Lady Macbeth's Netflix Recommendations

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[blog post shows may be inaccurate to the time frame of Macbeth, but would be enjoyed by her if realistic]

I used to watch Netflix marathons with my husband Macbeth, but ever since the plot for power has drawn into action, I have lost him as my partner in crime. As he spends more time away from home and more time in secret, I have found myself diving into a new array of shows. These are my top five favorite Netflix recommendations-- all handpicked by me. Each of the five represent something significant going on in my life and help get me through the days. Enjoy.  Yours truly, Lady Macbeth. 

1. Forensic Files

   

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Ever since the night of Duncan's death, I have been wondering nonstop about if and how they could figure out who did the deed. As a result of my worrying, I have been watching at least two Forensic Files episodes a day. Each episode describes how forensic scientists use evidence left at a crime scene and on victims/suspects to solve cases. With every episode, I find myself wondering how long it will be until they are able to lift Macbeth and I's fingerprints, use luminol to recover the blood on our clothes and hands, and pin the crime upon us both. I have watched countless numbers of cases be proved beyond a shadow of a doubt who the killer was. Through this show, I am almost positive that Macbeth and I's time is limited. However, it has indeed taught me a lot about how to get away with crimes. 

       2. Gossip Girl

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   My true guilty pleasure is that of the teen drama, Gossip Girl. I will admit, this one hits home in the oddest of ways for me. The show follows two Upper-East Side rich girls in Manhattan. Both of them are powerful female figures wanting power and status within their own world. As cheesy as it may be, I often compare Macbeth and I's relationship to that of Chuck and Blair. Throughout the show, they experience significant relationship issues become they are both headstrong and power hungry. While Blair can tell that they are better together as a partnership and should be satisfied with what they accomplished, Chuck continues to struggle with opening up to her and not going off on his own. I mean...talk about spot on. Despite being a show for teenagers, I find myself entranced in the quick pace and drama of the show. It is one of the best ones out there. 

       3. Reign

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This breathtaking series keeps me on the edge of my seat with each episode through its twists and turns. I truly adore the depiction of the strong head of the crown being a woman. The show focuses on the turmoil as a ruler of a country and the issues of power that come with it. For me, this directly relates down to the same problems my husband and I are experiencing. The show hits specifically on what it takes to be a ruler and how hard it can be to "keep your head" as one. Specifically, I reincarnate with the so-called glory of what having the crown projects and how it truly only limits you through the poison of power. Reign captures the ambition, the blood tool, and the lust of being a royal. 

      4. Seven Deadly Sins

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When I am craving something light hearted but with a deeper meaning, I usually pick the Seven Deadly Sins manga series. It focuses on this group of knights that come together after ten years apart in hiding for supposedly plotting a coop against their kingdom. However, you find out after hours of binge watching that they were not actually the bad guys, but had saved the kingdom from a demon race trying to control it. I really enjoy this manga because of its emphasis of the supernatural. As the witches have come into my own life, I have found that with them is also evil and danger-- that we are just pawns in their game. It gives me hope that Macbeth and I can free our own name and break away from the clutches of the supernatural. 

     5. 13 going on 30

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For my fifth and final pick, I am going to go with a classic movie I enjoy. The movie, 3 going on 30, hones in on the concept of character development. A young, newly turned thirteen-year-old wants to be popular and is willing to do anything (such as throw her best friend under the bus) to make that happen. After some events at her birthday party, she wishes to be thirty. The next morning she wakes up into her life as a thirty-year-old if she had become the popular person she wanted to be. She finds that as an adult, she is a horrible human with bad morals. Instead, she changes her life and falls for her old best friend, eventually returning back to thirteen. This movie for me is my inspiration. I know how I have started off with my actions in Duncan's death. But, I also know that I don't want to be that person of live that life anymore. The only problem, I don't have magic that can turn back the time and restart like she does. It seems, as the days go on, my options are growing more and more slim. I may not have any choice but to take myself out of the picture.

