art, culture and humanities
Tablescapes Event Rentals Unveils Building Mural Project With Local Artist on Chicago Headquarters
Local artist Melina Scotte recently transformed the Tablescapes Event Rentals building with a delicate mural. The artwork incorporates many of the products they have to offer, but most importantly, it tells the story of celebration.
CHICAGO (Newswire.com) – The Tablescapes Event Rentals building, located in the Fulton Market area, was the latest to receive a facelift from a local artist. The black, white, and gold mural was painted by Melina Scotte, and the fine dining tableware it features represents the business inside.
Owned and operated by proud Chicagoans, Tablescapes serves as one of Chicago’s premier event companies and has been a go-to for events in the area since the 80s. While the artwork incorporates many of the fine dining products they have to offer, most importantly, it tells the story of celebration.
“The building has good bones, but it didn’t really tell any type of story,” says Tablescapes CEO John Mlynski. “It could just blend in with the fabric of the Fulton Market area.”
Mlynski, a long-time resident of Chicago, says he has enjoyed many of the murals in his area, giving him the idea to use their commanding brick building as a way to show the city what they do.
“I had seen some of Melina’s artwork in a couple of different places,” says Mlynski. “I really liked what I saw and the artist when I met her.”
Scotte, originally from Argentina, relocated to the Chicago area in 2014. As an experienced artist, she had done murals before, but this was her first time painting for a business. Mlynski’s one request was a floral element for the design.
“I do flowers in most of my pieces, so I think that is what they were expecting,” says Scotte. “But the garlands and decorative pearls, those were John’s idea.”
From there, prep work began. Unlike many muralists who use spray paint, Scotte paints by brush. Because of the extensive labor and the outdoor project being weather permitting, the entire process took approximately three months.
Scotte used black and white to reflect the elegance of the many weddings and events that are planned inside. As an active showroom, the building serves as a space for clients to experience the products firsthand. Now when giving the address, guests are able to ‘just know’ the building.
“There was a lot that went into it, but in the end, Melina delivered on our vision to an unbelievably great degree,” said Mlynski.
Scotte’s next project isn’t far away, as Mlynski has already slated her to paint a private area of their indoor studio space, including a 30-foot wall. As the area is commonly used for employees to take breaks, they can’t wait to see the project completed.
“When you are surrounded by things that are beautiful, you create your own environment,” says Scotte.
Source: Tablescapes Event Rentals
Entertainment
Bring History to Life with Experiences That Feel Real
Bring History to Life: Reading books and watching documentaries can be good ways to learn about history, but there’s something particularly meaningful about immersive experiences that allow you to step inside the stories that shaped the world.
Bring History to Life with Experiences That Feel Real
(Feature Impact) Reading books and watching documentaries can be good ways to learn about history, but there’s something particularly meaningful about immersive experiences that allow you to step inside the stories that shaped the world.
During a visit to the U-505 Submarine exhibit at the Griffin Museum of Science and Industry (Griffin MSI), guests can literally step inside a historic German U-boat captured during World War II. In 1944, the U.S. Navy underwent a top-secret mission to disarm and take over one of the German submarines that wreaked havoc on the high seas, attacking not just military vessels but merchant ships and supply ships as well.
Watch this video to see more:
“The mission was a dangerous one, as U-boat captains were under strict orders to sink their own subs if they were in danger of capture,” said Dr. Voula Saridakis, head curator at Griffin MSI, “but the U.S. Navy managed to take over the vessel and keep it afloat long enough to reach American shores. There, they studied it to gather German military secrets and other intelligence items, like the codebreaking Enigma Machine now on display at Griffin MSI.”
As you tour the submarine, you’ll experience firsthand what life was really like on board. Climb through the hatch, picture yourself bunking for the night in the cramped sleeping quarters, take a turn trying to maneuver the submarine while dodging torpedoes and imagine the bravery of the American soldiers who risked themselves on a perilous mission to capture the vessel and help turn the tide of the war.
