ICYMI - October 2017

OCTOBER ‘17

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in case you missed it

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Social DIGITAL ENTERTAINMENT

ICYMI_october_2017

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Contents 38

Ellen Page

16

10

6

Margot Tenenbaum

Bojack Horseman

Mitski

22

Finn Wolfhard

43

28

Polly Nor

26

12

Aziz Ansari

32

Kaitlin Olson

Claude Monet

Coloring

42

ICYMI Spotify playlist

To ICYMI Readers Letter from the ICYMI team Dear readers, hello! welcome to the seventh issue of ICYMI (in case you missed it), a monthly digital social entertainment magazine. for those of you first joining us, it’s important for you to know that, although the content is presented in physical print, the entire magazine is meant to produce a digital experience. we look at the highlights of the internet world each month—varying from a socially aware celebrity’s twitter, to an analysis of a new season of a Netflix show, to even a fictional social media account of a long-deceased, celebrated artist. readers are meant to navigate the magazine as they do their laptops: jumping from tab to tab, getting more in depth on one person’s profile than others, reading articles and jumping to the next social media. and, as with every issue, there is a coloring book section in the middle of the book for you to enjoy. each featured person in the magazine makes an appearance in the currently colorless pages, and it is your job to cut out the pages and color them in. we hope you enjoy the digital world of October 2017 through these pages.

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Who is Margot Tenenbaum?

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Some outfits stick with us long after the closing credits, and Margot Tenenbaum’s look is within some of film and television’s most inexplicably iconic looks.

Whether she was snipping off the tip of the right index finger on her baby pink cashmere gloves or smoking cigarettes on top of the toilet clad in nothing but a flesh-colored negligée, there was something so aspirationally unhinged about Margot Tenenbaum. And her clothes, which were anachronistic, moneyed, and age-agnostic, were so spoton that it’s no wonder that 12 years after the release of the Wes Anderson classic, droves of grown women shrug on their grandma’s mink and line their eyes with kohl each Halloween. Here, we chat with costume designer Karen Patch (who also worked with Anderson on Bottle Rocket and Rushmore) about how she went about dressing one of the most complicatedly messy women in cinema history.

“You don’t even know how many selfies I get on Halloween of various people dressed up like Richie and Margot. Some look great; some are not so good. But I always say it’s great. Since The Royal Tenenbaums, I’ve had other directors say to me, ‘I want this to be something that will be worn on Halloween.’

Margot Helen Tenenbaum is the adopted, chain-smoking, literary genius daughter, who also won a Braverman grant at age 11. She is missing a finger and wears a wooden prosthetic. She has a distant, unavailable father who introduces her as “my adopted daughter.” She has relationships with her adopted brother Richie, a family friend,

Eli, and of course her husband, Raleigh. I had a lot to work with! When you know the history of the character, it forms an image in your mind right away. Wes Anderson said that he wanted as much as possible to be designed and built exclusively for the movie. He actually said, ‘Don’t shop anything—make everything.’

That’s an important directive because handmade pieces look different—you know you won’t be able to find those things on the rack somewhere. That’s something we tried to do in the first two films, we did together Bottle Rocket and Rushmore, baut we had such small budgets that I could only make specific pieces. Like for Rushmore, I did the green velvet suit, and I did his blazer, which had to be very specific. But we had a bigger budget for Tenenbaums and a little more time. The other part of it was that we agreed that Wes would stay available to me, because I didn’t have enough time or money to make any mistakes.

Several nights a week, he would come down to my office and we would go over everything while we were in prep.

Margot’s look was contradictory, which definitely made it more interesting. She was dressed in conservative pieces, but she was rebellious as a person: she never smiled; she wore heavy makeup; she chain-smoked; she was sexually promiscuous. . I think those contradictions—the fact that she was wearing what looked like her mother’s clothes, or something kind of country-club conservative— made her edgy. I like to put unlikely things together—it certainly makes things more interesting.

