Removing the Gag to Talk About BDSM; Literary Journalism's Effect on Destigmatizing BDSM Stereotypes, an essay by Dylanna Fisher The article discussing Literary Journalism's Effect on Destigmatizing BDSM Stereotypes, contains adult themes, the topic of BDSM. Please be aware there are trigger warnings for mental illness, abuse, and sexual content. Reader discretion is advised. Kinky. Exciting. Sensual. Perverted. Secretive. Mentally Ill. Each of these words describes BDSM (bondage-discipline, dominance-submission, and sadism-masochism) and its stereotypes. The community and its members have been stigmatized because of their sexual and atypical nature. In the past decade, BDSM has become more mainstream with accurate and inaccurate media representations. Because of its emergence into the public eye, journalists have taken to exploring and, as a result, demystifying the topic. Compared to traditional journalism, literary journalism is better able to destigmatize BDSM. Its subjective style and personable approach can expand the audience's knowledge and empathy toward the subject. Academic journalism articles on the BDSM community provide an open discussion, thus lessening its stigma and stereotypes. Literary Journalism began as a shift from the normality of typical journalism to follow a style more akin to that of novelists or biographers (Wolfe, 1973; Hartsock, 2002). Tom Wolfe describes it as "like a novel" because it's precisely that, but not exactly a novel (Wolfe, 1973, p. 9). Literary journalism combines a book's stylistic writing and a newspaper article's reporting. The stylistic report allows a literary flair to otherwise bland, straight-to-the-point "hard-knack" journalism. Hartsock explains that one of the results of this new form of journalism was usually a kind of social allegory "with potential meanings beyond the literal in the broadest sense an allegory's meaning. Largely although not exclusively, that allegory is about embracing an understanding of the social or cultural other" (Hartsock, 2002, p. 22). This other is someone or a group that is separate from the audience. This shows social distance, described as how intimately one interreacts with and understands a social group (Akerlof, 1997). It's easier to view a minority with over-generalizations. If there is a significant social and contextual distance, that results in those terms being "more abstract, schematic, and decontextualized terms" (Yang, 2015). This distance creates difficulties in altering inaccurate stereotypes of BDSM as those with a significant social space tend to "ignore individual differences and, as a result, make it difficult, if not impossible, to illustrate the existence of subgroups that behave differently from the majority of the population" (Akerlof, 1997). Literary journalism provides a sympathetic connection between the subject and the reader that works to lessen this social distance. Media can give various representations that reinforce and maintain stereotypes or a counter-stereotype that challenges and alters existing views (Yang, 2015). Having the BDSM group as part of a vastly distant "other" merely reinforces the stereotypes and limits sympathy for them as the other, thus further reducing individuals' motivation to seek out accurate information on them (Yang 2015). This lack of contact between the viewer and the stereotyped minority limits the chance for people to change their stereotypical views and gain an accurate representation of the minority. By portraying minorities in a counter-stereotype framework, the authors provide a new context. Regarding literary journalism, the 'other' is given additional context with each article that shifts how they're viewed. The BDSM community allows people to explore sexuality, sexual identity, and sexual inclination in a comfortable and safe environment (Brown, 2010). A specific description of the community is complex because each fetish is diverse and individual. "If one is fascinated with dressing like a panda bear and rolling around in public to be petted, that person can find a place in the BDSM community" (Brown, 2010, p. 7). This group is not a tiny minority. One study shows that as far back as 1953, people were interested in BDSM (Kinsey 1998). men (50%) and women (55%) reported responding erotically to being bitten, as well as men (22%) and women (12%) said an erotic response to a sadomasochist story (Kinsey, 1998). In the 2005 Durex Global Sex Survey, 33% of Canadian adults have had sex using masks, blindfolds, or other forms of bondage (p. 15). Human sexuality expert Dr. Lehmiller published a study over two years that found 47% of women and nearly 60% of men interviewed fantasized about being sexually dominating (2018). Despite the numbers, there is