I'm obsessed with how genuinely happy Alastor looks with Rosie. There are many scenes where it does feel like he's bored or annoyed, but we can't really see bc he's always smiling, so his smile ends up feeling so fake. But not with Rosie.

He looks genuinely happy and having fun with her

Not just that overly enthusiastic happiness, but a calm and casual contentment in being around her

He seems so comfortable around her. She can touch him freely, and they make jokes, and they tease each other.

They love each other so much. Not romantically, but they do.

I have what I think could be such a cool allium duo fic idea. But it is so positive and I've been feeling so down that the vibes are genuinely not working for me to write it. Hate it here

Least favorite part of the Terror book and show?

Ooh this is a good one! :)

-

Though I'm more ready than most to defend the book for the things it does right, there's a lot that it does wrong. The dreaded Platypus Pond scene springs to mind, as does the woefully poor treatment of female and indigenous characters.

But then, no one needs me to tell them how much those parts suck so I'll go for something a bit more specific and that's the glaring inaccuracies and Simmons' depiction of every man below a lieutenant as speaking like some kind of plucky Victorian orphan.

It's a fictionalised version of events, of course, and Simmons is free to alter characters as he sees fit.

However, I just can't see that anything is added to the story by having Irving's Edinburgh childhood be a Bristolian one instead or having Blanky's people be waiting in vain for him back in Kent and not Whitby.

And I find it difficult to abide the idea of Aberdonian Mr Reid, Hampshire-born Charles Best, Shetlander Manson, and Hickey the Irishman all speaking in the same cartoonish patois of a Dickensian street urchin.

When it doesn't serve the story in any way, it just comes across less like any conscious choice and much more like sheer laziness and a lack of care.

-

As for the show, there's very little that springs to mind for me to actively dislike but I will admit that I find most scenes outwith the Arctic - with Lady Jane, Sophia, even JCR to an extent - a bit of a chore to get through. There's nothing wrong with them and they're valuable in moving plot and character forward but I just find myself less engaged with things outwith the main meat of the story.

Kinsey Schofield and Enty Lawyer Part 1 (a few nuggets paraphrased by me) by u/daisybeach23

Kinsey Schofield and Enty Lawyer Part 1 (a few nuggets paraphrased by me) Thinks Meghan is trying to “luck” into something like Jessica Alba with Honest and Kim Kardashian with Skims. Both Harry and Meghan known for lack of work ethic. They are desperate for connections. Recall, their original plan was to earn money doing speaking engagements for Big Business. People are interested in people with actual work experience, like Whitney Wolf (co-founder of Tinder)Audible rumor not true. Meghan was manifesting.The “from the behind” photo pic of Harry and Meghan on Halloween is their trademark. They did the same on Netflix show. Agrees with CDAN post that the photo was staged. They are obsessed with security.Enty says Meghan and Harry did not get a standing ovation Katy Perry concert.Kardashian collab is a possibility. Kim K. Does not need help with Skims but she is curious if Meghan can help with click through rate. Enty Lawyer thinks Skims would have same results with many other people who are as popular or more than Meghan.Kinsey says Princess Diana, if alive today, would never have gone on Kardashian show. She did strategically upstage Charles by allowing paparazzi to photograph her. Diana would have attended a Katy Perry or Beyonce concert.Enty Lawyer knows Bill Simmons and Harry utterly failed at Spotify. Couldn’t produce any content at all. Not even a series about veterans, military life. Thinks Harry only wants to eat edibles and mushrooms all day.Meet me at The Lake is not going to make any money for Meghan and Harry because Netflix owns the rights. Netflix is trying to get something from Meghan and Harry. They weren’t coming up with anything good, Meghan wants to be known as a producer. She dreams of being an Oscar nominee. The book isn’t as popular as originally believed. It was a bestseller for two weeks only - vs a Killers of the Flower Moon bestseller over 100 weeks. If this movie is made, it may not even be a hit. Meghan and Harry have no good ideas. The only content they have produced for Netflix that succeeded was their docuseries.Meghan’s brand is failing. The Family Guy skit showed Meghan as a parody. Agrees with Lady Glenconnor that Meghan did not understand what being Royal means. Thought it was another form of celebrity. Thinks Harry just wants to be left alone. Thought he looked miserable at the most recent San Diego event. This event is in his wheelhouse. Thinks it’s ridiculous Meghan changed her clothes at this event. Her wardrobe looked bad and thinks her clothes must be on consignment. The photos at the event looked grainy and terrible.This is part 1 of her talk with Enty Lawyer. Here is link to videohttps://youtu.be/w9Co0IYp5jE?si=6-AWB42BiF4PGucxToodles Sinners! post link: https://ift.tt/J3FNqHn author: daisybeach23 submitted: November 12, 2023 at 09:52PM via SaintMeghanMarkle on Reddit

10.78 A Touch of Braid

MONROE: The situation is deteriorating I’m afraid, sir. Ray Steele’s car is being stoned, two vehicles taken and driven away by juveniles, a third being joy-ridden as we speak. I don’t think we’ll see the end of it today. JOHNSON: The Price boy is off the danger list. MONROE: I hope the same holds true for my officers. BROWNLOW: All right, Andrew, thank you. Is there anything else you need? MONROE: Couple of hours heavy rain, sir.

BROWNLOW: I’ll take Derek. I don’t want him feeling left out.

CID’s cock-up has an estate half-way to a riot, much to Andrew’s displeasure, but Charles comes to the rescue when he solves the case.

Two guest appearances from future regulars in a row. This time it’s Ged Simmons (Alex Cullen).

still bitter a good 30 minutes of the film was filmed ON LOCATION at my school’s campus and it happened while I’m on leave because of course it did. that coulda been me standing behind Shuri and Okoye in their sunglasses and suits while I wait for the shuttle behind the Student center. cuz they were right there. that coulda been me walking past Riri’s door in Simmons Hall ie the dorm I had my first drunk experience at I recognize those ugly ass boxy Lego windows anywhere. cuz she was right there. that coulda been me in the background during Okoye vs Attuma on the Harvard Bridge on Mass Ave while an orca breached the Charles river. because they were right there and you could see in every shot the campus north star aka that Citgo sign lmaoooo. speaking of orcas I have not seen enough people talking about THE WHALES like I know I have only seen like 4% of all Marvel movies but I have it on certain authority that the single most badass thing in this franchise past present and future is the Talokans (?) riding into battle on orcas and great blue whales, breaching the waters like the majestic familiars of a race with a living god. what was this post about again idk this is just me coping bc I was supposed to go see WF at the matinee show but it didn’t work out booo

LGBTQ+ megastars have long dominated gospel music. Their flair has shaped the “soul-stirring” genre.

