Tumgik
#angelae strauss
Text
May my words accompany you.
Tumblr media
. . . Love
Tell me "my life? Can you give me a hug and a kiss as soon as possible? Of course my love. But why the rush?
Tumblr media
Because I feel someone calling me and I don't know if I'm awake or asleep. . . I don't know until when I will find you again or dream of you.
    —  Juan Francisco Palencia.   " By someone I know it was."             
336 notes · View notes
dailyheavyqueens · 2 months
Text
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
METAL/ROCK QUEENS + color red
72 notes · View notes
incorrect-heroes · 1 year
Text
Peter: It's Christmas time and you know what that means!
Angela: Everyone is going to try to kill each other at the dinner table?
Nathan: Time for the sweet release of death?
Tracy: Getting drunk on my own while crying in the bathtub?
Matt: Time to receive only coal from Santa again?
Claire: Question my existence while watching Friends reruns on repeat?
Peter, concerned: I was gonna say 'ugly Christmas sweater competition' but you know what? We're all going to therapy.
19 notes · View notes
unita2org · 3 days
Text
ECCO CHI SONO I TERRORISTI CHE COMPIONO ATTENTATI IN RUSSIA PER CONTO DELL’OCCIDENTE (TERZA PARTE)
Macron/Rotschild l’ultimo interprete dei desideri dei massocapitalisti Rete Voltaire “Sotto i nostri occhi” (11/25) Le due anime della Francia di Thierry Meyssan Proseguiamo la pubblicazione a episodi del libro di Thierry Meyssan, Sotto i nostri occhi. In questa puntata la Francia si mostra divisa: il presidente fa il gioco degli anglosassoni, mentre il suo rivale gollista quello del Qatar;…
Tumblr media
View On WordPress
0 notes
none-of-your-bullshit · 5 months
Text
Say that You Love Me - Chapter 10
I’ll Show You (every version of yourself)
Fandom: Criminal Minds
Pairing: Spencer Reid x Fem!Reader
Warnings: 18+ Minors DNI, canon typical violence, insecurities, death, inaccuracies for how the U.S. government works
Series Masterlist
When Hotch decided to not retire, you had already turned down Interpol's offer.
He had you in his office every Tuesday since you came back for a weekly review of a weekly mandatory psych eval. You told him that you really liked Angela, your Cassie-assigned therapist-but-also-FBI approved, and she had been helping you a lot. 
“That’s great to hear,” your boss said. “I expect her to send a full assessment by the end of the week.”
“I will let her know,” you said. “I, uh, want to keep seeing her after the mandatory sessions are fulfilled, if I may.”
“Of course.” He agreed without a second thought. He opened his mouth, then closed it, as if hesitating to say something. You raised an eyebrow in question. “I would like your professional opinion.”
Your eyebrow just got higher. “About?”
“Sam Cooper called.” He said, your heart dropped for a second. “Not about you. About a case. He asked for our assistance in regards to a string of murders of father-daughters at a specific time of year.”
You took the file from Hotch’s hand and scanned the case summary. “San Francisco? Isn’t that where we’re going now?” 
“Yes.”
“So you think it might be connected to our case?”
“That’s where I need your professional opinion on.”
You looked at him with a deadpan stare. “No, you don’t. You have decided. If validation is what you really want, then yeah, Cooper’s onto something.”
“Okay, thank you.” Hotch said. “We’ll meet at the basement in ten.”
You didn't expect to meet with Cooper and his team again so soon. He told you he was going to give you time to think about his offer, but you knew you couldn't just leave him hanging. This case, working together with him again, he would want an answer by the end of it, if he wasn't getting fired for going behind Strauss's back.
Spencer tried not to frown as he watched you embrace the rest of Cooper's team. He saw that Cooper was your handler and the lead agent during your period of undercover work regarding the Romani family network, but he didn't even consider the possibility of you being that friendly with them. 
Then, suddenly, there were a lot of possibilities to consider.
Throughout the entire case, he observed how you were more relaxed and joked around more with Mick or Beth. He noted how at some point, Cooper ruffled your hair in brotherly affection for getting a lead. He noted how at ease you were with them, much more than with Hotch's team.
How could he not? The profile said everything didn't it? Your tendency to bend the rules and impulsivity matched perfectly. A certain room of freedom you might just need to thrive. The rag tag team of people with gray and questionable backgrounds. You'd fit right in, wouldn't you?
Was this the secret meeting with Hotch about? Are you transferring to Cooper's team?
"Do you –do you guys think she will leave again?" Spencer asked in a small voice when it was just him, JJ, and Derek. 
"What are you talking about, Reid?" Derek asked, flipping more pictures.
"Y/N," he said. "Do you think she'd transfer to Cooper's team?"
"Honestly? I don't know," JJ answered. "I think even Hotch is a little worried."
"If I say I don't want her to go," Spencer started to admit. "Would I be selfish?"
"If so, then the whole team is selfish." Derek said. "She's smart, she's capable, she'd thrive everywhere she goes. I think we should just trust her on this one."
When the case wrapped, Hotch agreed to push back their flight for a few beers with the two teams. Spencer joined you, Rossi, and Jonathan with a jar of snacks. Since the four of you were the only ones not drinking (you and Rossi because you both hated the taste of beer, Jonathan because he finished his bottle but didn't reach for more, and him because of his sobriety), you four had the dibs on the snacks. 
"What do you mean?" Spencer asked, confused by the comments Rossi and Jonathan made.
"They're comparing prison experience," you laughed, throwing a peanut to his face. "Just be glad you guys have not seen the inside of the Turkish version of a gulag."
"Heard you turned down that Interpol job." Jonathan asked after a few minutes. "Broke Ryder's heart."
Interpol? Interpol wanted you on their team? Why didn't you tell him? Jonathan’s comment forced him to turn his head so fast, he almost got a whiplash. Spencer was studying you now, and he could tell Rossi was too.
"Yeah well," she shrugged. "I'm not much of a leader. Besides, since Eastern Europe's off limits for me, it's very restricted."
"Don't sell yourself short." He said. "Besides, Cooper's hopeful. You gonna break his heart too, L/N?"
You laughed him off. Then, Mick was calling for Jonathan, which also diverted your attention to him. Spencer didn't miss the wink he sent you, or the way you stuck your tongue out at him. Something bitter rose to the back of his throat. 
"You know you're free to choose, right?" Rossi said. "You don't have to stay with us out of some sense of obligation to me or Aaron?"
"Yeah, I know," you said, looking down at the handful of peanuts on your hand.
"The team will be fine, kid."
