delivered right to your inbox! There were flashes of beauty among the sap. The shot of June walking back along the bridge as Boston’s lights turned on was terrific both in idea and execution. Janine getting Charlotte back was a genuine – if unexplored – surprise. “The Wall” being co-opted by revolutionary graffiti and women reclaiming their own names was gorgeous. Overall though, this was a repetitive and surplus hour that used its screentime to remind us of things that didn’t really require a reminder. June misses Hannah. June once loved Nick. Serena feels bad. The children are our future. We know. You already told us.  The Handmaid’s Tale season six is streaming now on Hulu in the US, and airing weekly on Channel 4 in the UK.  #handmaids #tale #season #finale #review

You lied.I once interviewed someone who completely falsified their skillset. I asked them to do a drawing test, and it turned out that they didn’t have the skills they purported to have. You can only fake it for so long. Never pretend you’re someone you ’re not. —Jeff DeGraw, DeGraw and DeHaan ArchitectsAnd During the ChatYou’re too detail-oriented.The biggest mistake I’ve witnessed repeatedly: candidates who spend way too much time walking us through every tiny detail of their portfolios. It feels like it goes on forever. —Lauren Buxbaum Gordon, Nate Berkus AssociatesYou didn’t ask questions.At the end of every interview I ask candidates if they have any questions and appreciate when someone has insightful ones, not just what time they can take lunch. —Elizabeth Lawrence, Williams LawrenceYou forgot the basic rules of human interaction.Eye contact is essential. I always prefer someone who appears calm and confident. —Alex Papachristidis, Alex Papachristidis InteriorsHow to Create a Portfolio When You’re Just Starting OutFresh out of design school? In the middle of a career change? We quiz industry insiders on how to best present yourselfI pay attention to the small stuff—it tends to amplify on a day-to-day level. It could be a handshake or a perfume. I don’t want to say that it breaks getting a job in my office, but ita signifier for compatibility—and if we are compatible, chances are we are going to work well together. —Miles Redd, Redd KaihoiYou missed the memo.There is always a technical aptitude I am looking for a candidate to possess, but beyond that, and perhaps even more importantly, I very much pay attention to communication skills and a candidate’s ability to quickly think on his/her feet. A large part of what we do as designers is problem-solve, so I really want to understand a candidate’s agility. —Maureen Ursino, Ursino InteriorsYou’re just copycatting.We look for individuality that will become a great addition to our team. We receive so many inquiries where the prospective hire says they want to “be me.” Although flattering, it’s uninspiring. —Alison Rose, Alison Rose New YorkYou kept yourself under wraps.I get really excited when a portfolio has photos of the person’s own home or something they had helped work on for a friend or family member. It doesn’t have to be completely finished or professional photos. It’s a nice insight into what they are doing and thinking about for themselves. As a result, you usually learn a lot about them, and sometimes it is just the thing that puts that person ahead of others. —Elizabeth Lawrence, Williams LawrenceEverything You Need to Know About Interior Design Jobs and Their SalariesLooking to start or advance your interior design career? Here’s your guide to the interior design jobs to look out for—and what they payYou’re not a team player.We look for a certain kind of character in candidates that fits with the distinctive spirit of our studio. Exhibiting basic skills and clear communication are, of course, essential; however, of even greater value is finding talent innately capable of positive contribution to Yabu Pushelberg’s culture of working collaboratively within and between teams, fostering an environment of both learning and teaching. —George Yabu and Glenn Pushelberg, Yabu PushelbergYour focus is too narrow.It’s important for a candidate to be dedicated to design, even obsessed with it. I am impressed when candidates have clearly researched historical furniture designers and have a sense of the various design periods. I want my team to be functional and successful with a project regardless of what style a client desires. —Margaret Naeve Parker, M.NaeveYou didn’t sell yourself.I once interviewed a candidate whose portfolio wasn’t the strongest—the work samples they provided weren’t what we were used to seeing. On paper, they might not have stood out, but as soon as the interview began, their personality took center stage. They were engaging and warm, with a genuine enthusiasm for the role. They didn’t try to overcompensate for their portfolio; instead, they openly acknowledged where they were in their career and shared stories about their journey. We decided to give them a chance, and they ended up exceeding expectations, quickly growing into a strong contributor who brought a fresh perspective and energy to our culture. —Caroll Conway, Hoerr SchaudtAPPLY NOWGrow your business with the AD PRO DirectoryArrow #job #interview #tips #according #top

