This December, Disney looks to bring back to the screen the most beloved franchise of all time. Breaking the Internet during presales and making grown men weep during 2 minute trailers, Star Wars: The Force Awakens could easily become the highest grossing film of all time. While most have had the 18th circled on their calendar since the first Star Wars trailer, it’s easy to forget that there are other movies coming out this December. With several possible hidden gems sprinkled throughout the month, let’s take a look at the films coming out that will be trying to capture some of the mind share that Star Wars already has a tight force grip around.
Krampus: He made his list and checked it twice, now he’s coming after those who are naughty! While Santa is scheduled to visit the nice children on the 25th, Krampus, a demonic figure will be punishing those who have made the naughty list. During a holiday gathering, a dysfunctional family finds their son has lost the Christmas spirit, bringing a foul beast to add a little bloody Christmas magic. The family must join together in an attempt to ward off this ancient evil. It looks like director Michael Dougherty is trying to bring legitimacy to the mythical holiday demon. Starring Adam Scott, Toni Collette, and David Koechner, coal should be the least of your concerns this holiday season.
Chi-Raq: Brooklyn’s finest, director Spike Lee is back, only this time he is adapting the ancient Greek play Lysistrata by Aristophanes. The New York native is leaving his hometown and bringing this modern day adaptation to Chicago, set against the backdrop of brutal gang violence. Featuring Teyonah Parris, Nick Cannon, Wesley Snipes, Angela Bassett, Samuel L. Jackson, John Cusack, Dave Chappelle, and Jennifer Hudson.
Macbeth: Continuing December’s theme of adapting plays, William Shakespeare’s famous tragedy comes to the screen again. Winter is coming and Michael Fassbender’s Macbeth is on the prowl to overthrow his king and take the iron throne for his own in this classic tale of love, jealousy, and betrayal. Since being released overseas, director Justin Kurzel’s Macbeth is being praised for being faithful to its source material as well as Fassbender and Marion Cotillard making an early push to add their names into the Oscar nomination hat. It has been a few years since a true adaption of a Shakespeare play has donned the big screen; Macbeth is making a case that the wait was worth it.
Christmas Eve: Keeping with the tradition of packing as many well-known actors into one holiday themed film like Love Actually and New Year’s Eve, Christmas Eve follows six different groups of New Yorkers stuck inside elevators on Christmas Eve during a power outage. Patrick Stewart, James Roday, Jon Heder, Julianna Guill, Gary Cole and Cheryl Hines bring in the New Year as hilarity and romance ensue.
In the Heart of the Sea: Looking to be a whale of a good time this holiday season, acclaimed director Ron Howard brings the real-life maritime disaster that would inspire Herman Melville’s Moby-Dick. While most know the story of how the giant sperm whale was captured, In the Heart of the Sea is based on the 1820 event, as a New England ship is preyed upon by the large mammal, stranding Chris Hemsworth and his crew at sea for 90 days, thousands of miles from home. Braving ferocious storms, starvation, being pushed to their limits and forced to do the unthinkable to stay alive, all while pursuing the world’s deadliest catch. Thor’s Chris Hemsworth has met his greatest match.
Legend: What is better than having Tom Hardy star in a gangster film? How about twice the dose of Tom Hardy! Hardy portrays the infamous identical twin gangsters Reggie and Ronnie Kray as they rise to power in London during the 1960s. To show off his acting chops, Hardy plays opposite himself. Hardy’s performance is being hailed as electrifying and one might even call it…legen…wait for it…dary.
The Big Short: In what looks to be this holiday’s breakout hit in the vein of 2013’s Wolf of Wall Street and American Hustle, The Big Short follows four financial advisors that predicted the credit and housing bubble collapse of the mid-2000s. Directed by Adam Mckay (Anchorman, Step Brothers) and based on the true story and best-selling book by Michael Lewis (The Blind Side, Moneyball) Featuring some of the most recognizable names in Hollywood, look for Brad Pitt, Ryan Gosling, Christian Bale, Marisa Tomei, and Steve Carell, The Big Short is shaping up to one of the biggest movies in December if the market doesn’t bottom out in the meantime.