"No, we won't." Spencer frowned, unable to hold down his anxiety for much longer. "We finished cases twice as long, Morgan and Hotch were more snappy and impatient, JJ missed your caramel candies and how you're the only one who noticed she liked them, Prentiss and Garcia just looked sad whenever they did or saw something and reminded them of you. And you, Rossi, you were always worried about her and I –I don't want you to leave again because –because I –"
The words wouldn't come out, stuck on his throat. What was he supposed to say, anyway? That he hated it when you were gone? That he missed the way you'd come up to him and said that you had Googled something he had said and thanked him for sending you down the rabbit hole. He missed the way you'd switch out his coffee with green tea when he hit two cups. He missed your little comments and observations on cases, how some people's "vibes" were off and turned out they were either the unsub or hiding something.
He missed your head leaning on his shoulder during plane rides. He missed the home baked goods you'd bring to the office while not saying that you baked them, but Spencer knew anyway. He missed you, even though you were next to him.
"Spence," you said, your hand around his arm. "I'm staying with you –with the team. I'm not going anywhere for awhile, especially not after–"
Spencer didn't miss the way you caught yourself, but he was too relieved to say anything about it. Call him selfish, but the weight on his chest that had been suffocating him since the beginning of this case had been lifted. He tried to ignore Rossi's knowing smile too.
**
It wasn't until the case in Alaska that you and Spencer got to actually talk about, well, about you.
Sure, there had been conversations in the jet or the break room, but it was as if you both agreed to avoid the topic of the kiss all together. Avoid the topic of what you have been doing for the past year and the new scars that adorned your skin. In turn, you avoided his glances and you were too afraid to ask about the lipstick stain on his name card.
When the tavern owner said that there had only been 4 rooms available, you knew that it was you who'd room with Spencer. 
You tried to offer to stay up with Garcia, just in case, but Hotch shot you down saying that you needed to be on your freshest minds the next day.
You didn't bother to tell him that you won't be getting any sleep rooming with Spencer. 
Of course, you just had to get the room with only one bed.
It was easy to fall into routine. 
Back when you were still sleeping with each other (granted it was only like, five times), you'd use your en suite while Spencer used the guest bathroom. In his place, you'd tell him to go first because the six step skincare routine you absolutely needed to do took up a lot of time. Then, he'd come up behind you and rested his chin on your shoulder and ask questions about the products you were using.
At some point, you convinced him to use a clay mask with you. The mess was worth the priceless polaroids you took.
Spencer was sitting on the bed by the time you got out. The sight was so familiar, it gripped your heart. 
"I'll take the floor–"
"Shut up and lay down, Spence."
He complied, and you followed suit. The inches of distance felt like a chasm, and you were too anxious to fall asleep. Besides, you could practically hear him thinking.
You looped your arm around his and leaned your head on his shoulder. 
"You have questions, Spencer," you said. "Ask."
"Were you hurt?" He blurted. "Or lonely? Did you miss us?"
"Being undercover is different when you have something to lose, I guess," you said. "Back then, I didn't have anyone. I didn't need to think about anyone else's safety but mine and the agency's. It's different now. Missing someone or something while knowing you can't do anything about it, it consumes you sometimes."
"Oh." Spencer said. He turned his head towards you, eyes tracing the bare skin of your neck, your shoulders and collarbone from the oversized shirt you were wearing. "Is that why you called Garcia when you were arrested in Texas, instead of Cooper?"
"Wait, how did you –nevermind." You shared a soft laugh. "Yeah, pretty much. I called her because I knew that if something's wrong, she'd track me in no time."
"You're right."
You paused. "I'm sorry I wasn't there, when you were hurt or when you guys were going after Foyet."
"To take down an entire network of ritualistic serial killers."
"Still," you sighed. "I feel like a shitty friend."
"Right, and how many times did you get hurt while you were undercover?" Spencer asked. When you bit your lip instead of answering, he scoffed. "I counted three new permanent scars that I can see. Y/N, how many are there?"
"It doesn't matter," you said. "I'm here now, with you, and the team, and that's all that matters, right?"
"Yeah."
"And, uh," you began. "We don't have to talk about that kiss, if you don't want to. We're good, Spence, I promise."
Spencer nodded at that, grateful. Truthfully, he wouldn't know what to say other than he was scared of losing you, of never seeing you again. He had run out of things to say so he had kissed you instead. So, Spencer wrapped his arm around your shoulders and pulled you to him, holding you like he did before you joined the team, and you both fell asleep to the rise and fall of each other's chest.
"I'm really glad you're alive."
100 notes · View notes
perlukafarinn · 5 months
Text
Most notable Starkid cast members?
Tumblr media
Starkid has had a lot of different cast members in their shows through the years and I started wondering who has been in the most shows and how many shows someone would have to be in for them to feel like a "proper" Starkid. I could have looked up to see if anyone has compiled this information but instead I decided to do it myself!
I went through the cast lists of all fourteen live stage shows they have uploaded to their channel (so including VHS Christmas Carol but not Nightmare Time or any other digital series) and here's what I found:
(behind a read more because this got looong and also so you have time to guess which actors have been in the most shows!)
