All these pieces establish a climate all too well known in modern dance: studentlike; serious; worthy; mainly heavy-footed; theatrically tepid.

Reminder that FARTs don't actually believe trans women are men. They don't speak to people they think are men the way they do to trans women.

The body of the working-class man of the 1930s — and to an extent its text — is hungry, an empty space once filled by its labor.

I agree that a minmaxer can usually make a character more suited to particular situations on less points than a player driven by a pre-existing concept, but for a well-designed system there will always be some way that their character is less effective.