Star Wars: The Force Awakens: At this point, uld be the biggest movie of the decade? I hope you bought your ticket already because if not, you might be seeing Star Wars after the New Year.Breaking the Internet with its record setting pre-sales, already totaling in over $50 million, Star Wars fever has swept over the world. Director J.J. Abrams and Disney have done a fantastic job hiding as many plot pointsfrom the audience during its promotional material, even with what little that is known, we are still frothing at the mouth waiting once more to be swept to a galaxy far, far away. Where is Luke Skywalker, did Han Solo and Princess Leia end up together, and who is Kylo Ren are just a few of the many questions that fans can’t wait to have answered as they congregate. Now we wait to find out if the hype was worth it. But wait…what if the films sucks?!
Sisters: What do you get when you have Amy Poehler and Tina Fey starring in a comedy about two sisters that decide to throw one last house party after learning that their parents are selling their childhood home? Director Jason Moore’s Sisters releases the same day as Star Wars: The Force Awakens. While 99% of films would be dead in the water releasing against the biggest film franchise in history, thanks to the comedic powerhouses of Poehler and Fey, Sisters might stand a punchers chance of being remembered this holiday season. With a lack of comedies releasing in December, hopefully Sisters is able to fill that void.
Alvin and the Chipmunks: The Road Chip: Rounding out the films that will barely make any noise at the box office thanks to Star Wars, Alvin, Simon, Theodore, and their human companion Dave (Jason Lee) are hitting the road. After a series of misunderstandings, the chipmunks believe that Dave is going to propose to his new girlfriend in Miami and set out on a road trip to prevent from losing their best bud. As the 4th film in the live-action/CGI chipmunk series, odds are this road trip that parallels the release of Star Wars is doomed to crash and burn.
The Hateful Eight: In his eighth film, director Quentin Tarantino has collected an ensemble like no other. Channing Tatum, Zoë Bell, Samuel L. Jackson, Jennifer Jason Leigh, Kurt Russell, Tim Roth, and Michael Madsen round out the nefarious cast. In Wyoming, post-Civil War, a bounty hunter, prisoner, hangman, sheriff, Mexican, cow puncher, confederate, and a little man all seek shelter during a blizzard but get wrapped up in a plot of betrayal and deception. Who will make it out alive?
Joy: Stars Jennifer Lawrence and her family across four generations. We begin before she reaches the pinnacle of becoming a business mogul before the rug is pulled out from beneath her feet. Touching on themes of betrayal, deal ing with the emotional scars of love and treachery, Joy is one woman trying to make a name for herself amongst a man-driven society. Bradley Cooper, Robert De Niro and Lawrence reunite once again with American Hustle and Silver Lining Playbook director David O. Russell.
Daddy’s Home: Teaming up for the first time together since The Other Guys, Will Ferrell and Mark Wahlberg are back in the story about a mild-mannered stepfather (Ferrell) to his wife’s children that is forced to compete for their affection against their free spirited dad as hilarity ensues. With a surprising PG rating, Daddy’s Home will have to depend on sharp comedic writing and perfect timing if it wants to grab the attention of the teen/adult crowd.
Concussion: If there is one film that the NFL does not want you to see this year, it is Will Smith’s Concussion. A true David vs. Goliath, as we follow Dr. Bennet Omalu (Smith) the forensic neuropathologist who first discovered the truth about CTE, a brain trauma caused by repeated concussions in football players. With all of the politics surrounding the film, it will be interesting to see if Smith gets an Oscar nomination.
Point Break: I don’t even know how to explain this travesty of a remake. The original 1991 Point Break is in my top films of all time (don’t judge!) A young FBI agent infiltrates a group of extreme sports athletes that he suspects is masterminding a string heists. In the 90s Keanu Reeves’s character took up surfing to track down the bank robbers. This time an array of extreme sports will be featured in the film to grab the attention of the audience. With Patrick Swayze playing opposite to Reeves in the original, the two were able to build an emotional bond that translated on screen. This time around Point Break will be lucky if it makes a splash is holiday season.
The Revenant: Attacked by a bear, legendary explorer Hugh Glass (Leonardo DiCaprio) is left for dead due to unspeakable betrayal by his hunting party and friend John Fitzgerald (Tom Hardy). DiCaprio could possible nomination for his almost silent yet physically demanding performance. Speaking of Oscar nominations, this is the highly anticipated follow-up to director Alejandro G. Inarritu’s Birdman and also featuring Emmanuel Lubezki, who is coming off of back-to-back best cinematography wins for Gravity and Birdman. The Revenant is looking to make the final days of 2015 very memorable.
