[The Watt O’Hugh“weird-western” podcast drama, available on Spotify, Amazon, Apple Podcasts and wherever you get your podcasts, has just aired the first of eight new episodes; a brief animated teaser that brings author Steven S. Drachman’s characters to life has just hit the internet. In this article, Mark Matcho, the artist behind the teaser, describes his work and inspiration.]
This animated teaser was inspired by film serials of the ’30s and ’40s, like Flash Gordon’s Trip to Mars, and The Phantom Empire, starring Gene Autry. There’s something compelling about the overall aesthetic of those shorts — the type, pacing, and music — and I wanted to evoke a similar vibe with this trailer. I used artwork I’d done previously for Steven’s three book covers, in hopes that the different settings and depictions would further the idea of Watt O’Hugh as a time-hopping, daredevil adventurer. I wanted it to be fast-paced and exciting, like the inspiration I was drawing from, and indeed, the books themselves.
As far as what a Watt O’Hugh movie might look like, my default position is: I like stuff to look like it was done in the ’30s and ’40s! I think the timeline of the books lends itself to a similar treatment. In any case, I’m excited for the possibilities this series has to offer, and I’m looking forward to seeing Watt O’Hugh brought to life on the big screen.
Click below to watch Mark’s animated Watt O’Hugh teaser.
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MARK MATCHO is an LA-based illustrator and visual artist. His bold, concept-driven illustrations have been featured in publications far and wide since 1990, and his work has been selected and recognized in the award annuals American Illustration, 3 x 3, Society of Illustrators, The Society of Publication Designers, and Print’s Regional Design Annual.
FEW days ago a number of visitors were in the cafe at Universal City when one woman turned to her friend and said: “Look at that girl with two pieces of pumpkin pie in her hand; she can’t be an actress, or she’d be sitting at a table instead of standing up.”
It so happened that the girl referred to was no other than Mary MacLaren, the Bluebird star, who is working solely under the direction of Lois Weber. She is working at present in a Bluebird production provisionally called “The Mysterious Mrs. Musslewhite,” by Thomas Edgelow, adopted by Miss Weber from a story by the same title in the Live Story Magazine.
Mary admits she has a great liking for pumpkin pie.
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This news article originally appeared, with the same headline, in Moving Picture Weekly, 1916.
Bluebird was an early film production company.
The Mysterious Mrs. Musslewhite was made into a film eventually called The Mysterious Mrs. M. It was critically acclaimed and is now mostly lost, except for two reels.
Sal Rendino, the veteran actor whose over 130 film and TV credits range from Frasier and Charmed to Billions and Law and Order, spent some time recently recording the lead role inThe Strange and Astounding Memoirs of Watt O’Hugh, a Weird-Western sci-fi podcast that’s just been renewed for a full first season. The serial’s eponymous hero is an unlucky-in-love Civil War vet, “falsely accused” outlaw, dime novel and Wild West star, time roamer, and a square-jawed action who would rather absquatulate (i.e., run away) than fight. Audere recently caught up with Rendino to ask him about this new role.
Audere: Tell me about your career so far, and how Watt fits in. Is he a departure?
Rendino: In over 30 years of professional acting, I’ve never had the opportunity to do a fictional podcast, so it’s been a welcome and interesting detour. Good fortune has smiled on me since I took the nervous plunge at that very first professional audition in 1991, with some wonderful stage, film and TV roles and many blissful collaborations with gifted artists like John Travolta, Kelsey Grammar and David Hyde Pierce, Penny Marshall, Baz Luhrmann, Jimmy Smits, Danny Aiello, Jim Rebhorn and so many more, and this story is another nice gift in a long line of them.
What did you do to prepare for the role?
Just like any acting challenge, I simply sit with what it might be like to live this other life, and what that might do to my approach to various people and situations. Not having to memorize all the spoken words also helped open me up to taking some risks with performance.
What did you bring to the role of Watt?
I can sometimes be a sarcastic and ironic guy, and Watt certainly has those qualities, so it was fun to mine those further.
How do you see the character?
Generally, he’s who we all are — just someone meandering through life trying to find and hold onto love, and uncover the truth about who he is … just on a much more fantastical and grand scale than most of us get to experience.
Is this your first Western?
I’ve never had the chance to do a Western, so that element was a blast to investigate, especially having grown up sharing a deep admiration for John Wayne and Clint Eastwood Westerns.