stereotyping, stigmatization and discrimination (Richters et al., 2008; Wismeijer & van Assen, 2013). Stereotypes cause the entire community to be seen as dangerous, sick, and immoral. One of the most prevalent stereotypes is that BDSM is harmful, abusive, sexual, or otherwise. In reality, the one overarching rule in the community is "safe, sane and consensual" (Zambelli, 2013). Typical and proper BDSM relationships are thoroughly negotiated. Safety, sanity, and consent are constantly present. As Sarah Beall, the Madam Curator at Make Love Not Porn, explains in an interview, "In order to have a truly safe, consensual, and sexually satisfying kinky sex life, they have to learn to communicate more than the average bear" (Rinzler, 2015, para. 6). As in every community, however, some outliers don't adhere to the rules and cross the fine line into abuse. As a result, they give a bad name to the rest of the community. In an interview with BBC's Soraya Auer, a sex blogger, podcaster and author, Girl on the Net explains that "BDSM is to abuse what boxing is to being punched by surprise. The former is done with consent and an understanding of risks. The latter isn't and is assault" (2018). Another prominent stereotype is the assumption that they have something psychologically wrong with them, anxiety, PTSD, depression, or a history of abuse. This stereotype has been perpetuated by the psychoanalysis and psychopathologizing of psychologists like Richard von Krafft-Ebing and Sigmund Freud (Brown, 2010). Krafft-Ebing discussed the types of "perversions" to diagnose "sexual degenerates" in his novel Psychopathia Sexualis (1886). Freud continued the psychoanalysis of "sexual deviants" and renamed all sexual deviation under sadomasochism (1906). They had a tremendous effect on BDSM and the stereotypes of deviancy and perversion. Later those psychoanalysts affected how the medical world sees BDSM. The DSM5 considered sadism and masochism, along with other BDSM kinks, as a disorder under the definition of paraphilia (American Psychiatric Association, 2013). Thus, it furthers the mentally ill or unfit stereotype. This diagnosis has been misused to persecute and prosecute sexual minorities and BDSM subcultures (Brown, 2010, Moser & Shindel, 2010; Reiersøl, And Skeid, 2006). As of 2015, adults consenting to atypical sexual behaviour are no longer considered mentally ill under paraphilia (American Psychiatric Association, 2013). This has changed because of the massive effort of the National Coalition for Sexual Freedom (NCSF), a sexual advocacy group. However, there isn't any defence or legal protection for those who engage in BDSM from being outed and having that used against them in court or blackmail (Mincer, 2018). Being in the BDSM community comes with risks within the courtroom in cases of consent, assault, child custody, domestic violence, property rental, job termination, and employment discrimination (Brown, 2010; Moser & Shindel, 2010; Reiersøl & Skeid, 2006). Those psychological illness stereotypes are not accurate. A study from the Journal of Sexual Medicine found that the results were more favourable for BDSM practitioners compared to the control group in terms of neuroses, rejection sensitivity, extraversion, open-mindedness, conscientiousness, and subjective well-being, yet were less favourable in terms of being less agreeable (Wismeijer & van Assen, 2013). Studies tend to agree that BDSM is simply a sexual preference or interest, a subculture for sexual exploration and not an unhealthy practice resulting from a mental illness or abuse or difficulties with 'normal sex' (Richters et al., 2008; Wismeijer & van Assen, 2013; National Coalition for Sexual Freedom, 1999). Regardless, these stereotypes persist. Although these are difficult to overcome, there has been increasing awareness of BDSM within media such as advertisements, billboards, film, television, and news. It's been diversified and prominent throughout media and is "no longer confined to Haute fashion or the occasional reference; SM has saturated popular culture" (Weiss 2006 p. 108). The film 50 Shades of Grey is one recent and well-known example. Although it wasn't the first, BDSM appeared in films as early as the early 20th century. Regardless, 50 Shades of Grey helped bring BDSM to mainstream media arguably more than others that came before because it went viral. These media representations of BDSM are no longer just sexualized, shocking, exotic, and thrilling depictions but showcase the kink community in more of a mundane context. Within television programs, "viewers are offered not only sexy and scandalized depictions on late-night cable television shows, docudramas, or prime time crime dramas, but also friendly and upbeat depictions on prime-time situation