Ken Fallin’s Broadway: Dracula: A Comedy Of Terror
Dracula: A Comedy of Terrors, is now playing at New World Stage, 340 West 50th Street, until January 7, 2024 or beyond.
In this caricature you will find James Daly’s Dracula and clockwise: Andrew Keenan-Bolger, Arnie Burtin, Ellen Harvey and Jordan Boatman who make up this amazingly talented cast.
You can read T2C’s mouth watering review here.
The Innocence of Seduction Will Seduce You
The Innocence of Seduction, now being presented in a World Premiere Production by City Lit Theater in Chicago, is the second installment in an ambitious trilogy of new plays by actor, director, and playwright, Mark Pracht, about the comic book industry and the individuals who created it. Although not as interesting a human drama as was the first play in the series, The Innocence of Seduction remains a fascinating glimpse into a little known aspect of pop culture history.
The Innocence of Seduction revolves around a group of artists, writers and publishers who were producing the lurid, violent, and sexually provocative comic books which lead to a congressional investigation into the comic book industry in the 1950’s. The claim that comic books were corrupting our young people and contributing to juvenile delinquency lead to the creation of the Comics Code. That was censorship solely at the personal discretion of one man, Judge Charles Murphy. In a sad parallel to our current times, legislators back then sought to repress access to ideas by their children, rather than teach their children how to think for themselves and live in a world with opposing viewpoints.
The whole story is framed with narration by by Dr. Frederick Wertham, whose book, The Seduction of the Innocent, warned that comic books contributed to juvenile delinquency. In Pracht’s play, Wertham, played with oily, Germanic smarm by Frank Nall, keeps things moving with a creepy comic book gestalt of his own.
The first play in the trilogy, The Mark of Kane, was an excellent, character driven drama. That story was shaped by the personal ambition of artist Bob Kane, creator of The Batman, who stole the credit for all the key story elements added to Kane’s very basic idea for the Batman character by his writer-collaborator, Bill Finger.
In The Innocence of Seduction, largely unchanging characters are dragged through the events swirling around them. That formula, called melodrama, has been around ever since the bad guy twirled his moustache as he tied poor Pauline to the railroad tracks. The focus is on the dilemma rather than character development.
But it takes a long time to get to the central conflict between the creators of early comic art and their would-be censors. When we finally do get to the bad guys, in the person of a grandstanding senator, Robert C. Hendrickson, played with appropriate bluster by Paul Chakrin, and Judge Charles Murphy, the creator and administrator of the Comics Code, played with self-righteous indignation by the fine Chuck Monro, neither antagonist is given enough stage time.
Pracht has no apparent interest in giving the opposing point of view equal time. So both antagonists are quickly reduced to one-dimensional cartoons. What is interesting, however, is that such simple mindedness is frighteningly close to today’s reality, when you look at the behavior of those who are leading the call for censorship in our own times.
The central figure in this story is William Gaines, Jr., a failed teacher who reluctantly assumes the helm of Educational Comics. That company was established by his father, Max, who had created the first American comic book, Famous Funnies, in 1934. Max, embodied by bellowing actor Ron Quaide, visits his son, William, like Hamlet’s ghost, haunting his dreams and stoking William’s feelings of inadequacy. William’s passivity until the very end of the story frequently feels like a big hole in the action instead of moving it forward.
Realizing that nobody wants to buy the illustrated bible stories his father created, William rebrands the company as Entertainment Comics, better known as “EC”. Their bread and butter would be stories with dark, twisted, graphic, sexually provocative and violent imagery. The artists and publishers in this story just see their work as innocent fun, until they run into censorship under the nascent Comics Code.
One of those artists is Matt Baker, played with sincerity if not complexity by Brian Bradford. Baker was a closeted, black, gay artist, who drew the sexiest female characters in the industry. Matt has a clandestine affair with his bisexual publisher, Archer St. John, played with sensitivity by John Blick, while hiding his real sexual preferences from his long suffering lady friend, Connie, played honestly by Latorious Givens. Despite the potential of the juicy ménage a trois, Pracht’s sketchy rendition of their interaction comes off as simultaneously simplistic and overwrought.
Apart from that relationship, the production features a gaggle of really fine character actors who bring lots of individual color to their roles. They include Laura Coleman as Gaines’ wisecracking secretary, Shirley; actor Robin Treveno, who is especially engaging as the good hearted publisher, “Busy” Arnold; Paul Chakrin as Senator Robert C. Hendrickson, who led the congressional investigation against the comic book industry; and affable Andrew Bosworth, doubling both as Max’s friend, Frank, and as artist Jack Davis, whose work would later define the look of Gaines’ greatest success, Mad Magazine.
