This colorful silk coat appeared in the episode of The Borgias entitled The Moor, where Elyes Gabel wore it as Prince Djem. It was later seen in the first season of Medici: Masters of Florence in the episode Temptation, where Alessandro Sperduti wore it as Piero de’ Medici. The coat had been modified, with additional golden fabric on the sleeves. While the actual scene is quite dark, we can see the details very well in a promotional still.

Where did this costume originate? Click the source link below to find out!

Costume Credit: Lucia

Follow: Website | Twitter | Facebook | Pinterest | Instagram

Katharine McPhee and Elyes Gabel

> dead hot trailer keeps playing as an ad on tumblr

> IS THAT ELYES GABEL???!!!!

> no, it’s someone named Bilal Hasna. wow they look so similar. okay, well I wonder what Elyes Gabel has been up to lately

> playing a guy named Hassan Bilal

World War Z (2013)

Walter O'Brien NSFW Headcanons

Have you seen this man's puppy dog eyes? This man is a SWITCH!!!

Was very scientific with it at first and didn't exactly understand that people have preferences, nor did he understand the usage of such acts outside of their biological utilization.

Bisexual but won't admit it. Not because of internalized homophobia but because of his scientific view on love.

Huge voice kink. Dirty talk, praise, even just the pitch and rhythm of your voice is intoxicating to him, especially when whispered in his ear.

Not a fan of hickeys but will make an exception of ones that can be hidden by everyday clothes ie: collar bone, chest, stomach, thighs, ect.

Sapiosexual, the sexual attraction to intelligence. If you end up infodumping on an interest of yours you won't be talking about it very long.

WHIMPERS!!!!!!!

Has seen so many people in handcuffs and will never admit that he wants to see you in them as well.

Will also never admit he has a few sadistic tendencies, not enough to genuinely hurt you but just enough to startle you a bit.

When kissing, his hands go straight to your waist and/or your neck

Established a safe word IMMEDIATELY, the last thing he would want to do is do anything you weren't ok with.

VERY tense when you're flirting with him but once he starts flirting back he's surprisingly smooth with it.

Huge into aftercare, he wouldn't let you do anything before eating and having water at the very least.

Why, may i ask, is no one writing about the FOINE ASS MAN THAT IS WALTER O'BRIEN (Elyes Gabel) LIKE. PLEASE I NEED IT FOR MY LIFE. IT DOESNT EVEN NEED TO BE SMUT (Although prefered ngl im just a horny simp) JUST PLEASE I BEG OF YOU.

KATHARINE McPHEE as Paige Dineen ELYES GABEL as Walter O’Brien Scorpion (2014-2018) ✦ 1x01 “Pilot” dir. Justin Lin

BTS of 421 - Fudge series, 1

source: Elyes’ IGvid story (Feb 27th)

Title: Justice League vs. the Fatal Five

Rating: PG-13

Director: Sam Liu

Cast: Elyes Gabel, Diane Guerrero, Kevin Conroy, Susan Eisenberg, George Newbern, Daniela Bobadilla, Kevin Michael Richardson, Noel Fisher, Peter Jessop, Tom Kenny, Matthew Yang King, Sumalee Montano, Philip Anthony-Rodriguez, Tara Strong, Bruce Timm

Release year: 2019

Genres: science fiction, action

Blurb: The Justice League faces a powerful new threat: the Fatal Five. Superman, Batman, and Wonder Woman seek answers as the time-travelling trio of Mano, Persuader, and Tharok terrorise Metropolis in search of budding Green Lantern Jessica Cruz. With her unwilling help, they aim to free remaining Fatal Five members Emerald Empress and Validus to carry out their sinister plan...but the Justice League has also discovered an ally from another time in the peculiar Star Boy. Brimming with volatile power, could he be the key to thwarting the Fatal Five?

The Scorpion board at FanForum is celebrating 50,000 posts! If you're a fan of the show, its characters and actors, be sure to stop by the board and discuss it with other fans!

