Tag Archives: entertainment

Update: OMG IT’S (sort of but not really) DONE!/The Peggy Carter Project

It’s been a while since I updated you on what’s going on with #thepeggycarterproject. So here goes:

I just finished sewing the test skirt in muslin!!!!!!!

Okay, so maybe I didn’t *exactly* finish – I did something funny along the way and the waistband extension didn’t come out long enough – but I’ve now gone through the process and can put the skirt together. I’ll have to be a little more careful with the zipper, and the button hole will likely be a challenge, but at this point I’m pretty confident that I can make a skirt, and that it will fit.

It was harder than I’d anticipated, mostly because sewing takes a lot of patience and as each step advanced I got a little more nervous about moving on to the next one. (The next step now is actually cutting up my beautiful fabric, so hopefully I’ll be able to screw up the nerve soon.)

wpid-wp-1430574952317.jpegAt last update, I was in the process of cutting the fabric out. Now, it was time to stitch things together. With the exception of one seam, which I sewed the wrong way round (didn’t bother to go back and take it out because this isn’t the actual skirt, the sewing went pretty well – aside from a major tension issue that popped up midway through. (And no, I don’t mean the part where I cried.)

0420152125 0420152125aWhen I took my sewing machine home to show my mom, we decided that the best thing was really to buy a new sewing machine (because why wouldn’t that be the best thing, right?). It was more than I wanted to spend (this project is fast becoming a money pit in its own right) but it made a huge difference in sewing the last few seams. When it arrived, I sewed a few lines and sent her a photo; she approved. The old machine, she said, wasn’t punching the thread through the fabric on both the top and bottom, and given the price and time involved in getting the machine a professional tune-up, the newer machine just made more sense. Here are the photos I sent her; they’re much tighter and more uniformed than what I was getting from the older machine. The new machine also controls the speed of the needle more precisely, which was nice because sometimes you don’t want to go super fast or super slow but somewhere nice and comfortable, in the middle.

I won’t post close-ups of the zipper because the zipper is a travesty and something I will be practicing a few more times before I do it on the actual skirt, but here’s what it started to look like:

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You may notice – or you may not – that while this looks skirt-sized, it is also a bit smaller than you might expect, given the size of my waist. Well, kids, this is where I learned something important about sewing: read the directions. Like, always. Like, four times. Then read everything actually written on the pattern. Like, always. Like, four times. Because sometimes it turns out that just because you only cut two of one pattern piece, it doesn’t mean you don’t cut four of another pattern piece. Who’d’ve thought, right? You need two side panels on EACH side of the skirt, not just two side panels in all.

wpid-0419151229.jpgThat realization came to me, unfortunately, AFTER I had bought a roll of permanent pattern paper because I thought that I was going to have to size the entire pattern up significantly. It was while doing the math required to figure that out that I went back and looked at the pattern again. And realized my mistake. The things writers will do to avoid doing math, you know? But it worked, in the end:

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Next, it was time for the fusible interfacing. After doing a lot of math (this math was unavoidable), I had figured out that it made more sense just to buy a bolt of the stuff (about eight bucks from Joanne Fabrics, though the prices I saw varied WILDLY depending on where I was sourcing from). Interfacing is used to make sure parts of the suit keep their form – so it gets used on bits like the waistband and eventually the suit lapels (eep!). You don’t need loads of it for the project, but if I keep this hobby up it’ll be nice to have on hand.

0420152149For the skirt, the interfacing is fused to the waist band, then the waist band is folded over onto itself and then sewn to the bottom panels of the skirt. The process was a little tricky. The first step was cutting and fusing the interfacing. By this point in the project I had moved on to a “let’s just get it done” mentality, so I wasn’t super careful about cutting it out to match – all that caution is going towards the final product. I placed the fabric on a towel (I don’t have an ironing board, judge not) then laid the interfacing down on top of it. Then you put another towel on top so you don’t get the interfacing glue stuck on your iron, and gently press the interfacing down with the hot iron. Eventually, you pick the iron up and put it down on the next bit of fabric.

