Dance footage - from "Strike Up the Band" from John Dellaporta on Vimeo.
Choreography by Brenda Buffalino Recreated by Brynn Shiovitz
we're not kids anymore.

if i look back, i am lost
Today's Document

祝日 / Permanent Vacation
Alisa U Zemlji Chuda

Andulka
Jules of Nature

pixel skylines
Lint Roller? I Barely Know Her

oozey mess
Cosmic Funnies
NASA

izzy's playlists!
I'd rather be in outer space 🛸
h
YOU ARE THE REASON
let's talk about Bridgerton tea, my ask is open
almost home

roma★
sheepfilms

seen from Malaysia
seen from Germany

seen from Malaysia

seen from United States

seen from United States

seen from Canada

seen from Türkiye

seen from Brazil
seen from Hungary
seen from Italy

seen from United States
seen from T1

seen from United States
seen from Chile
seen from Chile

seen from Chile

seen from Germany

seen from United States
seen from United States

seen from United States
@johndellaporta
Dance footage - from "Strike Up the Band" from John Dellaporta on Vimeo.
Choreography by Brenda Buffalino Recreated by Brynn Shiovitz
Dramatic Reel 2019 from John Dellaporta on Vimeo.
Edited by Brett Calo.
For bookings, contact Firestarter Entertainment at 213-531-0547, email [email protected] (film) and [email protected] (stage).
Comedic Reel 2019 from John Dellaporta on Vimeo.
Edited by Brett Calo.
For bookings, contact Firestarter Entertainment at 213-531-0547, email [email protected] (film) and [email protected] (stage).
Reel - Comedic from John Dellaporta on Vimeo.
Reel - Dramatic from John Dellaporta on Vimeo.
my great-grandfather had to leave italy in the 20′s because he hit a fascist with a tuba, so if you think I am going to take this sitting down you are going to have to catch these hands and also this tuba
And sometimes, when your job is playing make-believe, you're given a free chance to make-believe you have a completely different look! Very ready to start having "more fun" for a few weeks! #blondehair #acting #film #ucla #uclatft #cohort3 #blondehairdontcare (at Westwood, Los Angeles)
That time I was a champion ballroom dancer. #dancesport #moving #movingday #memories #ballroom #cua (at Fort Lauderdale, Florida)
There were only two items on this ballot, but you gotta show up! #la #lapolitics #ivoted #vote #westwood #ucla (at Westwood, Los Angeles)
MoCap! (at House of Moves)
Her. Name. Is. WAFFLES. (at UCLA Sunset Recreation Center)
That's a wrap! "Zeke's Auto" is in the can, and had an amazing time creating this weird guy. #film #acting #mfa #mfaacting #tft #ucla #uclatft #uclacohort3 (at Melnitz Hall)
Looking at radio plays for Voice final! #tft #acting #mfa #uclacohort3 #uclatft #craftwerk (at UCLA Department of Theater)
New headshots are ready! (at Westwood, Los Angeles)
Coming this fall to ABC - Father Knows Best! #ucla #uclatft #mfa #uclacohort3 #film #acting #cohort3 (at Melnitz Hall)
Playing my second priest in a month. Sensing a type forming. #niche #tft #cohort3 #acting #film #ucla #uclacohort3 #mfa #uclatft (at Melnitz Hall)
So About That Whole Thing
LONG COMIC BOOK RANT INCOMING:
Okay some things need to be said:
1. If you’re going to write a smug thunk-piece about the “failure” of “diversity” in comics, maybe don’t use the cover image of a book that’s had 4 collections on the NYT graphic books bestseller list, won a Hugo and cleaned up at Angouleme. Just because you HOPE it’s on the chopping block, oh Riders of the Brohirrim, doesn’t mean it is.
2. I will tell you exactly why Ms Marvel works: it didn’t set out to be Ms Marvel. We were originally going to pitch it as a 10 issue limited series. I had a 3 issue exit strategy because I assumed we were going to get canned. There was no “diversity initiative” anywhere–getting that thing made at all was a struggle. It was a given that any character without AT LEAST a 20-year history would tank. Everybody, myself included, assumed this series was going to work out the same way.
3. That freed us–by “us” I mean the whole creative team–to tell exactly the story we wanted to tell. We had nothing to lose, nothing to overcome but low expectations. That gave us room to break a lot of rules.
STUFF THAT IS DIFFICULT TO REPLICATE AND IMPOSSIBLE TO PLAN:
1. Unexpected audiences. We are at a point in history when the role of religion is at a tremendous inflection point. What I didn’t realize was that the anxieties felt by young Muslims are also felt by young Mormons, evangelicals, orthodox Jews, and others. A h-u-g-e reason Ms Marvel has struck the chord it has is because it deals with the role of traditionalist faith in the context of social justice, and there was–apparently–an untapped audience of people from a wide variety of faith backgrounds who were eager for a story like this. Nobody could have predicted or planned for that. That’s being in the right place at the right time with the right story burning a hole in your pocket. Plenty of other stuff I’ve written and liked has fallen with a huge thud. That’s the norm. Exceptions are great when they happen, but hard to plan.
2. The paradox of low expectations. The bar was set pretty low for Ms Marvel, but because of Ms Marvel’s success, that bar got set much higher for similar books that came later.
STUFF THAT IS ENTIRELY AVOIDABLE:
1. This is a personal opinion, but IMO launching a legacy character by killing off or humiliating the original character sets the legacy character up for failure. Who wants a legacy if the legacy is shitty?
2. Diversity as a form of performative guilt doesn’t work. Let’s scrap the word diversity entirely and replace it with authenticity and realism. This is not a new world. This is *the world.*
3. Never try to be the next whoever. Be the first and only you. People smell BS a mile away.
4. The direct market and the book market have diverged. Never the twain shall meet. We need to accept this and move on, and market accordingly.
5. Not for nothing, but there is a direct correlation between the quote unquote “diverse” Big 2 properties that have done well (Luke Cage, Black Panther, Ms Marvel, Batgirl) and properties that have A STRONG SENSE OF PLACE. It’s not “diversity” that draws those elusive untapped audiences, it’s *particularity.* This is a vital distinction nobody seems to make. This goes back to authenticity and realism.
AND FINALLY
On a practical level, this is not really a story about “diversity” at all. It’s a story about the rise of YA comics. If you look at it that way, the things that sell and don’t sell (AND THE MARKETS THEY SELL IN VS THE MARKETS THEY DON’T SELL IN) start to make a different kind of sense.