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10-04 Tilburg, Netherlands - 013 10-05 Paris, France - Zenith 10-06 Antwerp, Belgium - Lotto Arena 10-08 Lyon, France - Transbordeur 10-09 Barcelona, Spain - Saint Jordi Club 10-11 Munich, Germany - Zenith 10-12 Milan, Italy - Fabrique 10-14 Cologne, Germany - Palladium 10-15 Berlin, Germany - Tempodrome 10-17 Stockholm, Sweden - Annexet 10-18 Oslo, Norway - Sentrum Scene 10-19 Trondheim, Norway - UKA 17 Festival 11-07 Dunedin, New Zealand - Town Hall 11-08 Christchurch, New Zealand - Isaac Theatre Royal 11-11 Wellington, New Zealand - Michael Fowler Centre 11-12 Auckland, New Zealand - Power Station 11-14 Auckland, New Zealand - Power Station 11-15 Auckland, New Zealand - Power Station 11-18 Perth, Australia - Kings Park 11-21 Sydney, Australia - Sydney Opera House Forecourt 11-22 Sydney, Australia - Sydney Opera House Forecourt 11-23 Brisbane, Australia - Riverstage 11-25 Canberra, Australia - Spilt Milk Festival 11-26 Melbourne, Australia - Sidney Myer Music Bowl 03-01-18 Milwaukee, Wisconsin - BMO Harris Bradley Center 03-02-18 St. Louis, Missouri - Chaifetz Arena 03-03-18 Kansas City, Missouri - Sprint Center 03-05-18 Denver, Colorado - Pepsi Center 03-08-18 Vancouver, British Columbia - Rogers Arena 03-09-18 Seattle, Washington - Key Arena at the Seattle Center 03-10-18 Portland, Oregon - Moda Center at the Rose Garden 03-12-18 Sacramento, California - Golden1 Center 03-13-18 Oakland, California - The Oracle Arena 03-14-18 Los Angeles, California - Staples Center 03-16-18 Glendale, Arizona - Gila River Arena 03-18-18 Dallas, Texas - American Airlines Center 03-19-18 Houston, Texas - Toyota Center 03-21-18 Tulsa, Oklahoma - BOK Center 03-23-18 St. Paul, Minnesota - XCEL Energy Center 03-24-18 Lincoln, Nebraska - Pinnacle Arena 03-25-18 Des Moines, Iowa- Wells Fargo Arena 03-27-18 Rosemont, Illinois - Allstate Arena 03-28-18 Detroit, Michigan - Little Caesars Arena 03-29-18 Toronto, Ontario - Air Canada Centre 03-31-18 Columbus, Ohio - Schottenstein Center 04-02-18 Philadelphia, Pennsylvania - Wells Fargo Center 04-03-18 Boston, Massachusetts - TD Garden 04-04-18 Brooklyn, New York - Barclays Center 04-06-18 Newark, New Jersey - Prudential Center 04-07-18 Uncasville, Connecticut - Mohegan Sun Arena 04-08-18 Washington, D.C. - The Anthem 04-11-18 Tampa, Florida - Amalie Arena 04-12-18 Miami, Florida - American Airlines Arena 04-14-18 Duluth, Georgia - Infinite Energy Center

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Master of None Words by Yohana Desta

Aziz Ansari on Quitting the Internet, Loneliness, and Season 3 of Master of None Aziz Ansari has it made. The comedian has a multi-faceted career as a celebrated performer and a comic’s comic, one who can hop between Madison Square Garden and the Comedy Cellar with ease. He has a critically acclaimed TV show, Netflix’s Master of None, and an Emmy statuette lighting up a mantle somewhere.

Still, his career has been marked by a sort of restlessness, a trait that might soon have a permanent effect on his award-winning Netflix series. In an interview with New York magazine, the comedian admits that he’s not sure if the show has a future beyond Season 2.

“I don’t know if we’re going to do a Season 3,” he says. “I wouldn’t be surprised if I needed a looonng break before I could come back to it.”

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Watching the second season of Aziz’s Netflix hit, Master of None, was like watching Kobe in a legacy-sealing playoff game. He just kept hitting shot after shot, each one more creative and impressive than the one before it. Season two has the black lesbian coming-out story.

If there’s any explanation for Aziz’s total comfort at a small artisanal restaurant in a foreign city, it could be because this has become his comfort zone. Much has been made of the time Aziz spent in Italy before shooting part of season two in Modena, but Italy is the least of it. He lived here in Paris for a month. Went to Japan for a summer. Speaks a smattering of the languages. Who knows where he’s plotting to move next?

But there’s another possible explanation, too. Before meeting Aziz, I received a tip that he’d unplugged from everything but text messaging. He’s off social media. He deleted the Internet browser from his phone and laptop. No e-mail, either. Technologically speaking, he’s living in, like, 1999. Supposedly, anyway—I was a bit skeptical. I wanted to know: Did he unplug or “unplug”? Does he have an assistant sending him breaking news via messenger pigeon?

Does he monitor his inbox for important e-mails but not reply directly? Is this just a really next-level Hollywood way to stunt after finding fame and fortune? And, most important, if it is true, has it made him happier?

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You know what I’m glad about? After the first season, I fucking ran out of things to say about diversity.

But after the second season, there hasn’t been anything, like, very annoying—there’s just things that you get asked a lot. Like: What about season three? Which is obviously a question people have to ask, but for me it’s a little stress-inducing. Alan once said it best: It’s like we just gave birth to a kid and they’re like, When are you gonna have another kid?

Well, your last two “kids” were cute as hell, to be fair.

I just feel like I’ve said a lot. Especially if you look at it—instead of two seasons of a TV show—as, like, seven movies. I mean, those two seasons are really personal, and it’s a lot of content, a lot of ideas. Now I need a minute to refill my notebook. My life has not progressed enough for me to write season three yet.

I heard you deleted the Internet from your phone. And that you deleted Twitter and Instagram and e-mail. No way that’s true, right?

It is! Whenever you check for a new post on Instagram or whenever you go on The New York Times to see if there’s a new thing, it’s not even about the content. It’s just about seeing a new thing. You get addicted to that feeling. You’re not going to be able to control yourself. So the only way to fight that is to take yourself out of the equation and remove all these things. What happens is, eventually you forget about it. You don’t care anymore. When I first took the browser off my phone, I’m like, [gasp] How am I gonna look stuff up? But most of the shit you look up, it’s not stuff you need to know. All those websites you read while you’re in a cab, you don’t need to look at any of that stuff. It’s better to just sit and be in your own head for a minute. I wanted to stop that thing where I get home and look at websites for an hour and a half, checking to see if there’s a new thing. And read a book instead. I’ve been doing it for a couple months, and it’s worked. I’m reading, like, three books right now. I’m putting something in my mind. It feels so much better than just reading the Internet and not remembering anything.

You really don’t feel the need to make anything?