Every Black History  Month, there is a tribute to the Black Church and its gospel music. The contribution of LGBTQ+ singers to the canon of gospel music, however,  is never front and center in the celebration of its history. Every churchgoer – straight and gay –  knows the inimitable style and flair LGBTQ+ singers bring, a style that has long been part and parcel of gospel music. Moreover, what would gospel music be without the boys in the choir loft and gay church musicians? There is an undeniable queerness to gospel music, a particular interpretation, and expressiveness by LGBTQ+ folks, churched and unchurched. As repressive as the Black church is around openly LGBTQ+ identities, many of us are nonetheless drawn to its gospel music. Related: I wasn’t always proud to be a Black queer man. But one heart-wrenching moment changed everything. After years of struggle, I now advocate for LGBTQ+ rights across the country. Here’s what it took for me to get there. “It’s Black folks’ prayer and lamentation. It’s our language and expression as a people that cannot be taken away. It speaks to times of great joy and sorrow. It mirrors my breath and the beating of my heart. It is soul-stirring, and a meditation with your spirit with whoever and whatever is your God,” churchgoer Gary Bailey waxed poetically. Bailey is a professor of practice and assistant dean for community engagement and social justice at Simmons School of Social Work and is a member of Union United Methodist Church, the first “open and affirming” Black church in New England.  Never Miss a Beat Subscribe to our daily newsletter to stay ahead of the latest LGBTQ+ political news and insights. The Black church applauds its LGBTQ+ congregants in the choir pews yet excoriates us from the pulpits. It pimps our talent yet damns our souls with the theological qualifier of “love the sinner but hate the sin.” Our connections and contributions to the larger Black religious cosmos are desecrated every time homophobic pronouncements go unchecked in these holy places of worship. However, our pull to gospel music is seen as a calling, a distinctive gift to the church, and an expression of queer pain and hardship. For Charles Evans, former vice president of Cape Cod Pride, “Gospel music is tied to suffering, Black suffering and certainly Black gay suffering. It communicates our trials and tribulations through song that a better day will come.” Evans and his spouse, Paul Glass, are program coordinators for LGBT Elders of Color. Donell Patterson said his “entire life has been gospel music,” and he has the resume to prove it. Patterson is chair of the Gospel Music department in New England Conservatory’s Preparatory School and conducts three renowned Gospel Choirs in the Boston Area. Patterson has observed through the years that some Black church denominations are queerer than others. “Those denominations are more open to gays without announcing it, because of its liturgy and organizational structure like Pentecostal churches,” Patterson shared. The Church of God in Christ (COGIC) is the largest Black and Pentecostal church in the United States. Many of the gospel music industry mega-stars are from COGIC. The church, however, is conflicted with itself. These Black gay male mega-stars are always forced back into the closet, publicly denouncing their sexual orientation at the church’s annual convocation. Toxic masculinity contributed to the early years of AIDS, ravaging the gospel industry. The effects of AIDS were widely discussed but rarely publicly acknowledged until the death of James Cleveland, the King of Gospel, in 1991. Cleveland was influential in bringing gay men into the industry. He was a fixture at gay parties in cities he toured, and his sexuality was an open secret. However, the most devastating news following Cleveland’s death was when a male member of Cleveland’s choir sued his estate, alleging he contracted HIV… http://dlvr.it/T3FS5C

Happy Sunday Posted @withrepost • @missjazzyliz We all need an ethnically diverse group of voices to help us in our spiritual growth journey. @pricelispd has made this easier for you by compiling a list of women of color we should be learning from. ✨✨ Repost from • @pricelispd Representation matters and learning from people that don’t look/sound like us matters too. Swipe 👉🏾 for a combined list of your suggestions from the question box on instastory from a few days ago and my own additions to list. Here’s 39 women of color who are communicators of God’s word through preaching, books, speaking, podcasting, blogging, teaching, etc. And here’s their names and tags below 👇🏾 Women to support, follow, learn from, and book: Mariela Rosario @shespeakfireco Lydia Lucas @iamlydialucas Bethny Ricks @bethnyricks Kanita Rutley @kanitarutley Simi John @simijohn Nicole Smithee @nicolesmithee Vivian Mubani @vivmabuni Jessica Mathisen @jessicanmathisen Liv Dooley @candidliv Alexandra Hoover @alexandravhoover Ayanna Mathis @ayannazmathis Elizabeth Woodson @missjazzyliz Kristel Acevedo @kristelace Faith Eury Cho @faitheurycho Ariana Rivera @witharianarivera Jennifer Lucy Tyler @jenniferlucytyler Yana Jenay @yanajenay Sandra Maria Opstal @sandravanopstal Brianna Franklin @__briannamari Portia Collins @portiawcollins Grace P. Cho @gracepcho Jackie Hill Perry @jackiehillperry Ivette Valdez @_simplyivette Jenai Auman @jenaiauman Kristie Anyabwile @kristieanyabwile Tiffany Bluhm @tiffanybluhm Jasmine Holmes @jasminelholmes Kat Armas @kat_armas Charaia Camille @charaiacallabrass Ekemini Uwan @sistatheology Ruth Chou Simmons @ruthchousimons Jackie Aviles @jackie_aviles Karen Gonzalez @_karenjgonzalez Carmen Lydia @lovecarmenlydia Manouchka Charles @hellomanouchka Shante Grossett @dailyshepursues Paty Namnun @patynamnun Lisa Fields @lisavfields Jennifer Toledo @jentoledo_ And tag any other women of color Bible teachers below who we should know about👇🏾👇🏾👇🏾👇🏾 https://www.instagram.com/p/CknaLhzuqf6/?igshid=NGJjMDIxMWI=

My Great Auntie Venus La Doll. The Bronze Goddess Burlesque

Venus LaDoll performs at Club Savannah, 68 West 3rd Street. (Photo by John Pedin/NY Daily News Archive

Photograph of Venus La Doll dancing by Lonnie Simmons Jet Magazine December 3, 1953

Cabaret of a life

Keeping up with Venus Irving-Prescott

BY BILL RODRIGUEZ

THEN AND NOW: 'The Bronze Goddess of Love' (top) and Venus at AS220.

Anybody who at one time was known — and advertised in Paris — as "The Bronze Goddess of Love" deserves to be the center of attention onstage for an evening.

So the goddess herself, Venus Irving-Prescott, will be performing in the Camp Cabaret at AS220 on March 5 and 6 (on Saturday at 7 p.m. and on Sunday at 3 p.m.; call [401] 831-9327). The sequined glory that was the 1950s and ’60s will be celebrated in song and story by the erstwhile chanteuse and 15 nostalgic young performers. Even admission is vintage: $5 general and $3 if you’re over 60 and thereby can sing along without the bouncing ball.

Venus will be 80-going-on-30 come April. She has found work as an actor, drama coach, costume designer, director, and writer, among other skills she picked up along her way. Dance instructor, publicist, comedienne, TV commercial "on-camera principal" . . . you get the idea.

The cabaret will center around her life, with songs springing out of colorful descriptions and anecdotes. Of which there are many.

Take the time a stranger briskly stepped onto her Saigon stage, took her by the hand, led her away from the microphone, and protected her with his body on the floor. Seems that the Vietcong were lobbing mortar rounds their way.

She’ll probably tell you about a famous Paris club owner. "Freddie Carroll was very well-respected by men and women," Venus says. "She wore men’s suits and shoes and had a diamond pinkie ring. She put her hand out as soon as men came, and they would have men’s conversations. I was so fascinated with all that stuff."

And not every performer can boast of a command performance before the queen of Siam.

For the cabaret, Venus will have plenty of help.

"A lot of it I wrote — eight or nine pieces, something like that," she says. "Then Keith has some things in there."

That would be Keith Munslow, multi-instrumentalist, storyteller, and music director for the show. Venus glances around for a glimpse of his black leather jacket near the AS220 stage, where the cast is assembling for a rehearsal. Casey Seymour Kim is there speaking to some of them, having stepped forward to direct the cabaret so that Venus could turn her attention to her own numbers.

"I just passed my music around to whoever would fit it," Venus says, "and they all fit like a glove."

Kim is an actor and singer familiar to audiences recently from her boffo performance in the title role in Little Voice at the Gamm Theatre. She’ll probably be camping it up as Miss Pixie Feingold. There’s lots more talent to draw from. For example, Lawrence Nunes, whose recent song-and-poetry CD Hearts Unveiled Venus says she’s been listening to more often than to Ray Charles or Nat King Cole these days. Providence’s own Princess Pearl will do some comedy and maybe sing one of Venus’s songs. Other vocalists will include Denise Moffat and Maria Ventura.

There will also be hip-hop dancing by Project Heat and Alexandra Blackbird, and a traditional story from Mali, told by Mohamed Diakite. And much more.

