210 ICONS OF JESSICA CHASTAIN IN IT CHAPTER 2

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TRIGGER WARNINGS : cigarettes/smoking, blood, water

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Strong Women and Tenderness in Poetry: A Conversation with Caitlin Coey

by Jeri Frederickson

Through the strength of Ani DiFranco’s songs, Jessica Chastain’s ass-kicking characters, and a host of friends, Caitlin Coey’s debut poetry collection, Without the Cliff (Finishing Line Press, 2023) weaves strength and beauty to bolster the reader through the grieving and painful seasons of life. The poems explore complex memories and relationships through healing and beauty.

Coey is a queer writer whose work focuses on gender-based violence, mental health, queer love, and the importance of friendship. Her poetry names childhood traumas that many have experienced and reminds readers they are not alone. Coey’s poems resonate with the strength of friendships that guide folks out of dark nights of the soul. Her works reimagine what could have or should have been - and how to draw strength from the icons of our day. Her poetry has appeared in Shambles, The Roadrunner Review, Awakened Voices, Sad Girls Club, and The Heduan Review.

Coey and I met attending poetry seminars and workshops, and I have had the privilege to publish her poems in Awakened Voices, a journal for survivors of sexual violence. I spoke with her recently on Zoom to learn how these poems came to be and how she has cared for herself and her reader.

***

The Rumpus: Congratulations on your debut book! How did Without the Cliff  title come about?

Caitlin Coey: There is a poem in the book called “A Prayer for When Legs Crumble and Vision Blurs” and the last couplet is “make me Thelma and Louise without the cliff.” It's a prayer to myself about wanting to be strong. Something I do as a coping mechanism when I’m feeling disempowered is watch movies and TV shows where strong women are kicking butt and defeating villains. It’s comforting because I know it’ll end well and my body remembers what it is to feel empowered. 

Rumpus: The book ends on a poem with strong women and a prayer. You’ve offered coping mechanisms to the reader at the end.

Coey: The poem that ends the book now is a calming poem. It's a soothing poem. My goal was always to be mindful of not overly protecting, but not triggering the reader. I didn’t want to include anything just because it was difficult or because it was shocking. So, ending with a piece that's comforting is like giving the reader a warm blanket, and it lets the reader know that I, as the author, am okay too.

Rumpus: Why is it important to you that the reader knows the author is okay?

Coey: I come from a theater background and if you're an actor in a challenging scene, and you're not okay as the actor, the audience knows that. Then the audience worries about you instead of following the story and having their own experience. That's something that I really carry with me as a writer. I didn't want to shy away from anything, but I also didn’t want to re-traumatize anyone if I could help it. I know there's a big divide about trigger warnings, but I like to have them. At 34, I know what a lot of my triggers are, not all of them, but a lot. Even if there aren’t the words “trigger warning” or “content warning,” there are often breadcrumbs and you can sense what something is going to be and choose if you want to engage with it. To be clear—even if I end up being triggered by something I watch or read, I'm never mad at the person who made the art. But if there are intentionally no breadcrumbs and no warning of any kind, it feels like valuing the art over the mental health of the audience.

Rumpus: You begin the book with an Ani Difranco quote. Is this a way to prepare the reader and yourself for the sometimes difficult content in the book?

Coey: As many queer women do, I have a long relationship with Ani DiFranco and I love that song “If He Tries Anything” from the album “Out of Range.” It makes me feel empowered. I was probably listening to it during the writing of many of these poems. I wanted there to be those breadcrumbs. The dedication is to survivors. For me it functions as both a welcome and a content warning. For this book, I’m saying listen this happened to me, and I made it out of the bottom of the well, metaphorically. And you're going to be okay too. The only reason I was able to write any of this is because I had people around me who showed me how to get out because they’d been there too.

Rumpus: How did you know these poems all went into a collection?

Coey: I've been writing for most of my life—since I was ten—but it was sporadic. When I started going to therapy and diving into and uncovering the stuff that I talk about in the book and dealing with it, writing is what helped. The poems go together because they’re all a part of my healing process.

Rumpus: There are several poems that are letters to specific people in your life, but the reader gets to be someone who knows you and the person that these letters are written to.

Coey: I’m glad to hear that as a reader you feel let in by those pieces. I got some feedback a while ago that those poems shouldn't be in the book because they’re an inside thing between me and somebody the reader doesn't know. I was adamant they needed to go in the book because those people are very important to me.

Now there's a lot of books and surveys that talk about how friendship is equally as important as romantic relationships. But I remember a time when, and maybe it was just the atmosphere I was in, but friendship was looked at as a placeholder to romance. I’ve never agreed with that. I wanted to elevate the importance of friendship and show that a big part of what enables me to be okay enough to write about what’s in the book are the people I wrote letters to.

Rumpus: As a fellow writer, I was impressed with the beauty of the language that was in poems that include difficult subject matter. As a reader, it also felt like an elevation that holds everything.

Coey:  I have always dealt with complicated feelings with metaphor, even before I knew what a metaphor was. As a kid, I had a lot of really complicated feelings, but I didn't know how to describe them. I can remember being asked, “Do you feel sad? Do you feel happy?” I was always like, “That's not enough; those aren't enough words.” I still have trouble as a 34 year-old identifying my feelings sometimes, which is a result of things I talk about in the book. So, I use imagery to express myself and to understand how I feel and what I think.

Rumpus: This beautiful language also extends through the First Kiss series.

Coey: The first one I’d never written about before because it's about a coercive experience. I was always mad that was how my first kiss went. And you know, you can get into conversations with friends about first kisses and what they were like and it’s supposed to be fun. I would always have to decide if I was going to say the real thing or pick something else. And that just makes me so mad and sad for myself. So, I wrote what I wished instead, which is where the redux poem comes in. The other First Kiss poems are those alternative stories. I liked the idea of surprising the reader in an exciting way with those stories. I’m reframing the experiences and choosing what I want to tell in the moment.

Rumpus: Is Without the Cliff telling the story you want to tell?