I was talking to a friend of mine the other day. We both have more money than we ever imagined.

And I was like, Can you imagine if someone called us a few years ago and said, “All right, you’re going to have this much money when you’re this age. What are you gonna do with it?” You would say all sorts of fantastical things, right? No one would say, Oh, I would figure out how to make more money and keep working all the time. Everyone just buys into this, like, Oh, I need to keep making stuff, I need to go make more money. I don’t need to make more stuff. I’ve made a lot of stuff! I’m financially okay. I’m not gonna make stuff just for the sake of making stuff. I want to make stuff ’cause I’m inspired. Right now I don’t really feel inspired.

So you’re focusing on living good?

It’s not about living good, necessarily. I don’t want to be a guy that’s, like, running away from having a normal life. You know? If I keep living like a vagabond… I’m in Japan for two months, France for a month. I’m going to live in Italy. At a certain point, that feels like you’re running from something.

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The reason Bojack Horseman is agonizing to watch is because he never learns.

BoJack is trapped in a cycle of making the same mistakes, hurting the very people he vows not to each season. Obsessed with himself and his own sadness, he’s desperate to figure out why he feels so hollow. He wants to be both loved and left alone, adored by millions while sitting at home, stewing in his own self-hatred and wallowing in his paralyzing self-doubt.

BoJack isn’t a happy person and, as anyone who has ever dealt with major depression knows, it’s easier to find comfort in the blanket of nothingness, making the same mistake over and over again to continue the cycle of normality.

In his fourth season, BoJack deals with some of his hardest personal challenges yet. He’s forced to put others first and — for someone with a raging narcissist complex, crippling alcoholism and general unhappiness — that turns out to be more difficult than he thought.

Giving BoJack a personal hurdle that doesn’t revolve around his career gives the show a refreshing obstacle. The challenge BoJack faces this season is very much about seeing if he can be more than the jaded B-list celebrity he’s become over the past decade.

When it comes to BoJack’s personal arc, the show shines.

The fourth season includes two

of the most haunting and devastating episodes the series has ever produced. One in particular focuses solely on BoJack’s depression and how it affects his day-to-day life; rife with bleak honesty about how painful, constant and overwhelming living with depression is. Anyone who has ever suffered through a major depressive period will find it difficult to watch. Creator Raphael Bob-Waksberg touches upon the insecurities and emptiness that BoJack has dealt with his entire life using a new format that feels even more intimate and heartbreaking.

But BoJack’s incredible arc isn’t enough to save the show from some of its lowest moments. Whenever BoJack isn’t on screen, the season struggles. It relies far too much on filler episodes and the charisma of second string characters we couldn’t care less about. I spent one particular episode questioning why it was even included.

It doesn’t accomplish its goal of moving the story forward, third-tier characters are introduced and whisked away without a second thought and the setting is beyond ridiculous.

Even the characters we are invested in — Princess Carolyn, Todd, Mr. Peanutbutter and Diane — flounder without BoJack. Their problems, which are heightened and confronted

Horse > Man > Bojack

in the fourth season, aren’t the issue. From marital issues to self-discovery, it’s almost comforting to watch a cast of characters with everyday, run-of-themill problems that have solvable solutions. It’s the lack of ownership that these characters take in their own issues that leads to an insatiable craving for BoJack to return.

For all of BoJack’s worst qualities, he was never dishonest about his true self. BoJack is the first person to admit his flaws and, what makes his tale even sadder, is that he wants to change but can’t figure out how to do so. That’s what makes us want to root for him to survive, and to win — there is a little piece of BoJack in all of us. He confronts the self-realizations that we might be too scared to do ourselves.

“I know that I can be selfish and narcissistic and self-destructive, but underneath all that, deep down, I’m a good person and I need you to tell me that I’m good, Diane.”

“One day you’re going to wake up and realize that everyone loves you, but nobody likes you. And that’s the loneliest feeling in the world.”

It isn’t until the new season’s sixth episode that BoJack Horseman begins to shine. The first five episodes — with the exception of a wonderful second episode — are superfluous. It’s hard to care about people who aren’t willing to admit their own faults and choose to put the blame on everyone around them.

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It’s hard to root for people who remind you of yourself, but who aren’t willing to jump into the deep end and confront what you don’t want to.

From the moment the sixth episode begins playing until

the season’s finale, it’s classic BoJack Horseman. Those episodes contained the honesty, heart and hopefulness that I want to experience when I watch BoJack. Getting through those first few epi-

“I’ve never loved a character more than I do Bojack after this season, flaws and all.”

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sodes, however, is harder than I thought it would be. I just didn’t care about these characters I’ve spent three seasons desperately rooting for. Without BoJack represent someone with even deeper, unsolvable emotional issues, it’s easier for Diane, Mr. Peanutbutter, Princess Carolyn and even Todd to get trapped in the same vicious cycle of self-obsession that BoJack could never escape.

They need BoJack to remind them how not to behave. Without him, everyone turns into the worst versions of themselves. It’s surprising just how uninteresting that is.

This season of BoJack Horseman isn’t as easy to binge as the first three, and nor should it be. It becomes emotionally overwhelming and exhausting, prodding you to take breaks whenever possible. The second time I watched the season, I limited myself to a couple of episodes a day and I found that to be a much more enjoyable and healthy way to watch it. BoJack goes to some dark places this season, that often hit a little too close to home.