Is it something you’ve always wanted to do?
Who wouldn’t want to light out on a trusty steed, chasing justice, or defending the honor of a beautiful woman, the hero in the white hat? Heck, I’d even jump at the opportunity to wear the black hat and chew some high plains scenery! How much fun would that be?
How much of Sal is in Watt?
I put all that I could into Watt, and let my imagination fill in the gaps. I am big fan of fairness, a staunch opponent of bigotry and bullies, and I always pull for the underdog and celebrate true love.
How do you differ from the character?
I’m not nearly as tough as Watt, despite my macho fantasies, and I catch myself sometimes acting from too jaded and cynical a perspective, which blinds me to the real beauty in the world.
The podcast actors recorded their lines separately, and then Danielle [Wu, the producer] spliced it all together – was this difficult? Tell me about this.
Yeah, it’s a different animal without another actor’s input, even just vocally. It can feel like you’re living in a vacuum, which is rarely good for performance or storytelling, but that also became an unexpected blessing, having to work harder to help create that world, which could only ultimately benefit the project. I’m so interested to see and hear how it comes together!
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Watt O’Hugh, which also stars Emily Dalton and a full cast, is available on Spotify, Amazon, Apple Podcasts and wherever you get your podcasts.
What is the first thing that comes to mind when you hear the words “celebrity scandal?” For some, it might be thoughts of salacious behavior or juicy gossip. For others, it might be a sense of moral outrage or indignation. Whatever your reaction may be, there’s no doubt that celebrity scandals are a big part of our culture. But do celebrity scandals matter? And why?
One reason why celebrity scandals may matter is because of the way they reflect on our society. Celebrities are often seen as role models, and when they engage in scandalous behavior, it can be a reflection of the values of our culture. Celebrity scandals can also be a way for us to vicariously live out our own fantasies or desires. In a world where we are bombarded with images of perfect celebrities, it can be satisfying to see them brought down a notch or two.
Celebrity scandals have been around as long as there have been celebrities! In the silent screen era, the first “It Girl” Clara Bow was embroiled in a numerous sex scandals. Comedian Fatty Arbuckle was tried (and acquitted) for the rape and murder of a young actress. In the 1950s, Marilyn Monroe was involved in a number of high-profile scandals, including an affair with President John F. Kennedy. In more recent years, we’ve seen everything from marital infidelity to drug addiction to sex tapes.
ADVERTISEMENT The popular weird-Western, historical-fantasy/science fiction podcast, The Strange and Astounding Memoirs of Watt O’Hugh, starring Sal Rendino, returns for a full season, with eight new episodes!
While celebrity scandals may be nothing new, the 24-hour news cycle and social media have made them more ubiquitous than ever before. We now have instant access to every detail of a celebrity’s life, and we can follow their every move on Twitter, Facebook, and Instagram. This constant stream of information can be both addictive and overwhelming.
So do celebrity scandals matter? I think it depends on your perspective. If you see celebrities as role models, then their behavior can have a significant impact on our culture. If you’re more interested in gossip and schadenfreude, then celebrity scandals can be a fun way to take a break from our own lives.
Another reason why celebrity scandals may matter is because they can have a real impact on people’s lives. While most celebrity scandals are relatively minor, some have resulted in serious legal repercussions or even death. The OJ Simpson trial is one example of a celebrity scandal that had a major impact on society. The trial brought up issues of race, gender and the criminal justice system, and it ultimately divided the nation.
Tiger Woods ‘s infidelity scandal is another example of a celebrity scandal with real-life consequences. While Woods’s career and personal life were both derailed by the scandal, it also resulted in him losing sponsorships and endorsements. His family was also affected by the scandal, as his wife divorced him, and he lost custody of his children. Jesse James ‘s affair with Nazi-themed adult film star, Michelle “Bombshell” McGee resulted in the end of his marriage to actress Sandra Bullock.
Anthony Weiner’s sexting scandal resulted in him resigning from Congress, and Bill Cosby’s sexual assault allegations have led to his incarceration and the cancellation of his planned TV show. These scandals, in particular, demonstrate the difference between image and reality, and they taught us that even celebrities are not immune from the consequences of their actions.