Plenty of variety, in other words. Which certainly describes the long and action-packed life of Venus Irving-Prescott.

Born in Detroit but raised in Cleveland, as a 20something she made a splash as a cabaret singer, from Minsky’s in Chicago to the Savannah Club in the Big Apple. Career ups and downs included the requisite dark night of the soul in the New York theater district’s Actors’ Chapel, when she was 33. "I just sat there and tried to figure it out," she recalls. "I thought: ‘Well, did I step on any blue suedes on the way?’ Because at one time I had the Midas touch. What happened?" But she picked herself up, gathered her gumption and successfully stepped into the Paris cabaret scene. After that came Switzerland, Southeast Asia, and Australia.

Venus has seven grandchildren "and all kinds of great-grandchildren." She first came to Providence in 1981 to visit her daughter and has been based here ever since. One of her bread and butter mainstays is a business she developed called Show Polish, for which she checks out performers’ acts and suggests improvements.

The memoir she’s writing has a revealing title — Life Doesn’t Owe Me a Thing.

"In our culture we have people making megabucks, and they have platinum bling-bling all over them and they don’t even know whose shoulders they’re standing on, you know?" she laments. "Don’t even have a clue."

Venus shakes her head over encountering a young African-American student who didn’t know "Strange Fruit," the Billie Holiday song about lynching. The title is the name of a free performance Venus will give on March 17 at 7:30 p.m. in the University of Rhode Island Fine Arts Center, on the Kingston campus.

The lady does keep busy.

Issue Date: March 4 - 10, 2005

If there was a Shadow animated series or movie, who would you like to see as voice actors ?

Ooh! Nice question, weirdly I hadn't really thought about this one, usually my casting picks tended more towards live-action even though I generally prefer voice acting.

I can never really come up with a single, definitive answer as to who I'd want to play The Shadow himself. For live-action, I fully second @oldschoolcrimefighters's choice of Oded Fehr, and he's got a great voice for it too (the voice is the most important thing when it comes to The Shadow). Jeremy Irons, if I recall, was supposed to play the character in the 80s when they were kicking around movie projects, and he's DEFINITELY got the right voice for it. Another one that comes to mind is Bill Nighy, based off his role as Rattlesnake Jake (snake-like is a good word to describe how The Shadow should talk). A good choice for a more elderly Shadow would be Charles Dance.

Personally, I'd prefer to cast a less-known actor in the role, because I don't think audiences should be able to recognize or be familiar with The Shadow when he speaks. I wouldn't want people to go "oh it's that guy from this", because it's The Shadow speaking, and no one else. I would prefer to cast someone really obscure, someone with theater and villain experience. So for now, I'm gonna say my number one pick for The Shadow himself would be Ólafur Darri Ólafsson, based off his performances from The Dark Crystal and True Detective. He lacks the venomous hiss that Frank Readick had, but he definitely has a deep, strong and unique voice that can be overpowering in both cruelty as well as warmth, and you definitely want that for The Shadow.

Harry Vincent is a deceptively tough call, because he seems like an everyman character and he kind of is, and usually people don't pay much attention to that, but it's perhaps the most crucial role other than The Shadow himself, because Harry's the guy who's gonna have to carry us into the adventure, he is the main character. For the moment I'm gonna say Ben Schwartz, who really impressed me by achieving the monumental task of making Sonic the Hedgehog genuinely likeable (okay, I joke, I don't actually hate Sonic, but Ben Schwartz is easily my favorite voice the character's ever had). Someone young, strong, spirited, charming, as friendly as The Shadow can be scary, but who can carry the dramatic moments and self-esteem issues Harry has to overcome.

My two picks for Margo Lane in general would be Yael Grobglas, who is one of the main reasons Jane The Virgin was worth watching (the other being Jaime Camill) and Rhea Seehorn, who so far has not gotten the shelf full of Emmys she deserves for KILLING IT in Better Call Saul. Yael is who I think of to play Margo as the high-society chameleon and con woman who crash landed in The Shadow's network, who can be both humorous and cool. Rhea is who I'd cast to play Margo as the fearless and manipulative badass with an enigmatic past who takes no shit from anyone and has a willpower that matches The Shadow's own. I guess it depends ultimately on just how much of a role Margo is going to have.

For Clyde Burke I'm not too decided but for now I'm gonna say Jack DeSena (who voiced Sokka), someone who also sounds young and high-spirited but is more energetic and funny and more of a troublemaker, to make for a contrast with Harry. For Moe Shrevnitz, I'm thinking John DiMaggio. If it was live-action I'd pick John Goodman. Simplest way I can describe the reasoning is: you want someone who's got a good "Ben Grimm" quality to them, because Shrevy does. You want someone who's rough and funny and lovable, like he's gonna get into a fight to save you and then take you out for ice cream.

For Cliff Marsland you want someone who is a bit older than Harry or Clyde, but not that old, someone who's believable as a gangster but also a good, stern friend who's got your back. He might be a little too old for the role but Clancy Brown is the one that comes to mind.For Hawkeye, I'm thinking Tom Kenny. Joe Cardona I'm thinking Steve Blum.

My version of Slade Farrow I imagine being played by John Malkovich or J.K Simmons, purposefully older than all other Agents and The Shadow himself and convincing as both a criminal mastermind as well as the humanitarian friend and mentor he ultimately is.

Haven't really decided one for Shiwan Khan or other characters yet.

Brooklyn Nine Nine: Season 7 Retrospective

Finally done with season 7. I'm pretty impressed that I managed to finish all episodes before season 8 began. But that also speaks to the bingeability of the show. Season 7 is one of the less eventful seasons of the show in terms of plot. Unlike the previous seasons, there are no plot through lines or sub stories that drive the season. Its a very light and fun season with no major darkness lurking throughout. If I had to pinpoint one arc for the season then that would have to be Jake and Amy trying to have a baby with the season ending with the baby's birth. So the season basically charts them trying and then conceiving and giving birth.

This season does feel a lot faster and that obviously has to do with it being the shortest season. All the episodes this season are enjoyable. The first half of the season deals with a shift in dynamics of the precinct with Holt being a patrol officer. The show has some fun with that, since it gets him actively involved in more frivolous activities like the Jimmy Jab games, having to deal with doing mundane duties and taking orders from Jake and Terry in various episodes. The first half of the season also has Vanessa Bayer as a guest star in a handful of episodes as Debbie and she even has an episode named after her. I know people have a mixed opinion of her but I quite enjoyed her kooky vibe. I think the show missed an opportunity not following up on the dead twin sister idea that was planted in the premiere. That could have been fun. We get returns from Adrian Pimento and Doug Judy. Pimemento is a fun episode.

Like I mentioned before, I enjoy all the episodes. However, the Jimmy Jab games II isn't quite the home run compared to its predecessor in season 2. Its not quite as snappy with the pacing and humor but it gives Rosa and Holt some nice moments as well as show how Jake and Amy have now grown as a couple but haven't changed in essence of who they are. Valloweaster is another strong heist episode and it has some neat twists. Its not quite top tier heist episode but it ranks somewhere in the middle. The show got a fairly big casting coup by getting JK Simmons in the titular role as Dillman. That's a strong Charles episode and a good one for the Jake and Charles dynamic. Its always cool when they flip the dynamic a bit.