macbeth

• freebie sorry 

#IBmakingart

"Reliquary Casket with Scenes from the Martyrdom of Saint Thomas Becket"

Artist: Unkown

Dimensions: 5.5x7x4.7cm 

Medium: gilded silver, niello, and a glass cabochon set over a tinted foil

Date: ca. 1173-80

A reliquary casket holds relics, the physical remains of a holy person (in this case, Saint Thomas Becket) or an object he had contact with. Traditionally relics and reliquary caskets are seen deep within Christianity. These pieces of artwork were seen literally as a connection between life and death and in this art, man and saint. This piece represented a holding place for Saint Thomas Beckett, a martyred English Saint. From 1162-1170 he was the archbishop of Canterbury. He was killed by four knights in King Henry II's court on December 29, 1170 due to an argument over the separation of monarch and church rights. This artwork is one of the earliest objects that honor Saint Thomas Beckett made around 1173 in Great Britain right after this event. 

This art is a visual representation of the Saint's martyrdom as he is killed fighting for religious "rights." The materials of the piece hold significance through the way the artist viewed Saint Thomas. By using the gilded silver, the piece took time and patience to carve. It also was an expense to make. The niello provided the black powder to fill the engraved channels and emphasize the scenes the artist engraved on the reliquary casket. Although black was the only color of the powder, by making the choice to cover up the metal shine with it, it dampens the beauty of the piece. The dark colors bring in a mood of great contrast to the metallic. This represents visually how the Knight's killed the Saint, the "beautiful" Saint. 

On the long side of the artwork, Saint Thomas Beckett's attack by the four Knight's is documented. While above it, an angel blesses the fight. This choice by the artist depicts that the attack was almost a blessing by God. The attack was willed because Saint Thomas had to be a martyr for his faith. In this time, this depiction takes back the power from the monarch, and gives it to the church. Instead of seeing it as a loss, the people of this faith would have seen it as the acting will of God. Furthermore, it comments on who is truly in power in the minds of some-- that some believe God and the church come before the King. This plays into themes going on during the time between religion and the monarchy. 

On the other long side, an angel holds the Saint's body, after he dies within the attack. The part of the piece pulls into the connection of life and death by representing the Saint's descent to Heaven and "better things." Through having the angel on top of the artwork again, the artist is making the religious aspects superior through literally being above the other parts. Meaning, that the actions of the angel are above those of the mortals and in that sense, a will of something greater. The texture created through the etching and powder also create ornate details and texture, The more fancy the box, with the more details and ornaments, the more the artist is showing respect to the Saint. Here, the artist is continuing to honor Saint Thomas and side with what he died fighting for.

The inscription on the reliquary casket states in Latin, "Saint Thomas is killed" and "The blood of Saint Thomas is inside." The artwork has a literal use, of holding Saint Thomas's blood as well. This function of the piece literally symbolizes the Saint's importance and how much his actions were valued by others. Also, connecting to the ultimate martyr of Jesus and how he shed his blood as well. The shape of the box is the traditional shape of a reliquary casket. However, it is important to note that it points upwards in a triangle, as if to the sky or heaven. The red jewel also helps symbolize the "blood" that lies in side while also adding another expensive label on the art piece. Having it on top helps the artist communicate the Saint's rise to Heaven and the top tier of the pyramid because he did the most righteous, honorable deed for his faith.

My Observational Sketch: 

Jane Eyre

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How would you best describe the central idea of this chapter? Which phrase from the chapter best helps develop the central idea? 

Jane Eyre by Charlotte Bronte was written in 1847. This novel is set in England and follows the story of "Jane." Jane, in chapter seven, is worried that Mr. Brocklehurst will call her out. She watches as he interacts with the kind Miss Temple and tears down all that she has done for the children. Then, as her anxiety builds, she drops her slate. Through this accident, she is subjected to ridicule at the hands of Mr. Brocklehurst who shames her and calls her a liar. He then makes her stand on a stool for thirty minutes. Jane only gets by through the kind looks of a friend.