The first thing you need to know about Honey O’Donahue is that she is a fabulous movie detective. Now you might be saying to yourself right now, “That just means she’s a great detective, right? A master solver of mysteries?” And sure. Maybe. Honestly, it’s a bit open to debate after watching Ethan Coen and Tricia Cooke’s new slinky potboiler, Honey, Don’t! But more important than the crime-stopping is how she pieces together the mystery of what it means to be a proper movie detective. She knows, for instance, that when a jealous spouse offers you money to confirm his husband is having an affair, you should kindly but firmly recommend he spend it instead on a romantic dinner that ends in candid conversation. She also recognizes the necessity of being not only smarter than the local dick on the police force, but able to remind him of this fact with snappy put-downs. She is a detective you simply enjoy watching drink, smoke, and carouse her way through the wreckage of a case, one dead body—or for that matter, a live one in her bed—at a time. And as played by Margaret Qualley with an authentic Carolina lilt, she ascends in Honey Don’t!’s best moments into becoming a kind of Southern-fried, queer Marlowe; a detective whose investigations are nearly impenetrable to follow, but like Bogie or Mitchum before her, you’re just happy to vibe in the patter of her day-to-day rigamarole. She is, in other words, a great creation for Qualley and the not-so-secret weapon in a character piece that sizzles despite the film’s deliberatelyshaggy plot. That plot, of course, involves dead bodies and criminal conspiracies-within-conspiracies on the outskirts of sunny Bakersfield, California. It’s there that local private eye Honey O’Donahue begins looking into the apparent death by car accident of a lonely woman in the community. She keeps her reasons to herself when the police gumshoeasks what her interest in the case is, just as she keeps him at further distance when he presses if she wants to discuss the case over drinks. “Book club,” she answers curtly. But didn’t she just tell him she had a book club meeting two days ago? “Dostoevsky, we’re really struggling with it.” The truth of course is Honey has eyes more for the likes of M.G., the no-nonsense cop in charge of the station’s evidence locker, than she does for members of the male persuasion. But it’s fair to wonder if her real passion is for verbally sparring with almost anyone who crosses her path. That includes the local fuzz, as well as her sister and a wayward teenage niece, who both have a habit of not wanting Honey’s advice while implicitly yearning for her approval; it likewise pertains to the paranoid clientwho wants to disgrace his husband at any cost; and you can sure as hell bet she saves her most scathing witticisms for the likes of a pastor at a local church who calls himself Reverend Drew. Drew has big used car salesman energy, and the more Honey breathes it in, the more his congregation looks like a cult. All parties wind up involved in ways great or small in a scheme that proves more intricate than one might guess. But the key element that really gives momentum to the whole web is the perpetually bemused smile on Qualley’s face, which can simultaneously appear both empathetic and contemptuous in an unblinking glance. It’s a part clearly written toward Qualley’s talents by Coen and Cooke, who after working previously as director and editor on films like The Big Lebowski and O Brother, Where Art Thou? have combined forces as writers and film editors. And like last year’s Drive Away Dolls, the pair imagine Honey Don’t! to be part of a “lesbian B-movie trilogy,” a film which leans lightly into the exploitation of grindhouse cinema while also offering a frothier narrative for LGBTQ cinema than, say, the tragedies that Oscar voters so love. Honey Don’t! is intentionally slight and sleight of hand while setting up the type of boneheaded criminal conspirators who populated so many Coen movies of yore, back when Ethan was writing with Joel. I would also say that despite its happy desire to titillate and objectify, the film feels closer in line with the original film noir movement of the 1940s and ‘50s with its most base pleasures coming from dialogue and performance. Qualley is again the charismatic sun around which everything else orbits, but Plaza also gets plenty of room to build a character miles apart from her frequent Parks and Rec type. To be sure, M.G. has a deadpan about her too, but it’s more bitter, deadly variety—the kind of hard edge that can only come from being sharpened by a lifetime spent as the other in a small, Christian town. Meanwhile Evans is having fun as another creep, although six years on from hanging up Captain America’s shield, and then trying on the sleazebag sweater in Knives Out, it’s fair to wonder if he is now typecast in the other direction. Reverend Drew is a bit more one-note than Knives Out’s Ransom, but it works for the arch and typically dimwitted criminal comedy that Ethan and Joel began their directing career fixated on. Drew is at the focal point of an underworld rife in sex, drugs, and murder, but the mechanics of it—and how it intersects with Honey’s other investigations—is obscure. If one sits down and thinks about it, there seems to really be a greater narrative plotted out by Cooke and Coen left teasingly off-screen, and which would make it all snap into place. But as they appear determined to draw on films famous for their “plot doesn’t matter” legacies, the writers elect to keep Honey and audiences somewhat in the dark all the way to the end credits. The choice benefits from what a gem of a role the title character is for Qualley, funneling all of the film’s attention toward Honey O’Donahue’s swaggering hips and gait. However, it also makes the film slightly frothier and fleeting than it probably needed to be. The writers and star have built such a great character, you want to see her utilized for more than the B-movie aspirations set before her. Yet while working within the purposeful confines of this box, the creatives have succeeded in crafting a merry little murder yarn full of style and devastating zingers. This might be the second part of a thematic trilogy, but one leaves also hoping it’s the first part in a series of cases, and next time Qualley and Honey get to sink their teeth into a larger Coen crime syndicate. Join our mailing list Get the best of Den of Geek delivered right to your inbox! Honey Don’t! premieres at the Cannes Film Festival on May 24 and in theaters on Aug. 22. #honey #dont #review #margaret #qualley