He goes from his worst to his best in the span of six episodes and, for the first time, I wasn’t sure I wanted BoJack to receive the redemption he’s so obsessed with capturing.

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The ‘It’ Boy At just 14, a time most teens are worrying about how to get out of a maths test, Finn Wolfhard has acted out some of the most chair-grippingly scary scenes in recent memory. There was last year’s Netflix smash Stranger Things, in which he and Millie Bobby Brown led a gang of unruly tweens in a battle against an inter-dimensional creature and a cabal of evil scientists. Continuing this tour de force of monster slaying, nostalgia, and 80s sweaters, Finn can next be found starring in the big screen version of Stephen King’s truly horrifying clown saga, IT. The poster alone is enough to send people into meltdown; the original 1990 miniseries, starring Tim Curry as Pennywise, has scared several generations of children, and the film is sure to do the same, with Bill Skarsgård taking on the role of the scariest clown in pop culture. So does Finn get scared making all these frightfests?

“Filming a horror movie can definitely be scary at times,” the young Canadian actor says earnestly. “After all, if it’s a really scary scene, you have to be in it!”

IT follows a group of troubled young boys and one girl, who style themselves as the Losers’ Club, and try to defeat the shape-shifting clown Pennywise. Comprised of seven misfits, the Losers’ Club each have their own trials and tribulations that run deeper than a demonic monster trying to devour them. Bill has a stutter and distant parents, Ben is bullied because of his weight, and Beverly is abused by her father.

It makes for dark stuff, and is much closer in spirit and content to Stephen King’s 1986 book than 1990’s series. “I play Ritchie, this sort of trash-talking motor mouth,” Finn says. “He thinks he’s hilarious, but no one else does. So he keeps talking as his defense mechanism.”

For Argentinean director Andrés Muschietti, it was key that the Losers’ Club were actual friends, so he made the cast hang out for two weeks before filming. “We were together for three and a half months in total,” Finn says. “All seven of us would go for sleepovers at [fellow Losers Club member] Wyatt’s house. It was like one big summer camp.”

Similar to Stranger Things, IT is wonderfully nostalgic – there’s a lot of riding around on bicycles, kids letting themselves in through kitchen doors, and microwave-ready meals. Oh and child-eating supernatural horrors. “Today everyone’s so glued to their phones,” Finn says, “that’s just a part of our culture, but back in the 80s it wasn’t like that. It was a more adventurous time.”

For someone exposed to fame from such a young age (he’s been acting since he was eight years old), Finn’s a remarkably regular kid. He attributes this normalcy partly to the fact that his family never made the move to L.A., unlike other child actors. Instead they live 1000 miles north of the City of Angels, in Vancouver. “I think so,” Finn says, when asked if the Canadian coastal city helps him stay down-toearth. “I think it all depends on what neighborhood you live in, who you know, and who your friends are.” Crucially, for both his state of mind and general loveliness, he also has another passion – music. Finn has a guitar, which he plays really loudly,

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and most impressively on a cover of Nirvana’s “Lithium,” which caused quite the stir online. “Playing guitar chills me out,” he says. Not that his music taste is particularly chilled. Alongside his number one love the Beatles, he selects ,”Mac DeMarco, Twin Peaks, Phoenix, White Reaper, and Post Animal,” as his fave bands.

Since Stranger Things, Finn has racked up 1.3 million Instagram followers, all of whom flood his comments with weird Stranger Things fan theories, requests for videos, and general screaming about the second season. “I think people will be just as excited or maybe more excited,” he says of season two, which is brilliantly timed

by US filmmaking duo The Duffer Brothers to land back on Netflix for Halloween. “If people think it won’t live up to the hype, well, it will. It’s the same characters… we’re just unravelling more of a dark thing and exploring more.”

Stranger Things’s intense online fan community loves to debate conspiracy theories relating to where the monster and Eleven come from. This heady environment prepared Finn for the fuss that the announcement of an IT remake made. “I knew it would happen,” he says of the cacophony around the film. “When it got out that we were making it, people just freaked out.” And for good reason. IT is so much more nuanced than its earlier counterpart. Muschietti debates, in terrifying Technicolor, what it really means to have a childhood. Does innocence better equip us to deal with tragedy, or is it better to be inured to it? How hard is it to be brave? Can our parents protect us? All the children are startlingly human, replete with flaws as well as courage, unlike their more bumbling 80s counterparts, The Goonies. “We’re making a movie that’s completely different, that focuses on friendship and bonds,” he says, before continuing triumphantly, “and Stephen King loves it.”

It’s a brilliant film, not just for the visual effects and all around scariness, but for the emphasis it puts on the real horrors that children face – bullying, abuse, lack of opportunities. Finn’s pensive when asked about the scary things in the real world that don’t lurk under the bed. “I mean, I guess the normal answers,” he intones seriously.

“Racism, stereotypes, sexism, homophobia. All these problems are still going to be there, but what’s cool about having three million followers on Twitter is that you have the power to tell people that there are problems in the world and how to help. Go on a march, sign petitions. Having that power is really cool.” It might be nice to be cool, but it’s definitely cool to be nice. “I’m not really sure that I’m a role model yet, because I’m not exactly old,” Finn concludes. “But it’s cool to have kids looking up to you.” With both kindness and coolness in abundance, Finn Wolfhard might just be the hero we need, and maybe, when he is a little older, he’ll end up doing something about the real world bogeymen. After he’s slayed the on-screen ones first!