There are a few episodes that I really love. Towards the top of the list is Trying which is the most serious of the episodes of the season. And its a very effective one at that. Having experienced my sister close hand through the struggles of conceiving, the episode rang very honest and true and in the end, beautifully bittersweet. I thought the way they handled how exhausting and stressful the process is was very well done and I like that they let the episode end on a bittersweet note. They didn't puncture the drama of the scene but they also showed why Jake and Amy work so well together. They are always there to comfort each other even during difficult times. The only thing about this that doesn't work is no fault of anyone, which is that Melissa Fumero was so obviously pregnant all season. It does make it a little more difficult to buy into it, but I can't hold it against the show. I also thing that for drama purposes, they should have held them actually getting pregnant for a few episodes. I suppose it was tough to do so given how Melissa was showing quite prominently and they couldn't hide it for much longer. Irrespectively, Ding Dong is also one of the funniest episodes of the season. As with every season, there are always a couple of Holt special. This episode is a Holt special. We get both petty Holt and vindictive Holt, with a gloriously reactive Rosa to boot. It also was a sign that the show was starting to wrap up mentally with them killing of Wuntch. I thought they addressed the rivalry and Holt's feeling of her being gone very well. But the episode was a masterclass of Holt insults. Similarly brilliant is Ransom, which puts the Holt, Kevin, and Jake dynamic in the forefront. Adding Cheddar to the mix and there is no way to go wrong. Only Andre Braugher can make you crack up with a fierce delivery of "you took the wrong fluffy boy" and yet have it be completely believable. The action scene with Holt is probably the longest action scene I have seen on the show. Jake's reaction to the whole thing is delightful. Like with the wedding episode, 'Lights Out' also falls into the standard "everything goes wrong during birth of child" episode. But its heartwarming and funny and very true to the characters. Pretty much everyone gets to deliver memorable moments. We get a great Rosa and Amy dynamic with Rosa taking care of Amy while Amy takes charge during a blackout while her water broke, we see Terry and Holt dancing to hip hop, we see Jake and Charles foiling a bank robbery, and we even see Hitchcock and Scully make a birthing suite for Amy at the precinct. Its a very fun way to end the season and it ends ironically with the words "everyone wash your hands".

In many ways season 7 felt like the show finally starting to wrap up. the ending of the Wuntch and Holt rivalry was one sign. Also the show completed the arc for Jake that I always foresaw for the character, where he went from being an irresponsible man child in season 1 to a responsible adult who became a father, without loosing his innate goofball charm. I feel the show successfully completed that arc, which was evident in episode like Admiral Peralta, where you see he is by far the most mature of the Peralta men. As a result, I was not too shocked when they announced the end of the show with season 8. With the events of 2020 and the way the season ended, it felt that the show mostly just needed to close the books on the characters in terms of their professional lives. The season was a fun blast. Its not the level of season 1, 2, and 5. Its better than season 4 and 6. So it lands along with season 3 at a 8.5/10. While its sad to see the show come to an end with season 8, I am happy it gets to go out on its own terms. I am curious to see where the characters land. Will Holt become Commissioner, will Terry become Captain, will they flash forward to Amy becoming Captain. What happens with Rosa and Charles? Captain Kim did open an interesting notion for Jake maybe joining the FBI. That seems like the right sort of career progression for him since he isn't interested in management type of work required in becoming Sergeant or Lieutenant or further. Whatever it is, I'm confident the show will end on a good note.

If there's something I love is seeing how people draw c!Tommy. Especially about his age.

Some people draw him with more childlike features. He looks younger, more "helpless" in a way. You can really see it's a child soldier. Someone who is not ready in any way to be in those situations, but is there anyway with a confident face and a loud voice. It's very visible he should not be there and how wrong it all is.

But other people draw him looking a bit older, looking more like someone who's soon to become an adult. In a way he looks less innocent, even when he's still the victim. He resembles Wilbur a bit more, and he doesn't look as helpless when next to Dream. But here's the thing, he's still a child soldier. He might act like he knows what he's doing, use big words, and act all powerful. And it's not that visible how wrong it all is, but it's still there.

You'll look at him and see this seventeen-ish years old guy, and, in a first glance, it won't feel as wrong. But when you really look at him, that's when you notice how vulnerable Tommy is. Surrounded by people who are more mature, more powerful, and who hate his guts. And you'll start to notice how easily influenced he can be, which seems unlikely for someone who always expresses what he thinks. And you'll start to notice he was never as ready as he says he was. And you'll start to notice how most of the messes he got himself into had completely disproportional consequences to him.

And after all of that, you'll look at him again, and maybe he even looks a bit older, but you can still see it. The child behind the loud voice and the bright smile, holding a sword that is just his size, but will always feel a bit too big for him.

I've come to the conclusion this blog will end up being where I'll reblog and rant about everything that isn't dsmp. So the dsmp stuff will remain in my main blog y'know (except for the fanfics, those will be here)

1823 Aug., Wed. 20

8

11 1/2

Soon began on the erotics last night. Her warm, then [e]ncouraging. I said this was not like keeping our promise. She answered, ‘no’ and reached a towel to put under us to keep the bed clean on account of her cousin. I had retired too early for her. ‘Am I too soon for you?’ ‘Yes, rather,’ said she, and I resumed, determined she should have a sufficiently good kiss before I had had one. She said she had and we fell asleep. 

Both awoke at five in the morning and talked till seven. Asked if this was not better than my sleeping in Micklegate. ‘Yes,’ but it was prudence # on her part. She had a feeling she could not describe. Would make any sacrifice rather than have our connection suspected. She seemed very affectionate and fond of me. Said I was her only comfort, she should be miserable without me. 

Lou has got rather out of ∂ [Charles]’s good books she – Lou never got up to breakfast living with her uncle has given her very independent notions – He waited for her – Consulted her in everything – She told C– [Charles] one morning, she got up at the hour that suited her convenience – ∂ [Charles Lawton] has therefore been sadly out of his best humour this summer and π [Mariana] sadly fidgetted –

Told M– [Mariana] that she did not understand one 1/2 my letters, and misunderstood the other – That my aunt said (speaking of the regard between us), it was “much more on one side than the other”, – On my side then hers – Miss Pattison had blushed up to the sears, and told her at Manchester that ∂ [Charles Lawton] complained of her being cold and she wished she would try to be warmer when she returned. π [Mariana] said she and ∂ [Charles Lawton] very well knew the reason of that that she could not seem warm if she did not feel so. 

π [Mariana] once sat next Miss Pattison’s uncle at dinner there and he said of her she looked like one who could love. I agreed, then reverting to ourselves, ‘this is adultery to all intents and purposes.’ ‘No, no,’ said she. ‘Oh yes, π [Mariana]. No casuistry can disguise it.’ ‘Not this then, but the other.’ ‘Well,’ said I, choosing to let the thing turn her own way. ‘I always considered your marriage legal prostitution. We were both wrong. You to do and I to consent to it. And when I think of blaming others, I always remember nothing can at all excuse us but our prior connection.’ 

I did not pursue the subject, nor did π [Mariana] seem to think much of it. The fear of discovery is strong. It rather increases I think. But her conscience seems seared, so long as concealment is secure. She said yesterday of Harriet, if she had never liked Milne I could have made more excuse for her. Thought I to myself, if none but those who were without sin threw the first stone.

Harriet, like the woman taken in adultery, might escape – Told her she needed not fear my conduct letting out our secret. I could deceive anyone. Then told her how completely I had duped Miss Pickford # and that the success of such deep deceit almost smote me, but I had done it all for her, π [Mariana]’s, sake. ‘Why should it smite you? ‘It is deceit that does no one any harm.’ 

I made no reply, but mused how sophistry might reign within the breast where none suspected it. How might not this argument best retched from one deceit to another. Mary, you have passion like the rest, but your caution cheats the world out of it. Scandal and your courage is weak, rather than your principal strong. Yet is it I who write this. 

She’s true to me, yes, but she has not that magnanimity of truth that satisfies a haughty spirit like mine. She is too tamely, worldly, and worldliness is her strength and weakness her foible and her virtue. She loves me, I do believe her, as well as she is capable of loving. Yet her marriage was worldly, her whole conduct is worldly to the farthest verge that craven love can bear. 