Coey: Absolutely. I hope people feel less alone. Maybe one day we won't have to say this anymore, but writing about trauma isn’t just therapeutic, it’s valid artistic material. Even ten years ago, I can remember feeling like my work didn’t have a place in the literary world, and that could have been my specific bubble, but I don’t think so. With that idea resounding in society, it can be hard to keep writing about these difficult things, to remember that your voice is important. That’s what I want people to know. Don't listen to the critic in your head saying you don't matter or that nobody wants to hear it because it’s not true. Your story is valuable.

________________________________________

Jeri Frederickson is the author of You Are Not Lost, available from Finishing Line Press. She is the Creative Director of a nonprofit arts organization in Chicago whose mission centers survivors of sexual violence. She graduated from Antioch University Los Angeles with an MFA in Writing.

Congratulations Eddie!! 👏🏻👏🏻👏🏻

#Repost @newportbeachfilmfest on Instagram:

✨ Newport Beach Film Festival is thrilled to present EDDIE REDMAYNE with the 2022 Icon Award, presented to an actor or actress widely admired for their contribution and iconic role(s) in the industry.

The Icon Award will be presented to Eddie Redmayne at the Centerpiece screening of THE GOOD NURSE on October 15 at 12:30 PM at Big Newport in Newport Beach. Tickets to this special screening are on sale.

EDDIE REDMAYNE (Icon Award)

Academy Award-winning actor Eddie Redmayne will soon be seen in The Good Nurse opposite Jessica Chastain. The movie is based on the true story of the pursuit and capture of Charlie Cullen, a nurse regarded as one of the most prolific serial killers in history, now better known as the “Angel of Death.” Redmayne has earned acclaim across his roles in such films as The Theory of Everything (winning the 2015 Oscar for Best Actor), The Danish Girl, Les Miserables, The Trial of the Chicago 7, and many others. On stage he recently led the electrifying West End revival of Cabaret alongside Academy Award-nominee Jessie Buckley, for which he won the Olivier Award for Actor in a Musical. His theatrical work includes Red, The Goat or Who is Sylvia?, Now or Later and Richard II".

#NewportBeachFilmFestival #NBFF2022 #NBFFHonors #Variety #EddieRedmayne #TheGoodNurse #VisitNewportBeach

Related post

Movies of 2022 - My Summer Rundown (Part 1)

The Runners-up:

20.  DAY SHIFT – Neflix Originals continue to plug the cinematic gaps where needed with an array of impressive (frequently OTT fun) alternatives to big screen adventures, and this bonkers action horror throwback from the makers of the John Wick movies is a pedigree example of this particularly hardy breed.  Jamie Foxx is clearly having a blast chewing the scenery as Bub, the super-violent vampire hunter looking to get back into the good graces of the big-business Los Angeles hunters’ guild that kicked him out for being too overzealous.

19.  TOP GUN: MAVERICK – After a ton of Pandemic-based delays, the long-overdue sequel to Tony Scott’s heavyweight blockbuster popcorn magnet finally arrived to significant fanfare and great box office returns, and despite the inevitable anti-US war-machine grumblings it turned out to be well worth the wait. Tom Cruise steps back into the role that MADE HIS CAREER like he’s never been away as hotshot US Navy fighter ace Pete “Maverick” Mitchell returns to the elite fighter school to train a squadron of young pilots for a desperate secret mission.  Tron: Legacy and Oblivion director Joseph Kosinski delivers thrills and spectacle by the bucketload in a bona fide rollercoaster ride that EASILY does the original justice.

18.  VENGEANCE – I love it when a sneaky smart little indie comes out of nowhere to blow me away, and this deeply satirical black comedy is a DOOZY.  B.J. Novak (The Office) makes his writer-director debut while also starring as aspiring elitist New York podcaster Ben Manalowitz, who hits upon a potential scoop when he winds up in smalltown Texas to attend the funeral of one of his former random hook-ups only to discover her family, led by her big brother Ty (an on-fire Boyd Holbrook), are convinced she was murdered.

17.  MEN – In truth more of AN EXPERIENCE than a film, this twisted existential horror fantasy is one of those movie’s you’re probably only gonna want to watch ONCE, but it’s also definitely one of those movies you REALLY SHOULD see.  Ex-Machina and Annihilation writer-director Alex Garland has put together his most full-on balls-tripping madass feature to date with this fundamentally ODD film about Harper (Wild Rose’s Jessie Buckley), a deeply troubled new widow who’s vacationing alone in a quaint English country house, only to find herself terrorised by a succession of seemingly demonic men who all have the same face (the immensely talented Rory Kinnear delivering one of the best and most impressively varied turns I’ve ever seen him deliver).

16.  SAMARITAN – Overlord director Julius Avery has delivered another cracker with this gleefully inventive and explosively robust alternative take on a superhero movie in which Sylvester Stallone lands one of his most interesting and meaty roles IN AGES as the titular former superpowered crime fighter who finds himself dragged out of his long self-imposed social exile by twelve year-old fanboy Sam (Euphoria’s Javon Walton) when local aspiring crime-boss Cyrus (a typically mesmerising Pilou Asbæk) attempts to spur a citywide uprising.

15.  LIGHTYEAR – Disney/Pixar bring the high-powered origin story of Toy Story’s intergalactic hero Buzz Lightyear to the big screen in fine style in this all-action animated sci-fi treat that sees Chris Evans take on another iconic role after ending his tenure as Captain America with his usual enthusiastic, large-than-life aplomb.  Finding Dory director Angus MacLane delivers thrills, spills and deep belly-laughs as Buzz and a ragtag crew of less-than-prime Space Rangers (which includes a wonderfully game Taika Waititi) fight to save their world from the threat of Zurg …

14.  THE FORGIVEN – Masterful writer-director John Michael McDonaugh (The Guard, Calvary) delivers an emotionally charged and deeply resonant psychological slow-burn thriller adapted from Lawrence Osborne’s acclaimed novel.  Ralph Fiennes and Jessica Chastain both deliver spellbindingly complex performances as the souring upper class couple faced with a crushing moral quandary after accidentally running over a boy in the Moroccan desert on their way to a high society party held by Matt Smith’s idle rich socialite.

13.  BEAST – Idris Elba is at his usual charismatic-yet-vulnerable best as out-of-his-depth Dr Nate Samuels, the father of two wilful teenage girls who finds himself fighting to protect his family from a ferocious rogue lion while visiting old friend Martin (Sharlto Copley), a wildlife biologist working in the South African bush.  Director Baltasar Kormakur has made quite a career shepherding man-against-nature thrillers to the big screen (The Deep, Everest, Adrift), so he’s more than capable of delivering on the super-tense thrills required here.