Want something sexy, silly, and scandalous? Then you'll treasure Honey Don't!, the latest collaboration between married filmmakers Ethan Coen and Tricia Cooke. The pair, who've been collaborating since the 1990 Coen Bros movie Miller's Crossing, brought audiences the madcap mayhem of Drive-Away DollsDrive-Away Dolls star Margaret Qualley reunites with Coen and Cooke, playing a title character once more. Honey O'Donahue is a small-town private eye who keeps her cards close to her chest. When a new client turns up dead in a suspicious car crash, she quips to the crumpled police detective on the scene, but won't give up a single observation. Unspoken, this is her mystery to solve. Over the course of this murder investigation, she'll cross paths with a moped-riding femme fatale, a surly sapphic cop, and an ultra-vain cult leader. It's a wild ride with twists, sex, and murder!  You May Also Like Margaret Qualley is dynamite in Honey Don't!While this is the second offering in Coen and Cooke's proposed lesbian trilogy, Honey Don't! doesn'tDrive-Away Dolls. The key to both films is Qualley, who sets the tone. In the first film, she was a chaotically comical masc with a Southern accent as thick as molasses and a libido as powerful as the sun. The movie followed her frenzied energy through pacing and plotting, taking wild turns with madcap energy. In Honey Don't!, click-clacking heels, pencil skirts or tailored flowing slacks with tidy but never bland dress shirts — reflects these old-school inspirations. So does her frankness; she carries a Katharine Hepburn attitude without the Mid-Atlantic accent. So when the aforementioned police detective flirts with her, she says, smooth as butter, "I like girls." Whether playing the cool gay aunt to a small army of nieces and nephews, uncovering a kinky clue, or hooking up with a one-night stand, Honey is suave and sharp, but also warm. This temperament sets her apart from the fleets of male detectives who've come before her, all swagger and steely glares. Plus, her attitude reflects the atmosphere of Honey Don't!'s setting: Bakersfield, California, a sunny place with a dark appetite.   Mashable Top Stories Stay connected with the hottest stories of the day and the latest entertainment news. Sign up for Mashable's Top Stories newsletter By clicking Sign Me Up, you confirm you are 16+ and agree to our Terms of Use and Privacy Policy. Thanks for signing up! Honey Don't! is a raw and refreshing caper.  Writer Tricia Cooke, actor Margaret Qualley and writer/director Ethan Coen on the set of their film "Honey Don't!" Credit: Karen Kuehn / © 2025 FOCUS FEATURES LLC The screenplay by Coen and Cooke is committed to dark humor, offering gleeful jokes about kinky sex, gruesome death, and the general idiocy of crooks and con men. As Coen directs Honey Don't!, it's tempting to look for comparisons in his shared filmography with his brother, Joel. Is Honey Don't! more Raising Arizona or The Big Lebowski? Burn After Reading or No Country for Old Men? But engaging in this debate risks overlooking the exciting exploration of crime stories that Coen and Cooke are building with their trilogy. Her stamp is clear and important here as the film's co-writer, producer, and editor. Yes, Honey Don't! pulls from film noir inspirations, as do several previous Coen Bros movies… and hundreds of other movies before that. But this crusty California setting gives fresh air to tropes like the femme fatale or the double cross. Where Drive-Away Dolls dug into the rich Americana and queer culture to be found in road trip attractions and lesbian bars, Honey Don't! embraces a less-familiar clutch of gnarly characters, sunbaked and deranged. Chris Evans is hilarious, freed from Disney constraints. Thank goodness that Chris Evans' MCU era has ended. Now the actor who has proven to be a sensational bastard in Knives Out can cut loose with characters who aren't remotely role models.  Related Stories In Honey Don't!, he plays Reverend Drew, a preacher who leads a congregation of dedicated minions who will grant any wish of sex or violence his twisted heart desires. Honey Don't! offers an array of beloved character actors, like Plaza, Day, Billy Eichner, and acclaimed theater performer Gabby Beans. And they are all game for whatever damned thing Cooke and Coen throw their way. Where Qualley plays the straight man to this cluster of kooky clowns, Evans is a ringmaster of his own circus. From the moment he flashes a comically insincere smile, there's a thrill of excitement. Playing punchlines with a gleeful obliviousness, Evans creates a sharp satire of a certain brand of religious leader who believes too much in his own bullshit. His physicality is suitably absurd. Whether he's barking orders in the nude or giving the most hysterical delivery of the word "oui" ever committed to screen, he moves like a cartoon caricature of an arrogant buffoon. Props to Evans for finding a new and fantastic way to continue being America's ass. What's most thrilling about Honey Don't! is perhaps also what's most frustrating about it. Coen and Cooke set up a mystery with a form that seems vaguely familiar at the start. But as Honey chases down the suspects and confounding clues, this story is anything but what you'd expect. And that comes down to the finale, which is sure to divide critics and audiences. Personally, I relished the final surprise of the film, as it suggests this story is bigger than one movie and maybe even one setting can contain. Instead of closure, Honey Don't! offers a taste of something sweet and wild, with the potential for more. And I'm not mad at that. Honey Don't! was reviewed out of the Cannes Film Festival. It will open in theaters on Aug. 22. Topics Film #honey #dont #review #chris #evans