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Read Polly Nor’s work at face value, relish her drawings of devilish, mischievous imps, but then dig into the layers, and you’ll find characters and narratives that deftly mirror our current state of affairs and the omnipresent dark turns the world is taking. Internet addiction, misogyny, and judgemental jerks are heavy presences in Polly’s world. Her work stands up to them, claiming power and giving none of the expected fucks. And, in this way, her work is art, by definition, no matter what the trolls say.

Words by Kristen Faar / Photo by Ian Cox

Last we spoke, you mentioned that your characters are housebound women. Why are they stuck inside?

Most of my drawings are, in some way, influenced by my own experiences of life. London was a cool city to grow up in; you meet loads of different kinds of people and there’s always art or music stuff going on. But when you’re young and have no money, there aren’t many places for you to hang out, so, growing up, we ended up spending a lot of time at home in our bedrooms. Then, throughout my teens, I’d spend most of my days in my room not being able to get out of bed. I’d stay up on the computer all night and then sleep away the whole day. It’s a habit that I have only

managed to overcome in the last few years, probably just because I’m so busy with work, and my studio is only open in the day, so that has really forced me out of my nocturnal tendencies.

Internet addiction is scary territory. I don’t even know how to ask about it because I have it.

Since I first had dial-up on my family computer, I’ve had a very unhealthy relationship with the internet. A lot of my work is influenced by my own unhealthy internet habit, as well as the habits of those around me. We now live in a totally hedonistic and narcissistic society, dependent on technology for our social contact, entertainment, and sexual gratification. This is something I draw a lot of material from.

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Has the internet expanded the definition of art? This is an obvious yes...

Definitely. Social media, Instagram in particular, has become a really useful platform for creatives to self-publish artwork and get it seen. You no longer have to be some old rich white guy represented by a big gallery for people to see your work. Obviously, the art world still has a long way to go in terms of inclusivity, but now that anybody with an internet phone can share their work, curate their own online gallery, and develop their own following, I feel like we are seeing much more accessible and relatable art online. I love following the development of new young artists from around the world.

Like many creative women with a platform, you get trolled online. Has this affected your perspective or given you any insight?

Nothing seems to piss off the trolls quite like a woman with her own opinion on the internet. All of my favorite female writers and artists get loads of abuse online and, at times, it can get really personal and dark. It makes me feel pretty lucky with the small amount of trolling I receive. As shit as it must be for those women, I guess it’s also a sign of their success. At the end of the day, they are out there doing cool things and achieving their goals, while some person they don’t even know exists is sitting behind their computer screen, plotting ways to try and bring them down. It’s kind of obvious who the winner is in that situation.

The demons in your drawings seem friendly lately, like they are supporting the women they surround, holding them up.

I don’t think of the demons in my work as an evil force like in most cultural depictions of the devil.

I guess my interpretation of them comes, in part, from the saying about facing your demons. Most of my pieces are about the relationship the female character has with herself, but sometimes they are outside forces. It kind of varies from piece to piece. Sometimes the demons are destructive and menacing, but at times they’re also comforting and protective.

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Why are you compelled to draw devils as a figurative way to represent desire, frustration and other feels?

I use the devil characters to represent different ideas and stories each time. Generally, I see them as a figment of the female’s imagination, a manifestation of her emotions. I enjoy the limitation of using the same two subjects—the woman and the demons—but capturing something new each time. My best pieces definitely come from times that I have been going through my own personal struggles. I have always had really intense mood swings, and at those times, I don’t even have to think about what to draw, it kind of all just flows out of me. My work is very much influenced by how I’m feeling at the time. My best pieces came out of my last breakup a few years ago. It was a really shit time. I was broke, living at home, and couldn’t find a “real” job, so I just poured all my emotions into my art. That’s when I figured out that making new work and drawing from my own frustrations made me feel really good, kind of like therapy. So I started spending all of my spare time in my studio, and since then, I haven’t really stopped. Now that I’m in a really good, healthy relationship, I’m actually finding it more of a challenge to keep creating the same style of illustration work. I’ve got nothing to be angry about and it totally sucks, ha!

It seems you are celebrating expressions of lust and other feelings women have been conditioned to suppress. Is that fair to say?

Female sexuality is definitely something I like to celebrate within my work. When I was growing up, I went to a school called Acland Burghley in North West London. In most ways, it was a great school. It had a really good art department and I made most of my best friends there, but it was the only mixed school in a neighborhood of loads of girls schools, so it meant that girls were massively outnumbered by boys. In my class, there were only, like, 5 girls in a class of around 30, and they created a very patriarchal and, at times, predatory environment. Even when we were only 14, it seemed normal for the guys to grab your bum in the corridor, put their hands up your skirt, or

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grab you by the hair and force your face into their crotch. Stuff like that happened to us every day but we didn’t even think of it as abuse. Having spoken to friends from other schools, I’m told similar stories. I’m not sure if it was because were the first generation to have open access to internet porn, or because nobody spoke about consent back then (sex education was pretty much just your teacher putting a condom on a banana).

But, either way, sex was thought of as something that guys were totally in control of. If a girl wasn’t up for it, she was frigid, but if she was, she was a slut. It was a lose-lose situation.

I think we’ve definitely been conditioned to feel ashamed of our sexuality and our own desires.

Even now, as an adult, I still have my girlfriends messaging me having woken up next to some guy after a drunken night out and feeling ashamed and embarrassed about it all week. I don’t think I’ve ever heard any of my male friends feeling guilty about getting laid.