12.  FIRESTARTER – The second big screen adaptation of one of Stephen King’s most criminally underrated novels may have tanked at the box office (then again, its simultaneous streaming release on Peacock can’t have helped) and been largely panned by critics, but I thought it was a rousing success.  Zac Efron is darkly charismatic as telepathic fugitive Andy McGee, determined to keep his troubled pre-teen pyrokinetic daughter Charlie (The Tomorrow War’s Ryan Keira Armstrong) out of the clutches of the clandestine government outfit looking to profit from her potentially devastating powers, with Keith Thomas (director of acclaimed indie horror The Vigil) bringing Halloween Kills writer Scott Teems’ tight, taut and rewardingly stripped-back script to compelling life.

11.  THE SEA BEAST – Neflix made an impressive stab at grabbing the animation crown for the summer with this wildly-inventive and thoroughly rewarding nautical family adventure fantasy set in a world where a whole society has grown up around the hunting of massive sea monsters.  The classic pirate cinema conventions are paid suitably rip-roaring tribute as we follow Karl Urban and Jared Harris’ salty buccaneers on their quest to bring down the fearsome Red Bluster, only to discover what they’ve been brought up believing could be very wrong indeed …

“We’re all smart, Jeremy”—or, I Am Not Immune To Propaganda: Thoughts on Zero Dark Thirty (2012), and “Osama bin Laden Has Farty Pants” (2001)

I’m not going to claim that I personally killed Toby Keith, but he did die as I was working on this essay (and was using “Courtesy of the Red, White, and Blue” as a sort of theme song to help calibrate my mood/thinking).

I’ve kind of been unconsciously dismissive of Kathryn Bigelow’s work for as long as I’ve been aware of her, because I associated her with Military Stuff, and I originally half-watched this movie a few years back, which made paying serious attention to it in this way an intriguing prospect. This essay took a while to finish, especially if you consider the initial paragraph I wrote last May.

One problem is that Zero Dark Thirty ended up being more relevant to present day serious stuff than I initially thought. And it also contains plenty of past day(?) serious stuff as well, which meant I spent more time than usual trying to make sure I wouldn’t completely disrespect all that. The subject matter was kind of unpleasant to engage with, but then, also, things kept happening there for a bit that I felt I needed to incorporate into the piece, and work just kept getting busier, and then I got COVID...

All of that has delayed an essay that was meant to be out in February to nearly May, and while I have ultimately “enjoyed” working on it (in one regard or another), I am starting to feel a little Maya-esque, in that my long-term relationship with this particular thing needs to end, for my sake. I went into it imagining a pretty tight, focused piece based heavily on some preconceived ideas about the movie’s artistic or political merits and ended up with something sprawling (again) because of all the complications, which included finding an opportunity for some self-reflection I hadn’t anticipated.

Finally, though, here’s the link. I’ll put a representative paragraph below, after the spoiler/content warning.

This essay contains full spoilers for the film and South Park episode in the title, partial spoilers for the South Park episode “Cripple Fight,” and some discussion of real-world events/morbidity.

As a fantasy of a Strong Woman, Maya (Jessica Chastain) is beautiful, driven, and very smart. In the historical fiction of Zero Dark Thirty, she’s nearly single-handedly responsible for pursuing a lead others are repeatedly dismissive of, and, like I said before, she kind of wills the outcome she wants into being. “We’re all smart,” says the director of the CIA (played by James Gandolfini) wryly at one point, when another man assesses Maya as smart like that’s a distinctive positive quality of hers. But that’s what we’re told—that Maya is just one among many. What we see is just Maya, singularly effective at her job in a classically heroic sort of way. An icon of competence and forward momentum galvanizing a system that had kind of stalled before her arrival. It’s maybe a shock to the (viewer’s) system for her to be out of the way for such a large chunk of the film when focus decidedly shifts to the SEALs as the active players because she feels like the one capable person on earth so much of the time. Critically, Maya is pretty openly dismissive of them when they’re first brought into the fold (regarding the location of Osama bin Laden) during preparations to take some sort of action. Without any sense that she’s joking, she says, “Quite frankly, I didn’t even want to use you guys, with your dip and your Velcro and all your gear bullshit. I wanted to drop a bomb, but people didn’t believe in this lead enough to drop a bomb, so they’re using you guys as canaries. . . .” And isn’t that just my own superior, dismissive attitude reflected back at me?

Jessica Chastain Laughs Off SAG Awards Fall After Taking A Tumble During Ceremony - best news

During Sunday night’s ceremony, it was revealed that the Zero Dark Thirty star was the recipient of a SAG Award for her performance in the drama George & Tammy, based on the life of country music icon Tammy Wynette. Unfortunately for Jessica, her bright pink dress proved to be troublesome as she made her way onto the stage, leading her to fall over as she climbed the stairs. As she told People…

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Horror/Psychological Thriller movies to get stressed out over while drinking your hot beverage of choice, in your pajamas, eyeing the closest door to make sure it doesn't creak open.

"Oh fuck I actually have to watch all of these." -Me

Crimson Peak

Two words: Jessica Chastain. What, did you think I was going to say Tom Hiddleston? Oh shit, you're right. Okay FOUR words. This movie features some truly gorgeous visuals, beautiful (historically accurate!!!) costumes, an incredibly macabre plot, and a wonderfully talented cast. Take a shot every time I use an adjective. Of water, of course.

Hush

A Netflix gem. Will make you eye that door warily.

Shutter Island

Leonardo DiCaprio is extremely confused until he's not, and in turn, I am confused. Still a good movie and psychological thriller.

I am the pretty thing that lives in the house

More drama than horror, but still good nonetheless. You should watch it purely because I had to type all of that out.

The Talented Mr. Ripley

One of my all-time favorite movies in general. Not so much a horror movie as it is Call Me By Your Name but with murder and more of a dark academic aesthetic, but still a very fun watch. (More of a psychological thriller I suppose.)

Nightcrawler

Uuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuuggggggggggggggggggggggggghhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhhh Slimy rat bastard man >:(. This movie was somewhat stressful to watch but it gives an interesting look into the seedy underbelly of Los Angeles.