However, for me, the shining star of this production is Janice Valleau as Megan Clarke. Ms. Clarke was a talented female artist trying to get a foothold in a male dominated industry, and the creator of a pioneering female detective character. Ms. Clarke is an absolutely riveting performer, full of heart, smarts, depth, and personal fire. See her while you can, as Chicago off Loop theater will not be able to contain her for long.
The set, lighting and projection design by G. “Max” Maxin IV is the best I’ve seen from him in this space. Beth Laske-Miller adds some nice, accurate period elements to a slim costume budget. Music composition and sound design by Peter Wahlback were a great enhancement of the foreboding atmosphere. Finally, Tony Donley’s program cover and poster art captured the tone of the story brilliantly.
As his own director, Pracht does a very good job weaving all the elements of his production together, and giving his work a fine showcase.
As with the previous play in the trilogy, you don’t need to be a comic book nerd to enjoy this tale of creative expression battling conservative oppression. The Innocence of Seduction will seduce you as well.
With The Innocence of Seduction, City Lit Theater continues a 43 year tradition of bringing intelligent, literate stories to the Chicago stage. In conjunction with this presentation, they also are presenting readings at libraries across Chicago and the suburbs of works from the American Library Association’s Office for Intellectual Freedom, which have been identified as the “Top Ten Most Challenged Books” facing censorship in libraries and schools. That series is called Books on the Chopping Block. If you live in the Chicago area, be sure to check for a presentation near you.
The Innocence of Seduction continues at City Lit Theater in the Edgewater Presbyterian Church, 1020 West Bryn Mawr in Chicago, through October 8th. For ticket information call (773) 293-3682 or visit www.citylit.org.
“speaking of sneaking” Spins It’s Queer Folktale Web Fascinatingly at Buddies In Bad Times Toronto
Weaving and bobbing, drawing chalk lines with a focused gyrating audacity, a fascinating dynamic radiates out from the central core of an all-encompassing plastic spider web. The actor/playwright squats and shifts his black-clad body close to the ground, teasing us almost to enter the web, and maybe get caught in its arms. It’s a sharply defined space to walk into, fantastically intricate but straightforward in its plastic sensibilities, created with thoughtful intensity by set + costume designer Rachel Forbes (Canadian Stage’s Topdog/Underdog). It makes us feel that we are inside something intimate and intensely important as we make our way to our seats in the main theatre at Buddies in Bad Times Theatre, Toronto to see and get enveloped by the unveiling of speaking of sneaking.
The new play, performed and written by theatre artist Daniel Jelani Ellis (Buddies’ First Stone), comes alive slowly, seizing the stylistic moment that takes its time connecting. Deep inside this queer Black man’s ultimate navigation through folklore and reality-based hardship, the play shifts itself inward, as directed and dramaturged with a fiery fluidity by d’bi.young anitafrika (Trey Anthony’s ‘da kink in my hair) with a strong sense of movement and momentum by choreographer Fairy J (Obsidian/Canadian Stage/Necessary Angel’s Is God Is), from his youth in one “Yard” to another “Foreign” place, Canada. The tension and engagement are as tricky to outsmart as a folktale spider, that weaves out captivating stories with wisdom, knowledge, and power. The formula engages, even when it loses some captivating focus along the way.
Yet, it is a compelling web that is woven, ultimately feeling important and personal throughout the intersectionalities of identity and culture, playing with the deep multidiscipline unpacking of complicated self-discovery drawn from his familial Jamaican roots and the complexities of gender, sexuality, and class that creep out of the “Yard”. The performance is vivid and vital, frenetic and feisty, combining aerial light-footedness with dance, poetry, and all that lies in between. It attempts with a true heart and unending energy to captivate, and Ellis, as the determined Ginnal, manages, maybe not at first, but eventually, to take us in and snag us, as the web he weaves gets more grounded in the complications of survival alongside familial expectations.
Surrounded by barrels of regret and disappointment in himself, Ellis needs to keep weaving and weaving, “for me, not for you!” He shifts himself around the space, throwing his arms off balance but fully in control, collapsing his past and future from a spider-framed creation from Jamaica to a video web call rubbing his feet and seeing the future for a few PayPal donation dollars. The playful but ancient guide, “Anansi” lifted up from an Akan folktale slides in to the perspective to illicit shouts of “That’s enough” to the symbolic quarreling married sky and earth, trying to weave a web that will keep the collapse from occurring.