1. Jaime Lynn Beatty (12 out of 14 shows). First appearance: A Very Potter Musical. Latest appearance: A VHS Christmas Carol. 1. Lauren Lopez (12). First appearance: A Very Potter Musical. Latest appearance: Nerdy Prudes Must Die. 3. Joey Richter (11). First appearance: A Very Potter Musical. Latest appearance: Nerdy Prudes Must Die. 4. Joe Walker (9). First appearance: A Very Potter Musical. Latest appearance: Firebringer. 5. Dylan Saunders (8). First appearance: A Very Potter Musical. Latest appearance: A VHS Christmas Carol. 5. Brian Holden (8). First appearance: Me & My Dick. Latest appearance: A VHS Christmas Carol. 5. Corey Dorris (8). First appearance: Me & My Dick. Latest appearance: Nerdy Prudes Must Die. 8. Meredith Stepien (7). First appearance: Starship. Latest appearance: A VHS Christmas Carol. 9. Joe Moses (6). First appearance: A Very Potter Musical. Latest appearance: Ani: A Parody. 9. Jim Povolo (6). First appearance: A Very Potter Musical. Latest appearance: Twisted. 9. Denise Donovan (6). First appearance: Starship. Latest appearance: Firebringer. 9. Jeff Blim (6). First appearance: Holy Musical B@tman!. Latest appearance: Black Friday. 13. Julia Albain (5). First appearance: A Very Potter Musical. Latest appearance: Ani: A Parody. 14. Brian Rosenthal (4). First appearance: A Very Potter Musical. Latest appearance: A VHS Christmas Carol. 14. Britney Coleman (4). First appearance: A Very Potter Musical. Latest appearance: A VHS Christmas Carol. 14. Devin Lytle (4). First appearance: A Very Potter Musical. Latest appearance: A Very Potter Senior Year. 14. Richard Campbell (4). First appearance: A Very Potter Musical. Latest appearance: A Very Potter Senior Year. 14. Lily Marks (4). First appearance: A Very Potter Musical. Latest appearance: A Very Potter Senior Year. 14. Nick Lang (4). First appearance: A Very Potter Sequel. Latest appearance: Ani: A Parody. 14. Nicholas Joseph Strauss-Matathia (4). First appearance: A Very Potter Sequel. Latest appearance: A Very Potter Senior Year. 21. Darren Criss (3). First appearance: A Very Potter Musical. Latest appearance: A Very Potter Senior Year. 21. Tyler Brunsman (3). First appearance: A Very Potter Musical. Latest appearance: A Very Potter Senior Year. 21. Sango Tajima (3). First appearance: A Very Potter Musical. Latest appearance: A Very Potter Senior Year. 21. A. J. Holmes (3). First appearance: Me & My Dick. Latest appearance: A VHS Christmas Carol. 21. Arielle Goldman (3). First appearance: Me & My Dick. Latest appearance: A Very Potter Senior Year. 21. Chris Allen (3). First appearance: Holy Musical B@tman! Latest appearance: Ani: A Parody. 21. Rachael Soglin (3). First appearance: Twisted. Latest appearance: Firebringer. 21. Robert Manion (3). First appearance: Twisted. Latest appearance: Black Friday. 21. Clark Baxtresser (3). First appearance: Ani: A Parody. Latest appearance: A VHS Christmas Carol. 21. Jon Matteson (3). First appearance: The Guy Who Didn't Like Musicals. Latest appearance: Nerdy Prudes Must Die.
Then there are a handful of people who have only appeared in one or two shows, most notably Bonnie Gruesen, who played Hermione in the first two Potter musicals, Will Brenner, who debuted in Nerdy Prudes Must Die, and Mariah Rose Faith, Angela Giarratana, Curt Mega, Kim Whalen, Kendall Nicole Yakshe and Bryce Charles, who have all appeared in two or more Hatchetfield projects.
A couple of observations:
Some of the actors listed have also been involved behind the scenes, with Nick Lang writing almost every show with his brother Matt Lang, and Jeff Blim and Clark Baxtresser writing the music for several shows.
I was shocked that Rachael Soglin has only been in three Starkid shows but I guess it goes to show that the size of the role also plays a part in how much of a "Starkid" every actor feels.
54 notes · View notes
theantonian · 3 months
Text
The Antonian Reading List
Mark Antony: A Life by Patricia Southern (Highly recommended!)
Mark Antony: A Biography by Eleanor Goltz Huzar (Highly recommended!)
The Life and Times of Marc Antony by Arthur Weigall (Recommended)
Marc Antony: His Life and Times by Allan Roberts (Recommended)
Marc Antony by Mary Kittredge
Antony & Cleopatra by Patricia Southern
Antony & Cleopatra by Adrian Goldsworthy (By far the most negative book on Antony by a modern historian, the Cleopatra portion is better)
Mark Antony: A Plain Blunt Man by Paolo de Ruggiero (Recommended)
Mark Antony and Popular Culture: Masculinity and the Construction of an Icon by Rachael Kelly
Mark Antony's Heroes: How the Third Gallica Legion Saved an Apostle and Created an Emperor by Stephen Dando-Collins
A Noble Ruin: Mark Antony, Civil War and the Collapse of the Roman Republic by W. Jeffrey Tatum (Highly recommend!)
Mark Antony & Cleopatra: Cleopatra's Proxy War to Conquer Rome & Restore the Empire of the Greeks by Martin Armstrong
Actium and Augustus: The Politics and Emotions of Civil War by Robert Alan Gurval
The Roman Revolution by Ronald Syme (Recommended)
Octavian, Antony and Cleopatra by W. W. Tarn
Fulvia: Playing for Power at the End of the Roman Republic by Celia E. Schultz
Cleopatra: Last Queen of Egypt by Joyce Tyldesley (Highly Recommended!)
Cleopatra: A Life by Stacy Schiff (Highly Recommended!)
Cleopatra - A Biography by D. Roller
Cleopatra and Antony by Diana Preston
Cleopatra by Alberto Angela (Recommended)
Cleopatra by Jacob Abbott
Cleopatra and Egypt by Sally-Ann Ashton
Cleopatra and Rome by Diana E. E. Kleiner
Cleopatra Her History Her Myth by Francine Prose
Cleopatra Histories, Dreams, and Distortions by Lucy Hughes Hallett (Recommended)
Cleopatra’s Daughter Egyptian Princess by Jane Draycott
The Storm Before the Storm by Mike Duncan
SPQR: A History of Ancient Rome by Mary Beard (Good for beginners)
The Last Assassin: The Hunt for the Killers of Julius Caesar by Peter Stothard
Robicon by Tom Holland
Alesia 52 BC: The final struggle for Gaul (Campaign) by Nic Fields
Actium 31 BC: Downfall of Antony and Cleopatra (Campaign) by Si Sheppard
Pharsalus 48 BC: Caesar and Pompey – Clash of the Titans (Campaign) by Si Sheppard
Philippi 42 BC: The death of the Roman Republic (Campaign) by Si Sheppard
Mutina 43 BC: Mark Antony's struggle for survival (Campaign) by Nic Fields
The War That Made the Roman Empire: Antony, Cleopatra, and Octavian at Actium by Barry Strauss
The Battle of Actium 31 BC: War for the World by Lee Fratantuono
Rome and Parthia: Empires at War: Ventidius, Antony and the Second Romano-Parthian War, 40–20 BC by Gareth C Sampson
Rivalling Rome: Parthian Coins and Culture by Vesta Curtis
Classical sources:
Plutarch’s Lives
Appian, The Civil Wars
Dio Cassius, The Roman History
Suetonius, The Twelve Caesars
Flavius Josephus, The Jewish War
Livy, The Early History of Rome
Friction:
The Tragedy of Julius Caesar by William Shakespeare
The Tragedy of Antony and Cleopatra by Willian Shakespeare
All For Love or The World Well Lost by John Dryden
The Siren and the Roman – A Tragedy by Lucyl
Caesar and Cleopatra by George Berbard Shaw
Cleopatra (play) by Sardou
Antony by Allan Massie
I, Claudius by Robert Graves
I, Cleopatra by William Bostock
Cleopatra by H. Rider Haggard
Cleopatra by Georg Ebers
Kleopatra (Vol I & II) by Karen Essex
Last Days with Cleopatra by Jack Lindsay
The Memoirs of Cleopatra by Margaret George
When We Were Gods by Colin Falconer
The Masters of Rome series by Colleen McCullough
Caesar's Soldier: Mark Antony Book I by Alex Gough (Ongoing series)
The Antonius Trilogy by Brook Allen
The Last Pharaoh series by Jay Penner
Throne of Isis by Juith Tarr
Hand of Isis by Jo Graham
Woman of Egypt by Kevin Methews
The Ides of Blood 01-06 (Comics)
Terror - Antonius En Cleopatra (Erotic yet pure love, Dutch comics)
Cleopatra - Geschiedenisstrip (Dutch comics)
Les Grands Personnages de l Histoire en Bandes Dessinees – Marc Antonie (French comics)
Les Grands Personnages de l Histoire en Bandes Dessinees – Cleopatre (French comics)
Les Grands Personnages de l Histoire en Bandes Dessinees – Julius Caesar (French comics)
Cléopâtre (French Manga)
 Ils Ont Fait L'histoire - Cléopâtre (French Graphic Novel)
40 notes · View notes
hothothotch · 3 months
Text
Okay, so let’s just discuss it for a second: it would be EVERYTHING if there was a crossover between Criminal Minds and Bones and (I’m not aiming for or here, I’m saying both) between Criminal Minds and Hawaii 5-0.