Freaky

For fans of Supernatural, it has Kathryn Newton. For fans of Bette Midler, she starred in Hocus Pocus with Sarah Jessica Parker, who starred in Sex and The City with Vince Vaughn, so there you go. You're welcome. Give me money. This movie is like Freaky Friday except they substituted the fact that it is Friday for the fact that there is a serial killer in a teenage girl's body. Yikes, I could've phrased that better.

Fargo

Based off of a true story, this is the perfect movie for true crime buffs and just Minnesota in general. Marge Gunderson is a sweet pregnant police officer who loves her husband dearly, and who (somewhat) singlehandedly solves a kidnapping and murder case. It's the most comforting thriller movie I've ever seen. Just... skip the woodchipper scene if you want to keep it that way.

Sweeney Todd

A Tim Burton classic, it stars _____ _____ and Helena Bonham Carter. I don't even need to put his name there, you already know who it is based purely off of the fact that it's a Tim Burton movie. This movie is crazy and macabre and has a sweet couple o' tunes.

Sleepy Hollow

Another Tim Burton classic. It also stars _____ _____. Oh my god I just realized that a lot of people who were in Harry Potter are in Tim Burton's movies. Helena Bonham Carter, Alan Rickman, Richard Griffiths, and of course, _____ _____. This movie is another one of my all-time favorites. I would live in this movie if I could, I love the scenery so much.

Scream

One of the most iconic horror movies of all time, and for good reason. I laughed out loud at some of the jokes. This movie was a lot of fun to watch. When I was at work today all I could think about was that scene in the movie store. Oh Randy...

Scream 2

Courteney Cox's hair is its own character. Oh Randy...

Frankenstein

A classic Tinseltown Terrifier. A bit slow, but good if you just wanna chill out and accidentally fall asleep on the couch.

Dracula

Another Tinseltown Terrifier. I think Bauhaus said it best with their unnecessarily 9-minute song titled Bela Lugosi's Dead. Bela Lugosi is, in fact, dead. I think.

American Psycho

Learning that Christian Bale is a method actor is utterly terrifying considering just how scary his character is in this movie.

The Birds

Scary 60's Alfred Hitchcock. As someone who is somewhat terrified of birds, I give this movie a thumbs up because I'm scared of what will happen otherwise.

Dark Shadows

Another Tim Burton film starring _____ _____ and HBC. I'm too much of a douche to write out Helena Bonham Carter. It's funny and Chloe Grace Moretz is there too.

Below the cut, you can find 31 base icons in size 90x90 of Jessica Chastain from the teaser of The Scenes From The Marriage. Like or reblog if you use. Thank you 🥰 

list of celebrities/musicians/media personalities who have spoken up for taylor

i’ll add to this list as it goes on, but here is a list of people/groups who have spoken up for taylor by either retweeting, liking, or commenting on the matter (regardless of their industry or following). THEY ARE NOT IN ANY ORDER, just in the order that i’ve seen it.

Jameela Jamil (actress)

Jessica Chastain (actress)

Conan Gray (musician)

Todrick Hall (musician)

Halsey (musician)

Selena Gomez (musician)

Camila Cabello (musician)

Sara Sampaio (model/actress)

Catie Turner (musician)

The Regrettes (musicians)

Tim Froggy (radio personality)

Mad Cool Festival Team (festival group)

Bradley Will Simpson (musician)

Derik Fein (musician)

Andrew Huang (musician)

Nick Viall (CEO)

The Anchoress (musician)

Erik Jensen (actor)

Leigh Van Bryan (actor)

Alice (musician)

Shaun Dooley (actor)

Martha Hunt (model) x

Gigi Hadid (model)

Alexandria Ocasio-Cortez (politician)

Lily Allen (musician)

Hayley Sales (musician)

Travis Flores (motivational speaker)

Ella Eyre (musician)

Peter Hollens (musician)

James O’Brien (author/podcaster)

Rob Schneider (actor)

Aimee (musician)

Ashley Ianconetti (bachelor contestant)

Edith Bowman (TV/radio personality)

Lauren Aquilina (musician)

James McVey (musician)

Nina Nesbitt (musician)

Angie Thomas (author)

Allie Thomas (USWNT soccer player)

NIKI (musician)

Niki Demar (musician)

Chelsea Briggs (Billboard contributor)

Alan Cumming (actor/musician)

Sara Bareilles (musician)

Simon Curtis (musician)

Ricky Dillon (youtuber)

Sarah Schauer (youtuber)

Addy Miller (actress)

Brian Fallon (musician)

Ron Bultongez (musician)

Rachel Zegler (actress/musician)

Bobby Berk (actor)

Laura Lux (social media star)

Michael MacRae (filmmaker)

Lauren Sanderson (musician)

Echosmith (musicians)

OkCupid (dating app team)

Grindr (dating app team)

Nine Days (musicians)

Joel Little (musician)

Paul Vigna (author)

SaraBeth (musician)

Tessa Violet (musician)

Spencer Pratt (social media star/actor)

Hindia (musician)

DistroKid (music company)

Slayyyter (musician)

Annenberg Inclusion Initiative (music based research company)

Damon Fizzy (youtuber)

Parson James (musician)

Kara Swisher (podcaster)

Rob Sheffield (Rolling Stone writer)

Alanah Pearce (podcaster/producer)

Emily Vaughn (musician)

Randy Havens (actor)

Stranger Things writing team (writers)

Piya Sinha-Roy (film editor)

Joe Lamour (musician)

Icon For Hire (musicians)

Percy Jackson Musical (Broadway cast)

Linz DeFranco (vlogger)

Rebecca Black (musician)

Jessie Paege (youtuber)

Demi Burnett (bachelorette)

Emily Andras (actress)

Lily Lane (musician)

Rebecca Reid (author)

Tinashe (musician)

Undrea (actress)

Daphne Osena Paez (author)

Phillip Henry (comedian)

Greg Miller (comedian)

Damian McGinty (musician/actor)

Garon Cockrell (screenwriter)

Anthony Amorim (musician)

Jade Jolie (drag queen/actress)

Emma Blackery (musician)

Tommy Vietor (podcaster)

Erin Robinson (youtuber)