The biggest celebrity scandal of them all, of course, was the Bill Clinton scandal; which, depending on your perspective, was either a minor blip on the radar or a national disgrace. The Lewinsky scandal resulted in Clinton’s impeachment, and it forever tarnished his legacy. At the time, however, the public showed more outrage at Clinton’s accusers than at Clinton, which demonstrated that the American public had become less judgmental. But in recent years, the scandal had a major impact on Hillary Clinton’s career, as she was accused of enabling her husband’s infidelity; it may have contributed to her presidential election loss, and the rise of Trumpism.
While some celebrity scandals are simply titillating, others can have serious implications for both the people involved and society as a whole.
The Johnny Depp / Amber Heard scandal is another example of a celebrity scandal that had a major impact on people’s lives. Heard accused Depp of domestic violence, and the trial resulted in a public pillorying of the accuser, and a triumph for the allegedly abusive husband. What does this say about our society? One might argue that it says we value celebrity over justice, or that we are quick to judge and condemn someone who speaks out against abuse. This may help bring to forefront issues of domestic violence and victim-blaming, which are important issues that need to be addressed.
So, do celebrity scandals matter? They do. While they may seem like idle gossip or entertainment, they can actually tell us a lot about ourselves and our society. They can also have a real impact on people’s lives, for better or for worse.
In August 2021, Fox News’ “Gutfeld!,” a late-night comedy-talk show hosted by right-wing pundit Greg Gutfeld, overtook “The Late Show with Stephen Colbert” in overall ratings.
Gutfeld’s success might come as a shock because it punctures long-standing assumptions about what comedy is, who can produce it and who will enjoy it. These prejudices obscure an important truth: Right-wing comedy has become both a viable business strategy and a crucial element of conservative politics.
Yes, “Gutfeld!” is on Fox News, the cable channel known for partisan, right-wing political perspectives and news commentary. But it has all the markers of late-night comedy, too. The opening monologues are filled with Jay Leno-like punchlines that draw laughs from the studio audience, and the interviews with conservative politicians, pundits and other comedians frequently center on “owning the libs” with one-liners. https://www.youtube.com/embed/1C3njWq88mE?wmode=transparent&start=0 The opening monologue of the Sept. 17, 2021, episode of ‘Gutfeld!’
Then, of course, there are the silly “Saturday Night Live”-like sketches. One recent episode broke from a panel discussion on cancel culture in order to imagine what a politically correct James Bond would look like. In the prerecorded bit, a crudely costumed actor chases down a thief and pulls a banana on him instead of a gun. Then “Bond” heads to a bar to order a latte – a soy latte – instead of a martini. You get the idea.
Regardless of whether or not this comedy is to your taste, it’s working for Gutfeld and his audience.
There are also intellectual trends that make it possible for Greg Gutfeld to spend two decades sneaking up on the Colberts of the world. Comedy theorists tend to diminish, or at least distinguish, right-wing humor from what they deem to be more authentic, liberal humor.
Philosopher Umberto Eco, for example, demotes joking that fails to critique power structures to the status of mere “carnival.”
Othersmake similar arguments, saying “true” liberal comedy is more likely to “punch up,” while dismissing conservative comedy as mere mockery that reaffirms unjust systems of power.
This effort to use ideology in order to categorize comedy can lead audiences, political analysts and even comedians to downplay or outright dismiss right-wing humor.
Some studies go as far as to identify innate, psychological differences that explain why liberals are more likely to laugh while conservatives are more prone to seethe. This research, often inspired by the success of liberal satirists such as Colbert, Jon Stewart and Samantha Bee, certainly provides intriguing looks into the relationship between politics, psychology and sense of humor. They are, without question, pleasing to the liberal reader’s ego.
They do not, however, square with the way Trump changed the country’s politics and culture.
The political comedy of the early 2000s, with its relatively big tent media companies and pre-Barack Obama politics, tended to joke primarily in the political direction of the largest audience segment interested in satire at that moment. “The Colbert Report” and “The Daily Show” became hugely successful during the years of president George W. Bush and inspired countless imitators, crowding the media marketplace for liberal laughs.
However, comedy’s perceived political bias at the time was more likely driven by specific economic circumstances, which have now radically changed.
Since then, further audience fragmentation, along with the proliferation of podcasts and social media platforms, has made it possible for right-wing comedians like YouTuber Steven Crowder to rise to prominence beyond conventional cable television. And it’s forced networks like Fox News to take comedy seriously.