Okay, so first scenario: CM + Bones
Booth and Hotch would be buddies from the Academy. I can see Aaron’s smile when he sees his old friend Seeley in that way he always smiles when he sees someone he likes (remember when Strauss reintroduced him to Dave? That smile);
Derek wouldn’t have met Booth, but they’re just inconsequential, so they’d hit it off immediately;
Booth would inevitably flirt with Emily (if he’s not with Bones yet), because that’s just Booth;
Bones wouldn’t believe in profiling because she believes in facts and profiling is ~ cough ~ guess work. So whenever someone said “he’s not guilty”, she’d look skeptically at this person and ask “based on what?” Then proceed to explain in length why this person could be the killer (she’d be wrong);
Bones and Spencer? God, she’d loathe him. We know Bones hates everyone who’s smart/smarter than her, so she’d 1000% bicker trying to prove herself smarter than Spencer all the time, and he wouldn’t even notice;
Booth would make jokes about Spencer and Bones being similar;
Angela would flirt with Hotch and Derek because that’s Angela. And (if she’s not with Hodgings), she’d end up going out with him on a casual thing;
In the end, Bones would still not believe in profiling, but would’ve inevitably warmed up to the team. The killer would be the obvious choice (as usually happens in Bones) and they’d all go to Sid’s restaurant.
Oh, and Sweets would 100% try to be Spencer’s friend. I just feel it. Lime in the coconut and all.
Second scenario: CM + Hawaii 5-0
Now this would be unhinged.
Hotch and Steve would bicker ALL THE TIME because McGarrett is crazy!!! And unorthodox!!! And Hotch just can’t stand it.
Danny would inevitably side with Hotch because “sometimes I’d like not to be almost killed at work!!!” (Screaming), but he’d secretly hate it.
Steve and Derek? Not a pair. Not a match. Testosterone EVERYWHERE. A lot of men crying.
Kono + JJ + Emily? GIRL POWER! Kono would make a comment about having more girls around and they’d probably go uncover at a mission (FBI doesn’t work like that, but 5-0 does, so it works) and they’d together roll their eyes at Steve and Derek’s bantering.
Chin. Precious Chin. I don’t even know what to say because he’d just be… precious. Welcoming, willing to listen. He’d be the peacemaker on the group and certainly would get along with Garcia because he’s just precious (I’ll repeat it more times if I have to).
Hotch would CERTAINLY pull the card “if you want our help, you’ll have to let us work” at Steve when he does something very Steve-y, and Steve will answer with “we didn’t ask for your help!” And a whole fight would unravel from that.
Danny would flirt with JJ and Emily, because someone has to. And they’d 🙄 him, because they can’t stand this kind of bullshit (but maybe Emily would end up flirting back? Not sure).
Spencer would feel so out of place, because there’s not a genius at this group, and everyone’s bickering and he just wants to solve the case.
BUT if Jerry was already on the team, Spencer would constantly state that conspiracy theories are just that, and they’d bicker about it.
I feel like writing now, so… please, humor me
16 notes · View notes
afterthegreatunknown · 6 months
Text
another random post about headcanons of mine for some asoue characters...their neftlix’s counterparts, that is:
netflix!mrs. quagmire is a quagmire by blood, with her mother being a former denouement. this makes netflix!mrs.quagmire a cousin to denouments. her full name is angela margot quagmire (as for why i picked angela, angela is isadora duncan’s actual first name).
netflix!mr. quagmire married into the quagmire family. his full name is quincy george oscar, nee bluth (george oscar bluth is a reference to the actor’s role on arrested development).
angela was once a pilot/aviator, but by asoue she’s a pilot/aviator instructor. angela uses her skills whenever on vfd missions though, because somehow, it’s always needed at one point.
quincy is an attorney. a defense lawyer in fact, and always has the luck of getting his always innocent’s clients a not guilty verdict, and getting justice strauss as the judge on his cases.
netflix!gregor was the original sugar bowl(tm) owner. he gave the sugar bowl(tm) to esme, believing she can keep it safe (being rich and beautiful, no one will suspect her). gregor needing it back for his research more or less help pave way to opera night(tm) and the schism itself.
netflix!ike has a small collection of hats, ever since he was a child. his favorite hat is the cowboy hat.
netflix!josephine was a j.s. prior to her marriage (maiden name is seymour). josephine considered keeping her maiden name after marrying ike, but she grew fond of the anwhistle surname.
9 notes · View notes
skullsemi · 1 year
Text
The MousePack - Mickey and Friends Singing Classic Standards
Tumblr media
The MousePack - Mickey and Friends Singing Classic Standards is a tribute album featuring Mickey and his pals singing standards made famous by members of the Rat Pack (Frank Sinatra, Dean Martin, and Sammy Davis, Jr.). Released on April 8, 2022 with the genre of Jazz, Swing and Standards, by the label of Walt Disney Records.