Ciara King (author)

Ron Hogan (writer/editor)

Nils Lofgren (musician)

Torres (musician)

ATRL (music publication)

Janick Thibault (musician)

James Graham (musician)

Katie Stevens (actress)

Jesse Tyler Ferguson (actor)

Iggy Azalea (musician)

Maren Morris (musician)

Azealia Banks (musician)

Jordan Pruitt (actress)

Dodie (musician)

Mike Birbiglia (author)

Ruby Rose (actress)

Hilary Duff (actress/musician)

Antoni Porowski (actor)

Bryana Salaz (actress)

Best Ex (musician)

Lucy Moon (vlogger/podcaster)

Roisin Ingle (author/podcaster)

Jason Dottley (actor/musician/producer)

Marsha Blackburn (politician)

Connar Franklin (model)

Kurt Eichenwald (author)

Cher (musician)

Kathy Griffin (actress/comedian)

Emma White (musician)

Elizabeth Warren (politician)

Ryan Tedder (musician)

Geoffry Rickley (musician)

Cara Delevingne (model/actress)

Roxane Gay (author)

Kaya Jones (conservative personality/musician)

Tomi Lahren (bitch ass hoe)

Andrew Yang (politician) *tweeted by a staffer but he retweeted

Adam Rippon (Olympic athlete)

Hayley Kiyoko (musician)

Fletcher (musician)

Christina Perri (musician)

Justin Mikita (lawyer/activist/producer)

Ne-Yo (musician)

210 ICONS OF JESSICA CHASTAIN IN IT CHAPTER 2

all icons are free to use with credit to @argentangelhelps !

you may edit to your liking (add borders, psds, textures ect)

do not use for : celebrity/real person rps or paid commissions, everything else is up to user discretion. (don’t make me change this rule)

they are edited (sharpened) in ps, however they are meant to be used under the psd of your choice! if you choose to use them as they are they should work just fine! they are 100x100 and do not come with any borders.

all screencaps used are my own, and they are available for download should you be interested (send an ask to this blog!)

FACECLAIM INFO : jessica is white

TRIGGER WARNINGS : cigarettes/smoking, blood, water

link to in the source to the zip file which is free to download on my deviantart! they can also be found in a gallery HERE !

LIKE OR REBLOG IF YOU SAVE OR USE!

Comfort Films Challenge

Thank you to the wonderful @omnishambolichologram for tagging me as always in these fun activites :3 ^^ Also - sorry it’s taken me weeks to FINALLY post this!

Film are definitely my number one enjoyment in life along with watching television series (aside from the obvious of spending time with family and friends) and there are quite a few comfort films for me, so it’s going to be difficult to narrow down to only seven! I might have to be cheeky and add in a couple of special mentions hehe

And FYI some of these films might not be necessarily comforting, but they are in that they’re easy to watch so many times because I love them that much. This list probably won’t have all of my absolute favourites, but we shall see what my brain comes up with this time because it sometimes changes.

(I won’t be able to rate one more than the other as they’ll all be different kinds of films so I wouldn’t be able to necessarily say one is better than the other)

I’ve chosen these films based on not only how rewatchable they are, but also on their sheer brilliance as a whole in terms of cinematography, dialogue, cleverness and the acting... (and probably on how long I’ve known them and grown to love them everytime I watch them)

Note: I don’t own some of the gifs included in this post. Credit would go to them if I knew who they were but I’m making sure that I don’t take credit for the ones which aren’t mine.

Good Will Hunting (1997)

This film is quirky, intelligent, funny and teaches you a lot about the choices you make in life. I think what I love about this film is how simple the ending is. “I gotta see about a girl...” - sums up how love can end up being the most important thing to grab hold of when you realise you have it and never had it before. I personally believe that this is probably Matt Damon’s best performance out of all his acting roles even to this day. Ben Affleck and Robin Williams were pretty damn great in it too.

Midnight Run (1988)

(This gif is mine).

This film has it all. A damn well cleverly written script with uncanny and hilarious dialogue, brilliant dynamic between the two main characters, fabulous music score, wonderful sets of shots (the cinematography of the beginning scene is great) and basically a simple story that is not only entertaining and easy to follow, but is acted out fabulously by everyone. The whole wild goose chase for these two men played by Robert De Niro and Charles Grodin across the country is just ridiculous, but ridiculously funny. I have to say that it’s definitely one of my top favourites of all time. If you want a laugh, I would recommend this one!

Special mention (another Martin Brest film): Beverly Hills Cop is on point also.

The Breakfast Club (1985)

It was tough for me to just decide on one John Hughes film as he’s one of my favourite directors of all time, but I chose Breakfast Club because it’s the ultimate classic coming-of-age story, and it’s all set in just one location. It’s clever in that there doesn’t have to be lots of action to make it good, all it does is introduce a bunch of teenage stereotypes and take away the shields that they have put on and learn to no longer be prejudice of one another. Eighties is also my favourite era of films and this is just a perfect mixture of comedy and drama. The acting is great and I give applause to especially Judd Nelson and Anthony Michael-Hall for their delivery and their facial expressions.

Special mentions of other John Hughes films he has written/directed that I ADORE: Pretty in Pink (Andrew McCarthy and James Spader yum), Sixteen Candles (hilarious), Uncle Buck (the best family film ever), Planes, Trains and Automobiles and Some Kind of Wonderful <3

Heathers (1988)

Christian Slater and Winona Ryder are the best duo in this film and it is another eighties classic. I related to both these characters and I can never get enough of this film. I have probably seen it twenty times or more and still not fed up with watching it. The dark comedy and the gritty and foul dialogue are iconic in this flick, and I take my hat off to the brilliant Heathers (Kim Walker - may she RIP, Shannen Doherty, Lisanne Falk) for playing such clever and awful characters. I was obsessed at one point with Slater because of his role as J.D and honestly his death at the end of the film is a powerful as fuck ending. The cinematography of the ending makes the film for sure, the angle, the chosen shots I just Ugh. Fabulous.