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0420152157aNext, you have to press up the seam of the waist band so that you can eventually sew that to the skirt band. This was kind of annoying because you have to make sure the seam is going to be even, and it was sort of confusing to read the directions and figure out what was supposed to be getting pinned facing what. But I soldiered through it and got it done!

Finally, the nightmare of sewing the waist band to the skirt. I didn’t even take pictures of that process, it was so miserable, but once I did that and ran it through the sewing machine, look what happened!
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It might be a little bit messy, but it’s served its purpose, and you know what that means…the next time you hear from me on this project, it will involve real fabric, having to work methodically and carefully, and maybe even a finished skirt!

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Gotta stay inspired, you know?

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Update: Cutting Out Fabric #ThePeggyCarterProject

wpid-0316152218.jpgJust a quick update re: my progress on The Peggy Carter Project. After one unsuccessful attempt at cutting out my design in cotton muslin, the second attempt went much more smoothly. This time, I knew to cut out the little notches, and properly cut along the fold – so that my earlier panic about the fabric not encircling my ample waist proved to be a result of my learning curve, and not of the pattern being screwy.

wpid-0321151431.jpgThe next step is stay-stitching the tops and bottoms of each panel. Which will require finding the instruction book for my sewing machine, since in the couple weeks since I did my mini-project I’ve forgotten how to make the needle go backwards.

I’m also waiting for the lightweight interfacing to arrive, since my local sewing shop doesn’t appear to stock the right weight.

I also ordered some ribbon for my hat.

And started a Pinterest board for this project.

MIRANDA – A Britcom I’d Like To Share

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Courtesy BBC America website

What’s Miranda, you ask? It’s a BBC comedy show currently airing on Hulu, starring the fabulous Miranda Hart (who you might know from Call the Midwife), as the titular character. Her trials and tribulations are slightly generic – annoying mum, crush on an unattainable guy, friend who’s a bit mad, annoying toff boarding school chums – but in many ways, including some serious shattering of the 4th wall, the show is un-generically hilarious.

I started watching it after recommendations from multiple friends. And loved it. And wanted to share it with one of MY friends.

The only problem? My friend is hard of hearing, and the Hulu version of the show doesn’t include captions.

We were both surprised; after all, Hulu tends to be decent with captions, as do British stations in general. That whole accessibility thing. But there we had it. My friend couldn’t enjoy a laugh-a-minute, female-centric comedy show with me because it didn’t have captions.

After posting on Facebook, I found out that Netflix was sued last year because of the lack of captioning on its films; I’m surprised that Hulu hasn’t faced that yet (though it may be that Miranda is part of their back catalogue, in which case I really hope they get around to it). Netflix, in case you’re wondering, doesn’t carry the show either on streaming or as a DVD rental option.

For now, my friend’s choices are to either buy the DVDs (erm, no) or else to…not watch the show.

Which is really a pity, because Miranda is a really fun show, and now it’s missing out on a potential viewer before she could even start to love it.

Edit: There has been some confusion over the shop’s network, but I can now confirm it is not on ITV, it’s on the BBC. Apologies for the error.

Fanfic, Hugh Howey, the Silo Saga & Amazon Worlds

Amazon announced Kindle worlds a few weeks ago, and I took some time to talk about why I felt like the salivating hordes might want to hold their breaths when it came to the question of, “How long till Harry Potter?” Alloy, I pointed out, has always been a media packaging company; aligning with Amazon via Kindle Worlds is very much inside their wheelhouse. If Alloy was a trailblazer towards legitimizing fanfiction, it was because the company had positioned itself uniquely with successful series and television transfers like The Vampire Diaries, Gossip Girl and Pretty Little Liars.

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On Monday, Amazon announced that the newest Kindle World open for play was Hugh Howey’s Silo Saga. Who’s Hugh Howey, you ask?