This chapter handles a couple different themes throughout its entirety. One of the central points of emphasis lies within the contrast between the life Mr. Brocklehurst holds and the lives of the girls. He is described in a way that explains his life of luxury. Furthermore, he arrives with weathy guests. These women are dressed in expensive clothes described as "had grey beaver hats, then in fashion, shaded with ostrich plumes, and from under the brim of this graceful head-dress fell a profusion of light tresses, elaborately curled; the elder lady was enveloped in a costly velvet shawl, trimmed with ermine, and she wore a false front of French curls" (Bronte 7). They arrived in the middle of his lecture on describing how the girls were dressing inappropriately and flaunting themselves with their hairstyles. Through this, it shows how hypocritical he is, and alludes to his lavish lifestyle. This ties into the central theme of the chapter-- expressing the ways of their society and the flaws within it. 

Furthermore, he criticizes Miss. Temple for feeding the girls bread and cheese between meals. She tells him that the girls were starving and needed to eat. Instead of showing kindness, he preaches a sermon about how one must go hungry to do right for the Lord. He ends this rant with the words, "...you may indeed feed their vile bodies, but you little think how you starve their immortal souls"(Bronte 7). Again, this expresses how he would rather let the children go hungry than "disrespect" his God. However, he is living a lifestyle in which he does not have to worry about his next meal. Mr. Brocklehurst shows up whenever he pleases, which is rarely, and doesn't care for the girls in the meantime. The way he shows his care is by allowing them to suffer in bad living conditions justified in his self-indulgent religion. Ironically, contrasting the whole idea of religion to begin with. Jane, who has nothing, gives to the starving girls when she herself starves as well. While Mr. Brocklehurst gives to no one. 

Lastly, through the way he interacts and orders around the women, specifically Miss Temple, he is asserting his dominance as a male. Thus, emphasizing the further idea of gender roles and the patriarchy. Additionally alluding to how they play a role in the central idea of painting the "normal" in their society. 

The most effective sentence that conveys this central idea is, "With this sublime conclusion, Mr. Brocklehurst adjusted the top button of his surtout, muttered something to his family, who rose, bowed to Miss Temple, and then all the great people sailed in state from the room" (Bronte 7). In this line, one can note through the choice of diction and imagery his status and control over everyone in the room. The audience can also tell that he believes what he is doing is enlightening and that he is the closet "all-powerful" to God. It also shows the little care the higher status people give to those of lower. They all rose from the room leaving this girl and place to suffer, as they carried on their lives as normal. 

It all Ends

Warner Bros.          Released: June 14, 2011

I can remember waiting for Harry Potter and the Deathly Hallows Prt. 2 to be released anxiously, counting down each day till 7/15 rolled around. Leading up 30 days before the film's release, a series of advertisement banners were published by Warner Bros (presenting Heyday Films, the creator of the Harry Potter films). They were published on billboards, media, and on the official Harry Potter website. Each banner, like the one above, featured a key character from the movies and the phrase "it all ends" with the films release date stamped on it. On many of these banner, the actual title of the film was not even listed. 

Those of us who have been longtime fans of the books and films obviously knew the movie without question. If you were to look at the poster and not know the film title, it would be almost defeating. This introduces the sin these banners tackle: envy. The popularity of these movies was so insane that the producers of the ad left the title of the movie off the posters. So that when someone who didn't recognize the film looked at the ad it would be upsetting not to know. The lack of the title meant that most people knew what the film was. The phrase on the banner signifies the admiration fans must have for the plot. Envy comes in play here for those who did not know. With the lack of a title, they find themselves wanting to know and wanting to become apart of the majority. The intense scene painted on each banner drew in this audience. They began to want to know the story and wanted to know primarily what was ending and what they were missing out on. 

Another way to view this ad is within the sin of lgreed. In some way, the desire fans had for the next movie and a conclusion can show greed because they wanted the possession of this thing. At the point these ads were released, the sneak peak of the scene on each captivated those with what they were craving. This ad preys off the greed and desire of its viewers. 