Do you feel some of the layers of meaning in your work are overlooked because your audience is so broad?

I often draw from my own experience of female life, my relationships, how I feel about the world, how I feel about myself, the everyday day struggles and pressures that I feel and stuff that I take from the conversations I have with the women around me. But just because I am drawing female characters doesn’t mean they are only for women or that only women can appreciate them. I mean, most film and TV starring roles are male, but I can still understand and relate to those characters and enjoy those stories. That’s why I think it’s funny when men ask me, “When are you going to start drawing male characters?” Like, why do you need that from me?

you’re focusing more on the relationships between the women and their demons than the landscape. why?

I go through phases with my work. I started out mainly drawing my characters in their bedrooms.

I really enjoyed thinking about what each character would have in her room and drawing it all

out with lots of really intricate detail. I found it really satisfying. Those bedroom scene illustrations are probably still my most popular pieces; they’re the most relatable. I like including all the really basic stuff that we all had in our childhood bedrooms—posters, pin boards, Ikea lamps and the crappy pop-up wash baskets. But, last year, thanks to Instagram’s algorithms, I kept coming across other artists’ work that looked really similar. I guess that naturally happens with art, just like any other cultural trend, but it made me want to move away from the bedroom scenes for a bit. I started switching up my color palette, and I got into drawing the more surreal forest scenes. I still revisit the bedroom scenes here and there, but I think it was important for me to push myself out of that comfort zone and start moving down a more abstract path.from the bedroom scenes for a bit.

I started switching up my color palette, and I got into drawing the more surreal forest scenes. I still revisit the bedroom scenes here and there, but I think it was important for me to push myself out of that comfort zone and start moving down a more abstract path.

What did you draw as a kid?

When I was really young, I liked drawing theme parks, sea horses, jelly fish, snails and snakes, but I always mainly drew girls. I used to draw them all over my school books and paint them on my bedroom walls. Naturally, the style of the characters has progressed and changed over the years, but they have definitely stuck.

What have been some favorite reactions to your work?

I get a few messages from girls saying that when they’re having a bad day, they look on my Instagram and it cheers them up. That’s always really nice to hear. When I have the time, I try to read all my comments. People write some funny shit on my posts. I can’t really remember any in particular apart from one I saved to my notes: “Ur art makes my heart and my brain horny for thinking.” I liked that one, and obviously the comment comparing my work to a shit on a doorstep… can’t forget that.

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The Mick Kaitlin Olson stars in new FOX show while ‘It’s Always Sunny’ potentially wraps up Melissa McCarthy’s role in Bridesmaids earned her an Academy Award nomination in 2012, buoyed by the praise that finally women were being allowed to play crass, impolitic characters. But long before McCarthy’s star-making turn, there was Kaitlin Olson, who as Sweet Dee on FXX’s It’s Always Sunny In Philadelphia, farted, stumbled, and caroused in the name of gender equity. Now in her own starring vehicle on Fox’s The Mick, Olson finds herself once again in a role cut from the same raggedy cloth. She plays Mickey, a smiling grifter who is forced to take care of her obscenely wealthy niece and nephews after their parents flee the country for tax evasion and fraud. Both these roles require Olson to tread a careful line with the audience—playing at once a horrible human being but also someone you sort of wish would get a few more breaks in life.

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SWEET DEE Words by Dave Itzkoff and Alexandra Cavallo Photos courtesy of FOX

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Many funny actors will go an entire career without landing a lead role in a television sitcom. Meanwhile, Kaitlin Olson is holding down two of them simultaneously: Since 2005, she has played the beleaguered bartender Sweet Dee on “It’s Always Sunny in Philadelphia,” the proudly unrefined ensemble comedy that begins its 12th season on Wednesday, Jan. 4, on FXX. And on Sunday, Jan. 1, she takes center stage in the new Fox comedy “The Mick,” playing its title character, Mackenzie Murphy — a.k.a. Mickey — a bad seed who must abruptly become a surrogate parent to her niece and nephews when her wealthy sister and brother-in-law flee the country to avoid federal fraud charges. Now she is unwillingly raising three children she never wanted, in a suburban mansion she could surely get used to.

“The Mick,” which Ms. Olson works on in the months when she is not making “It’s Always Sunny,” is hardly a side project; she is also an executive producer on the Fox show, where she helped to hire the cast and writing staff, and gives notes on scripts and editing. “That triples your workload,” said Ms. Olson, who has two sons with her husband, Rob McElhenney, the creator and co-star of “It’s Always Sunny.” In a rare moment of down time from these responsibilities, Ms. Olson spoke by phone about what she’s learning she can and cannot get away with on Fox. These are edited excerpts from the conversation.

Now that you’re starring in “The Mick,” are you getting killed off in “It’s Always Sunny in Philadelphia”?

No! They would never. The show would go right down the tubes. I’ve always been thinking about what I wanted to do next when “Sunny” was over, and John and Dave Chernin wrote this script and brought it to me. It was always the intention that if I could do it, I would do both shows.

Who is the funniest, if you’re being honest?