The album is available on:
Spotify
YouTube
YouTube Music
Apple Music
Deezer
Tracks
"Ain't That a Kick in the Head" (Goofy) - 2:30
"Let's Call the Whole Thing Off" (Donald and Daisy) - 4:00
"More Than You Know" (Minnie) - 2:47
"When You're Smiling" (Mickey) - 2:48
"How About You?" (Daisy) - 4:07
"One for My Baby" (Donald) - 4:07
"Friendship" (Mickey, Minnie, Goofy) - 2:16
"Young at Heart" (Donald) - 2:51
"I Love a Piano" (Minnie) - 3:03
"Everything Happens to Me" (Goofy) - 2:40
"Think of Mickey Mouse" (Goofy, Minnie, Daisy, Donald) - 2:59
Cast and personnel
Bret Iwan as Mickey Mouse
Russi Taylor (tracks 3 & 9) and Kaitlyn Robrock (tracks 7 & 11) as Minnie Mouse
Tony Anselmo as Donald Duck
Tress MacNeille as Daisy Duck
Bill Farmer as Goofy
Mike Himelstein - producer
Frank Strauss - recording arranger
Daneil Davila - recording engineer, mixer
Phil Levine - recording engineer, mixer
Michael Turner - recording engineer, mixer
Angela Parrish - background vocals
Randy Crenshaw - background vocals
Trivia
Tony Anselmo revealed on SiriusXM's Disney Hits' "Celebrity Be Our Guest 4 the Day" that "More Than You Know" was one of Russi Taylor's final recordings as Minnie Mouse. This was released three years after her death.
.
[ this post is a transcript version of the information on Disney wiki fandom ]
31 notes · View notes
Text
Essay eines Lebens.
Tumblr media
"October has come again . . . bringing me with the dawn and the cold, in each falling leaf, wandering clouds transforming the sky into a wider horizon that after the rain becomes clearer. It is those distant valleys of Bavaria and the wind that it has brought me back and I try to adorn myself with the same freshness of the mountain water that waits alone to find some way with the light of an abandoned star, the dawn and with them to find myself and smile and then disappear once more " .
Angelae Strauss.
335 notes · View notes
liricamundi · 5 months
Text
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
OPER HEUTE
ANNA NETREBKO in CILEA'S Adriana Lecouvreur
RENÉE FLEMING in STRAUSS's Der RosenKavalier
RENÉE FLEMING in STRAUSS's Der RosenKavalier (als Die Marschalin Therese).
SONDRA RADVANOVSKY
DIANA DAMRAU
ROBERTO & Marinella ALAGNA
MARIELLA DEVIA als die Konigin Elizabeth I im DONIZETTI'S Roberto Devereaux
DIANA DAMRAU und XAVIER CAMARENA in BELLINI'S I Puritani
MERYL STREEP & ANGELA GHEORGHIU
RENÉE FLEMING mit ihrem geliebter Pomeranian Hunding 🐶❣️
6 notes · View notes
starkiddreamcasting · 11 months
Text
Starkid Bad Cinderella
Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media Tumblr media
Call her Bad Cinderella she takes pride when you smirk, and she’s now a Starkid dreamcast! Bad Cinderella may be a hot mess but you can’t deny it’s fascinating to watch and having Starkids there would certainly be an improvement.
1. Mariah Rose Faith as Cinderella 2. James Tolbert as Prince Sebastian 3. Lily Marks as The Stepmother 4. Jamie Burns as The Queen 5. Ali Gordon as Adele 6. Lauren Lopez as Marie 7. Britney Coleman as Fairy Godmother 8. Joe Walker as Prince Charming 9. Nico Ager as Ensemble 10. Jaime Lyn Beatty as Vicar/Ensemble 11. Jeff Blim as Ensemble 12. Will Branner as Ensemble 13. Tyler Brunsman as Claude (Master of Ceremonies)/Duc du Violette/Ensemble 14. Hamilton Davis as Gaiwan/Ensemble 15. Corey Dorris as Ensemble 16. Denise Donovan as Ensemble 17. Angela Giarratana as Ensemble 18. Jae Hughes as Ensemble 19. Janaya Mahealani Jones as Ensemble 20. Jon Matteson as Ensemble 21. Curt Mega as Arthur/Ensemble 22. Joey Richter as Dorian/Ensemble 23. Rachael Soglin as Ensemble 24. Meredith Stepien as Ensemble 25. Sajima Tajima as Ensemble 26. Lauren Walker as Ensemble 27. Tiffany Williams as Ensemble
Standby: Bryce Charles (Cinderella)
Swings: Clark Baxtresser, Arielle Goldman, Alle-Faye Monka, Brian Rosenthal, Nick Strauss, Virginia Vass
Understudies: Nico Ager (Prince Sebastian), Jaime Lyn Beatty (Stepmother, Queen), Britney Coleman (Stepmother), Denise Dovovan (Adele),  Angela Giarratana (Adele, Marie), Janaya Mahealani Jones (Cinderella, Fairy Godmother), Jon Matteson (Prince Sebastian), Curt Mega (Prince Charming), Joey Richter (Prince Charming), Meredith Stepien (Queen), Lauren Walker (Fairy Godmother), Tiffany Williams (Marie)
Make sure to leave any show suggestions or any questions on my casting choices so I can explain them.
3 notes · View notes
not-paola-just-ana · 2 years
Text
Uncivilized Eating as Women’s Heritage in Angela Carter’s “The Werewolf”
Food has always been a symbol. Varying from one culture to another, food has come to embody ideologies on and off the table. As Lévi-Strauss would demonstrate, most of the times, Western ideologies would come to think about food in opposing binaries: the good and the bad, the healthy and the unhealthy, the fresh and the decayed, the cooked and the raw (1). These conceptual tools became the basis of our shared perception about food symbolism, and they are employed to elaborate abstract ideas of our relationship with eating. Eating and cooking are, then, built over this binary oppositions that encapsule gender and civilization depicting a correct and an incorrect way of performing around food. All this centers around a form of control in which deviant forms of eating are exiled from food representations.
            One of the ways that society teaches these civilized ideologies and symbolisms of eating came from children’s literature, specifically fairytales. Fairytales come from a frequently gendered oral tradition. By carrying not only eating representation but also gender expressions, fairytales accomplish to teach children the values of their culture through storytelling. However, the nuances created by the multiplicity of versions came to be standardized by French authorized fairytales like ones of Charles Perrault, the most famous and influential author of civilized fairytales. Histoires ou Contes du Temps Passé avec des Moralités, published in 1697, was meant to embody the totalizing ideology of civilization in which binaries were clearly defined. Jack Zipes states that Perrault’s fairytales had the purpose “to express their views about young people and to prepare them for roles that they idealistically believed they should play in society” (30). Perrault’s tales meant to reinforce social norms and it is from the stories “aimed directly at females” (Zipes 39) from which I can highlight gender and eating. Perrault’s ideal “femme civilisée” was “the composite female. . . beautiful, polite, graceful, industrious, and prop[er]” (Zipes 40). Consequently, the civilized representations of women instructed them to repress their desires (including sexual desire and hunger).