How often has it struck me that years ago when once talking to Lou about this marriage and the powerful circumstances that almost compelled it. ‘Well,’ said she, ‘you do not know π [Mariana]. She is worldly and the match was worldly altogether.’ This did indeed strike me at the time but it never struck me as it does at this moment – (Thursday 21 August 3 55/60 p.m. 1823) – 

It now opens upon me as the key of all that all I have never yet been able to comprehend in her character. I have doubted her love, I have doubted her sincerity. How often with an almost bursting heart have I laid aside my papers and my musings because I dared not pursue inconsistencies I could not unravel. I could not deem the dial true, I would not deem it false. The time the manner of her marriage to sink January 1815 in oblivion. Oh how it broke the magic of my faith forever. How, spite of love, it burst the spell that bound my very reason suppliant at her feet. I loathed consent but loathed the easing more. I would have given the yes she sought, tho it had rent my heart into a hundred thousand shivers. It was enough to ask –

It was a coward love that dared not brave the storm; and, in desperate despair, my proud, indignant spirit watched it sculk away – How few the higher feelings we then could have in common! The chivalry of heart was gone – Hope’s brightest hues were brushed away – Yet still one melancholy point of union remained – She was unhappy. So was I –

Love scorned to leave the ruin desolate; and time she has shaded it so sweetly, my heart still lingers in its old abiding place, thoughtless of its broken bowers, save when some sudden guest blows thro’, and scrunching memory is disturbed – But oh! no more “the heart knoweth its own bitterness,” and it is enough – “Je sens mon coeur, et je connais les hommes. Je ne suis fait comme aucun de ceux que j’ai vus; j’ose croire n'être fait comme aucun de ceux qui existent.” Rousseau's Confessions volume and page first.

She loves me. Tho it is neither exactly as I wished, nor as I too fondly persuaded myself. ‘Ere years had taught me to weigh human nature in the balance or unlock the loveliest of bosoms with the key of worldliness. Yes, she loves me. My own feelings shall descend to hers. They have done so in part. How I could have adored her had she been more of that angelic being my fancy formed her. No thought, no word, no look, had wandered then. Surely my every sentiment towards her had had less of earth in it than heaven –

How like “the visions of romantic youth”! I know she might have realized then – Je sens mon coeur – But no more – No more – I seem unable to return to the dry detail of a journal –

At seven an hour before getting up asked her to get out of bed and wash. We both did so. Then got into bed again and had a long quiet good kiss and then a comfortable nap. Got up at eight. I laughed and said we must really both of us get well as soon as we could. We owned she thought I was worse than she was, and said jokingly ‘do you forgive me for it?’ ‘Of course.’ I set her at ease on this point, but yet the characteristic difference between us always strikes me. I am sure I should even shew twice as much as she really feels –

Went downstairs at 8 1/2 ��� Breakfasted etc. etc. Sat next Mrs Milne. Had been very properly attentive to her. Asked π [Mariana] if she was satisfied etc. etc. Said I would act as she liked but I could not decidedly change my manners to Mrs. M[ilne] unless my real acquaintance with her conduct might be acknowledged. She has been foolish again in corresponding with her cousin, Mr. Dannett. This was the thing Eli [Eliza Belcombe] alluded to when I was last in York –

Took leave, and off from the B– [Belcombe]’s (Dr. B– [Belcombe] had had rather a restless night but was nevertheless no worse). As the minster clock struck 10 found the horses to the mail at the Tavern door, to start at 10 1/4 instead of 10 3/f as I supposed – Asked the coachman to wait a minute or 2, and hurried into Micklegate – Only just time to wish then good by, and say I should be passing thro’ again in a fortnight or 3 weeks to spend a fortnight with M– [Mariana] at Scarbro’ –

Did not see Mrs. Duffin this morning – Miss M– [Marsh] whispered last night, she had had a paralytic affectation about a fortnight ago, and had been almost gone – I perceived no difference in her as I saw her sitting round the table last night – She did not attempt to move, but this being unnecessary, did not strike me – 

Got into the new mail, and drove off from the D– [Duffin]’s door at 10 1/2 – Only 1 gentleman besides myself – Beyond Tadcaster took up a nice decent elderly woman – I never uttered all the way – Wrapt in musing – Thought of π [Mariana] and the three steps business, then about my manners and appearance. Building castles about their improvement, elegance, engagingness, etc. etc. The good society I hope to get into, etc., etc. 

Thought of consulting Mr. Simmons, the surgeon. George Streetman, Chester. π [Mariana] consulted him. He feared some uterary of or belonging to the womb. Determine yet might judge from the effect of Scarbro whether Steph was right in supposing it merely weakness. He had treated her judiciously. She ought to be examined, but would not submit –

At Leeds at 1 – Got out for 1/4 hour and off again (from the Rose & Crown) at 1 20/60 – Beautiful day till we got to the New Dolphin Clayton heights, and from there to the Pine-apple

H–x [Halifax], a smartish, sunshiny shower – Got out at the Pine apple at 3 40/60 – Fair and fine immediately –

Got home at 4 – Went into the stable for a moment – Caradoc had gone on well – Then went into the house, and sat talking to my uncle and aunt till 5 40/60 – Then dressed for dinner – My father and Marian called in the evening, and staid till after 8 – I was absolutely asleep almost all the time –

Came up to bed at 9, at which hour Barometer 1 1/2 degree below changeable Fahrenheit 60º – Put by my things – Read the 1st 13 pages volume 1 Rousseau Confessions –

A bowel complaint. Dawdling to stick the pot up the chimney to prevent smell. Could not manage it. All this hindered and kept me up. E [three dots, times treating venereal complaint] O [three dots, signifying much discharge] A great deal on my linen. Saw it when I washed thoroughly before dinner, first with water then alum lotion –

[in margin] 

#Tuesday morning 26 August 1823 This is very well in its way, but she has more of it than love –

# Did not give the slightest hint of P[ickford]’s real character, nor does π [Mariana] at all suspect the truth. I merely said she was the most learned woman I knew and had therefore more penetration than the world in general – π [Mariana] thought she should feel under restraint before her –

Sasheenka's book club 6/?

For the past 5 months I have read and/or listened to over 40 gay romance books and I keep adding more and more to my collection. I will use my tumblr to do short reviews of the titles I go through. Number of stars ★ to ★★★★★ denote my level of enjoyment throughout.

Any Old Diamonds by KJ Charles (★★★★★)

Lord Alexander Pyne-ffoulkes, the younger son of the Duke of Ilvar, holds a bitter grudge against his wealthy father. The Duke intends to give his second wife a priceless diamond parure on their wedding anniversary - so Alec hires a pair of jewel thieves to steal it.  The Duke's remote castle is a difficult target, and while Alec can get himself invited for the anniversary, getting the thieves in will be more difficult. The thieves propose that one of them, Jerry Crozier, will pose as Alec's new best friend. While taking in London society together to make their friendship seem genuine, Jerry effortlessly teases out the lonely young nobleman's most secret desires, and soon he's got Alec in his bed - and the palm of his hand.  Or maybe not. Because as the plot thickens, betrayals, secrets, and old evils come to light. Now the jewel thief and the aristocrat must keep up the pretence, find their way through a maze of privilege and deceit, and confront the truth of what's between them...all without getting caught.

Lovely book. Great characters, a fun plot with an unexpected plot twist (but hinted at when you read it the second time!) and a good resolution. The characters have great chemistry and I did enjoy their romance. It was nice seeing a characters from another of KJ’s series there too! So yes, I enjoyed it a lot, plot, characters, angst, romance, the whole shebang and have read and listened to it multiple times now. It's definitely in my favourite folder.