comedies, soap operas, and home and garden shows" (Weiss, 2006 p. 109). Within the community, it's debated whether these film and television representations are more beneficial or harmful. There hasn't been a clear shift in terms of stereotyping. Instead, it is simultaneously a mixture of "mocking and sincere, normalizing and pathologizing" (Weiss 2006, p. 121). On the one hand, these portrayals of BDSM bring them into the public conversation allowing it to be more normalized. As BDSM is represented more and within more contexts than before, "it has also come to signify something more mainstream and more conventional, something less exceptional, extreme, or unusual" (Weiss 2006, p. 111). Simply, it makes the topic more mundane and thus comfortable to discuss. On the other hand, it's not as beneficial as it could be. More representations of BDSM in media are not necessarily progressing, as there's no straightforward way to determine the correlation between increased visibility and acceptance. Many media examples are inaccurate portrayals of healthy BDSM relationships, further reinforcing the existing stereotypes. The community is often inaccurately portrayed as it only receives attention in limited quantity, where it's often shown negatively and commonly limited to crime drama (Brown, 2010). For example, 50 Shades of Grey received backlash from the BDSM community for its inaccuracy more than any other film (arguably because of its popularity and not its comparable inaccuracy). In an article by Anna Smith, Jon Blue, a BDSM practitioner, was quoted as saying, "Christian is manipulative, controlling, and has all the characteristics of a psychopath. In the end, he proved his point by beating her up, then being charming again" (2015). E. L. James' novel may be significant as erotica, but it's an inaccurate and unhealthy BDSM relationship. Although it gives an incorrect and poor description of consent and a negative exploration of feminism, it offers discussion openings (Moen, 2015). BDSM in the mainstream media allows people to look at it without being considered taboo. Those stereotypes can be rewritten with an open discussion to show accurate representations. Literary journalism is at the personal level, one that immerses the audience in highlighting the "importance of honouring and valuing sexual subcultures, seeking research funding and community support systems, and fighting for the political necessity of diverse forms of sexual expression" (Fahs, 2009 p. 422). The subjectivity of literary journalism takes the heart of the story and makes it relatable instead of an article that states what's happening. Katie Van Syckle's "A Crash Course in Kink" introduces the kink community in a first-person personal feature (2018). She puts her writing in the framework of exploration and curiosity instead of accusing or pathologizing. The BDSM community's most prevalent stereotype is that of danger and abuse. Articles outlining the "safe, sane, and consensual" motto counteract that stereotype. Valeriya Safronova and Syckle authored another piece for the New York Times called "The Boundary Between Abuse and BDSM." This article outlines the fine line between BDSM and abuse while contrasting BDSM practices to sexual assault allegations (2018). Soraya Auer, a BBC journalist, continues this sentiment and discusses consent with sex experts and prominent community members, such as sex coaches, bloggers, researchers, and business owners (2018). This is an important topic as there have been several sexual assault allegations against people, such as Eric Schneiderman and Jian Ghomeshi, who try to excuse their behaviour as a part of a BDSM relationship (Mayer & Farrow, 2018; Stryker, 2014). Whether these allegations are true, these examples negatively impact BDSM as it reinforces the stereotype of BDSM being a cover for abuse. As well it highlights the difference between BDSM and abuse. Several articles, like Safronova, Syckle, and Auer, write that the fine line is obvious continuing consent. Literary and journalistic articles allow a better sense of understanding of the world of BDSM. Tina Horn has authored several articles highlighting the community, such as "Why Are People into That?!" a current column podcast written for the establishment, covering a range of specific kinks (2016). A seemingly endless list of kinks and fetishes adapted to the individual(s) engaging in them exists. James Nichols, a writer for Huffington Post, explores one such kink; puppy play (2016). This form of kink is often a subcategory of a power dynamic where one roleplays the pet or puppy mentality while the other takes on the role of owner. From there, the rest is up to the people within the relationship, leading to a lot of subjectivity and variety. Puppy