There are many important lessons to glean from history, and they’re often easier to understand when presented in a tangible way. Planning visits to museum exhibits and historical sites allows you to stand where others have stood, see what they’ve seen and connect your human experience with theirs. Parents, children, educators, students and people of all ages can find something to inspire them in these stories.
Learn more about bringing history and science to life at GriffinMSI.org.
SOURCE:
Griffin Museum of Science and Industry
Entertainment
‘Project Hail Mary’ demonstrates how intellectual humility can be a guiding force for scientists and astronauts
‘Project Hail Mary’ demonstrates how intellectual humility can be a guiding force for scientists and astronauts
Deana L. Weibel, Grand Valley State University
Early in Phil Lord and Christopher Miller’s science fiction blockbuster “Project Hail Mary,” middle school teacher Ryland Grace, played by Ryan Gosling, is tasked by an international coalition to uncover the biology of a strange microbe known as an “astrophage” that has been absorbing energy from an ever-dimming Sun.
Grace is a molecular biologist by training, but his controversial ideas and overconfident attitude have kept him out of academia. The viewer will see through flashbacks that as he’s matured, he’s developed a vital skill for solving the astrophage crisis: intellectual humility.
I’m an anthropologist who studies astronauts and space professionals to understand what space symbolizes to the people who experience it firsthand. Grace’s character in “Project Hail Mary” developed several of the traits that I’ve observed in the astronauts I’ve interviewed. These characteristics prove essential to success in high-stakes, uncertain situations. Warning: some plot points will be revealed ahead.
‘Project Hail Mary’ follows a middle school science teacher tasked with saving Earth from star-eating microbes.
Grace has been chosen as one of the first to study astrophage because of his Ph.D. dissertation on whether life can exist without water, a hot take in the world of science that, along with his rude response to peer reviewers, has gotten him banned from polite science conferences. The solar microbes eating the Sun seem to live without water, so Grace is the acknowledged expert.
Unfortunately, Grace can’t see into the mysterious, opaque little organisms until a dead one becomes translucent. Finally, Grace can see inside the microbe to study it, and he believes his hypothesis about life not needing water will be proven. However, chemical analysis reveals astrophage is made up of mostly water.
In a moment that undercuts both his expertise and his expectations, Grace is wrong. Crushed, he throws a tantrum, observed by a bemused assembly of international leaders.
What actually matters isn’t that Grace is wrong but what he does next. Only after Grace overcomes his frustration and need to be right is he able to move forward, returning to the problem with curiosity rather than defensiveness and the resolve to learn enough about astrophage to make saving the world a possibility.
Admitting what you don’t know
Perhaps the real hero of the story is not Ryland Grace himself but his intellectual humility. Intellectual humility, the admission of your own limited knowledge and a willingness to learn from others, sometimes seems to be undervalued, particularly by those in leadership positions.
People who are intellectually humble will say things like, “Tell me more,” or “I wish I had thought of that.” They don’t feel threatened when admitting vulnerability.
Some people, however, do feel threatened by the thought of admitting incomplete knowledge or appearing to have limitations. Instead of confessing what they don’t know, they may claim a kind of certainty that goes beyond their true expertise, shutting down further questioning. Intellectual humility, in contrast, encourages someone to remain engaged by highlighting how much they still have to learn.
Being contradicted by the facts can produce diverse reactions. For someone without intellectual humility, not knowing can feel like failure. It can lead to defensiveness, denial or a refusal to engage. With humility, however, not knowing is more interesting than scary. The defensiveness is gone, replaced by curiosity.
When Grace realizes his expectations about astrophage aren’t supported by scientific evidence, he goes from feeling sure to feeling unsure. Reality itself hasn’t changed, but Grace’s sense of reality shifts in an important way. He realizes that there is a great deal he still needs to learn about these microbes, without assumptions blocking new knowledge. His intellectual humility gives him a path forward, a way to reset and take in new information without shutting down.