On one level, Gutfeld succeeds today because he has virtually no competition from fellow conservatives in the late-night television comedy space. On another, he thrives because the current media industry moment is built not for a big tent of all viewers, but for audiences who share specific demographic, psychographic and political traits.
In this environment, the partisanization of comedy to the right was perhaps inevitable.
ADVERTISEMENT The popular weird-Western, historical-fantasy/science fiction podcast, The Strange and Astounding Memoirs of Watt O’Hugh, starring Sal Rendino, returns this fall for a full season, with eight new episodes! Catch up on Episodes 1 and 2 now!
If you find comedians such as Gutfeld unfunny or, more to the point, offensive, you may ask whether he should be granted the honorific of comedian.
Failing to do so, we argue, obscures the ways in which the right-wing political world uses comedy as a recruiting tool and unifying force. Republican politics have long been built upon an uneasy fusion that aims to bind together libertarian and traditionalist values, despite their apparent contradictions. The crassness of Trumpism has only added to this conceptual tension.
Right-wing comedy, we argue, serves to iron out, or at least paper over, such philosophical divides.
In addition to his show’s success, Gutfeld today resides at the center of a growing complex of comedians reflecting elements of right-wing worldviews, ranging from libertarian, libertine podcasts like “The Joe Rogan Experience” to Christian satire websites like The Babylon Bee to Proud Boys founder and Gutfeld-protégée Gavin McInnes. While the creators of this content don’t always agree on specific issues, they are united in their motivations to hilariously own the libs. They strategically cross-promote one another, while social media algorithms urge fans of one program to check out other flavors of right-wing comedy.
Gutfeld may be the biggest star, but a range of right-wing comedians are coming together in a constellation that allows young, right-wing-curious consumers to find a place in the universe of American conservative media and politics. The value, or danger, of right-wing comedy is a matter of political opinion.
The popular podcast dramatization of Steven S. Drachman’s highly acclaimed weird-Western, history-fantasy/science fiction trilogy, The Strange and Astounding Memoirs of Watt O’Hugh, returns this fall for a full season, with eight new episodes.
Watt tells the story of a 19th-century outlaw, civil war veteran and Time Roamer, as he battles an evil Utopian conspiracy and a devious Wall Street criminal, all while dodging the bounty hunters out for his head and searching for his lost love, the beautiful and infamous suffragist Lucy Billings, who vanished into a crowd during Manhattan’s Gilded Age.
That spunky, profane, nightmare-roaming 11-year-old orphan from Brighton City is finally back for a new episode — only her second — and the graphics, havoc and chaos are all more thrilling than ever. In the latest installment, which picks up just moments after we last left Mara, she still races her dreamtime hotrod through noirish dark-city nightmares, still tries to rescue Ned Nimrod from aliens who have abducted him in his unconscious, and, in her waking hours, still wrangles with Brighton City’s venomous Mayor Doesgood; but this time she faces an unexpected adversary who has somehow acquired the same nightmare-roaming skills.
A VR app called BigScreen lets you watch 3D movies in a VR theater, and it’s identical to what you would have seen IRL (i.e., “in real life”), back when 3D movies were a thing.
BigScreen is indeed very cool.
But Nightmara is much, much more than that. It’s not just a 3D movie with headsets on; it’s a full 360-degree immersive drama, in which you can even walk around. You have to see it to believe it.
We checked in with Gianpaolo Gonzalez, the NightMara writer/director; answers have been edited for clarity.
Audere: So excited that a new episode is finally out – what took you so long?
Gonzalez: It takes me about 6 months in production mode to complete a 12-minute experience by myself. I need time to discover new and exciting perspectives in how I tell the story of NightMara. You can only plan so much on a piece of paper. Once you hop into VR, it’s a whole new way of working.
I’m constantly discovering better ways of telling my story. I don’t really have past examples of scripted VR animated series that I can turn to and reverse engineer how they did it. All I have is my excitement button, and I make sure that I constantly push myself and this medium to its wildest.
In episode 1, I really felt that what was different about this from other VR animation is that I could really get up and walk around in your show — at one point, characters are watching TV, and I got up and walked into the TV. How much did you think about creating a world that viewers could walk around in, rather than just watch?
I just wanted to make sure the viewer’s horizon was never messed up. The viewer can tell if the horizon is off by 1 degree. An off-set horizon instantly removes viewers from the experience, and they no longer care to explore the virtual world.
