Co-hosted by the dancers Auto and Orb, these monthly battles are created by HeadSpin Productions and DJ’d by DJ Fever One. The battles are open to all styles, meaning contestants might be paired up against someone who does a totally different street style than them, though they will have the same song. The contestants compete 1v1 for a cash prize. Whoever wins in each battle progresses until there are two contestants left. 

I discovered The Pomegranate Tree by a fleeting chance. I was discussing the potential of immersive theater in large scale productions when one of my cohorts told me I must see a Dacha show if I hadn’t already. I followed Dacha on Instagram and admittedly forgot about the suggestion shortly after—until a post of theirs crossed my feed.

Hosts Morgue Anne and Evan J. Peterson discuss that night’s feature presentation, providing insights from behind the scenes as well as more nuanced critiques of the subject matter. If you’re active in Seattle’s horror scene, those names may seem familiar to you. Morgue Anne is literal goth royalty, elected Ms./Mx. Gothic Seattle 2020 and dubbed “The Plague Queen.” She is a burlesque performer, DJ, panelist, and more. Evan J. Peterson is a horror/game writer whose work has appeared in Weird Tales, Nightmare Magazine, and PseudoPod, to name a few.

Walking through the convention doors, the themes of safety and inclusion were immediately present. Having gone virtual in 2020 and 2021 due to COVID, this was the third GeekGirlCon to return to an in-person format. But the specter of the pandemic still looms over gatherings of this sort—masks were required for all attendees—the medical sort, cosplay masks notwithstanding.

The atmosphere of inclusivity cannot be missed; throughout the event, everything from the decor to the exhibits to the dedicated nursing area conspire to make it clear that you are welcome, whether you’re team Star Wars or Star Trek, you’re a kid or raising one, and no matter how you identify.

In the last century, theater has met its greatest adversary yet: film. Much can be accomplished through the eye of a camera which cannot be easily done in a live space, like  forced viewpoints, CGI, and extravagant settings to name just a few. But there is one limitation to film which it may never truly conquer: It exists predominantly behind the fourth wall.

Anyone in the Seattle area with an Instagram may have seen ads in the last few weeks for House of Spirits: Tale of Vaughan Mansion, a Haunted Cocktail Soirée. Intrigued by the images of a candlelit, creepy costume ball, my friends and I got tickets for Halloween night. In our finest macabre attire, we trudged through the rain over wet red and brown leaves plastered to cobblestones, our heels clacking through puddles, to the historic Rainier Chapter House in Capitol Hill, a recreation of George Washington’s Mount Vernon.

“Tell me your name, pronouns, and anything that’s going on with your body today.” The instructor begins, tacking on a question of the day. This practice and sameness at the start of each class grounds me, bringing me into my body and preparing my mind to solely focus on sweat, bruises, and cheering on the successes of me and my classmates as we learn together.

For an extra special (and extra spooky) Halloween treat, Benaroya Hall hosted a unique double feature presentation of the classic Bride of Frankenstein and Mel Brooks’s parody of the franchise, Young Frankenstein. The hook? Orchestral accompaniment for the Bride! The Seattle Symphony performed Franz Waxman’s iconic gothic score under the guidance of conductor Nicholas Buc, who also conducted the world premieres of the live performances of several of John Williams’s movie scores, so he is no stranger to Hollywood orchestral maneuvers.

“NebTech has tracked energetic anomalies in the geographic vector that houses the Georgetown Steam Plant. It’s almost as if their spirits are stirring in the air around us. We believe, with the right number of souls present, we may be able to finally discover what happened to these intrepid mystics, and even open the portal itself. Will you be one of those souls?”

Singer-songwriters Charli XCX and Troye Sivan played their final show right here in Seattle, WA. On October 23rd, 2024, the duo performed at the Climate Pledge Arena. The tour kicked off September 14, 2024, in Detroit, MI, making its way through the country with two stops in Canada. As a fan of both musical artists and their latest albums Brat and Something to Give Each Other, I got the fortunate opportunity to attend.

Seattle is not often the first place that enters one’s mind in thinking about the fashion industry. When it comes to getting dressed, a casual style is widely accepted. The city has contributed greatly, however, to the business side of things. It is the headquarters of several world-renowned retailers with a legacy in local manufacturing, like Filson (est. 1897), Nordstrom (est. 1901), Eddie Bauer (est. 1920), and REI (est. 1937). Despite not being a fashion capital, even with so many “heritage brands,” Seattle is recognized as a creative city.

There’s a sense of dread when you watch an ensemble film about a landmark birthday. The tension you assume is that the grim reaper is the last guest and the party is a way to tell everyone you love that death is imminent. Yet, Blue Lights subverts and twists this tension into something else. People who bring baggage to the party in one way, leave with new, but healthier baggage at the end.

OUT is a beautifully sandwiched film that brings the viewer through the coming-of-age story and the uneasy, relationship-driven plot. From beginning to end, the viewer is gifted with strategic pictures, impactful dialogue, and truth from the acting. While the subjects and explicit nature of the film may not be for everyone, it holds true to the story of what growing up queer can be like today: to jump into gay culture, make new queer friends, and grow distant in former relationships.

“The public has a right to art, art is for everybody.” -Keith Haring

Art and history seamlessly coincide in the Keith Haring exhibit at the MOPOP. Haring (1958-1990) is most renowned for his colorful art and unique shapes, which he often used as a vessel to bring light to social issues that were taboo or not widely spoken of during his time.

Loneliness and heartbreak go hand in hand. We try to stave off heartbreak by solving the problem of loneliness. Not being alone never solves loneliness, of course, but we fail to realize that at the time and often leads to more heartache.

That is where we meet Lourenço (Marco Pigossi) at the beginning of the film High Tide. His mood is sedate and atmospheric with the specter of Lourenço's ex-boyfriend hanging over his head. It's the end of summer and the beaches are clear, enter Maurice (James Bland) the balm on Lourenço's fresh wound.

SQFF’s Fright Night! was a great reminder that queer horror is an incredibly varied genre. Each short stood out not only as a horror piece, but also as queer art. Sapphic stories stood hand-in-hand with narratives about gay men; there were queers who cruised and queers who wanted a homestead.

Super Typhoon Haiyan, or Yolanda as it is known in the Philippines, made landfall in November of 2013, yet as seen in Asog, the effects and devastation that Yolanda caused are ongoing. There are many stunning aerial shots composed by director Seán Devlin and cinematographer Anna MacDonald. They show forests of coconut trees flattened, cargo ships in the middle of neighborhoods, roads that have become impassable, and homes that are unlivable.

Do you ever think about what you will dream before you ultimately fall asleep?

In Seattle poet Seth Jani’s poetry collection Night Fable, Jani guides the reader on a journey through a world of ethereal dreams, both playful and melancholy. Through these poetic dreams, the reader sifts through their own self-reflection while gaining new discoveries about the world. Jani serves as a herald and guardian through the extensive and vast dream world.

The film asks us to remember the early days of isolation in the COVID-19 pandemic, to recall times when we felt particularly isolated from our communities. One particularly poignant section of the film asks us to consider, in those early days, what it felt like to try and hold someone from afar, to try to build connection when physically coming together and sharing space was impossible.

Before attending the interactive experience, Leave Only Footprints, I was unsure about what to expect: A haunted house? A murder mystery? But this spooky, fun, campy, mystery experience by The Emilys (Emily Pike and Emily Sershon), along with a dynamic cast of 40+ performers and multiple writers, did not disappoint.