play is one example of a subculture within the BDSM community based around pet play and was formed from the leather scene (Nichols, 2016). The leather scene is another subculture and kink that focuses on leather. Matt Baume, a Rolling Stone writer, discusses the leather scene "thought to have grown out of the post-World War II biker scene, which tended to be dominated by uniforms, buzz cuts, and military honour codes. It was an aesthetic that resonated with gay men who couldn't identify with the more effete stereotypes of the time" (2017). Horn, Nichols, and Baume are just a few examples. Articles focusing on specific interests show that the community's preferences are as diverse as the individuals'. Literary journalism articles destigmatize even more by writing features that focus on specific individuals. In part, the readership gets to know the people personally, thus limiting the social distance and the stereotyped view of them. Amanda Duberman writes about Mistress Velvet, a professional dominatrix who requires clients to read black feminist theory to emphasize the power dynamic between men and women, specifically, submissive white men and dominant black women (2018). Tina Horn has interviewed and featured many members of the BDSM community, including actor James Franco and Christina Voros, the producer and director of Kink, a documentary about the fetish pornography website Kink.com (2014). Jamie Feldman visually outlines the lives of BDSM practitioners by comparing them in and out of their kink attire (2018). These photos weren't merely about the depth of human sexuality but of self-expression. The photographer, Michael Topolovac, explained, "There was a common thread of, 'Hey, this is us. We're complicated. We're diverse. We're expressive'" (Feldman, 2018). A counter-stereotype improves the stigmatization and negates the stereotype by providing a larger context (Yang, 2015). These articles highlight people within BDSM and show they're social advocates, directors, documentarians, actors, producers, writers, and photographers. Stereotypes of the BDSM community are incorrect, resistant, and commonly shared within the majority. Destigmatization is essential regardless of the group as it demystifies aspects of the human condition and allows people within BDSM to be accessible without fear of stigmatization or discrimination. The connection between BDSM subjects and the audience limits the social distance and lessens inaccurate stereotypes. With the increasing representation of real BDSM relationships, the views will change from false stereotypes. References American Psychiatric Association. (2013). Paraphilia. In Diagnostic and statistical manual of mental disorders (5th ed.). DOI:10.1176/appi.books .9780890425596.744053 Akerlof, G. A. (1997). Social Distance and Social Decisions. Econometrica, 65(5), 1005. https://doi.org/10.2307/2171877 Auer, S. (2018, May 13). BDSM and consent: How to stop rough sex crossing the line into abuse BBC Retrieved from www/bbc.com Baume, M. (2017, August 18). Inside the Changing Leather Scene: As the stigma against BDSM and kink subsides, how does a long-underground culture move into a new era? Rolling Stone. Bogardus, E. S. (1933). A social distance scale. Sociology & Social Research, 17, 265–271. Brown, T. (2010). "If Someone Finds Out You're a Perv:" The Experience and Management of Stigma in the BDSM Subculture. (Electronic Thesis or Dissertation). Retrieved from https://etd.ohiolink.edu/ Duberman, A. (2017, February 13). What You Won't Learn About Bondage In 'Fifty Shades Of Grey.' Huffington Post. Duberman, A. (2018, February 13). Meet the Dominatrix Who Requires The Men Who Hire Her to Read Black Feminist Theory. Huffington Post. Durex (2005). Give and receive. 2005 Global Sex Survey results. [online] Durex. Retrieved from http://www.data360.org/pdf/20070416064139.Global%20Sex%20Survey.pdf Fahs, B. 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A Test for Sexual Privacy, William & Mary Bill Of Rights Journal, 26 (3) Retrieved from http://scholarship.law.wm.edu/wmborj/vol26/ iss3/9 Moen, E. (2015). Oh, Joy Sex Toy: 50 Shades of Grey . [webcomic] Retrieved from https://www.ohjoysextoy.com/50shadesofgrey/ National Coalition for Sexual Freedom (2008). NCSF Violence and Discrimination Survey. National Coalition for Sexual Freedom. Retrieved from https://ncsfreedom.org National Coalition for Sexual Freedom (1999). NCSF Violence and Discrimination Survey. National Coalition for Sexual Freedom. Retrieved from https://ncsfreedom.org/component/k2/item/452-ncsfs-violence-and-discrimination-survey.html Nichols, J., M. (2016, October 3). Get A Glimpse into The World of Puppy Play: "[It's] a rejection of the human and an adaptation of the primal." Huffington Post Retrieved