The correct and civilized notions of femininity become apparent in the only warning tale of the book: “Little Red Riding Hood,” which depicts food and gender with the intention of controlling women’s bodies. The tale is enacted around food and eating. The girl is sent to her grandmother’s house to deliver the food her mother cooked, but she is eaten by the wolf after he also eats her grandmother. One can identify, first, the binaries around civilized and uncivilized eating: since the wolf is human-like, the wolf’s cannibalistic instincts are defined as abject. Additionally, women’s familiar relationships and desires around food are also questioned (being food the trigger of Little Red Riding Hood tragic end). This gendered perception of correct eating allows the tale to provide a model of behaviour for girls: “they must exercise control over their sexual and natural drives or else their own sexuality will devour them, in the form of a dangerous wolf” (Zipes 40). Perrault stablishes clear lines between “the good” and “the bad,” and teaches them to women.
            In contrast, Angela Carter’s rewriting of the tale makes more complex this seemingly binary oppositions. As a well-known translator of Perrault’s Histoires ou Contes du Temps Passé avec des Moralités, Carter’s short stories tend to adapt his civilized versions of the fairytales to problematize his binary distinctions. “The Werewolf,” published in The Bloody Chamber and Other Stories, recues the “original” tale which was the inspiration for Perrault’s authorized version. The older tale depicted the girl eating her grandmother and escaping from the wolf, elements that Perrault’s civilized notions deemed as unacceptable. Zipes explains the tale was anything but cautionary:
“Guilt was never a question in the original folktale. The little girl, who meets a werewolf and drinks the blood and eats the flesh of her grandmother, acts out an initiation ritual that has two aspects to it: the pattern of the ritual reflected a specific French peasant tradition and a general “archaic” belief. In those regions of France, where the tale was popular, the tale was related to the needlework apprenticeship, which young peasant girls underwent, and designated the arrival of puberty and initiation into society. The girl proves that she is mature and strong enough to replace the grandmother” (Zipes 45)
It is this original ideology around gender and food that Carter contests in “The Werewolf.” Challenging the perceived ideologies of women’s primary responsibilities for food making as gender bound, suppressive of the instincts, and oppressive, I recognize eating and cooking in her retelling “as a crucial means of self-definition.” (Heller and Moran 8).
Therefore, in this essay I will analyze Carter's “The Werewolf” through the critical framework of food studies. In this perspective, Carter calls to the surface the tale before Perrault by restructuring the binaries of civilization and gender that his tale contains. So, I will demonstrate that the aforementioned binary oppositions of gendered and civilized eating and cooking are problematized. In “The Werewolf,” uncivilized eating is a means for the advancement of women’s relationships, as opposed to oppressive civilized men’s eating. This opposition is built through food, in which cannibalism (perhaps the epitome of the "uncivilized") and cooking preserve women's legacy. To develop this analysis, first, I will define and evaluate the civilized eating inside the tale. I will conclude how masculinity and food define women. Then, I will define and examine the uncivilized eating which brings back the oldest tale rite of passage through cannibalism. Finally, I will conclude that uncivilized eating and cooking is what drives women’s heritage at the end of “The Werewolf.”
Civilized Eating: controlling and preventing
Civilization is mostly about rejecting abjection. In its nature as binary, limits and boundaries define what is and is not acceptable in a certain culture and society. This explains why civilizing eating is of great importance. Eating naturally involves traversing the body’s boundaries: what one eats and how one eats affects the perception of this process. Additionally, eating is a gendered activity, already a primal event associated with the mother” (Heller and Moran 18) so the limits surrounding eating and cooking must be made clear to maintain them. For instance, certain foods are associated with the masculine, like the raw meat, whereas the feminine is associated with agricultural products. The aim is to maintain a “clean and proper” body. Although I will not elaborate on the general Western ideologies of eating, these patterns allow us to recognize the binarism that Carter problematizes. 
In one hand, “The Werewolf” depicts what I define as “civilized eating”[1]. This may seem like the continuation of former gendered ideologies on food, but the tale depicts a nuanced definition of “civilized”. “The Werewolf” describes a woodsmen’s town where witches exist and pose an impending danger over the villagers. At first sight, the witches are the ones connected with food. They celebrate picnics with Satan and eat fresh corpses (Carter 137), which might lead us to believe that the tales replicates said binarism: men are not involved with food, and women are naturally drawn to the bodily experience of food consumption and cannibalism. After all, these witches (women) seem to obtain their power from food, those whose “cheeses ripen” (138) are endowed with a supernumerary nipple for their familiars. Nonetheless, men’s perception of the civilized is what leads women into this abject states.
            Men’s civilized eating in “The Werewolf” is based on control, and their control is what causes women’s abjection. First, the civilized eating seeks to preserve food. The woodsmen relationship with food seeks, not to eat, but to preserve food to be eaten when they deem correct to do so. The first description of men’s food shows “a crude icon of a virgin. . ., the leg of a pig hung up to cure, a string of drying mushrooms” (137). The food that the men have is neither fresh nor cooked. Their food exhibits control because it is not allowed to rot or be eaten; that is to say, food cannot be incorporated into other’s bodies. In their pursue of rejecting abjection, the control of food consumption is a form of civilizing eating. This contrasts with the witches’ “fresh corpses” and “ripen cheeses”. Women actively eat and enjoy the bodily pleasure of eating. 
Additionally, men’s civilized eating seeks to control women’s desires. Food can also be a symbol for sexual desire and, in “The Werewolf,” the witches appetite is imbued with this meaning. In contrast with Perrault’s controlled desires, “women had become equated with potential witchlike figures [with] alleged sexual powers of seduction” (Zipes 50). Thus, the woodsmen in the story attempt to civilize their appetite and eating by “preserving” women. Each house has “a crude icon of the virgin behind a guttering candle” (137) which symbolizes the control over women’s appetite. Firstly, the virgin is described as “raw” which can be interpreted as “not cooked,” so she cannot be eaten. Because the figure is a virgin, this means that she is unfit for sexual desires and appetites. Furthermore, the virgin is placed “behind” the candles. Unlike most altars (which feature brightly lit candles positioned below the virgin), the raw virgin is placed away from the heat. This can be translated as the image of food not being placed over the heat of a stove’s flame in an effort for preventing it to be cooked. The raw virgin is a symbol of civilized eating.