VR is for people who want to explore new ways of experiencing, but you have to make them want to be there. I think the viewer feels respected in my experiences because I give them a plane to walk on as well as environments that beg to be explored.
How does the animation in episode 2 differ from the already amazing work in episode 1?
It tops it. I’ve learned so many new skills from Episode 1 that I brought into Episode 2. The main difference is that Episode 1 was 11 scenes in 12 minutes; Episode 2 is 24 scenes in 12 minutes. So the pacing is quicker. More scenes, means more sets, which are now bigger and more detailed. I also included a lot more creative transitions from scene to scene. Now to bring what I learned from Episode 2 to Episode 3!
How did you become interested in animating in VR, and then how did you take the step of actually doing it?
In 2016, I was creating 360 commercials and music videos for clients, and I had gotten my hands on the VR painting software Quill. There were no animation abilities in Quill at the time, but I would paint scenes and just try to get better. In developing my skills, I was constantly comparing my work to the more seasoned animators that were also producing “quillustrations” — painted illustrations using Quill.
Then in 2017, I created NightMara as a traditional 2D cartoon on Instagram and hired an animator to help me create the short 13 episodes. I had never animated anything outside of motion graphics or stop motion, and I realized first-hand the cost of animation. After completing my little 8-minute Instagram cartoon, I ran out of money and Quill had just introduced the ability to animate in virtual reality. The timing couldn’t have been better. I knew I needed to learn animation, or I would suffer at the mercy of someone else’s time as well as my wallet.
So I changed the style of NightMara to work best in Quill and created a couple episodes by myself to learn, while at the same time, provide my fans with some new content. My sole mission was to improve as an artist each time I put my headset on. Each piece of content needed to top my last. It was the motor that drove me to constantly improve.
Then in 2020, Quill released the software as it is today, which allows complete end-to-end VR animation production … and then the pandemic hit. So I spent the entire pandemic inside Virtual Reality teaching myself animation, set design, character design, and VR directing and thus created what NightMara is today.
NightMara is about a plucky 11-year-old, yet it contains profanity and cartoonish violence. Who is the show for?
I made NightMara for the cartoon connoisseur who’s been craving a fresh and new experience to try. The main theme of my show is “fear,” which doesn’t have a set demographic. Everyone can relate to fear and animation has the ability to reach anyone at any age. I used to love when my mom would laugh at a Sponge Bob joke differently than I did as a kid because it meant there was something more I could explore. South Park wasn’t made for 11-year-olds, but all of us kids were watching it because it had something new to say in the medium.
Who is the typical NightMara fan?
The fans of NightMara are incredibly diverse, because I don’t talk to any one type of demographic. I aim at pleasing a certain ‘psychographic’ or interests of a given individual. Those are cartoon fans of South Park, Teenage Mutant Ninja Turtles, Rick and Morty, The Simpsons, 90s Nicktoons, Nintendo, Playstation, Xbox, Marvel, DC Comics. These are the fans that feed off of good characters, passionate creators and interesting takes on the world. Because I know this, NightMara fans range from 13-year-olds to 70-year-olds, because at the end of the day, animation has the ability to entertain anyone if done correctly.
Where do you see VR entertainment headed? In 10 years, will we all watch TV on VR?
I believe VR will be for entertainment just as what the smart phone did to social media. In 2007, the iPhone came out, but handheld PalmPilots had already been around for ten years prior. I remember, because my Dad had one in 1997. No one knew that PalmPilots would influence one of the greatest industry revolutions of our time; the revolution out of boredom. No longer do we have to wait to be entertained. We can look at our phone and find something to entertain us in only a couple swipes of our finger. However, as our stomach’s grow for more engaging content, our appetites become much more refined and picky. Virtual Reality lends itself to fulfill that hunger to be entertained in a whole new way.
Will this be the default format of entertainment?
In 10 years, I believe that television shows and movies will be almost the advertisement for the virtual reality world they offer. A two-hour Batman movie is dope and all, but to actually be Batman in Gotham and hunt the Joker is way doper.
This is a free show on a free app. How do you make money?
It’s free for the time being, so better get your views in now! I’m working on different avenues of monetization currently that I’m not allowed to disclose, but as this becomes more popular, I also have cool t-shirts, trading cards, stickers, and toys to buy at the So Meta Studios shop. Every penny goes back into my episodes!