from www.huffingtonpost.ca Odd R. PhD & Svein S. (2006) The ICD Diagnoses of Fetishism and Sadomasochism, Journal of Homosexuality, 50:2–3, 243–262, DOI: 10.1300/J082v50n02_12 Richters, J., De Visser, R., Rissel, C., Grulich, A. and Smith, A. (2008). Demographic and Psychosocial Features of Participants in Bondage and Discipline, "Sadomasochism" or Dominance and Submission (BDSM): Data from a National Survey. The Journal of Sexual Medicine, 5(7), pp.1660–1668. Rinzler, L. (2015, February 21). How Many People Are Doing S&M? We Decided to Find Out: Sex surveys are the best surveys. Marie Claire. Retrieved fromwww.marieclaire.com Safronova, V & Van Syckle K. (2018). The Boundary Between Abuse and BDSM: Politicians accused of abusing their sexual partners have put the community's practices in the news. The New York Times, Retrieved from www.nytimes.com Shindel, A. & Moser, C. (2010). Why Are the Paraphilias Mental Disorders? The Journal Of Sexual Medicine. 8. 927–9. 10.1111/j.1743–6109.2010.02087.x. Smith, A. (2015, February 15). 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Corruption In Canadian Companies Abroad by Dylanna Fisher This portfolio piece provides a summary of an article titled "Corruption in Canadian Companies Abroad" by Dylanna Fisher. The article explores the Canadian Corruption of Foreign Public Officials Act, legislation implemented in 1998 to curb corruption by Canadians and Canadian businesses in foreign markets. The act aims to ensure fair competition and prevent the bribery of foreign officials. The article highlights the five main elements of the legislation, which include the involvement of individuals or businesses, the provision of advantages, benefits to foreign officials, and the exchange of bribes for desired actions. It discusses the benefits of the act, such as promoting transparency, protecting vulnerable groups, and dissuading organized crime and terrorism. However, it also acknowledges potential downsides, such as limiting economic growth and hindering free trade. Read this article at Medium.com.

Edmonton Witchery Market , published in the Griff by Dylanna Fisher Just off of Edmonton’s artistic Whyte Ave is the Acacia Hall, the venue for the Witchery Market. It all started with a witch and a faerie wanting a place for people to come. Read more about this topic at The Griff or at The Witchery Market Website .

Freelance Writer for a range of Upwork clientele since the beginning of 2018 I am an experienced freelance writer on Upwork with a strong track record of delivering high-quality work. My profile showcases my versatile writing skills, seamlessly adapting to different subjects and publication styles. What sets me apart is my ability to combine creative writing with academic rigour, creating captivating content while maintaining credibility through proper research and citation. I have completed two projects and have three ongoing ones, establishing myself as a dependable and efficient freelancer. My expertise lies in remote work, meeting deadlines, and multitasking. When you collaborate with me, I promise to deliver a remarkable writing experience that engages your audience and enhances your message to a new level. Learn more about my work at Upwork by visiting here .

Starting from the ground up: Red Jade an international martial arts school published in Best Version Media Sports by Dylanna Fisher Red Jade is an international chain of martial arts schools. Known for their high quality of authentic teaching styles. Shifu Neil Ripski started as a young kid with a simple interest in martial arts. In 1986, he took a martial arts class at a local gym and found a passion.... Read more at Best Version Media Sports !

Finding the Sweet spot — Locations for an industrial model shoot Published in Toxic Dolls by Dylanna Fisher. Industrial photography is photographs taken in settings with man-made structures of some kind in them. Concrete, brick, metal, synthetic materials making up urban structures of some form or another create the industrial setting. It makes a raw edgy photo for whatever you want to photograph. It's all about location. Having a fantastic spot for a photoshoot really makes an amazing industrial model shoot. Please read this article about industrial model shoots and where to find them at Toxic Dolls .

Trending Body Modification published in Toxic Dolls by Dylanna Fisher In basic terms, body modification is when an individual deliberately alters their physical appearance. It’s a term typically applied to practices such as tattooing, or surgery, or branding or piercings. These styles aren’t anything new, people have modified their bodies for centuries for beauty, status, rebellion, and simply just individuality. Read more about this topic at Toxic Dolls .