These folklore spider tales, which I knew little about, long ago sailed their way to the Caribbean by way of the transatlantic slave trade, and became a mythical model about skill and wisdom, giving praise to Anansi and his ability as a spider, to outsmart and triumph over any and all powerful opponents through the wise use of cunning, creativity, and wit. It’s no surprise Ellis as Ginnal digs into these formulations and folklore, basking in the delicately crafted light designed by André du Toit (Stratford’s R+J) with a strong sound design by Stephon Smith (B Current’s Wheel of the Year Walks). It will take all that cunning creativity to unpack the complexities of culture, homophobia, and ideas of masculinity that are weaved into his Jamaican “Yard” and the family that celebrates unity and care from way over there.
Wrestling with the fraught and trickster dynamics of survival in this new “Foreign” land, the expensive city of Toronto, Ginnal struggles with empty barrels waiting to be filled with donations of a different kind, feeling guilt and shame each time the phone rings. The spider steps in, initiating a journey towards liberation and freedom, after leaving one home to find another. The web is a complex construct, sometimes captivatingly embodied, sometimes not, with Ellis shifting from one well-formulated character to another, generally drawing us in as he straps himself in from above for this aerial journey, bungee jumping and creeping towards a new sense of home and acceptance.
Anansi was seen as a symbol of slave resistance and survival, turning the constraints of those plantation power dynamics around onto the controlling oppressors. Ellis embraces that energy, as he finds his way to generate dancehall-infused formulations by igniting cunning online trickery of his own. Through a compelling examination of colonial imprints on queer Jamaican identities by all those involved, as well as utilizing Afro-Caribbean-Tkarontonian storytelling aesthetics to elevate the spider mode of behavior and performance, the details of the intricate interweaving of bodies and family transcend the battle for survival and shifts it all into the flight for authenticity and identity. It has been written that the symbol of Anansi played a multifunctional role in the enslaved Africans’ lives, inspiring strategies of resistance to establish a sense of continuity with their African past and offering a context and formulation to transform and assert their identity within the darkened boundaries of captivity. It’s fairly clear how that energy resonates throughout the piece.
As he asks for world peace from a bachelor pad base camp created by new family members by choice, the weaving in of Granny Luna to “Petty Labelle” offers itself up into the sky wonderfully, ultimately capturing us in its complex web. Groundwork Redux and Buddies in Bad Times Theatre‘s production of speaking of sneakingdelivers, working its magic, eventually, fulfilling the folktale form with chaotic care. Through a Black queer lens, with the support of Buddies, Obsidian Theatre, and the Toronto Arts Council Black Arts Program, this new weaving finds its way into our collective consciousness, navigating itself through portals of neo-colonial contexts and out of the escape room axe throw party that might have destroyed him. The archetypal Jamaican Ginnal and the mythical African Anansi, together, discover and embody something akin to survival and connection. And in the weaving of that web, we find a different kind of soul rubbed true all for our wonderment and enlightenment.
For more go to frontmezzjunkies.com
The Argyle Theatre Encore! Gala and You Are There
The Argyle Theatre held its Gala, Encore! A Musical Celebration, hosted by Artistic Director Evan Pappas with musical direction by Jeffrey Lodin, on September 22, 2023, at 7:30 PM. Long Island’s premier theatrical showcasing the remarkable talents that ha graced its stages over the past four seasons.
The one-night-only special event featured Becca Andrews (The Argyle’s Legally Blonde, Honky Tonk Chicks)
Tyler Belo (The Argyle’s Spring Awakening, Hamilton National Tour)
Dana Costello (The Argyle’s Cabaret, Broadway’s Finding Neverland, Pretty Woman)
Hana Culbreath (The Argyle’s Disney’s Beauty and the Beast, Annie National Tour)
Alex Grayson (The Argyle’s Spring Awakening, Broadway’s Parade, Into The Woods)
Jack Hale (The Argyle’s Rock of Ages)
Elliott Litherland (The Argyle’s Disney’s Beauty and the Beast, Opera North Carousel)
Michelle Mallardi (The Argyle’s Elf, Footloose, Broadway Disney’s Beauty and the Beast, Les Misérables)
Ellie Smith (The Argyle’s Grease, Miracle Valley Feature Film)
and Ryan Thurman (The Argyle’s Disney’s The Little Mermaid, The Producers).