The Help (2011)

This film. I don’t know it’s just brilliantly done and the acting is perfection. Emma Stone, Viola Davis, Octavia Spencer, Jessica Chastain and Dallas Bryce-Howard are fantastic in their roles and this film explores such a crucial time period that I think is illustrated well. These women while fictional, feel so real and the struggle of black maids (black people in general really but this is specific to the women) is real. I cannot help but cry everytime at the ending, and the way that Aibilene stands up for herself, I never get tired of. It is easy to watch as it’s not painful like 12 Years A Slave, but it still epitomises the segregation that was so prominent in the sixties in southern US very well. I find comfort in how delightful the characters are and still manages to be funny despite the story being focused on such a sensitive subject.

The Shawshank Redemption (1994)

Shawshank, well we all know this film. It has been parodied and quoted so many bloody times, but yet I am cliche in love with it and I cannot fault a single thing about it. Tim Robbins is an underrated as fuck actor and he should be appreciated so much more for his stellar performance as Andy Dufrense. He is the epitome of the straight and narrow man who, really, is not a bad guy at all. In fact, he’s always tried to be the opposite. You symphathise with him throughout and you really feel his struggle, but also his perfect ability to be so human. He makes Red realise he is not as bad as he made himself believe and of course we know how good Morgan Freeman is. Again, this film like Heathers I could watch a million times and never get bored with it. Whether it’s on TV or I find it available online, I always will make time to watch it.

Call Me By Your Name (2017)

I have only recently come across this film about 8 months ago and it’s the kind of film which I can’t help but wonder where it’s been my whole life. I have already watched it probably like 10 times since I found it and I am so happy I did. However, it has led me to form an unhealthy obsession with Timothee Chalamet where he has come up in conversation in real life and I figured the only things I was still an avid fan of was of Supernatural and Red Dwarf, but no this film is just pure delightful dynamite. The cinematography is so elegant and perfect (especially during the dream like sequence when Elio is alone or in the gif above when Elio is watching Oliver). The screenplay brilliantly illustrates how wonderfully amazing but also torturous love can be, and well it is set in the eighties. What more can you love? Timmy and Armie have such good chemistry it’s unreal, and they make their characters so believable. Another film I cannot fault and could watch anytime, even though the ending is heartbreaking af.

Bonus: Bridget Jones’s Diary (2001)

Notting Hill (1999)

About TIme (2013)

There are plenty of other comfort films I adore but it probably depends on my mood. I’m definitely a sucker for romantic comedies and these three are on here as bonuses because they’ve also been very comforting to me over the years. What can I say? Richard Curtis writes some brilliant screenplays and directs some of them too.

"Eddie Redmayne Tapped for Icon Award, ‘Awards Chatter’ – The Hollywood Reporter

By DAVID LAGUERRE

 October 14, 2022

"Saturday will be Eddie Redmayne Day at the Newport Beach Film Festival.

The Oscar- and Tony-winning actor, who is currently garnering a new wave of awards buzz for his portrayal of a hospital co-worker of Jessica Chastain‘s in Tobias Lindholm’s Netflix film The Good Nurse, will be honored with the fest’s Icon Award at a noontime luncheon at the Resort at Pelican Hill.

The luncheon will be preceded by an hour-long recording with Redmayne of an episode of The Hollywood Reporter’s Awards Chatter podcast, which features career-retrospective conversations with Hollywood’s biggest names. (He previously guested on the podcast back in 2015, as its second-ever guest.) And it will be followed by a screening of The Good Nurse and then a Q&A with Redmayne.

The 40-year-old is best known for his portrayal of Dr. Stephen Hawking in the 2014 film The Theory of Everything. He also gave memorable big-screen turns in My Week with Marilyn (2011), Les Misérables (2012), The Danish Girl (2015) and The Trial of the Chicago 7 (2020)..."

*✨ Newport Beach Film Festival is thrilled to present EDDIE REDMAYNE with the 2022 Icon Award, presented to an actor or actress widely admired for their contribution and iconic role(s) in the industry.

The Icon Award will be presented to Eddie Redmayne at the Centerpiece screening of THE GOOD NURSE on October 15 at 12:30 PM at Big Newport in Newport Beach. Tickets to this special screening are on sale.

EDDIE REDMAYNE (Icon Award)

Academy Award-winning actor Eddie Redmayne will soon be seen in The Good Nurse opposite Jessica Chastain. The movie is based on the true story of the pursuit and capture of Charlie Cullen, a nurse regarded as one of the most prolific serial killers in history, now better known as the “Angel of Death.” Redmayne has earned acclaim across his roles in such films as The Theory of Everything (winning the 2015 Oscar for Best Actor), The Danish Girl, Les Miserables, The Trial of the Chicago 7, and many others. On stage he recently led the electrifying West End revival of Cabaret alongside Academy Award-nominee Jessie Buckley, for which he won the Olivier Award for Actor in a Musical. His theatrical work includes Red, The Goat or Who is Sylvia?, Now or Later and Richard II".

#NewportBeachFilmFestival #NBFF2022 #NBFFHonors #Variety #EddieRedmayne #TheGoodNurse #VisitNewportBeach