Creating Awareness of Suicide; The Story of The Semicolon Tattoos published in Toxic Dolls by Dylanna Fisher The semicolon is more than just an understated piece of punctuation. They’re also the iconic image of a mental health awareness and suicide prevention organization called Project Semicolon. Read more about this topic and semicolon tattoos at Toxic Dolls !

More Than A Piece Of Paper; How To Improve Your Resume & Cover Letter published in Foster Care Headquarters by Dylanna Fisher #LifeSkills #CoverLetter #Resume #GettingAJob Laying on your desk or chilling on your desktop is your resume and cover letter. All of your experience and skills are summarized on a single piece of paper. But is it enough to get that dream job? Read the article here at Foster Care Headquarters!

From Airplanes to Apartments published in The Griff , by Dylanna Fisher Blatchford is a new community being built on 536 acres of land in the heart of Edmonton, where the City Centre Airport used to sit. This will be a neighbourhood different from any other in Edmonton, as the aim is for it to be entirely environmentally friendly. Read more about the Blatchford community at The Griff, and Blatchford .

Phantom Thread Review published in The Griff by Dylanna Fisher Phantom Thread is a romantic drama, directed and written by Paul Thomas Anderson and released in 2017. Although two years old now, it’s a film that continues to be slightly perplexing. Please read either here or at the original article at The Griff . Phantom Thread is a romantic drama, directed and written by Paul Thomas Anderson and released in 2017. Although two years old now, it’s a film that continues to be slightly perplexing. As a romantic drama, it’s part of a genre that tends to repeat itself. That’s an unfortunate aspect of film today. Genres mimic or build upon each other. Romantic dramas seem to be unrealistic or overly serendipitous, overtly dramatic, naïve, and even painfully predictable. In that regard, Phantom Thread , it’s not like other romantic dramas — and that’s not necessarily a good thing. It’s realistic in the sense that the characters aren’t perfect. They don’t even appear to be in love, so much as they’re living in some kind of possessive dependent infatuation. From the start, Daniel Day-Lewis’ character, Reynolds Woodcock, is like the silver fox at the bar who keeps watching you, while sipping his dry martini. Alma, played by Vicky Krieps, is young and seemingly naïve but is manipulative underneath. Each is using the other for their own purpose, and that’s what keeps them together. Because of that, their love, or infatuation, makes sense. As far as drama goes, it was in a way not dramatic enough for a romantic drama. The plot is slow and tedious, focusing on mundane details like Reynolds’s painstaking daily routine. The couple’s dependent relationship should have been explained, or at least explored a bit more. In the end, despite the deliberate pacing, the film misses things. This film beautifully focuses on the details but in doing so sacrifices the overall narrative. The usual innocence of romantic dramas doesn’t appear in this film. The overarching theme has a very dark feel to it, which is in a way refreshing. Director-screenwriter Paul Thomas Anderson takes romance and defines it differently to keep the audience on its toes. In this film, romance isn’t something sweet and tender, or something sensual and driven, or even something dreamy. It’s tender, passionate, obsessed, and distant. Looking at the two as a couple, their romance is almost a metaphor for both sickness and its cure. The leads are not a typical movie couple. They don’t fight and then makeup while kissing in the rain or fix their relationship by becoming better people. They aren’t a dramatic couple that maliciously try to kill each other. Reynolds and Alma are rather creepy in their own possessive and dependent ways. Fortunately, Phantom Thread takes a different romantic perspective but focuses too much on the narrow perspective and the alternative romance to tell a story. The plot throws a lot of curveballs without fully explaining what those meant or how they fit into the larger narrative. Phantom Thread leaves the audience confused and slightly concerned for the wellbeing of both parties. This film brings a different take to romantic dramas by way of the plot, and the characters which create more of a haunting warning than a dreamy love story.

