Social media list. [Sticky]

December 21, 2016

in Meta

So, you’d like to connect with me on social media. A wise decision, I think, and I look forward to seeing you around. Here are the accounts that I use:

twitter Updated daily and contains all the kinds of personal information that I don’t want to bleed out to the world, so please forgive me if I don’t link to it.
twitter (Grassonmydesk): I don’t check Twitter very often, so please don’t be offended if I never retweet or favourite you and then retweet everything you’ve published for the last month.
facebook (Sarah McCulloch): Updated whenever I apply for a job or I think, “Ooh, that’ll be good to put on LinkedIn”. I really like keeping up with what people are doing career-wise, so do add me.
instagram (Grassonmydesk): Updated whenever I have something appropriate and I remember to post to social media via Instagram.
twitter (Grassonmydesk): Irregularly updated, where I post things I found cute, funny or pretty, no sad things ever. Follow if you want to feel better about life.
twitter (SarahMcCulloch): Subscribe for generally random videos that I either shot or edited, or for updates on new additions to my public playlists of terrible music (as judged by all my musical friends – I like McFly and I am not ashamed).
twitter (SarahCavie): A gamified language learning website. Battle it out with me to see who can learn French, Irish or Hebrew the fastest. I find this surprisingly motivating, give it a go.
twitter (Amatorlibrorum): A book cataloguing social network. I’m sure almost no-one reading this will be a member of LibraryThing, but if you’ve ever wanted to check out my extensive book collection (as faithfully recorded since 2008), or show off yours, or swap book recommendations, follow me here.
spotify (Sarah Cavie): My music habits are broad and also mainly electronic.
twitter (SarahtheOT): For autism and occupational therapy strategies and related content.
twitter (Sarah McCulloch): For completeness’ sake. Updated annually, generally on the topic of how much I think Google+ sucks as a concept.

I am also on Skype, Snapchat and Whatsapp, but I’ve already given you my phone number if you’re going to be communicating with me on any of those.

Speak soon. :)

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Well, that was…intense. Ian McKellen was asked by the Chicester Festival Theatre, where he started his professional career many decades ago, if he would star in a play of his choosing, and he felt that he would like to “have a another crack at King Lear”. He asked for the smallest stage they had for intimacy with the audience and another a successfull run, they transferred it to the Duke of York theatre in London, which is one of the smallest in the West End, made smaller by removing a load of the seating. I caught an encore of the NT Live performance held at the Curzon Bloomsbury.

Ian McKellan is 79 and has basically said this is his last major Shakespeare role and I am not surprised that he’s giving it up. Over the course of three and a half hours, he gave a high-energy performance that involved a lot of shouting, raving half naked in pouring rain for half an hour, carrying another person across the stage, and generally thoroughly wearing me out and I was only watching him on a screen.

I don’t know where the abbatoir scenes are set historically but it was creepy af.

All the more surprising given that King Lear isn’t actually in a lot of the play and disappears for most of an Act. I’d never seen or read it and so I did not realise that there’s actually a whole load of subplots that I’d never absorbed in popular culture. King Lear is based on a legendary British King described by Geoffrey of Monmouth who divided his kingdom among two of his daughters and immediately regretted it when they failed to keep him in the style to which he was accustomed. Interestingly, Geoffrey’s story ends with Leir taking his kingdom back by force, but Shakespeare evidently thought this a dissatisfying ending and instead has pretty much everyone die horribly.

The Earl of Gloucester about to lose it to a creepy Regan

This was played up in Jonathan Munby staging – a subplot features the Earl of Gloucester, who is hosting Lear’s daughter Regan and the Duke of Cornwall when he is framed by his bastard son Edmund as a traitor, having already dispatched his legitimate brother Edgar in similar fashion (who then spend much of the play also covered in blood and dirt pretending to be mad so he isn’t murdered). Gloucester, having gone out in a storm to look for Lear after he has been turned away by both his daughters as a burden to them, then has his eyes gouged out. This scene is pretty gross and drawn out. It’s set in an abbatoir and Regan’s contribution is to put on the radio and writhe sadistically in delight, which was all quite off-putting. Gloucester is then turned into a pathetic figure and both he and Lear spend much of the next hour gloomily roaming round the stage covered in muck and sweat bewailing the state of affairs.

Two older gentlemen getting thoroughly dishevelled and messed up in the name of art.

It was a good play but the first half lasted about forty minutes longer than I wanted it to, and basically, it’s not Hamlet if we’re looking at Shakespear’s epicly long plays, and really there was far more shouting at the tops of people’s voices than I thought was necessary. A bit too high energy for me.

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