Intellectual humility as a method
Ryland Grace is willing to learn, and this serves him well throughout the movie. His intellectual humility operates as a method, guiding how he approaches problems step by step.
For instance, once he realizes, to his dismay, that astrophage is made of water, Grace acknowledges this new truth. He doesn’t like it, but he accepts it. Moving forward, he avoids making assumptions about astrophage. Instead, he tests hypotheses using simple tools that have been cobbled together from items available in a big-box store.
His partner in this experiment is Carl, played by Lionel Boyce, who is there as a sort of half-“babysitter,” half-security guard, keeping an eye on Grace but also being irresistibly pulled into his scientific orbit.
Grace’s intellectual humility transforms Carl from a minder into a partner. Even though Carl isn’t a scientist himself, when Grace has to figure out how to make the lab’s astrophage experiment replicate the conditions causing the crisis in our solar system, it is Carl who suggests a solution.
Instead of being bothered that a nonscientist knew better than he did, Grace acknowledges the solution’s value, thanks Carl and uses Carl’s idea to reach a crucial discovery, proving himself to be open to ideas and feedback from others.
When Grace’s experiments struggle, he moves forward without defensiveness and instead displays increasing curiosity. His method of intellectual humility is to admit ignorance, test variables and revise working hypotheses based on new data, staying open to suggestions from others the whole time. To borrow a phrase from a different space story, “this is the way.”
Science fiction to real space exploration
Although “Project Hail Mary” is fictional, the attitude displayed by Ryland Grace is something I have seen in ethnographic interviews with astronauts and other space professionals, including engineers, astronomers and flight surgeons. Ethnography is a method of research, usually done in the long term, that combines interviews and participant observation.
When confronted with the reality of the universe – an enormous starry void we humans are only beginning to understand – scientists and space explorers are often stunned and humbled by the extent of their own ignorance. Although there are, without a doubt, less-than-humble people building rockets or going into space, intellectual humility is often a guiding force among many successful space researchers.
In my book, “The Ultraview Effect,” I trace the way a sense of cosmic awe can provoke feelings of humility and openness, which serve as catalysts for curiosity. This pattern, which I began to notice after an astronaut told me how seeing billions of stars with his own eyes made him realize how little he actually knew, is very similar to what Grace experiences in the movie.
Being open to awe and willing to be humbled by it isn’t weakness but strength. And in his embrace of intellectual humility, Grace lives up to his name.
Deana L. Weibel, Professor of Anthropology, Grand Valley State University
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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Entertainment
Philly theaters unite to stage 3 plays by Pulitzer-winning playwright James Ijames
James Ijames, 2022 Pulitzer Prize winner for “Fat Ham,” is celebrated with a Citywide Pass in Philadelphia, offering access to three of his plays across different theaters. This initiative fosters collaboration among local theaters and showcases Ijames’ unique ability to create nuanced, character-driven narratives that explore complex queer and Black identities.
Bess Rowen, Villanova University
Most theater subscriptions offer a patron access to a single theater’s season. But Philadelphia’s new Citywide James Ijames Pass provides tickets to three James Ijames – pronounced EYE-ms, rhymes with “chimes” – plays at three theaters in Philadelphia. Subscribers will also get one mustard-colored beanie, one of Ijames’ signature accessories.
The full pass, which costs US$130, includes tickets for the Arden Theatre’s “Good Bones,” which premiered Jan. 22 and runs through March 22, the Wilma Theater’s “The Most Spectacularly Lamentable Trial of Miz Martha Washington,” which runs March 17 to April 5, and the Philadelphia Theatre Company’s “Wilderness Generation,” a world premiere that runs April 10 to May 3. There is also a two-show pass for $90 without “Good Bones.”