Jessica Chastain and Oscar Isaac in A Most Violent Year (J.C. Chandor, 2014) Cast: Oscar Isaac, Jessica Chastain, Elyes Gabel, Albert Brooks, David Oyelowo, Alessandro Nivola, Albert Brooks, Jerry Adler. Screenplay: J.C. Chandor. Cinematography: Bradford Young. Production design: John P. Goldsmith. Film editing: Ron Patane. Music: Alex Ebert. In a movie that might have been called "Do the Most Right Thing," Oscar Isaac plays yet another ethically challenged protagonist. Abel Morales is not as cranky as Llewyn Davis or as politically savvy as Nick Wasicsko, the beleaguered Yonkers mayor of the 2015 HBO series Show Me a Hero, but he's another little guy who deserves better than the forces opposed to him will allow. He's no moral paragon: He couldn't have built a successful heating oil company in New York City without bending a few of the rules -- and without the help of his less-scrupulous wife, Anna (Jessica Chastain). It's 1981, and Morales is on the brink of a big deal, purchasing property on the East River that will enable him to eliminate some of the middlemen in the business. But then everything starts going awry: His trucks are being hijacked and the district attorney (David Oyelowo) has decided to make him a target in his exposé of corrupt practices in the heating oil business. It's a gritty urban tale, the kind that the movies haven't seen much of lately, demanding an audience that doesn't ask for a lot of glamour and knows how to wait patiently for things to unfold. As director and screenwriter, J.C. Chandor resists the temptation to reveal too much too swiftly, building a quiet tension as we begin to bring the story into focus. He also handles action well, as the title suggests, although much of the violence is latent. Best of all, he showcases some fine performances, not only from Isaac and Chastain and Oyelowo, but also from Albert Brooks as Morales's attorney, Elyes Gabel as one of the victimized truck drivers, and Alessandro Nivola as one of Morales's mobbed-up competitors. There are moments when the script's depiction of Morales's determination to go as straight as possible seems a little too much like forcing him into the good-guy role, and the climax is too melodramatic, but on the whole it's a solid movie.

I just saw Elyes Gabel in a commercial and whiplashed so hard my neck hurts.

You can cancel Scorpion. You can create a finale so hostile it destroys the fandom.

BUT YOU CANNOT KILL THE CYCLONE.

Justice League Vs. The Fatal Five (2019) (SPOILERS WITHIN)

Justice League Unlimited is potentially my favorite team superhero show of all time. The initial Justice League episodes are certainly very good and often excellent, but there was a clear sense by Bruce Timm and his creative team that it was a much taller mountain to climb compared to their past achievements. Instead of a single hero POV, they had seven to keep track of at any given time. By Unlimited, though, they were in the full flower of their creative gifts, and as a result, we had a show that could dip in on any hero and tone whenever they wanted. Batman had to sing to reverse Wonder Woman being turned into a pig. We could travel in time as far back to the Old West and then leap ahead to Batman Beyond’s future. The Question could star in a paranoid conspiracy thriller with Green Arrow and Supergirl. The Flash and Lex Luthor switched brains. And on and on, with plenty of room for classic superhero beatdowns along the way. It is in that spirit that we look at the DTV movie Justice League Vs. The Fatal Five, the first in-continuity animated JLU story since the finale in 2006. And it’s quite a welcome return to be sure.

Disaster has struck in the 31st century: three members of the Fatal Five-Tharok (Peter Jessop), Mano (Philip Anthony Rodriguez), and The Persuader (Matthew Yang King)-have stolen a time machine from the Legion of Super-Heroes. Their mission: venture into the past to rescue their leader and Mano’s lover, the Emerald Empress (Sumalee Montano), and their brutish enforcer Validus from prison. Thomas “Star Boy” Kallor (Elyes Gabel) manages to go along with them, but there’s a problem: he didn’t take his medicine recently and what he had left is now broken. (His condition is unnamed, but seems to be some form of psychosis/schizophrenia and memory loss) So after promptly causing a scene by denuding, he’s tossed into Arkham for 10 months. At the same time, Jessica Cruz (Diane Guerrero) is Earth’s newest Green Lantern and struggling with both that and violent trauma. But given that the Justice League-Superman (George Newbern), Batman (Kevin Conroy), Wonder Woman (Susan Eisenberg), Mr. Terrific (Kevin Michael Richardson, taking over from Michael Beach), and prospective member Miss Martian (Daniela Bobadilla)-need her help with combating the Five, she’s not going to get a break any time soon...

The funny thing about the title here is that it’s far more of a story about Jessica Cruz than the League itself. But this is hardly bad, given that Cruz’s recency gives things a fresh angle, and it’s not like the Leaguers don’t get plenty of time to shine; I like Batman’s subplot with Miss Martian growing on him as a sidekick, as well as beats like Superman having a pitch-perfect annoyed reaction to seeming lack of concern over an injury, and Diana’s...not ideal, but in-character response to Cruz thinking she doesn’t have what it takes. And Mr. Terrific never really got a focus outside of some good bits in the aforementioned brain-switching episode, so it’s nice to see him use smarts AND strength to succeed here. It’s also very weird to see a Miss Martian who’s so openly sassy and direct compared to the softness-hiding-shitloads-of-anger-and-dysmorphia version we see regularly on Young Justice. But she fits in well, and I cackled at her wordless shapeshifting counter to Batman insisting he’s not going to work with teenagers. The villains are also fun if not especially deep, and we get nice beats like Mano reasserting the pecking order with his scary-ass hand melting power or Tharok demonstrating just what’s at stake with a bomb threat.