Everything Sucks! Review Published in The Griff By Dylanna Fisher Everything Sucks! is designed to remind everyone of their time in high school and how awful everything about it was. The creators, Ben York Jones and Michael Mohan, have produced a relatable and quirky rendition of the high school coming-of-age story set in the ‘90s. Read the review either here or at the original article at The Griff. Everything Sucks! is designed to remind everyone of their time in high school and how awful everything about it was. The creators, Ben York Jones and Michael Mohan, have produced a relatable and quirky rendition of the high school coming-of-age story set in the ‘90s. It’s reminiscent of Richard Donner’s Goonies — kids dealing with growing up. Though, whereas Goonies is of its time and produces nostalgia upon watching it today, Everything Sucks! is a collage of nostalgic imagery in television form. The overall effect can be heavy-handed. The setting is set specifically in high school during the mid-’90s, and the producers make that blatantly clear. It’s filled to the brim with the pop culture of the decade. There are so many moments that could have been screenshot with the meme caption “only ’90s kids remember this.” There are countless minor details: Troll dolls, Blockbuster Video, old Gatorade logos, VHS tapes, hacky sack, Star Wars , Surge. Add to that a soundtrack full of ’90s hits — including The Verge’s “Freshmen,” Oasis’s “Wonderwall,” and Deep Blue Something’s “Breakfast at Tiffany’s” — and you’ve captured the essence of the time period. The script brings the ’90s forward with slang such as “all that and a bag of chips,” “capiche,” “exsqueeze me,” and “oh snap.” The dialogue not only does a great job of recreating the ’90s but also of depicting the vagueness of teenagers in high school. Students speak like students. It may seem like a slight detail but that subtle realism enhances the show’s relevance. The cast is well-chosen and age-appropriate. It’s refreshing to see 14-year-olds played by 14-year-olds, and 18-year-olds played by 18-year-olds instead of adults. Jahi Di’Allo Winston, as series lead Luke O’Neil, and Peyton Kennedy, as his love interest (and closet lesbian, and principal’s daughter) Kate Messner, are awkward, adorable, and relatable. However, they aren’t the only ones completing the high school experience. All the actors portray the personalities and ticks of their character well, from Rio Mangini’s painful but effortless awkward McQuaid to Sydney Sweeney’s drama queen Emmaline. These are high school personalities that never come across as condescending or cynical. You could argue that the series is overly optimistic about high school and home life. The series brought to light several circumstances that not many coming of age stories do. These issues include belonging to the LGBTQ community, dating as a single parent, and dating in general. Life isn’t easy and it’s never straightforward. And Everything Sucks! portrays all these circumstances as sticky and confusing. In life, everything does suck at times. But this series is trying to show that life is also so much more than that. Airing in 2018, this show only aired for a single season before being cancelled. The reason being that although the audience was passionate, there weren’t enough of them. Many people were turned off before the first episode ended and, well, turned it off. I was one of the few anticipating season two, waiting on the edge of my slightly broken recliner. Everything Sucks! set itself up to continue the story with foreboding metaphors, and cliffhangers for nearly every character. The cancellation leaves more than a few ‘what ifs.’ For those that have watched (or will watch) Everything Sucks! , what do you think would have happened in a hypothetical second series?

Bohemia Event Photoshoot for Misplaced Intentions by Dylanna Fisher Misplaced Intentions , is an Edmonton based heavy-rock band that is aiming for the stars. They have a few cover songs but are aiming for more original songs in the future. The band is made up of Matthew Lindholm (vocals and guitar), Tyler Baker (lead guitar), Landon Berezanski (bass), and Keilan Thompson (drums). Below is a series of photographs from a concert at Bohemia, which is an artful live music and performance venue located in downtown Edmonton. These are photos of Misplaced Intentions at the concert on March 23rd, 2018.

Pendulum Board Graphic Design by Dylanna Fisher for a freelance client, Starria R. This pendulum board project illustrates my ability to create enthralling and aesthetically pleasing designs. With unique and meticulously produced designs, I have proven my adaptability, ingenuity, and attention to detail. My designs include various styles to suit different interests and inclinations, from sophisticated geometric patterns to charming heavenly themes. No matter what the project's requirements or aesthetics are, I customize my designs to meet them. To establish a seamless link between the user and the divination tool, each design is specifically chosen to suggest a mood, purpose, or topic. These designs feature a variety of styles to appeal to a range of interests and inclinations, from sophisticated geometric patterns to captivating heavenly images. This project demonstrates my commitment to creativity, artisanship, and visual storytelling.

