#Judy Haynes

[martianbugsbunny]

Girlboss x malewife enthusiasts I beg of you not to forget these two:

The classics the icons the legends

[shy-and-reserved]

Movie Icons: Vera Ellen and Danny Kaye as Judy Haynes and Phil Davis in White Christmas (1954)

[silhouette-cosplay]

Happy Christmas Eve! No white Christmas here this year, but I can dream in my Judy-inspired look! ❄️❄️❄️

Photos by @sennedjem

[mojo72400]

I just finished watching White Christmas (1954) yesterday at 12/13/22

The choreography, fashion and aesthetic along with some of the music was great. Like in anime, I love the side ship of Phil and Judy.

Of all dance sequences, my favorite was “The Best Things Happen While You're Dancing”

[eemcintyre]

✨ Her ✨

[judi-daily]

Hamlet, 1989 with Daniel Day-Lewis Photographer: John Haynes

[halfdeadwallfly]

how out of pocket would it be if i made god general waverly in my good omens white christmas au

[zeawesomebirdie]

Okay but like. Being far enough along in my transition that i dont want to dress like the Haynes sisters anymore, i want to dress like Phil and Bob instead

As soon as i get top surgery i stg im going to get proper buttondowns and trousers

[wherekizzialives]

November Reads

Seven books finished this month, again including the next book from my chronological order Discworld series re-read. If I had to recommend only one of the seven it would – hands down – be Nicola Chester’s On Gallows Down, which made me laugh and cry and left me uplifted and feeling that it is possible for each of us to make a difference in this world, even now.   Reiterating (as always) that…

[maybe-boys-do-love]

The Trainee, Episode 10: Direction

Take a break from the discourse around the couples to appreciate the references to directing in this episode! From the literal meanings to directions in life.

We open on Ryan's dad directing Jane's photoshoot. lol. You fix those clothes, Ryan ;) And Jane, give us a smile like your falling head over heels for someone.

2. Then we get Pah (making friends with every single person at the office, as usual) directing the front desk assistant (I haven't caught her name and she's not on the mydramalist or imdb cast and crew list) to a spot for lunch. Then we have the accounting manager come in and show us how her and Pah's relationship has grown. The scene reminds us that Pah, since early on in the show, has demonstrated incredible relationship building skills--a necessity for any director. And these relationships come to a beautiful fruition in this episode.

3. Tae, on the other hand, emerges as a directionless ghost, jump-scare appearance and all! Heartbroken and provided with downtime by his department for the first time during his internship, he has no idea what to do with himself.

4. Pi and Ryan are seemingly talking about the controversial Todd Haynes film, Joker, from 2019. If you're either knowledgeable about the Batman franchises or interested like me in trying to figure out why the writers chose this film to include as a conversation point, you'll realize that Harvey Dent was not in Joker. He was, however, in The Dark Knight in 2008, directed by Christopher Nolan. This mix-up between the movies seems intentional when we look at the theories of directing and humanity the show is exploring, which I'll expand on in number 5! In Joker, we get a depiction of a single misunderstood victim genius who takes out his suffering and any failures of his art on others and inspires other people who feel hurt and misunderstood to do the same. In Dark Knight, we have the day saved thanks to a collective group of people's refusal to harm others despite threats that others will be forced to harm them, and, as far as Harvey Dent, his reputation is preserved despite his failings because of the hope it can bring others. The comparison sets up a comparison between the individual heroes and villains versus the collective, which is a really important comparison to ideas the show explores about directors (and is just really important in general theories of direction like conversations about auteur theory, etc.). Note that Jane says in this ep that he doesn't like hero movies...

5. We then see Judy directing Ba Mhee on how to correct her typo on a document. She's checking over a draft before it goes out, like a good director ought to, but Judy's direction of Ba Mhee, of course, gets taken up as a motif and major sticking point for their dynamic in this episode as it encroaches into personal time rather than just work. We have witnessed that outside of work, Ba Mhee is actually quite capable and eager to play the directing role.