Narrated by: Cornell Collins (Wonderful as always. KJ Charles and Cornell Collins combo it the best lol)

Length: 8 hrs and 5 mins

The Station by Keira Andrews (★★)

It's 1840s in England and ever since Colin Lancaster spied on his family's stable master Patrick Callahan having sex with another man, he's longed for Patrick to do the same to him. When Patrick is caught with his pants down and threatened with death for his crime, Colin speaks up in his defense and confesses his own sinful nature. They're soon banished to the faraway prison colony of Australia. From the miserable depths of a prison ship to the vast, untamed Australian outback, Colin and Patrick must rely on each other. Danger lurks everywhere, and when they unexpectedly get the chance to escape to a new life as cowboys, they'll need each other more than ever.

I did not finish this book because I couldn’t stand the love interest. Patrick was an ass and I wished someone else would come in and swoop Colin off his feet. He didn’t communicate (he didn’t much speak at all), he was grumpy, he insisted everything about him and Colin was merely physical and when Colin said he doesn’t want to pursue their affair in that case he kept demanding sex...Maybe if the book used switching POVs we could get an insight on why he was behaving the way he did...but as it was...nope. Also, it seemed strange to me Colin would be sentenced for attempted sodomy, when he did not, in fact, attempt it, just confessed to being gay...but I was willing to let that slide as a plot device.

Narrated by: Joel Leslie (Joel as usual giving it a lot of feeling)

Length: 7 hrs and 9 mins

Widdershins by Jordan L. Hawk (★★★★)

An urban fantasy taking place in America in 1897. Percival Whyborne is a comparative philologist, apt at cryptography and reading dead languages. After the tragic death of a friend he secretly loved, he's ruthlessly suppressed any desire for other men. So when handsome ex-Pinkerton agent Griffin Flaherty approaches him to translate a mysterious book connected to a case of his, Whyborne wants to finish the job and get rid of the detective as quickly as possible. But they grow close as they uncover evidence of a powerful secret society with occult powers at their disposal being at large in the town of Widdershins and they fall in love love while saving the world.

This book is written in the first person, which I know many people hate, but I didn’t really mind it here. It took me some time to get into this book, but in the end I did enjoy it and I plan on reading the rest of the series. The characters were likeable, the plot came together nicely, the romance was quite sweet with a small speck of angst right before the big finale. Prepare for lots of gore and body horror though! I still think of the way Griffin's Pinkerton partner died!.

Narrated by: Julian G. Simmons (I think the reason why I couldn’t get into it at the beginning was the narration tbh)

Length: 9 hrs and 15 mins

Robert Charles Durman Mitchum (August 6, 1917 – July 1, 1997) was an American actor, director, author, poet, composer, and singer. Mitchum rose to prominence for starring roles in several classic films noirs, and his acting is generally considered a forerunner of the antiheroes prevalent in film during the 1950s and 1960s. His best-known films include Out of the Past (1947), The Night of the Hunter (1955), Cape Fear (1962), and El Dorado (1966). Mitchum was nominated for the Academy Award for Best Supporting Actor for The Story of G.I. Joe (1945). He is also known for his television role as U.S. Navy Captain Victor “Pug” Henry in the epic miniseries The Winds of War (1983) and sequel War and Remembrance (1988).

Mitchum is rated number 23 on the American Film Institute's list of the greatest male stars of Classic American Cinema.

Robert Mitchum was born in Bridgeport, Connecticut, on August 6, 1917, into a Norwegian-Irish Methodist family. His mother, Ann Harriet Gunderson, was a Norwegian immigrant and sea captain's daughter; his father, James Thomas Mitchum, was a shipyard and railroad worker of Irish descent.[3] His older sister, Annette (known as Julie Mitchum during her acting career), was born in 1914. Their father, James Mitchum, was crushed to death in a railyard accident in Charleston, South Carolina, in February 1919. Robert was one year old, and Annette was not yet five. Their mother was awarded a government pension, and soon realized she was pregnant. Her third child, John, was born in September of that year. Ann married again to Major Hugh Cunningham Morris, a former Royal Naval Reserve officer. Ann and Morris had a daughter together, Carol Morris, born July 1927, on the family farm in Delaware. When all of the children were old enough to attend school, Ann found employment as a linotype operator for the Bridgeport Post.

As a child, Mitchum was known as a prankster, often involved in fistfights and mischief. When he was 12, his mother sent him to live with her parents in Felton, Delaware; the boy was promptly expelled from middle school for scuffling with the principal. A year later, in 1930, he moved in with his older sister Annette, in New York's Hell's Kitchen. After being expelled from Haaren High School, he left his sister and traveled throughout the country, hopping on railroad cars, taking a number of jobs, including ditch-digging for the Civilian Conservation Corps and professional boxing. At age 14 in Savannah, Georgia, he said he was arrested for vagrancy and put on a local chain gang. By Mitchum's own account, he escaped and returned to his family in Delaware. During this time, while recovering from injuries that nearly cost him a leg, he met Dorothy Spence, whom he would later marry. He soon went back on the road, eventually "riding the rails" to California.

Mitchum arrived in Long Beach, California, in 1936, staying again with his sister, now going by the name of Julie. She had moved to the West Coast in the hope of acting in movies, and the rest of the Mitchum family soon joined them. During this time, Mitchum worked as a ghostwriter for astrologer Carroll Righter. Julie convinced him to join the local theater guild with her. At The Players Guild of Long Beach, Mitchum worked as a stagehand and occasional bit-player in company productions. He also wrote several short pieces which were performed by the guild. According to Lee Server's biography (Robert Mitchum: Baby, I Don't Care), Mitchum put his talent for poetry to work writing song lyrics and monologues for Julie's nightclub performances.

In 1940, he returned to Delaware to marry Dorothy Spence, and they moved back to California. He gave up his artistic pursuits at the birth of their first child James, nicknamed Josh, and two more children, Chris and Petrine, followed. Mitchum found steady employment as a machine operator during wartime era WWII, with the Lockheed Aircraft Corporation, but the noise of the machinery damaged his hearing. He also suffered a nervous breakdown (which resulted in temporary blindness), due to job-related stress. He then sought work as a film actor, performing initially as an extra and in small speaking parts. His agent got him an interview with Harry Sherman, the producer of Paramount's Hopalong Cassidy western film series, which starred William Boyd; Mitchum was hired to play minor villainous roles in several films in the series during 1942 and 1943. He went uncredited as a soldier in the Mickey Rooney 1943 film The Human Comedy. Also in 1943 he and Randolph Scott were soldiers in the Pacific Island war film Gung Ho.

Mitchum continued to find work as an extra and supporting actor in numerous productions for various studios. After impressing director Mervyn LeRoy during the making of Thirty Seconds Over Tokyo, Mitchum signed a seven-year contract with RKO Radio Pictures. He was groomed for B-Western stardom in a series of Zane Grey adaptations.

Following the moderately successful Western Nevada, RKO lent Mitchum to United Artists for The Story of G.I. Joe (1945). In the film, he portrayed war-weary officer Bill Walker (based on Captain Henry T. Waskow), who remains resolute despite the troubles he faces. The film, which followed the life of an ordinary soldier through the eyes of journalist Ernie Pyle (played by Burgess Meredith), became an instant critical and commercial success. Shortly after filming, Mitchum was drafted into the United States Army, serving at Fort MacArthur, California, as a medic. At the 1946 Academy Awards, The Story of G.I. Joe was nominated for four Oscars, including Mitchum's only nomination for Best Supporting Actor. He finished the year with a Western (West of the Pecos) and a story of returning Marine veterans (Till the End of Time), before filming in a genre that came to define Mitchum's career and screen persona: film noir.

