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| Won Jong Jin | Margaery Tyrell | 15:56, 15 October 2021 | The Lonely Stargazer | | Bethany Mota | BachLynn23 | 15:55, 15 October 2021 | The Lonely Stargazer | | Billy Vandendooren | Aeriesol | 07:05, 10 September 2021 | Aeriesol | | Gretchen Easton | JustChase | 01:49, 9 August 2021 | The Lonely Stargazer | | Barbara Palvin | BachLynn23 | 01:49, 9 August 2021 | The Lonely Stargazer | | Stefan Petrov | Zany Knave | 04:48, 10 May 2020 | Zany Knave | | 2016-02-13 2316.png | TheWondefulMaskedMadame | 15:22, 26 April 2020 | Steven Winterson | | Tomas James McDade | Zany Knave | 18:41, 23 April 2020 | Zany Knave | | Shim Chang Min | Broken fire | 18:19, 21 April 2020 | Broken fire | | Lucky Blue Smith | Ezghad | 05:56, 20 April 2020 | Zany Knave | | Ray Mancini | BelladonnaTook | 02:43, 11 April 2020 | KMØ | | Anna Christine Speckhart | BachLynn23 | 22:20, 10 April 2020 | KMØ | | Tiera Skovbye | CattyTheOrchid16 | 22:18, 10 April 2020 | KMØ | | Marina Laswick | • Promotion to Opening Titles Michael Paré celebrates his promotion to the opening titles, and the spelling correction that came with it. This is when a Recurring Character finally achieves a high enough level of screen time and plot relevance to get added to the show's Title Sequence. Generally this is the most preferred method for someone new to be added to the main cast; when a character is created wholesale and put straight into the titles, it tends to be contrived to some degree, usually a replacement character or a response to a drop in ratings, while a Promotion to Opening Titles mostly happens because the fans and/or the creators of the show really like the character. Breakout Characters do this a lot. Often marks the beginning of the show's decline if the writers are only doing this because they're out of ideas or it's poorly executed. Has the interesting side effect of giving a newly-promoted character a certain amount of Plot Immunity. If you see a new character • The 2014 Rhubarb FestivalLooking Back and Looking Forward to Mark 35 Years
My final year as the Festival Director for Rhubarb fortuitously coincided with an opportunity to reflect on the past as it marked a milestone anniversary for Canada’s longest-running new works festival. The 35th festival explored multiple dimensions of time and place; bringing together works that unearthed and remixed elements of our past with projects that fearlessly questioned our current conditions and radically envisioned possibilities for the future: fantastical, sci-fi and queer, with utopian and dystopian views. It was also a banner year that once igen broke attendance records and saw over 100 artists involved. This future focus was most present in artists and projects that truly pushed the boundaries of their chosen form. From experimental prop comedian Bridget Moser to the virtuoso, gender-obliterating performance of Montreal dancer Gerard Reyes, this year’s Rhubarb was about testing the l 
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