Lastly, within the actual scene depicted on the banners themselves, one may note the sin of wrath. This sin is established through the banner above as well as this one. In both, two opposing enemies are shown. Both of these people are using extreme force to "end" something. The emotion in their faces combined with the phrase establish that only one of them will come out alive within their battle. Wrath here is the hate they may have for each other as enemies and their use of force to end the fight. 

These posters were intended for audience of established fans invested in the franchise as well as those who had never heard of the films. The age range of fans for Harry Potter is so vast that one cannot but a boundary on it. The ads would draw this audience into a movie theater. This would mean they were probably catering them to the middle class due to how upper class may not join in on that form of entertainment and lower class may not be able to afford it. However, I would say that movies are generally targeted at anyone who wants to attend. Culturally, they are vastly popular and cater to a large variety of people without requiring much beforehand knowledge. 

Through a wide lens, this type of advertising can be seen throughout modern years. Many companies, such as Netflix, have become competitors to theaters and cable through their services. Netflix and other companies also now do advertising featuring notable characters without labeling their names or shows. This idea of suspense creates excitement in those who are knowledgeable and longing in those who aren't-- either way, drawing in many viewers. This banner may have just been the start to a whole new genre of advertising that we now view as common rather than as radical as it was in its time. 

I am Abby

Abby: A meaning and origin 

If you ask me about my first name ever, you will soon come to find my disliking for it. My name is just a name. It is a construct of letters attempting to give me some type of identity. Because I am tragically named Abigail, I am just one of the thousands of girls stuck with this label. According to SSA data, in my birth year of 2002 alone, "Abigail" was among the top five most popular girl names in over eighteen states. Just imagine how original I felt in a classroom with six other "Abbys" and at least two "Abigails." But, if you were to ask my parents why they picked it-- my unoriginal, boring, horrible name-- their answer is simply, "because it sounds pretty." However, in a world where who you are is everything and finding your identity helps define your purpose, "it sounds pretty" isn't good enough-- or, at least, it never has been good enough for me.

I live my life trying to be the opposite of an Abby. To me: an Abby blends in, an Abby doesn't stand up for what they believe in, and an Abby doesn't make a difference. When you are given one of the most common American names, it is hard to ever imagine being an individual. Let alone an outstanding individual on a mission to change the world for the better. So, why not change my name you wonder? Well, changing my name just changes my label. For me at least, my label has never been who I am. Who I am is not a "father's joy" as the Hebrew meaning of my name would lead on. Who I am isn't even my last name of "Regan" that connects to my deep family ties and bond. And of course, who I am is not a basic girl with a basic name.

Despite this, it hasn't always been so simple to break free of my labels. Besides my name, I label myself and my feelings all the time. Presenting the battle of duality I face-- my labels vs. the real truth among them. It is easy to call yourself stupid. It is easy to brand yourself with expectations that you try hopelessly to fulfill. The human language has given us the means to literally express our thoughts. What language fails to do, however, is give justice to the truth. Just as my name doesn't define who I am, neither do the labels I call myself. I have learned that one must look past the "what" and develop the "how," the "why," and the "so what" to truly begin to grasp the truth. Words are just labels. They are the exterior walls that can block away all that lay inside.

So, maybe instead of just,"I am Abby," we should try something like...

I am courageous because I push myself beyond my anxieties.

I am kind because I know how hard life can be and how much a kind soul can help.

I am curious because the world is so wide that I can't help but dive in and ask questions. 

I am open-minded because it opens new doors to growth and love. 

I am unique because I project my off-brand weirdness to the world everyday.


But most importantly...

I am Abby because I am all of these and more. So yeah, I am Abby, and I guess I am proud of that. 

Deception in Perception

Huie's Blog

Wing Young Huie captures just a moment in time. He gets to choose the setting, the angles, the lighting, and even the subjects-- but not how they are perceived. As a photographer, all one can do is influence that perception but never make it for the audience itself. The same goes for an author. Margaret Atwood's techniques lie in narration, language, setting, and devices. Just like Huie, she can shape the readers perspective but can never force it upon the reader. Thus, both creators explore the use of creative license and interpretation within their fields with various techniques-- ultimately, promoting their own way to express "otherlings." 