Mitchum was initially known for his work in film noir. His first foray into the genre was a supporting role in the 1944 B-movie When Strangers Marry, about newlyweds and a New York City serial killer. Undercurrent, another of Mitchum's early noir films, featured him as a troubled, sensitive man entangled in the affairs of his brother (Robert Taylor) and his brother's suspicious wife (Katharine Hepburn). John Brahm's The Locket (1946) featured Mitchum as bitter ex-boyfriend to Laraine Day's femme fatale. Raoul Walsh's Pursued (1947) combined Western and noir styles, with Mitchum's character attempting to recall his past and find those responsible for killing his family. Crossfire (also 1947) featured Mitchum as a member of a group of World War II soldiers, one of whom kills a Jewish man. It featured themes of anti-Semitism and the failings of military training. The film, directed by Edward Dmytryk, earned five Academy Award nominations.

Following Crossfire, Mitchum starred in Out of the Past (also called Build My Gallows High), directed by Jacques Tourneur and featuring the cinematography of Nicholas Musuraca. Mitchum played Jeff Markham, a small-town gas-station owner and former investigator, whose unfinished business with gambler Whit Sterling (Kirk Douglas) and femme fatale Kathie Moffett (Jane Greer) comes back to haunt him.

On September 1, 1948, after a string of successful films for RKO, Mitchum and actress Lila Leeds were arrested for possession of marijuana.[10] The arrest was the result of a sting operation designed to capture other Hollywood partiers as well, but Mitchum and Leeds did not receive the tipoff. After serving a week at the county jail (he described the experience to a reporter as being "like Palm Springs, but without the riff-raff"), Mitchum spent 43 days (February 16 to March 30) at a Castaic, California, prison farm. Life photographers were permitted to take photos of him mopping up in his prison uniform. The arrest inspired the exploitation film She Shoulda Said No! (1949), which starred Leeds. The conviction was later overturned by the Los Angeles court and district attorney's office on January 31, 1951, after being exposed as a setup.

Despite, or because of, Mitchum's troubles with the law and his studio, his films released immediately after his arrest were box-office hits. Rachel and the Stranger (1948) featured Mitchum in a supporting role as a mountain man competing for the hand of Loretta Young, the indentured servant and wife of William Holden. In the film adaptation of John Steinbeck's novella The Red Pony (1949), he appeared as a trusted cowhand to a ranching family. He returned to film noir in The Big Steal (also 1949), where he reunited with Jane Greer in an early Don Siegel film.

In Where Danger Lives (1950), Mitchum played a doctor who comes between a mentally unbalanced Faith Domergue and cuckolded Claude Rains. The Racket was a noir remake of the early crime drama of the same name and featured Mitchum as a police captain fighting corruption in his precinct. The Josef von Sternberg film, Macao (1952), had Mitchum as a victim of mistaken identity at an exotic resort casino, playing opposite Jane Russell. Otto Preminger's Angel Face was the first of three collaborations between Mitchum and British stage actress Jean Simmons. In this film, she played an insane heiress who plans to use young ambulance driver Mitchum to kill for her.

Mitchum was fired from Blood Alley (1955), due to his conduct, reportedly having thrown the film's transportation manager into San Francisco Bay. According to Sam O'Steen's memoir Cut to the Chase, Mitchum showed up on-set after a night of drinking and tore apart a studio office when they did not have a car ready for him. Mitchum walked off the set of the third day of filming Blood Alley, claiming he could not work with the director. Because Mitchum was showing up late and behaving erratically, producer John Wayne, after failing to obtain Humphrey Bogart as a replacement, took over the role himself.

Following a series of conventional Westerns and films noirs, as well as the Marilyn Monroe vehicle River of No Return (1954), Mitchum appeared in Charles Laughton's only film as director: The Night of the Hunter (1955). Based on a novel by Davis Grubb, the thriller starred Mitchum as a monstrous criminal posing as a preacher to find money hidden by his cellmate in the cellmate's home. His performance as Reverend Harry Powell is considered by many to be one of the best of his career.[15][16] Stanley Kramer's melodrama Not as a Stranger, also released in 1955, was a box-office hit. The film starred Mitchum against type, as an idealistic young doctor, who marries an older nurse (Olivia de Havilland), only to question his morality many years later. However, the film was not well received, with most critics pointing out that Mitchum, Frank Sinatra, and Lee Marvin were all too old for their characters. Olivia de Havilland received top billing over Mitchum and Sinatra.

On March 8, 1955, Mitchum formed DRM (Dorothy and Robert Mitchum) Productions to produce five films for United Artists; four films were produced. The first film was Bandido (1956). Following a succession of average Westerns and the poorly received Foreign Intrigue (1956), Mitchum starred in the first of three films with Deborah Kerr. The John Huston war drama Heaven Knows, Mr. Allison, starred Mitchum as a Marine corporal shipwrecked on a Pacific Island with a nun, Sister Angela (Deborah Kerr), as his sole companion. In this character study, they struggle to resist the elements and the invading Japanese army. The film was nominated for two Academy Awards, including Best Actress and Best Adapted Screenplay. For his role, Mitchum was nominated for a BAFTA Award for Best Foreign Actor. In the WWII submarine classic The Enemy Below (1956), Mitchum gave a strong performance as U.S. Naval Lieutenant Commander Murrell, the captain of a U.S. Navy destroyer who matches wits with a German U-boat captain Curt Jurgens, who starred with Mitchum again in the legendary 1962 movie The Longest Day. The film won an Oscar for Special Effects.

Thunder Road (1958), the second DRM Production, was loosely based on an incident in which a driver transporting moonshine was said to have fatally crashed on Kingston Pike in Knoxville, Tennessee, somewhere between Bearden Hill and Morrell Road. According to Metro Pulse writer Jack Renfro, the incident occurred in 1952 and may have been witnessed by James Agee, who passed the story on to Mitchum. He starred in the movie, produced, co-wrote the screenplay, and is rumored to have directed much of the film. It costars his son James, as his on screen brother, in a role originally intended for Elvis Presley. Mitchum also co-wrote (with Don Raye) the theme song, "The Ballad of Thunder Road".

He returned to Mexico for The Wonderful Country (1959) and Ireland for A Terrible Beauty/The Night Fighters for the last of his DRM Productions.

Mitchum and Kerr reunited for the Fred Zinnemann film, The Sundowners (1960), where they played husband and wife struggling in Depression-era Australia. Opposite Mitchum, Kerr was nominated for yet another Academy Award for Best Actress, while the film was nominated for a total of five Oscars. Mitchum was awarded that year's National Board of Review award for Best Actor for his performance. The award also recognized his superior performance in the Vincente Minnelli Western drama Home from the Hill (also 1960). He was teamed with former leading ladies Kerr and Simmons, as well as Cary Grant, for the Stanley Donen comedy The Grass Is Greener the same year.

Mitchum's performance as the menacing rapist Max Cady in Cape Fear (1962) brought him further renown for playing cold, predatory characters. The 1960s were marked by a number of lesser films and missed opportunities. Among the films Mitchum passed on during the decade were John Huston's The Misfits (the last film of its stars Clark Gable and Marilyn Monroe), the Academy Award–winning Patton, and Dirty Harry. The most notable of his films in the decade included the war epics The Longest Day (1962) and Anzio (1968), the Shirley MacLaine comedy-musical What a Way to Go! (1964), and the Howard Hawks Western El Dorado (1967), a remake of Rio Bravo (1959), in which Mitchum took over Dean Martin's role of the drunk who comes to the aid of John Wayne. He teamed with Martin for the 1968 Western 5 Card Stud, playing a homicidal preacher.