Oh my god. Well, this first episode of the season, where the gang breaks Dee, I think Glenn (Howerton) is so unbelievable in that episode. When you’re acting with Glenn, he’s so deeply in character that he can make a really intense scene so unbelievable funny, so he’s just so much fun to act with. Charlie is unbelievably funny. He’s just is cracking himself up all the time, so that’s fun to watch. And, well, I married Rob, so I clearly think he’s great. And Danny is just constantly goofing off, trying to make everyone laugh. Especially background people. If we have anybody new on our set, oh my god, he starts putting on a show, he turns on. I don’t know, I didn’t answer your question! There’s something very special to me about the Dennis and Dee combination. I love how desperately she wants Dennis’ approval. It’s so sad.

What’s the best — and worst — thing about working so closely with your husband?

Rob works on this show year round, I do other things and work on this show two months out of the year. So, really, it’s only two months that we’re together, and it’s two months that we get to see each other all day. So it’s pretty great to be able to spend the day with him for a couple of months. It’s just for a short period of time because then he goes back to work and I go take care of the kids, and I’m jealous.

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Do you and Rob ever feel the pressure to out-funny each other, when you’re hanging out?

(Laughs) I think Rob knows that I’m the funnier one. There’s no fight. No, I think that Rob is hilarious. No, that would be crazy. We’re not brother and sister! No, he’s fun to text with, because we send funny texts back and forth. I don’t even think Rob knows how funny Rob is. If you asked him, he would say that we were all really funny and that he’s not really that funny, he’s just a good writer. But I think that’s ridiculous, I think he’s incredibly smart, and incredibly hilarious. If he wasn’t funny, I wouldn’t have married him.

how much longer do you want to see it go?

I know that we want to do it for as long as we are able to make every episode great. Or what we think is great. We never want to do it just to do it. But even though we’re in our ninth season, we only do 10 to 13 episodes a season. We’re just hitting our 100th episode this year. So I think there’s definitely still room where, if the guys think they can still make unique, interesting new episodes with uncommon story lines, then we’ll continue to do it. But I never want to overstay my welcome in real life — or here.

Have your experiences on these shows demonstrated that things are getting more equitable for women, which is not common in comedy?

Before “Sunny” came along, I would audition and do chemistry reads with very funny actors. And then they would cast someone who was beautiful and benign. I don’t think that very funny men wanted to headline with very funny women. They wanted to be the funny ones, and they wanted the wife to be the wife. That was very frustrating. That’s not something that happened once or twice. But I think that’s starting to change. Off the top of my head, I could give you 15 amazing women who are kicking [butt] in Hollywood right now, and it’s great. I hope to find myself in that list for someone else one day.

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Ellen Page 10 October at 12:23

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“You should fuck her to make her realize she’s gay.” He said this about me during a cast and crew “meet and greet” before we began filming, X Men: The Last Stand. I was eighteen years old. He looked at a woman standing next to me, ten years my senior, pointed to me and said: “You should fuck her to make her realize she’s gay.” He was the film’s director, Brett Ratner.

I was a young adult who had not yet come out to myself. I knew I was gay, but did not know, so to speak. I felt violated when this happened. I looked down at my feet, didn’t say a word and watched as no one else did either. This man, who had cast me in the film, started our months of filming at a work event with this horrific, unchallenged plea.

He “outed” me with no regard for my well-being, an act we all recognize as homophobic. I proceeded to watch him on set say degrading things to women. I remember a woman walking by the monitor as he made a comment about her “flappy pussy”.

We are all entitled to come into an awareness of our sexual orientation privately and on our own terms. I was young and although already a working actor for so long I had in many ways been insulated, growing up on film sets instead of surrounded by my peers. This public, aggressive outing left me with long standing feelings of shame, one of the most destructive results of homophobia. Making someone feel ashamed of who they are is a cruel manipulation, designed to oppress and repress. I was robbed of more than autonomy over my ability to define myself. Ratner’s comment replayed in my mind many times over the years as I encountered homophobia and coped with feelings of reluctance and uncertainty about the industry and my future in it. The difference is that I can now assert myself and use my voice to to fight back against the insidious queer and transphobic attitude in Hollywood and beyond. Hopefully having the position I have, I can help people who may be struggling to be accepted and allowed to be who they are –to thrive. Vulnerable young people without my advantages are so often diminished and made to feel they have no options for living the life they were meant to joyously lead.

I got into an altercation with Brett at a certain point. He was pressuring me, in front of many people, to don a t-shirt with “Team Ratner” on it. I said no and he insisted. I responded, “I am not on your team.” Later in the day, producers of the film came to my trailer to say that I “couldn’t talk like that to him.” I was being reprimanded, yet he was not being punished nor fired for the blatantly homophobic and abusive behavior we all witnessed. I was an actor that no one knew. I was eighteen and had no tools to know how to handle the situation.

I have been a professional actor since the age of ten. I’ve had the good fortune to work with many honorable and respectful collaborators both behind and in front of the camera. But the behavior I’m describing is ubiquitous. They (abusers), want you to feel small, to make you insecure, to make you feel like you are indebted to them, or that your actions are to blame for their unwelcome advances.

When I was sixteen a director took me to dinner (a professional obligation and a very common one). He fondled my leg under the table and said, “You have to make the move, I can’t.” I did not make the move and I was fortunate to get away from that situation. It was a painful realization: my safety was not guaranteed at work. An adult authority figure for whom I worked intended to exploit me, physically. I was sexually assaulted by a grip months later. I was asked by a director to sleep with a man in his late twenties and to tell them about it. I did not. This is just what happened during my sixteenth year, a teenager in the entertainment industry.