“It brings me immense joy to celebrate the exceptional talent that has graced our stage over the past four years. Encore! A Musical Celebration is a testament to the dedication and artistry of our alumni, and it’s an opportunity for us to express our gratitude to both the performers and our loyal audience for their unwavering support in creating unforgettable moments.” The Argyle Theatre Artistic Director, Evan Pappas stated.
Living Portraits By Alexa Meade On Display 529 Fifth Avenue
The Fifth Avenue Portrait Collection, a massive public art exhibit by artist Alexa Meade, spanning 180 feet long, is now on display in the heart of New York City on Fifth Avenue and 44thStreet.
All 22 works of art in The Fifth Avenue Portrait Collection are by Alexa Meade, who paints directly on the faces and clothes of live models, creating the illusion that real humans are two-dimensional paintings on canvas. The colorful living portraits are larger that life, with many of them over 12’ tall.
The art is being exhibited on the outside of the building of the former Wonderland Dreams immersive exhibition. Every inch of the 26,000 square foot space was painted from floor to ceiling, using Alexa Meade’s signature style of art which lets you step inside of a painting. It took over 1,000 gallons of paint to transform the space, which was a former Best Buy. Over 100,000 people came to see the Wonderland Dreams exhibition during its year-long run.
Alexa Meade said, “Walking into an art gallery is intimidating for a lot of people, so I am bringing my art outside for people to be able to appreciate while walking down the street. Art is for everyone, and not just those who feel comfortable in galleries and museums.”
The photography in the collection was primarily captured by either Ruby June or Mike Monaghan.
The live models Alexa Meade painted include such high-profile New Yorkers as Tony Award-winning actor Brian Stokes Mitchell, Grammy Award-winning singer Walter Russell III, and Emmy Award-winning journalist Paul Wontorek. Additional Broadway actors painted in the collection include Nadia Brown, Julia Lester, Gus Birney, Jonalyn Saxer, and Matthew Sims Jr.
Alexa Meade painted numerous creative powerhouses for the series, including magician Zach King, writer Amber Ruffin, costume designer Emilio Sosa, producer Eva Price, dancer Melissa Becraft, and composer Helen Park. The models also include Ruby June, Richie Ridge, Keith Hurd, Adrian Richardson, and Shelli Lether.
The Fifth Avenue Portrait Collection is located at 529 5th Avenue steps away from Grand Central Station, Bryant Park, and the Museum of Modern Art.
Alexa Meade, paints on the human body and three-dimensional spaces, creating the illusion that our reality is a two-dimensional painting. As The New York Times describes Meade’s artwork, “Think of it as a Van Gogh — that is, if one of his paintings were brought to life as a performative protest.”
Meade’s art has been exhibited around the world at the Grand Palais in Paris, the Saatchi Gallery in London, the United Nations in New York, Shibuya Crossing in Tokyo, and Smithsonian National Portrait Gallery in Washington, DC. Her artwork has also been exhibited in space, orbiting the Earth on the history-making SpaceX Inspiration4 mission.
She has created interactive installations at Coachella, Cannes Lions, and Art Basel. Meade is widely known for painting on the body of Ariana Grande for her iconic “God is a Woman” music video, which has nearly 400 million views. Her solo show on Rodeo Drive in Beverly Hills was attended by forty-thousand people. With profound pop cultural relevance, Alexa’s art has been upvoted to the #1 position on the Front Page of Reddit. She has been commissioned by Apple, BMW, and Sony. In response to the Covid-19 pandemic, Alexa teamed up with LEGO as a Master Builder for their “Rebuild the World” campaign.
Collaborating with spacetime researchers, Alexa was the first ever Artist-in-Residence at the Perimeter Institute for Theoretical Physics. She has also been Artist-in-Residence at Google, where she worked alongside the engineers advancing Light Field imaging technology.
Meade and her groundbreaking work have been honored with the “Disruptive Innovation Award” from the Tribeca Film Festival. Respected for her thought leadership and non-traditional career path, she has lectured at TED, Stanford, and Princeton. Meade accepted an invitation to the White House under President Obama. Google Arts & Culture selected Alexa as the face of their “Faces of Frida” campaign, celebrating the legacy of Frida Kahlo and the female artists who are carrying it forward today. InStyle has named Alexa among their “Badass Women.”
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