I want to point to the specific typo mistake that read "God Pick" instead of the company's name of "Good Pick," though, because it seems to refer to one view of a director's role. Alfred Hitchcock explained, "...in fiction film the director is god; he must create life. And in the process of that creation, there are lots of feelings, forms of expression, and viewpoints that have to be juxtaposed. We should have total freedom to do as we like." So this moment of direction gives us two references, for the price of one!

Even more, it presents us with the theory of auteur Directors, that the show has been actively engaging with through the whole series. Does the director have a god-like power to pick and choose what they want their work to be without any input from others? Do individuals, as directors of our lives, get to pick and choose what we create out of them without others' input? To both answers, the show has emphatically replied, no! The studio is not called God Pick, it's 'Good Pick.' The director, just like each of us, is working on communicating with a whole massive team of people to bring a certain vision of theirs' to life within quite constrained limits. From budgets to time, from client desires to our own insecurities, we do our best to be good knowing that mistakes will be made and we can pick up and keep on going.

6. Baimon, the director of the studio, instructs Pie on some of the grunt work of directing. He's been presented as so flighty in the series, so it was nice to see him getting down to business in this fashion. That business, however, was printed upon the backs of some big emotions, which I think, in addition to being a funny little gag about Jane and Ryan's hidden relationship, is a beautiful metaphor about the combination of emotional and logistic work that directors, especially, are tasked with performing. A vulnerability lies under each shot and camera angle.

7. Idk if this was intentional, but the choice to show sticky-notes as the art department's current medium for this scene reminded me of directors story-boarding with sticky notes. It's also the moment Tae is encouraged to make an attempt at directing himself and providing his direction to his relationship with BaMhee in a way that's considerate of her desires.

8. Baimon directs Jane and Ryan in another intimate scene lol. He's staging them, referencing the storyboard, checking the camera, doing all the director jobs! And, of course, instead of a perfect god, he makes a mistake with the very basics of left and right that his intern corrects for him, and this mistake is not used by the show to signal to us as the audience that he's incompetent. It's to show that the people with 'big' dreams, visions, careers, or awards are not more special than those who choose to do the small tasks in life. Directors are the first job Ryan lists to Jane when talking about adults with special talents that he feels like he's supposed to aspire towards. Jane asks Ryan "Why must people want to become something big?"

There's also a development in Ryan and Jane's performance here. They're playing and improvising in the scene. It's a nice development for them as character and a sweet commentary on directors allowing actors to perform with some flexibility. Based on what I've read about Gun and Off's development as actors and a pair, their characters' development in their different stand-in moments almost seems like a commentary on Gun and Off's growth as a performing pairing, but that's just a fun stretch. Really, I'd say it's more representative of the growing comfort of actors in film work.

9. How could I not discuss one of my favorite sequences in the show (right up there with BaMhee's chase scene)?! Pah has been amassing a crew of comrades at the studio throughout the series, and I knew it was building towards something. I stated during the first shoot when he was a part of Unit B that I could see his arc leading him to becoming a director because he was just so good at befriending and organizing people. And here's where he becomes the director! Not through his personal auteur vision, but through his communication with others!

I had been imagining this plot development in some fashion for a while. Getting it would've satisfied me. Great comedy for me, however, is about seeing a well-constructed set-up pay off for a better value than you could've expected. The Alfred Hitchcock quote above comes from a portion of an interview about plausibility in fiction and his films. He ends the quote by saying, "A critic who talks to me about plausibility is a dull fellow." The moment Pah slid off his sling, The Trainee leapt out of the realm of plausibility it had meticulously built to give us a stratospheric pay-off to the joke it had been building for 9 episodes. And it was a joke grounded in the deepest themes of the show, praising every creator and assistant working in the background of this show and all the shows we love. It made my heart so full. It presented a democratic vision of a director's role (in a country where people continue to need to fight for their democratic values). And, it did it all while making me laugh.