            Secondly, civilized eating pursues separation. In their quest for disproving abjection, men’s food divides the inside and the outside with its food. Their houses have “wreaths of garlic on the doors” (138) to keep out vampires. Vampires are known for their “strange eating” which involves the consumption of other’s bodies. To prevent this uncivilized eating, the woodmen employ food to prevent abjection from entering their bodies. Unlike the witches who eat corpses and allow their familiars (vampires in some capacity), men separate themselves from other bodies. In conclusion, the civilized eating in “The Werewolf” is masculine and seeks to separate, to control and to preserve men’s values through food. It will be against this civilized eating that women’s heritage will be passed down.
Uncivilized eating: cooking cannibalism
On the other hand, women characterize uncivilized eating. In “The Werewolf,” women are the abject because of their relationship with food. What they eat and how they eat it defines them as the men’s opposite. Unlike the woodsmen, women eat fresh food and cook food that needs to be eaten to prevent it from rotting. The witches eat “fresh corpses” (137) before they decay, and the girl’s mother cooks “oatcakes” (Carter 138) which must be delivered the same day to the grandmother. Instead of controlling, uncivilized eating seeks to incorporate food and the body into eating and cooking in an attempt of normalizing the abject. At this point, the rewriting of “Little Red Riding Hood” becomes more important. The wolves of the story are revealed to be older women and the girl escapes from one of them, her own grandmother. The connections between women are complex because of men’s civilized eating: women cannot fulfill their appetite freely because the ones who do so are deemed as “witches” and killed. One must remember that when “we delve into the relationship between women and food we will discover the ways in which women have forged spaces within that oppression” (Voski in Heller and Moran 3), women existing as witches, wolves, and, later, cannibals in “The Werewolf” creates the opportunity of creating connections despite men’s civilized eating.
            In Carter’s tale, older women embody the threats against civilized eating: witches and wolves. As it was mentioned earlier, witches represent consuming subjects; since they are associated with sexual practices, witches already are eating bodies. Moreover, they also produce perishable food (cheeses that ripen), so they act against civilized eating. For women to satisfy their hunger they can either wait for men to provide them with food (which men control) or they can change to satisfy their hunger regularly: “At midnight. . . the Devil holds picnics in the graveyards and invites the witches” (137). They also can construct relationships with others through their bodies. The civilizing view which men have of food prevents them from letting others eat from or through them, whereas the witches let their familiars suck on their “supernumerary nipple.” Their familiars trespass the boundaries of their bodies by eating so they can create a connection characterized by “follows her about all the time” (138). Consequently, women are not the “crude virgin,” defined and controlled by men, but individuals in their own right. Uncivilized eating thus becomes a form of escape.
On the other hand, werewolves were originally the equivalent of men in “Little Red Ridding Hood.” Wolves’ intention was to consume girls to satisfy their hunger (hurting them in the process), but in this tale, men must participate on civilized eating by killing the beings that step outside of the norm. Nonetheless, werewolves received a similar treatment to that of the witches’: “There were numerous notorious cases of werewolf trials, and thousands of men and women were persecuted and exterminated because they were charged with being werewolves” (Zipes 44). Thus, women are able to take the role of the werewolves as a response of men closed civilized eating. The tale points out that women are only killed in their human form, unlike when they are wolves. In their wolf’s form, women can defend themselves from men. Wolves are not edible for men’s consumption (contrary to the pig leg or the girl in “sheepskin” [Carter 138]). In contrast, their werewolf form allows them to run and attack men.
In the context of uncivilized eating, the girl displays the final piece of consuming opposition. When she faces her grandmother in her wolf form, she completes the rite of passage that Perrault did not include into his authorized version of the tale. Firstly, the girl goes from being consumable (like the men’s food) to consuming (like the older women). The girl is dressed in “scabby coat of sheepskin” (138) but drops her coat while fighting her grandmother (in her werewolf form). Once she stops emulating a sheep, the girl collects her grandmother’s hand and places it with the oatcakes while she “wipe[s] the blade of her knife clean in her apron” (138). By placing her grandmother’s hand with the food, she is symbolically preparing herself to eat her. As a reaction to men’s civilized eating and preserved food that eliminates older women (the witches), women’s relationship with food becomes their genealogy. The witches ate their ancestors from the grave to prevent them from rotting by incorporating them into their bodies (given that they were killed for being non-conforming women). Similarly, the girl has her grandmother’s hand with the food to be eaten. It is in the consumption of other women’s bodies that creates a path for preserving women, even if they are killed by the men of the town. As said by Irigaray, “mothers and daughters feed/feed upon one another in the absence of what she terms “a genealogy of women” and a “female symbolic,” both of which require deliberate interventions in the symbolic order” (in Heller and Moran 3). JJust as Zipes states, “The girl proves that she is mature and strong enough to replace the grandmother” (Zipes 45); after her grandmother is killed “now the child lives in her grandmother’s house. She prospered” (Carter 139)
Eating is always nuanced, especially for women. Women’s eating experiences prove to be complex, because their culture contextualizes their relationship with food and defines their relationships with it. Due to Carter’s awareness of this fact, the correct and civilized notions of eating in “The Werewolf” are more complex. Her rewriting of “Little Red Riding Hood” surpasses Perrault tale by problematizing his binary definitions of eating-women.
For the women in “The Werewolf,” uncivilized eating proves to be the means for a rebellion against the controlling and oppressive force that structures the binaries of eating and gender. Cannibalism proves to be a form of matrilineal narrative that allows the preservation of women’s appetites despite the efforts of men’s civilized eating of eradication. Uncivilized eating is therefore a means for the advancement of women’s relationships built around nuanced representation of food.
[1] For the purpose of this essay, I decided not to use “disordered eating” nor other definitions, since I consider Carter’s “civilized” eating is particular to this tale.
Works Cited
Carter, Angela. The Bloody Chamber and Other Stories. Penguin Books, 2015.
Heller, Tamar, and Patricia Moran. “Introduction: Scenes of the Apple: Appetite, Desire, Writing.” Scenes of the Apple: Food and the Female Body in Nineteenth- and Twentieth-Century Women's Writing, State University of New York Press, 2003, pp. 1–44.
Lévi-Strauss, Claude. “Overture.” The Raw and the Cooked: Introduction to the Science of Mythology. Harper and Row, 1964, pp. 1–35.