Hugh Howey wrote WOOL, a self-publishing phenomenon. And now, Hugh Howey is the first major independent self-published author I’ve heard of whose work is being served up by Kindle Worlds.

What does that mean? Howey will get a cut of every piece of Silo Saga fanfiction that sells via the program. Howey will likely never have to work again in his life. (Not that he won’t – a counter on the sidebar of his blog lets readers know what’s coming next, and how far off it is.)

With their announcement (which took place on Monday, via email), Amazon blew a whole new field of income open for those one-in-a-million writers who strike it big in new genre fiction. They also widened the playing field yet again: shifting fanfic, e-publishing and traditional media closer to a truly collaborative model.

An issue I’ve had with entertainment technology in the last few years, but never really verbalized outside of long bull sessions with friends, has been its shift towards top-down creation of media and the machines we use to make it. From hardware to content, tablets to televisions, the evolution of leisure and technology have edged away from the low-barrier Super 8 and VHS camcorders of the 80s and 90s and towards more sophisticated digital editing and filming technology – with far higher financial bars to entry (up until the relatively recent prosumer-level cameras available on some of today’s handheld phones). Similarly, while a laptop’s primary function is as a mobile data entry station, tablets are designed for the intake and consumption of media: at least when it comes to writing something longer than a grocery list, would you rather type on an iPad or the $100 keyboard peripheral you bought to go with it? While peripherals adapt the workspace to be more creator-friendly, they allow technology’s default to be one of consumer, rather than creator.

Since its inception, publishing has been a top-down business whose profitability has been in the consumption of media, not in its creation. (In fact, take a look at the number of public-domain works available as self-published books to get an idea of how necessary a living creator is to the process of publishing novels. It’s much easier to make money off writers after we – then our copyrights – are dead.)

The default mode of interaction in most media has been set – for a long time – to consumption.

On the other hand, Western civilization has a terrific history of derivative artistic creations. An overwhelming amount of paint has gone into creating fan art for the Bible, for example, and the plays of Shakespeare can be seen as fannishly adapted by every theater company that re-stages them.

By choosing to take a self-published writer and open his sandbox – and the earning potential of his work – to other players, Amazon (who, yes, is definitely an invested player in the equation) is levering “their” phenomenon to a playing field equal to Gossip Girl, Pretty Little Liars and The Vampire Diaries, not to mention sci-fi’s own more traditional-media representative Neal Stephenson. While E.L. James and the Hollywood adaptation of “50 Shades” stretch self-publishing in one direction, Kindle Worlds – and Howey’s inclusion in it, alongside the other creators of the featured worlds – push it in another.

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Which widens the playing field for everyone else, and opens a new arena: fans who don’t just read, but contribute. Who become collaborators in the worlds they love.

That’s a level of involvement that reaches a step further than the world that came about when the first writers of Kirk/Spock sat in their basements with their typewriters and mimeographs of the 70s, and it means that this landmark announcement from Amazon is one that self-publishing writers should take notice of.

 

Like Amazon, I have a foot in the game. Check out my Amazon Author page for information on my plays and short stories.

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Edit: I shared this blog with Howey this morning (8/1/2013) and he had this comment:

 

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THEATER/FILM DISCUSSION: “127 Hours” and “Hello Hi There” (Contains Spoilers)

127 HOURS, by Scottish director Danny Boyle, plays on themes that have resonated throughout his filmography. Through manipulating our experience of Aaron’s ordeal, Boyle reminds us of the same unsettling truths that can be seen throughout his body of work, mostly revolving around the frailty of human life and civilization in the face of disaster. Boyle regularly creates high-concept storylines that force his audience to appreciate the joy of being alive while at the same time showing them the brutality and messy ugliness that is inherent in being human. He forces his audience to consider their relationship to the natural, external world – while at the same time maintaining a focus on the tormented inner stories of his characters.

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