Look at the history of what’s happened to minors who’ve described sexual abuse in Hollywood. Some of them are no longer with us, lost to substance abuse and suicide.

Their victimizers? Still working. Protected even as I write this. You know who they are; they’ve been discussed behind closed doors as often as Weinstein was. If I, a person with significant privilege, remain reluctant and at such risk simply by saying a person’s name, what are the options for those who do not have what I have?

Let’s remember the epidemic of violence against women in our society disproportionately affects low income women, particularly women of color, trans and queer women and indigenous women, who are silenced by their economic circumstances and pro-

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found mistrust of a justice system that acquits the guilty in the face of overwhelming evidence and continues to oppress people of color. I have the means to hire security if I feel threatened. I have the wealth and insurance to receive mental health care. I have the privilege of having a platform that enables me to write this and have it published, while the most marginalized do not have access to such resources. The reality is, women of color, trans and queer and indigenous women have been leading this fight for decades (forever actually). Marsha P. Johnson, Sylvia Rivera, Winona LaDuke, Miss Major, Audre Lorde, bell hooks, to name a few. Misty Upham fought tirelessly to end violence against indigenous women, domestic workers and undocumented women. Misty was found dead at the bottom of a cliff three years ago. Her father, Charles Upham, just made a Facebook post saying she was raped at a party by a Miramax executive. The most marginalized have been left behind. As a cis, white lesbian, I have benefited and have the privileges I have, because of these extraordinary and courageous individuals who have led the way and risked their lives while doing so. White supremacy continues to silence people of color, while I have the rights I have because of these leaders. They are who we should be listening to and learning from.

These abusers make us feel powerless and overwhelmed by their empire. Let’s not forget the sitting Supreme Court justice and President of the United States. One accused of sexual harassment by Anita Hill, whose testimony was discredited. The other proudly describing his own pattern of assault to an entertainment reporter. How many men in the media – titans of industry - need to be exposed for us to understand the gravity of the situation and to demand the fundamental safety and respect that is our right?

Bill Cosby was known to be predatory. The crimes were his, but many were complicit. Many more chose to look the other way. Harvey was known to be predatory. The crimes were his, but many were complicit. Many more chose to look the other way. We continue to celebrate filmmaker Roman Polanski, who was convicted of drugging and anally raping a young girl and who fled sentencing. A fugitive from justice. I’ve heard the industry decry Weinstein’s behavior and vow to affect meaningful change. But let’s be truthful: the list is long and still protected by the status quo. We have work to do.

We cannot look the other way.

I did a Woody Allen movie and it is the biggest regret of my career. I am ashamed I did this. I had yet to find my voice and was not who I am now and felt pressured, because “of course you have to say yes to this Woody Allen film.” Ultimately, however, it is my choice what films I decide to do and I made the wrong choice. I made an awful mistake.

I want to see these men have to face what they have done. I want them to not have power anymore. I want them to sit and think about who they are without their lawyers, their millions, their fancy cars, houses upon houses, their “playboy” status and swagger.

What I want the most, is for this to result in healing for the victims. For Hollywood to wake up and start taking some responsibility for how we all have played a role in this. I want us to reflect on this endemic issue and how this power dynamic of abuse leads to an enormous amount of suffering. Violence against women is an epidemic in this country and around the world. How is this cascade of immorality and injustice shaping our society? One of the greatest risks to a pregnant woman’s health in the United States is murder. Trans women of color in this country have a life expectancy of thirty-five.

Why are we not addressing this as a society? We must remember the consequences of such actions. Mental health issues, suicide, eating disorders, substance abuse, to name a few.

What are we afraid to say and why can’t we say it? Women, particularly the most marginalized, are silenced, while powerful abusers can scream as loudly as they want, lie as much as they want and continue to profit through it all.

This is a long awaited reckoning. It must be. It’s sad that“codes of conduct” have to be enforced to ensure we experience fundamental human decency and respect. Inclusion and representation are the answer. We’ve learned that the status quo perpetuates unfair, victimizing behavior to protect and perpetuate itself. Don’t allow this behavior to be normalized. Don’t compare wrongs or criminal acts by their degrees of severity. Don’t allow yourselves to be numb to the voices of victims coming forward. Don’t stop demanding our civil rights. I am grateful to anyone and everyone who speaks out against abuse and trauma they have suffered. You are breaking the silence. You are revolution.

PLAYLIST

ICYMI - October playlist Listen to this spooky autumn playlist while coloring in the digital celebrities of October 2017!

Created by: ICYMI • 18 songs, 1 hr 4 min PLAY

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ARTIST

Haunted

The Frights

Roll Bus Roll

Jeffrey Lewis, Junkyard

Glowing Brightly

Florist

Mystery of Love

Sufjan Stevens

Necromancer

Joy Again

Haunted House

OH!hello

Keep a Light Lit

Fog Lake

In a Black Out

Hamilton Leithauser + Rostam

Halloween All Year

The Orwells

Autumn

Peacock Affect

Devil Town

Bright Eyes

Space Song

Beach House

Sea of Dreams

Oberhofer

Like Fake Blood In Crisp October

Dirty Projectors

Last Words of a Shooting Star

Mitski

Walking With a Ghost

Tegan and Sara

I Think You’re Alright

Jay Som

Spooky Ghosts

SNCKPCK

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FINN WOLFHARD

CLAUDE

MONET

AZI ZA NSA RI

OCTOBER 2017 POL

LY N OR Issue NUMBER seven

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