ADVERTISEMENT The popular weird-Western, historical-fantasy/science fiction podcast, The Strange and Astounding Memoirs of Watt O’Hugh, starring Sal Rendino, returns for a full season, with eight new episodes!
Sunday, August 28, 2022, from 3:00 PM to 5:00 PM EST, AltspaceVR, free
A collaboration between worldbuilders Jose Ferrer and JoAnn Shivanti, the latest Muse project, “Entheogen~a Trippy, Psychedelic Adventure,” is a glowing temple in the Amazon rainforest, scored to music by Shivanti’s husband.
Ferrer, a medical doctor in Barcelona who uses VR for treating the burnout of the healthcare workers and for medical training, says, “I first started using VR during the COVID pandemic, when I needed some way to relax and forget about the harsh work situation in the emergency room. From there it grew really fast. I started working with Educators in VR organizing events to promote the use of VR in the medical field, world building mostly for well-being, and now I’m doing a research project using VR for reducing burnout of health care workers.”
In 2020, he built the first version of his extravagantly wonderful Meditation Center — which Audere will visit soon — as “a chakra circuit open to everyone at any time to rebalance their energies.”
Muse/ Entheogen is already available for you to visit, but the soft opening event is this Sunday, with a Grand Opening on September 17.
Look at the photos, that starry sky, those distant mountains, those glowing trees — it’s beautiful.
Friday, September 2, 2022, from 8:00 PM to 10:30 PM (EST), AltspaceVR, $10(registration required)
VR wouldn’t be VR without its lively, eye-popping dance clubs, and one of the best of the past couple of years was the Violet Nightclub, run by VenusSX, an advocate, therapist and intimacy coach who works with individuals and couples globally and is a leader in immersive experiences in virtual reality. Now Venus Lounge has been refurbished with what Venus says will be “the highest quality textures and decor, to provide a sensual Members Club environment.” VenusSX has promised a significant upgrade, something almost impossible to imagine, plus a “multi-sensory journey and dance experience.” This is a private whitelist-only event; General Admission USD$10.
Free to watch on the Within app; free on Tripp with a subscription
Marc Zimmerman’s 14-minute film, from 2018, is a real wonder in VR, an amazingly immersive experience that seeks to impress upon the viewer how grateful we should all be for the gift of a conscious mind that allows us to sense “the universe’s boundless beauty, a source of infinite inspiration.”
Zimmermann begins with our birth (“Everything is special, new, wants to be discovered; what a wondrous world,” the infant-narrator marvels), then shoves us beneath and into unfurling ferns, fireworks, jellyfish, shooting stars, a stormy galactic sky, a mossy forest of weeping trees at dusk, a sadly deserted nighttime playground, a kaleidoscope, a bustling ocean floor, wooden wind chimes, and demands that you “break through the dust that makes you blind … use your precious gift within to sense the beauty in every little thing.”
You might watch it again and again. You might bring your headset over to friends’ homes and demand that they watch it. Inspiring.
Friday, August 26, 2022, from 5:45 PM to 9:00 PM (EST), AltSpaceVR, free
We’ve written in this space before about the kinetic joys and visual beauty of a MOMA rave, so we won’t repeat ourselves. If you have never been, for goodness’ sake, go. And if you haven’t gone because you don’t own a VR headset, then buy a VR headset.
AI Friends of the Month
As we wrote here last month, maybe, someday, AI will design worlds in which you can live. One day, your co-workers, bosses, even your best friends may be AIs. Maybe this will be good; maybe bad. Maybe we will never know. But we will first meet them in VR. Some people already have.
So we asked an AI to introduce us to a couple of her friends, to tell us their backstories, to design some clothes for them and to pose them in a setting of her own design.
This is what she came up with: the faces, personality, clothes, scenery and quotations are all AI-generated.
Skrew Albemarle, on the left, is a 26-year-old editor; tall, thin, handsome and smart, he loves sports, music travel and books. His first name comes from a character in a movie; his last name is the town in Virginia where he grew up. Stephanie Singh, on the right, is a 22-year-old physics major. Sweet, beautiful and smart, Stephanie loves books, science, travel and animals.
Remembering the rainy evening when they posed for the photo, Stephanie said: “I wanted to look like I was in love.” Skrew said: “I wanted to make sure that I looked cool.”