Long Long Legs By Dylanna Fisher for The Edmonton Story Slam I can’t really remember where we were on the highway between home and camping. It doesn’t really matter though. I guess location didn’t have much relevance. We were a few yards away from it and I could tell what it was. This was one of the first times, I’d actually caught a good look at a dead animal. I’m not saying I’ve never been around dead animals, but for whatever reason, I was never able to actually see them. Though here I was. Those first moments were filled with a mutual silence as we both noticed it at the same time. The carcass was subtle like smoke against a cloudy sky. You could barely see the difference, but you couldn’t see it at the same time. I’m not sure if that makes sense but it did when you saw our reactions. Even as we stopped laughing, the music faded behind us. The sounds of our voices and the tunes of the radio were left to hang in the air to become thin. Then came the moment that we were side by side. The driver stared ahead. Focusing on the road, the trees on either side of us. The living trees. I instead stared at the body on the road. It was just lying there. As still as death and as dead as the stillness around it. I continued to stare at it, at the long legs covered in soft pale fur. To call the legs white would be too harsh and beige too mundane. Its legs extended parallel to the road. Beautifully parallel. I could see a coat under the carcass. It looked like a pool of caramel hidden under a grave. That’s all I saw, and it was over. Too soon it was the moment after. We were driving away and began talking about something irrelevant to the concepts of life and death. We didn’t talk about the corpse and probably never would. I’m sure that if we had stopped, we would have been able to find out what colour it was. To find out if the coat was really the colour of caramel, or if it was a mere trick of the sun or autumns leaves. I would have noticed the gore if there was any. The trauma of death. Some telltale sign as to how or why this animal had to die. I’m sure I would be able to see its eyes. Whether the shine within our eyes abandons us upon death or if it lingers as a remnant to what was lost. At the very least I would know what kind of animal I was mourning. I guess it could’ve been a deer. But during that moment, all I saw were the legs. What a funny thing to focus on. I think back and can only associate those legs with freedom. What a notion to connect freedom with a creature that wouldn’t move again. Throughout the day, those white legs followed me. I couldn’t help but think about them. Until I wasn’t thinking about them. We arrived at the campsite and the distraction began. Those legs once bright in the front of my mind were soon pale and fading to the back of my skull. It didn’t seem like long, but the distractions lasted until night fell. As the last glimpse of the sun left our campsite, we sat around the campfire. It only took one person to look up and soon everyone was star gazing. I tore my eyes away from the pinpoints of light to look at who I was sharing the sight with. My sister, father, uncle, and cousin, all circled around burning wood to gaze at something burning light-years away. I looked around the fire and just took a moment to appreciate the ones around me. It was peaceful, and for whatever reason, which triggered the memory of the animal’s legs. I felt my eyebrows furrow, but it was invisible to the others. As I returned my focus to them, I heard my uncle chastise my cousin, Brody for getting too close to the fire. Brody was the youngest of the campers still awake, youngest of the ones sleeping too, come to think of it. Seconds passed and like many young kids, he did it again. This time he went too far and fell forward. My uncle didn’t miss a beat and pushed him back against his little Pixar camp chair. It teetered slightly before bringing the panicked little boy to a stop. I could hear his breath snagging as he cried. He had tears running down his face. Although I couldn’t see them, I could feel the echo in my chest. His father repeated Are you okay until he got an answer. My knee is all that the poor kid could get out. My uncle asked again if he hit it on the ground or the fireplace. Understandable because one was a simple booboo while the other might mean a bad burn. He didn’t answer the question, instead, he answered with hysteria. I don’t wanna die. I don’t wanna die. I don’t wanna die. I don’t want to die. After some artificial light, we learned that Brodie wasn’t hurt merely terrified. I couldn’t help but think about that animal in the middle of a highway. It must have been both hurt and terrified as it died alone. Forgotten, save for its long pale legs. I wonder if the animal was thinking the same thing as Brody. I don’t want to die. I don’t want to die. I don’t want to die. But it did die.