The Beacon is located at the very edge of Columbia City, nestled in a wall of ivy and wedged between nail salons and a neon-illuminated funeral home. The single-screen cinema opened its doors in 2019, boasting an eclectic mix of curated films. Amidst the popularity of Robert Eggers’ new film, it’s only logical for a place like The Beacon to showcase one of its predecessors: Werner Herzog’s Nosferatu: The Vampyre. 

So we have a youthful, impetuous character on our hands. The brash invasion into the city from the forest differentiates him from his fellow Way of the Bird King kin. His stance—crushing a bench under his foot with two open, ready-for-action hands at his hips—seems to invite a challenge. Yet his demeanor is not overtly hostile and resembles more of a teenager's defiance. He seems possessive of the National Nordic Museum, posted at the entrance like a guard.

Roller derby is a sport built on grit, strength, and feminism. These qualities distinguish it from most mainstream sports, which are dominated by men athletes and administrators. Even where women’s leagues exist, the structures that support them are often still dictated by men-dominated decision-making. Roller derby stands out because its foundation has been shaped by women. It is one of the few sports where women aren’t just participants, but are the driving force behind every aspect of the game.

I found them in the middle of their half-workspace, half-gallery corner of flea market paradise. They were surrounded by their signature beso bears and clutching a black marker with a corgi sock as a custom grip. A 6x4’ painting with three bears appearing to pounce in place in a meadow with a stream hung overhead. A few sculptures—conglomerations of various scavenged items—were placed at the edges of this scene to delineate the creative zone.

Bruun Idun, your ancestors saw the glacial ice as it covered the world. They watched as it receded and carved this land. The retreating ice dug deeply for water to seep and swell, rising to fill basins. The water created islands, inlets, bays, coves, straits, and peninsulas. It teemed with life birthing new species and giving a home to others. The whales ruled near the surface and the octopuses kept their kingdom below the murky depths. The water blossomed as the land called to new creatures.

We the Trolls of the Sound

Wish for you to gather ‘round

As we tell our tale of all our deeds,

Our arrival here, our sowing seeds….

“Long ago,” Theo said, “this land was ruled by beings of another world. Sprites and hidden folk. Nymphs and animal spirits. But the largest of all were the trolls.” He gestured to the giant ahead, and Thomas took in the vast, wooden creature, awestruck. “They tended to the land, caught fish in the rivers, and planted trees. Then one day, Man came to the forest. With axes brandished, they felled the trees that had been planted. They tore up the land and declared it their own.

“A moot was held in the forest between all who lived within it. The rodents cried out, filled with terror, ‘What do we do?’

i.

my heart splits into six fragments.

and the king is the first to rise.

ii.

he gazes out at all the birds that

comprise his myth and his monarchy.

iii.

feathers descend like snowflakes while whales

salute and serenade with blowhole trumpets.

NB: Thank you so much for agreeing to this interview, Mr. Kraken. I think a lot of people were confused when the Seattle Kraken’s mascot turned out to be…not a Kraken. Can you give us the inside scoop?

BK: Call me Brodie. Mr. Kraken is my dad and he's a huge bummer. I’m so stoked to get a chance to set the record straight, man. It’s been heavy since that little troll weirdo got picked over me.

I had last been to the Punk Rock Flea Market (PRFM) in July, while they were hosting the Seattle Zine Fest. The legendary market is currently hosted at 416 15th Ave E—the retail space of an old QFC. Capitol Hill Seattle Blog's Justin Carder chronicled the PRFM's journey, saying it has filled voids in the community by occupying the retail spaces of at least four shuttered storefronts.

One of the great American seafood sins of our times pertains to albacore tuna, specifically that we view this truly beautiful and delicious fish as essentially canned cat food. Shockingly few Pacific Northwest denizens are even aware that the waters off our coast are a notable seasonal albacore fishery, one rated Best Choice by the Monterey Bay Aquarium’s Seafood Watch List no less. Sometimes you just need to hit the docks of Fishermen’s Terminal to learn the truth. Enter Joe Malley, captain and owner of 95’ fishing vessel St. Jude.

So obviously, when I saw that Daft Punk was re-releasing their 2003 animated film Interstella 5555: The 5tory of the 5ecret 5tar 5ystem and that it would be playing at Seattle’s SIFF Uptown theater, I got a ticket. The animated film sets the 2001 album Discovery to a story about an extraterrestrial band who’s kidnapped and brought to Earth by a power-hungry music executive who makes them massively popular and exploits their talent.

The cineplexes have suffered, yes, but it’s the neighborhood theaters and the art houses that are facing the brunt of the downturn. If people choose to see a film, they are more inclined to see it in a theater that provides an experience. It is not enough to be with strangers staring at a large screen. Now that screen has to be so big you have to turn your head, or the seats have to recline, or there needs to be a meal service and alcohol. People are searching for the nouveau riche instead of the walkable and homey.

Do you need to use the bathroom? Better have your ID ready. Does that sound absurd? Just wait—it might become reality sooner than you think. And it won’t just affect trans women, either. It’s likely to impact any woman who doesn’t fit narrow definitions of femininity.

The harmonious pairing of artist Mary Ann Peters and Alexis L. Silva has culminated in a truly outstanding show of Peters’ work at Frye Art Museum, the edge becomes the center. In this show, based on research on displacement and the Middle Eastern diaspora, Peters conducts archival research in several countries (Lebanon, Mexico, and France), then uses her artworks to contextualize her findings. I sat down recently with Peters and Silva to discuss the impetus for this body of Peters’ work and the professional synthesis between artist and curator.

Seattle’s International District buzzed with energy on November 27, 2024, as the community honored the 83rd birthday of the late action star Bruce Lee. With newly unveiled murals, the celebration not only paid homage to Lee’s legacy but also reinforced the neighborhood's commitment to cultural preservation and artistic vitality.

Scarecrow Video provides a unique service. While the media landscape has transformed into a virtual domain, Scarecrow remains firmly planted in the physical world. And because of the vastness of their collection, along with their commitment to preserving cinema history, your selection won’t be limited to popular titles. Why is that important? For the same reason representation is important: we need to see ourselves reflected in our art. Otherwise, we become monstrous to ourselves. 

And Seattle happens to be home to one of the most coveted LGBTQ+ places: the city’s first, and only, lesbian bar—The Wildrose. Located in Capitol Hill, Wildrose opened on New Year’s Eve in 1984 and still remains open today. I had the pleasure of speaking with one of the owners, Martha Manning. We delved into topics ranging from troubles staying open during COVID to what the Wildrose means to lesbians today.

In early November, On the Boards unveiled a briefly-run but awe-inspiring performance: Indian School by ritualist Timothy White Eagle (he/him) and co-created with Hatlo (they/them) White Eagle. White Eagle is quick to confirm that Indian School is a collaborative effort, and not a solo show.

The SAM VSO Union consists of a group of 54 Visitor Service Officers, or VSOs. On Black Friday, they started their strike. Strikes are typically one of the last options a union will exercise to make clear to their employer and the general public that their working conditions are unacceptable and their concerns up until this point have been largely ignored. Before the formation of the SAM VSO Union, there were a series of escalations in organized action against Seattle Art Museum (SAM) leadership and policies.