Related post

Xavier against Magneto

interview for GQ México, May 2019

link to the source below =>

In an interview, the actors James McAvoy and Michael Fassbender tell us about their participation in Dark Phoenix and their history behind the X-Men saga. James McAvoy has it clear, he is jealous of Michael Fassbender and the rest of the cast in the x-men saga. The reason is simple: he would have liked for Professor Xavier to have a suit too. One very showy, a superhero one, and yes, he is a little bit jealous. "Yes, a little, the truth is I would have liked to wear an attractive superhero costume, even so, I have the look of an action man with a turtleneck, which I like" says Professor X and his reflection comes after a decade to be in the skin of the mutant leader and when many point out that the mutant path has come to an end. Sometimes, memory fails and more with superheroes movies, because the first thing that comes to mind is the marvel cinematographic universe, the MCU monopolized our attention the recent 10 years, however, if we analyze it carefully, those who marked the pattern for the action genre of the 21st century was the mutants and they got it through the first X-Men (2000) by Bryan Singer. Dark Phoenix is the twelfth feature film of the franchise and the fourth installment of a series that continues to explore the origin of its characters. And also it would seem that it wants to play with our heads, what is known as a deja vu, why? Everything points out that the film is closing the circle of its era with 20th century fox before Disney takes control of the rights of the franchise and will do so adopting one of the most complex storylines among its fans, the dark phoenix created by Chris Claremont and John Byrne in 1980. Some years ago, the franchise of x-men first class (2011) managed to renew the popularity of the series thanks to the exploration of the origin of the enmity between Professor Charles Xavier and Erik Lensherr aka Magneto, generating more than satisfied viewers and with the expectation of seeing more thanks to the work of two actors who are not only the pillars of this story, but in recent years emerged as icons of Hollywood and world cinematography, and what better to chat with them about what it holds for this movie (and what the future may leave) A FAMILY MORE THAN MUTANT. If something they have in common the trajectories of McAvoy and Fassbender is that their natural histrionic talent has allowed them to diversify and not fall into an interpretation stereotype, from one film to another we see them in very different characters, disparate, for example: Michael looked futuristic and chaotic as David in Prometheus, while James showed off his talent in Split and Glass playing Kevin and his multiple personalities. But x-men has something special for them, something that motivates them to come back and repeat "I think it's a combination of several factors" says McAvoy "We all enjoy playing these characters as I do, I love this company of actors, here there's a true family that goes back 10 years ago and for which you feel a lot of loyalty and affection " In that sense, Michael agrees with that idea and delves into what it's like to be a fundamental member of this family. "I love the journey that has led to Dark Phoenix and I specifically wanted to return, because Simon Kinberg would direct, I wanted to do everything I could to make things turn out well, he is a fantastic collaborator and seeing him in the director's chair made me very emotional" says Michael, highlighting the fraternity that has been formed within the production crew, although it's not the only reason that motivates them. The depth of their characters, as they have evolved throughout the movies, in addition to the political and social settings where they are developed are also excellent pretexts. The mutant phenomenon within x-men brings to the table racial issues, class, social inequality, prejudice and the reasoning of these issues, through their characters is, in essence, the pillar of the franchise. Magento seeks to locate his race above the pyramid and Xavier appeals for equality with humans, but how do they develop in this new delivery? What evolution we will see from Magneto and Xavier? Michael answers enthusiastically "Finally he has become the leader of Cuba that has always lived inside him! (Laughs) He has formed Genosha, his own community: an independent state/nation where the mutants live in harmony, without being attacked and in where anyone who agrees to help can be incorporated, is a self-sufficient community, not locatable and that was the struggle of Erik during the franchise " For his part, McAvoy makes it clear that the professor also presumes a profound transformation "Charles may be the leader of a social movement, but now he is the leader of a political movement, I think that's what he looks like now. which justifies by saying that he is loyal to his principles, although it seems to me that he has forgotten that those principles only exist to protect his family and his species, Charles somehow has forgotten that" says James, almost in love with his character. It's true, Dark Phoenix's argument is one of the most popular and puts one of his allies Jean Grey in direct confrontation with them, a situation that drives the characters to join forces, rethink their current situation and evolve. "What I find most interesting about Charles is that he is not selfish and he is not very vain, he is very wise and his empathy is what drives him and his detachment and almost sacerdotal nature are what defines him. somehow that disappeared in the two previous films and returns in this one. It was something that I liked, I really enjoy exploring that notion of fallibility" James finishes. REVENGE TIME. In Latin America, Simon Kinberg's name may not be as popular, but he is a select member of the mutant family, he has written and produced previous installments of the franchise, such as Apocalypse, Days of Future Past and he also wrote The Last Stand. Now his revenge has arrived. On this occasion, Kinberg debuted as a director and his place in that chair was something natural for Fassbender who knows and appreciates him. "Kinberg was very relaxed, very confident, he seemed to be doing this for years, he is also a very intelligent man, he is the kind of person who doesn't speak unless he knows about the subject, he observes, he listens. That makes a great director" Says Michael. While James, in turn, points to the particular style that the director printed on his debut. "The interesting thing was his instinct to make the film something more subtle, based on the performance, we're still going to have a show, but that was his way of doing it, going down to make it look more real. of the emotional drama "says McAvoy. Added to the cast is the consecrated Jessica Chastain (Zero Gravity, The Help) and her participation, although she is not the star, is key in Phoenix's journey to this dark stage. She is one of the reasons for her unbalance, to keep her out of control. Although her skills in front of the camera were that this duo almost completely missed. "It was great that she joined," emphasizes Fassbender. "But we didn't have many scenes together, just a few moments in the final scene, she is present with Jean, so it was mainly through acting patterns that I interacted with her character" James is not left behind the anecdote. "I think we only have one scene together ... unfortunately! In fact, I have a couple of scenes with her character, but she was not there, sometimes, it was just a special effect, one of the reasons she says that she took the job was because she expected to meet and act with me, but barely and we crossed paths! " RISE OF THE PHOENIX. When Sophie accepted the role of Jean Grey, surely she knew that in her hands she had a vital character for this cinematographic stage who, incidentally, is considered by experts as the most powerful female figure in the Marvel universe. In Apocalypse, Phoenix only had a few flashes of its potential, although it made it clear that in this movie it would have greater strength. Fassbender, from the beginning of his participation, was more interested in the weight of the different female characters but clarifies that the conjuncture we saw today did not influence for this to happen. In fact, that was the original idea almost 10 years ago. "I think the seeds of female roles were present, Simon had some unfinished issues after The Last Stand, he wrote the script! So that was already there, and at the moment this happens, it seems to be in sync with what happens in the real world, but Simon has always thought this way, equality in everything, both for female characters, as for male ones ", he concludes. With the premiere getting close, the fate of Jean Gray along with Professor Xavier, Magneto and the rest of the X-Men will be solved, and Dark Phoenix will unveil us if it represents the end of this cinematographic universe that infected of emotion the audience, it also had inconsistencies and errors. In this last letter, we will see until the final credits. For now, neither Fassbender nor McAvoy knows what the future holds for what they consider as one of their most endearing characters. "As far as the X-Men are concerned, I've always said: If this is the last one, it's been great, we have new owners of the franchise and who knows what they're going to do? But if this is the last one narratively, it feels like a good ending " James concludes. goodbye mutants?