This photograph was taken as a part in Huie's collection Lake Street USA (1997-2000). It was titled "Big Geno and Little Geno" and was taken in Minneapolis, Minnesota. The lens depicts a man holding up a small puppy on a thick, chunky metal chain. The name of the man photographed is Geno and the name of the puppy was Little Geno. 

Upon first glance, one may judge the picture out of context. Geno has a rough, tight grip on the puppy and the dog seems to look sad almost. The coloring within the photograph takes life away and highlights the negative aspects within the photograph. Specifically, it makes the chain stand out more. The bulky chain seems to weigh down the puppy's neck. The man's expression could be interpreted as pleasant and proud of showing his dog on the chain. Many viewers of this photograph may see this piece as a commentary on dog fighting or animal abuse. But, when looking closer, the key to this photograph is understanding the man behind the lens. 

Huie states, "When photographing I try to present people as they present themselves and let viewers form their own narratives. A photograph, however, is just a snippet of that person. If you took a thousand photographs of someone, which photograph would be truest? And who decides the truth about any photograph—the person in it, the person who took it, or the person looking at it?"

Now, applying this concept to the picture, a new perspective can be explored. The viewer only has so much detail on the man and his life. By the looks of the setting, his neighborhood is a bit run down. He wears a "wife beater" tank top and sweats. His skin is black. All of these points are aspects Huie is choosing to showcase. The colors of each draw to that significant through black and white. The focus while on the man's expression, is taken away by the viewer being drawn to the puppy in the photo. Because, in the photograph, it is the reflection of innocence. This is where Huie is making his commentary. 

Huie is pointing out things that can be stereotyped easily in society. He is drawing attention to the race of the man. Not in the sense to point blame or paint that race in a negative light, but to instead show how little viewers know. Huie has constructed a photograph in which a viewer pretty much immediately receives as wrong and almost disturbing. He wants the audience, on a larger scale, to see what is beyond his lens and how easy it is to manipulate perspective. By a few technical choices, Huie can change the interpretation of its viewer.

In a way, through the words he writes underneath, he is challenging the viewer to be better. He describes the real story behind the photograph and the true intentions of the man. Instead of a story of abuse, he describes a man who loves his dog and is choosing to train it with a chain to make it stronger. Showing that, what you see and what you read, is not always what is there. 

Atwood constantly makes the same point throughout her novel, The Handmaid's Tale. By telling the story completely in Offred's narrative, the audience is only given a biased viewpoint of all the events at hand. We see each event as a fragment of her subconscious watching through her eyes and emotions. Beyond that even, every choice within the book is purposefully made by Atwood to influence her audience. Thus, she can manipulate the audience to view anyone as "othering" through her choices of techniques just like Huie did. Huie made the man seem "othering" through how he seemed to be okay with this animal abuse, even if that wasn't the case or the truth in the story. So, Atwood is able to do the same thing as an author. 

For instance, Atwood describes Serena Joy in the book as supportive of the Gilead society. By flipping between past and present in the factored text, the reader only gets to hear certain stories about Serena Joy-- most of which negative in nature. The audience most likely will develop an opinion on her that aligns with Offred's own opinion. But, if the reader is able to recognize that bias and manipulation in the text, they begin to develop a new opinion of Serena Joy. They watch her struggle as she too is unhappy and oppressed in the society she helped create. They also watch her get cheated on again. They begin to see her as her own individual and just another person oppressed in Gilead. Instead of this odd creature, she becomes human to the audience. 

The point being, both the photographer, Huie, and the author, Atwood, strive to make the use of bias and creative manipulation clear within their works. Both actively take advantage of techniques to influence the audience to hit on surface level themes and interpretations, especially when it comes to their presentation of "otherings". However, the key here is recognizing this and how they use it to help promote the deeper themes within their pieces. Through that outlook, the audience is able to gain a wider perspective that is more informed and more truthful.