I’m a theater theorist, historian and practitioner who has written about Ijames’ work before and after his 2022 Pulitzer Prize. I believe this landmark collaboration between three important Philadelphia theaters is a fitting celebration of a multi-hyphenate theater artist who continues to champion his longtime artistic home.
Actor, playwright, director
Ijames, 46, was born in North Carolina and attended Morehouse College in Atlanta, Georgia. He earned his Master of Fine Arts degree at Temple University and stayed in Philadelphia after graduating.
Notably, this playwright’s MFA is in the study of acting. Ijames is also a talented director, and he performed and directed at multiple theaters around Philadelphia before starting to work as a playwright. He was also a tenured professor of theater at Villanova University, where I had the privilege to work with him and watch his creative process before he moved to New York City in 2025 to run the playwriting concentration at Columbia University.
Ijames was already a local celebrity in Philly before winning the Pulitzer Prize for drama for “Fat Ham,” his Hamlet adaptation centered on a queer Black Hamlet named Juicy and the legacy of his father’s barbecue joint. The New York theater scene took notice of him when the National Black Theatre staged “Kill Move Paradise” in 2017. This haunting piece is set in limbo, where unarmed Black men who have been killed by police examine how they have come to this place and how society continues to enable this pattern.
Other Ijames plays include “White,” a satire of the art world that tells the story of a gay white male artist who hires a Black woman actor to pretend to have done his work to see if that makes a difference in how his art is viewed. “TJ Loves Sally 4Ever” sets Thomas Jefferson and Sally Hemings’ relationship on a college campus where “TJ” is a dean and Sally is a student. And “Reverie” is a chamber play, which is an intimate meditation with an earnest and somber tone. In it, the father of a recently deceased Black gay man comes to meet the man he believed was his son’s partner.
Most recently, in 2025, Ijames partnered with the Australian pop singer Sia on a musical called “Saturday Church.” It is a story about reconciling queer community and Christian faith, and relying on the support of family, both biological and chosen.
Charting new dramatic territory
Although his theatrical styles and genres vary, at his core, Ijames writes nuanced, character-driven works that revolve around interpersonal relationships. His plays are playgrounds for performers, particularly due to his ability to write complex queer Black characters.
Influential American playwright Suzan-Lori Parks notes in her 1994 essay “Elements of Style” that the conflict between Black people and white people is the default trope of how Black people have been represented onstage – by almost exclusively white playwrights – for most of U.S. theater history. Parks posits that a way to avoid this centering of white conflict in Black lives comes from new dramatic territory that depicts conflicts between Black people and anything else.
Ijames never sets his Black characters in opposition to white society alone. He also refuses to take up the tropes of LGBTQ identity as incompatible with religion, or the idea that characters can be only gay or straight. Instead, Ijames creates narratives with queer religious people and pansexual men whose identities are not sources of conflict.
The citywide pass
The plays in the citywide pass offer an exciting cross section of what makes Ijames’s work so vibrant.
“Good Bones” is the story of a now-affluent Black woman, Aisha, who moves back to her blue-collar hometown. Aisha might be from this working-class neighborhood, but her elaborate renovations and white-collar sensibilities make her return seem more like gentrification than homecoming, at least as far as her local contractor can see.
“Miz Martha” follows the titular Martha Washington through a fever-dream-inspired trial in her final moments, as enslaved people care for her while knowing her death means their freedom.
And “Wilderness Generation” follows five cousins reunited in the U.S. South after many years apart, ready to talk about the secrets from their pasts.
With theater’s ever-changing and unstable financial landscape, I believe the Citywide James Ijames Pass is an exciting new subscriber model. The collaboration highlights Philadelphia’s theatrical talent and banks on local theaters working together to build audiences instead of treating each other as competition – a new development that could change how regional theater scenes operate.
Bess Rowen, Assistant Professor of Theatre, Villanova University
This article is republished from The Conversation under a Creative Commons license. Read the original article.
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