One of the lesser-known aspects of Mitchum's career was his foray into music as a singer. Critic Greg Adams writes, "Unlike most celebrity vocalists, Robert Mitchum actually had musical talent." Mitchum's voice was often used instead of that of a professional singer when his character sang in his films. Notable productions featuring Mitchum's own singing voice included Rachel and the Stranger, River of No Return, and The Night of the Hunter. After hearing traditional calypso music and meeting artists such as Mighty Sparrow and Lord Invader while filming Heaven Knows, Mr. Allison in the Caribbean islands of Tobago, he recorded Calypso – is like so ... in March 1957. On the album, released through Capitol Records, he emulated the calypso sound and style, even adopting the style's unique pronunciations and slang. A year later, he recorded a song he had written for Thunder Road, titled "The Ballad of Thunder Road". The country-style song became a modest hit for Mitchum, reaching number 69 on the Billboard Pop Singles chart. The song was included as a bonus track on a successful reissue of Calypso ... and helped market the film to a wider audience.

Although Mitchum continued to use his singing voice in his film work, he waited until 1967 to record his follow-up record, That Man, Robert Mitchum, Sings. The album, released by Nashville-based Monument Records, took him further into country music, and featured songs similar to "The Ballad of Thunder Road". "Little Old Wine Drinker Me", the first single, was a top-10 hit at country radio, reaching number nine there, and crossed over onto mainstream radio, where it peaked at number 96. Its follow-up, "You Deserve Each Other", also charted on the Billboard Country Singles chart. He sang the title song to the Western Young Billy Young, made in 1969.

Mitchum made a departure from his typical screen persona with the 1970 David Lean film Ryan's Daughter, in which he starred as Charles Shaughnessy, a mild-mannered schoolmaster in World War I–era Ireland. At the time of filming, Mitchum was going through a personal crisis and planned to commit suicide. Aside from a personal crisis, his recent films had been critical and commercial flops. Screenwriter Robert Bolt told him that he could commit suicide after the film was finished and that he would personally pay for his burial. Though the film was nominated for four Academy Awards (winning two) and Mitchum was much publicized as a contender for a Best Actor nomination, he was not nominated. George C. Scott won the award for his performance in Patton, a project Mitchum had rejected for Ryan's Daughter.

The 1970s featured Mitchum in a number of well-received crime dramas. The Friends of Eddie Coyle (1973) had the actor playing an aging Boston hoodlum caught between the Feds and his criminal friends. Sydney Pollack's The Yakuza (1974) transplanted the typical film noir story arc to the Japanese underworld. He also appeared in 1976's Midway about an epic 1942 World War II battle. Mitchum's stint as an aging Philip Marlowe in the Raymond Chandler adaptation Farewell, My Lovely (1975) was sufficiently well received by audiences and critics for him to reprise the role in 1978's The Big Sleep.

In 1982, Mitchum played Coach Delaney in the film adaptation of playwright/actor Jason Miller's 1973 Pulitzer Prize-winning play That Championship Season.

At the premiere for That Championship Season, Mitchum, while intoxicated, assaulted a female reporter and threw a basketball that he was holding (a prop from the film) at a female photographer from Time magazine, injuring her neck and knocking out two of her teeth. She sued him for $30 million for damages. The suit eventually "cost him his salary from the film."

That Championship Season may have indirectly led to another debacle for Mitchum several months later. In a February 1983 Esquire interview, he made several racist, anti-Semitic and sexist statements, including, when asked if the Holocaust occurred, responded "so the Jews say." Following the widespread negative response, he apologized a month later, saying that his statements were "prankish" and "foreign to my principle." He claimed that the problem had begun when he recited a racist monologue from his role in That Championship Season, the writer believing the words to be his own. Mitchum, who claimed that he had only reluctantly agreed to the interview, then decided to "string... along" the writer with even more incendiary statements.

Mitchum expanded to television work with the 1983 miniseries The Winds of War. The big-budget Herman Wouk story aired on ABC, starring Mitchum as naval officer "Pug" Henry and Victoria Tennant as Pamela Tudsbury, and examined the events leading up to America's involvement in World War II. He returned to the role in 1988's War and Remembrance, which continued the story through the end of the war.

In 1984, Mitchum entered the Betty Ford Center in Palm Springs, California for treatment of a drinking problem.

He played George Hazard's father-in-law in the 1985 miniseries North and South, which also aired on ABC.

Mitchum starred opposite Wilford Brimley in the 1986 made-for-TV movie Thompson's Run. A hardened con (Mitchum), being transferred from a federal penitentiary to a Texas institution to finish a life sentence as a habitual criminal, is freed at gunpoint by his niece (played by Kathleen York). The cop (Brimley) who was transferring him, and has been the con's lifelong friend and adversary for over 30 years, vows to catch the twosome.

In 1987, Mitchum was the guest-host on Saturday Night Live, where he played private eye Philip Marlowe for the last time in the parody sketch, "Death Be Not Deadly". The show ran a short comedy film he made (written and directed by his daughter, Trina) called Out of Gas, a mock sequel to Out of the Past. (Jane Greer reprised her role from the original film.) He also was in Bill Murray's 1988 comedy film, Scrooged.

In 1991, Mitchum was given a lifetime achievement award from the National Board of Review of Motion Pictures, in the same year he received the Telegatto award and in 1992 the Cecil B. DeMille Award from the Golden Globe Awards.

Mitchum continued to act in films until the mid-1990s, such as in Jim Jarmusch's Dead Man, and he narrated the Western Tombstone. He also appeared, in contrast to his role as the antagonist in the original, as a protagonist police detective in Martin Scorsese's remake of Cape Fear, but the actor gradually slowed his workload. His last film appearance was a small but pivotal role in the television biopic, James Dean: Race with Destiny, playing Giant director George Stevens. His last starring role was in the 1995 Norwegian movie Pakten.

A lifelong heavy smoker, Mitchum died on July 1, 1997, in Santa Barbara, California, due to complications of lung cancer and emphysema. He was about five weeks shy of his 80th birthday. His body was cremated and his ashes scattered at sea, though there is a plot marker in the Odd Fellows Cemetery in Delaware. He was survived by his wife of 57 years, Dorothy Mitchum (May 2, 1919 – April 12, 2014, Santa Barbara, California, aged 94); his sons, actors James Mitchum and Christopher Mitchum; and his daughter, writer Petrine Day Mitchum. His grandchildren, Bentley Mitchum and Carrie Mitchum, are actors, as was his younger brother, John, who died in 2001. Another grandson, Kian, is a successful model.

Mitchum is regarded by some critics as one of the finest actors of the Golden Age of Hollywood. Roger Ebert called him "the soul of film noir." Mitchum, however, was self-effacing; in an interview with Barry Norman for the BBC about his contribution to cinema, Mitchum stopped Norman in mid flow and in his typical nonchalant style, said, "Look, I have two kinds of acting. One on a horse and one off a horse. That's it." He had also succeeded in annoying some of his fellow actors by voicing his puzzlement at those who viewed the profession as challenging and hard work. He is quoted as having said in the Barry Norman interview that acting was actually very simple and that his job was to "show up on time, know his lines, hit his marks, and go home". Mitchum had a habit of marking most of his appearances in the script with the letters "n.a.r.", which meant "no action required", which critic Dirk Baecker has construed as Mitchum's way of reminding himself to experience the world of the story without acting upon it.

AFI's 100 Years...100 Stars lists Mitchum as the 23rd-greatest male star of classic Hollywood cinema. AFI also recognized his performance as the menacing rapist Max Cady and Reverend Harry Powell as the 28th and 29th greatest screen villains, respectively, of all time as part of AFI's 100 Years...100 Heroes and Villains. He provided the voice of the famous American Beef Council commercials that touted "Beef ... it's what's for dinner", from 1992 until his death.

A "Mitchum's Steakhouse" is in Trappe, Maryland, where Mitchum and his family lived from 1959 to 1965.