Sceats, Sarah. “Cannibalism and Carter: Fantasies of Omnipotence.” Food, Consumption, and the Body in Contemporary Women's Fiction, Cambridge University Press, 2004, pp. 33–61.
Zipes, Jack. “Setting Standards for Civilization through Fairy Tales: Charles Perrault and the Subversive Role of Women Writers.” Fairy Tales and the Art of Subversion: The Classical Genre for Children and the Process of Civilization, 2nd ed., Routledge, 2006, pp. 29–57.
5 notes · View notes
tjqcnlihn · 1 year
Text
별볼일 없는 인생 정가은 무삭제판 비플릭스
별볼일 없는 인생 정가은 무삭제판 비플릭스 공개 되었습니다. 원래 15세 등급이었지만, 2023년 1월 18일에 별볼일 없는 인생 무삭제 ���불 버전으로 수위 엄청나게 높습니다. 노출 수위가 매우 높은 편이므로, 휴지준비하고 보는게 좋습니다. 영화 보다는 웹드라마나 단편 미니시리즈 드라마 느낌입니다. 정가은 생각보다 연기를 잘합니다.
별볼일 없는 인생 무삭제판 보기 (Tales of Nobody 2023) <
별볼일 없는 인생 하이라이트 시간: 1시간 33분
별볼일 없는 인생 등급:청불
종류: 무삭제판
출연진: 정가은, 곽필제
감독: 서동헌
Tumblr media Tumblr media Tumblr media
크리틱스 초이스 어워드는 2022년 시상식이 코로나19의 급증으로 2개월 이상 연기된 후 평소의 1월 시간대로 돌아왔습니다. 그리고 일요일 저녁 스타들이 LA의 페어몬트 센추리 플라자 호텔에 도착하자 모든 시선이 레드 카펫에 쏠렸습니다. 절제된 패션의 밤에 많은 참석자들이 검은색 가운을 선택했지만, Quinta Brunson의 몸매를 껴안는 Robert Wun 드레스의 비대칭 러플부터 Angela Bassett의 눈에 띄는 Christian Siriano 디자인에 이르기까지 눈길을 끄는 실루엣이 많았습니다. "Pam & Tommy"에서 그녀의 역할로 지명된 Lily James는 허리에 커다란 실크 리본이 달린 얇은 검은색 Oscar de la Renta 가운을 입고 감탄했습니다. "Everything Everywhere All at Once" 스타 미셸 여(Michelle Yeoh)는 끈이 없는 핑크와 블랙의 캐롤리나 헤레라 드레스를 입고 드라마틱한 소매를 입었고 줄리아 가너(Julia Garner)는 스킴스(Skims)의 밴두 브라 위에 얇은 빨간색 페라가모 가운을 입고 도착했습니다.
다른 곳에서는 메탈릭과 스팽글이 인기를 끌었습니다. "The White Lotus"의 배우 Aubrey Plaza는 화려한 데그라데 액센트가 있는 반짝이는 루이비통 가운을 입고 깊은 인상을 받았고, "The Woman King"의 스타인 뚜소 음베두(Thuso Mbedu)는 금, 은, 동으로 장식된 프랑스 상표의 드레스를 입었습니다. "Abbott Elementary"의 Amanda Seyfried와 Sheryl Lee Ralph는 각각 Dior와 Jovana Louis의 황금 가운을 선택했습니다. 최근 레드 카펫에서 볼 수 있는 트렌드에서 Elle Fanning과 Janelle Monae는 컷아웃 드레스를 입는 여러 스타 중 하나였습니다. 그날 저녁 남자들은 Andrew Garfield의 낙타색 Zegna 수트부터 Henry Golding의 매혹적인 짙은 청록색 의상에 이르기까지 다양한 색조를 받아들였습니다. Ke Huy Quan, Billy Eichner 및 Harry Shum Jr.는 많은 남성 손님이 전통적인 검은 넥타이 복장 규정을 피하는 것을 보았던 밤에 적갈색 음영으로 도착한 수많은 참석자 중 하나였습니다. 아래에서 레드 카펫 최고의 모습을 확인하세요. "화이트 로터스" 스타 Aubrey Plaza는 스팽글 루이비통 가운에 그라데이션 악센트와 Pomellato 주얼리를 착용했습니다.
'Everything Everywhere All at Once'로 남우조연상 후보에 오른 Ke Huy Quan. 크레딧: Jordan Strauss/Invision/AP "The Whale"에서 그녀의 역할로 지명된 Sadie Sink는 자수 장식의 밴도 탑이 있는 블랙 실크 샤넬 드레스를 입고 도착했습니다.
아만다 사이프리드(Amanda Seyfried)의 Dior Haute 별볼일 없는 인생 정가은 무삭제판 비플릭스 Couture 드레스는 골드 라메 쉬폰 한 조각으로 재단되었습니다. 크레딧: Michael Tran/AFP/Getty 이미지 "Reservation Dogs"에서 자신의 역할로 지명된 D'Pharaoh Woon-A-Tai는 로우컷 블랙 수트와 와이드 레그 팬츠를 입고 도착했습니다. Michelle Yeoh는 Carolina Herrera 가운과 De Beers 주얼리로 시선을 돌렸고 "Everything Everywhere All at Once"의 공동 출연자 Stephanie Hsu는 Valentino를 착용했습니다.
의상 디자이너 캐서린 마틴, 배우 오스틴 버틀러, 감독 바즈 루어만은 모두 엘비스 프레슬리 전기 영화 "엘비스" 작업으로 개별 후보에 올랐습니다. 크레딧: 케빈 윈터/게티 이미지 노스 페라가모의 시어 레드 드레스를 입은 줄리아 가너. Jessica Betts와 아내 Niecy Nash-Betts는 "Dahmer"에서 그녀의 연기로 후보에 올랐습니다. 크레딧: Michael Tran/AFP/Getty 이미지 앤드류 가필드는 낙타색 제냐 수트와 오메가 시계를 매치했습니다.
1 note · View note
technewslive · 1 year
Text
See Her Silver Dress Here – Hollywood Life
See Her Silver Dress Here – Hollywood Life
View gallery Image Credit: Jordan Strauss/AP/Shutterstock Angela Bassett, 64, turned heads on Jan. 10 when she showed up to the 2023 Golden Globe Awards looking gorgeous. The talented actress wore a sparkly silver sleeveless dress during the festivities and shined on the red carpet as she confidently posed and did interviews. She had her long hair up with some strands hanging down and added…
Tumblr media
View On WordPress
0 notes