However, Jessica Cruz and Star Boy, if not the Legion, are the primary lens here and filter us through admirably. There’s been more talk in recent years that superhero stories should more forthrightly address the realistic trauma that these characters would naturally go through as a result of their experiences. I think this can be sometimes overstated and overpraised (hello “whump fic”), but it’s certainly done very well here. In particular, I liked that when we see Jessica’s therapist, she’s a little brusque but actually has reasonably good advice (if my mantra’s not working for you, come up with one that does suit you personally). And Jessica herself strikes a nice balance of clearly WANTING to make progress, but having a cynical, acerbic side that crops up as a defense mechanism. Thomas by contrast is more scatterbrained, but they build a nice connection that’s not quite romantic, not quite siblings, throughout as fellow survivors. Jessica stepping up and Thomas’ ultimate sacrifice have real weight as a result.

(Sidenote: the continuity IS a bit strange in one unavoidable way. Unlimited did have a Legion-focused episode, “Far From Home”, and while that’s one of the weaker offerings there, it still happened/the League HAS encountered the Legion and Fatal Five before. Yet curiously, no mention is made of those events here. Hope someone got fired for THAT blunder!/sarcasm)

In terms of feeling like a new Unlimited story, the film certainly succeeds on the visual and aural fronts. Director Sam Liu, a longtime veteran of these projects, and his board and layout teams ably recreate the camera angles and fight choreography of the series with the Timm house style in ways I don’t think the more complex Nu52 designs were always able to match in their respective films. (Though some of the sensibilities like super pointy boobs on some characters inspire more of a chuckle now than they did when I was 15). Korean studio DR Movie, who animated the best-looking episodes of the series, aids this by adding an extra-crisp kick to the fights in particular. They also get to be a little more violent and bloody than the show, if not unreasonably so. Series composers Michael McCuistion, Lolita Ritmanis, and Kristopher Carter also return to offer a mix of orchestral and rock-and-roll guitar sounds that so distinguished their work when they moved from the DCAU’s initial focus on orchestral-only scores; it’s nice to hear some of their leitmotifs come back at key character moments, as well as the new ones for Cruz and Star Boy. I got a big grin on my face with moments like Supes’ theme getting a rock-flavored tinge in his entrance or the first few notes of the Unlimited theme playing when the League assembles for a fight.

Voice acting-wise, Wes Gleason takes over admirably on direction duties from the legendary, now-retired Andrea Romano; I’ve criticized some of his work before, but he’s found a nice equilibrium in the last few years of crafting good work in different genres and tones depending on the project. Of the leads, Guerrero might surprise people here given that she was so exuberant and funny in Encanto as Isabela; while some might accuse her restraint as being flat, I think she essays a good portrayal of someone trying to break out of a miserable hole, as well as being quite funny in a deadpan way, and she hits the bigger emotional beats like a trembling, rising rendition of the Green Lantern Oath wonderfully. Gabel makes Thomas’ ramblings feel lived-in rather than an ugly caricature, and he balances that with a warm, kind inner strength and heroism.

In terms of reprisals, Conroy, Eisenberg, and Newbern know these characters inside and out, and add that iconic stature to every line. Like Guerrero, the late Conroy is also very deadpan funny in moments like a come-get-some one-liner or a downright tsundere reading at the end. Richardson is of course one of the GOATs, and he gives a good casual, intellectual spin on Terrific that’s similar to Beach’s without being an outright imitation (we also get to hear him reprise Kilowog from Green Lantern: The Animated Series, with a redesign inspired by that show to boot). Jessop, Rodriguez, and King are all marvelously deep-voiced and threatening, and while Montano gets held back for a while, she offers a marvelously sneering, haughty take on the Empress once she fully arrives. And while Bobadilla, as said, is vastly different than Danica McKellar’s YJ performance, she is nevertheless very charming.

In some ways, Unlimited’s end is a bit melancholy in retrospect. It was the last time the “core team” of the DCAU was truly together as a cohesive unit, even if they still went on to great success afterwards, in particular the likes of director Joaquim Dos Santos on Avatar: The Last Airbender/The Legend of Korra/Voltron Legendary Defender (and now he’s directing SPIDER-VERSE) or producer/artist James Tucker, who created the excellent Silver Age homage series Batman: The Brave and the Bold. And nothing could wholly recapture that thrill any more than the rest of the DCAU getting follow-ups can. But Fatal Five does a lot, as well as pointing the way forward. That can be enough.