IT Chapter Two Review

IT Chapter Two is directed by Andy Muschietti with the script written by Gary Dauberman and is based off the Stephen King novel of the same name. The film stars Jessica Chastain, James McAvoy, Bill Hader, Isaiah Mustafa, Jay Ryan, James Ransone, Andy Bean, and Bill Skarsgard. Set 27 years after the first IT the Losers Club return to Derry, Maine where they have to confront and defeat Pennywise once and for all. The first IT that came out two years ago was such a surprise and a welcome sight into the horror genre and one of the best Stephen King adaptations put to screen. Chapter Two doesn’t have that same magic that the first one had, but there are still aspects that make this film worth seeing as the film delivers a satisfying conclusion to the story that Muschietti has put on screen. 

Let’s get the negatives out of the way first and that comes from the story. The story in Chapter Two where its focus is on the adults is not as compelling as when the Losers are kids. Adulthood is hard and tough, but childhood and adolescence is way more frightening and I feel that this film didn’t convey that element of the story that was so prevalent in the first film. Now I don’t know if readers felt the same way when they read the adult portion of the novel, but this is my biggest issue overall with the film. I’d like to also add that Chapter Two was not as scary as the first one except for a few scenes here and there, but I didn’t feel that overwhelming dread that was over the town of Derry. 

Now what makes Chapter Two worth watching is the cast and the characters they inhabit. The adult Losers are cast well and all of them inhabit their childhood counterparts while having excellent banter with one another. Jessica Chastain & James McAvoy are great as usual, but it’s the rest of the adult Losers that are the big surprises particularly Bill Hader as Ritchie. Hader plays into his strengths as a comedian, but is also able to bring some great emotional scenes throughout the film. Much like the first film Bill Skarsgard steals all the scenes he’s in as Pennywise and is still able to bring that menace and dread when he’s on screen. With both films Skarsgard has left his mark as an iconic villain in the horror genre that will be talked about in the same veins as Freddy, Jason, Michael, and Leatherface. 

IT Chapter Two isn’t the best Stephen King adaptation put to screen, nor is it the worst. This film falls somewhere in the middle compared to the other on screen adaptations of his stories. I applaud Muschietti for doing his best at adapting one of King’s most complex and long novels into two films where one is excellent and the other is average. I’d say Muschietti did better than most and hope one day these two films can get put into one long version of a film. The story and the scares of Chapter Two may not be as well done as the first film, but it’s the cast and characters make that make Chapter Two worth seeing. 

It Chapter Two - Time To Close The Book

Although previous adaptations of Stephen King’s work successfully include a horror element transferred from the pages of a best-selling novel to the big screen, Andrés Muschietti’s It Chapter Two, the latest adaptation released in 2019, falls decidedly short. Despite a host of unrealistic, rushed and sometimes downright nonsensical aspect to this 2 hour 50 minute film, the main reason it lacks what its predecessors achieved is due to the dismissal of the horrific nature of the source material, instead allowing a sharp focus on current issues. Namely, homophobia.

Based on King’s 1986 novel, the storyline follows seven children in their battle against an immortal force that no adult can see. This force, which can become a physical manifestation of their worst fears, tends to adopt the guise of Pennywise the Dancing Clown, arguably a fear for most due to Bill Skarsgård – the man behind the face paint’s – uncanny ability to move his eyes in different directions without the use of special effects, in order to add an eerie and unearthly quality to this character and the fear that he causes. Muschietti was able to split this story between two movies – It (2017) highlights the children’s run-in with Pennywise, as well as the introduction to the clown and his abilities, whilst It Chapter Two (2019) introduces a new cast to let audiences in on how the adults would defeat Pennywise once and for all. With new horrors and fears around the corner, but with connections to the childhood monsters such as the return of Eddie Kaspbrak’s (James Ransone) leper, this sequel looked particularly promising.

However, even with the initial backdrop of King’s well-known horror, the focus is not the monsters that need to be bested, or even the somewhat forced relationships between characters that felt similar to a rushed afterthought – looking at Ben Hanscom (Jay Ryan) and Beverly Rogan (Jessica Chastain). The focus is actually on the conversation that Muschietti felt should be brought up throughout the film; homophobia and how that in itself is a horror. It isn’t uncommon for a director to use a movie as a platform to discuss or raise awareness about contemporary issues, or to even go a step further and use the film as a metaphor for said issue. Jordan Peele’s Get Out (2015) started a new conversation about racism that for some had never stopped, but for some had not started until it was the main aspect of a horror movie. Similarly, there are fans who can allow a child-eating clown, but draw the line at said clown displaying signs of homophobic views and threatening to expose Richie Tozier’s (Bill Hader) ‘dirty little secret’.

Granted, Muschietti had only a short amount of screen time to open with insight into where the adult members of the Losers Club – the nickname the seven adopted in their childhood – were now, as well as how each of them would react to receiving the call that Pennywise had returned and had begun to target children in Derry once more. With a crafty flashback that shows the Losers – primarily Stan Uris (Wyatt Olef) – swearing that each of them would come back if It does, those who are familiar with the book will be aware that adult Stan Uris (Andy Bean) is about to take a bath. With the use of a matched cut and a sound bridge of young Stan swearing, we cross from flashback to present to find our suspicions confirmed and our hearts ripped out. Despite this heart-wrenching moment, it was the actual opening that had the task of setting up the rest of the film, as an opening sequence is somewhat a statement from the director. Within the book, the death of Adrian Mellon, a young homosexual man with a bright future, was horrific alone. But translated to screen without so much as a previous warning for the graphic content displayed, it became too much for some viewers to handle and they might have left with the belief that the scene itself was in fact the monster. Muschietti revealed that those who carried out the gruesome attack eluded to the fact that Pennywise had all but poisoned the minds of those within Derry. This could hold some semblance of truth, as the homophobic attitude displayed within those first few minutes became an undertone throughout other scenes, so much so that the main plotline that involves the adult Losers needing to collect personal items in order to perform the ‘ritual of chud’ seems like a secondary aspect in comparison to Richie’s storyline. Due to this, Bill Hader, who plays adult Richie, receives arguably the largest portion of screen time, despite the other cast members being included in their own small sub-plots, as well as learning the mannerisms of their younger counterparts in order to provide a better and more realistic performance.

Therefore if you wish to spend almost three hours in a darkened room watching a somewhat rushed and downright comedic take on how the adults handle the many faces of this iconic clown, it might be worth it simply for the conversation it has begun about internalised homophobia, but not much else.