A Versatile Career: Muzz Khan's Journey In Acting And Music

Introduction:

Muzz Khan, born in 1981 in Burnley, Lancashire, is a versatile and talented actor and DJ. His performances are captivating. Khan's on-screen presence is like a symphony of emotions, while his musical talents extend beyond the stage. As a DJ, he creates crowd-pleasing sets that pulse with energy and emotion, transporting listeners to abandon their daily 9-to-5s. His life and career is a testament to the enduring power of artistic exploration, where one individual's passion transcends tradition to create a legacy that echoes through entertainment’s rich history.

Early Life And Education:

Muzz Khan, born in Burnley and raised in Nelson, Lancashire, was born to shine in the world of performing arts. His journey began at Edge End High School, where the BBC chose and elected to film an episode of the Patricia Routledge-led,  detective series "Hetty Wainthropp Investigates." This visit ignited his passion for acting and sparked his determination to pursue his dreams. Khan attended Accrington and Rossendale College to study a BTEC National Diploma in Performing Arts, where he honed his skills and built a foundation for his future. It is noted that he received a Distinction grade there for his studies.

He then attended the Webber Douglas Academy of Dramatic Art in South Kensington, London, where he trained alongside fellow students and now renowned actors Rupert Friend, Natalie Dormer, Tom Mison, and Elyes Gabel. His time at drama school wasn’t a happy one but he was encouraged by Rupert (Friend) to continue his studies and not throw in the towel. Khan's journey from Lancashire to London and later to Los Angeles, is a testament to his passion, tenacity, pursuit of excellence, and the single-minded vision to set the stage for his remarkable career.

Acting Career:

Muzz Khan began his professional acting career in 1999 with a voice-over (ADR) role in "East is East." Khan initially auditioned for a part as one of the core cast members but his lack of experience at a young age and casting fit were not deemed to be quite right at the time. He has since appeared in various UK television shows, including "No Angels" and "Bradford Riots”, on Channel 4. "24: Live Another Day", for Fox Television, "The Suspicions of Mr. Whicher”, for ITV Studios, and "Black Mirror: White Christmas", playing the amusingly-titled character of Fappuccino. In 2016, he starred in the American, ABC musical comedy "Galavant" with Robert Lindsay, Timothy Omundson, Weird Al Yankovic and others. Khan's versatility is clear in films like "Me Before You", "WONKA" and "The Hatching".

He has also performed at prestigious theaters, including the Royal National Theatre, the Royal Shakespeare Company, the Noel Coward Theatre, the Royal Court Theatre, the Bush Theatre and The Wyndhams Theatre in London’s West End. Khan's talent extends to radio drama, narrating novels such as A.A Dhand’s Virdee detective series – which has just been commissioned for television by the BBC for 2024 – and bringing stories to life in dramas on BBC Radio 4.

Music Career:

Muzz Khan, a renowned DJ, began his music career in 2007 in London. He gained recognition in the music scene, performing as a resident at iconic venues like Pacha London, the Ministry of Sound, KOKO and the O2 Academy Brixton and renowned events like Mixmag, EP/IC, Defected and Hed Kandi. Khan's energetic and crowd-pleasing sets, specializing in house music and multi-genre, have captivated audiences across the UK and beyond.

He has performed at venues like Bush Hall, Electric Brixton, Studio 338, Lightbox London, EGG LDN and Ibiza's Space Nightclub and Es Paradis. Khan served as the resident DJ for the 2016 UK tour of "Rave of Thrones" alongside actor Kristian Nairn. He is currently a resident DJ for Hed Kandi and has made appearances in music videos, including "Rather Be" by Clean Bandit, "Feel It All" by KT Tunstall, and "Last Night A DJ Saved My Life" by Seamus Haji.

Personal Life:

Muzz Khan, a devoted husband and father to a loving family of five, finds solace in the sanctuary of his parental world. Nestled in the countryside of Royal Tunbridge Wells, Kent. His personal life serves as a testament to the balance between fame and family life, reminding us to cherish the bonds of family, the haven of home and to remain grounded.

Conclusion:

Muzz Khan's career spans acting and music, showcasing his versatility and dedication. For over two decades, he has been a shining beacon in the entertainment industry, captivated by his artistic exploration and innovation. Khan's acting is a symphony of dramatic and comedic delight, while his DJing continues to help dancing crowds to find liberation and freedom through music. His journey is an ever-evolving climb, pushing the boundaries of artistic possibilities and reminding us that the only limit to our potential is the extent of our imagination. Khan's passion, versatility, and dedication to the arts make him a testament to the boundless possibilities of a dynamic career in the entertainment industry, particularly as a working class, British-Pakistani actor.