10. Despite all the people running this scene and Judy giving Ba Mhee so much direction in the workplace, it's Ba Mhee who finally gets to realize her direction in life here. Notably, she's let go of the big overly romantic dreams and visions. She's come to appreciate and understand the importance of the seemingly mundane aspects of her relationships, the day-to-day jobs of directing one's life, and she's directing Tae to commit to this direction, too. Directing involves paying attention to the small things, the communication, and the people who help make them meaningful.

There's a beautiful transition between Judy's conversation with BaMhee and Tae's where they fade into one another exactly, letting us know in some ways that Judy and BaMhee could've had a conversation and started growing and finding a direction together, too. The problem as BaMhee points out is not finding an exact right fit. She just still has feelings for Tae, which would make developing a relationship with Judy more challenging. It was mature and honest, and that precious little fade let us know the show saw the possibilities for BaMhee to love them both. Has a film cutting choice ever been so bisexually coded???

10. It's a cute little reversal that our final scene is one of the first steps in directing: the concept stage. We also get Jane's appreciation, not only for Ryan's ideas here, but for all the things Ryan does at his family's business that align with the same kind of work happening in a production house. It sets the two of them on equal footing, disrupting this fantasy of the film industry and the class systems that could divide them. And Ryan's other insecurity about feeling too immature and un-adult to compare to the people at the office, which is a another division that might separate Jane and Ryan (HOW OLD IS JANE!?!?!?!) also got a dressing down ;) during this episode. We're getting ever closer to Ryan feeling ready to direct his own life!!!

[broadwaydivastournament]

Movie Musical Divas Tournament: Round 2

Lena Horne (1917-2010): Panama Hattie (1942) as self | Stormy Weather (1943) as Selina Rogers | The Wiz (1978) as Glinda | The Duke is Tops (1938) as Ethel Andrews

"The first Black woman to have a Broadway theatre renamed in her honor. She was also on the HUAC List, blacklisted from Hollywood due to her activist work. She's performed with Cab Calloway and Miss Piggy - talk about versatility. Ms. Horne is also gorgeous. If you have not noticed that." - anonymous

Vera-Ellen (1921-1981): On the Town (1949) - Ivy Smith | White Christmas (1954) - Judy Haynes | Call Me Madam (1953) - Princess Maria

"She’s so PRETTY and CAT-LIKE this little pixie FELINE QUALITY she is so tiny but her dancing is BIG" - anonymous

This is Round 2 of the Movie Musical Divas tournament. Additional polls in this round may be found by searching #mmround2, or by clicking the link below. Add your propaganda and support by reblogging this post.

ADDITIONAL PROPAGANDA AND MEDIA UNDER CUT: ALL POLLS HERE

Lena Horne:

"Beautiful, glamorous, is there a word for this woman that isn't some variation of ~luminous~? she was a fairy of a woman who was not served by roles that met her ethereal talent." - anonymous

Video submitted by: anonymous | Photos submitted by: @mygreatadventurehasbegun

Photos submitted by: anonymous

Vera-Ellen:

"Not her most impressive number [video below] of all time, but I think it's very charming and shows off her tap and singing skills as well!" - anonymous

Photos and video submitted by: anonymous | Photos submitted by: @funnygirlthatbelle

[luckypluckychair]

Carol | 2015

Director: Todd Haynes

Production designer: Judy Becker / Set decorator: Heather Loeffler, Amy Cluxton, Jon Griffith, Leyna Haller and Sarah Young

[shy-and-reserved]

Movie Icons: Vera Ellen and Danny Kaye as Judy Haynes and Phil Davis in White Christmas (1954)

[01sentencereviews]

2023

Anatomy of a Fall (Justine Triet)

Are You There God? It’s Me, Margaret. (Kelly Fremon Craig)

Beau Is Afraid (Ari Aster)

The Curse, "Land of Enchantment" [S01.E01] (Nathan Fielder)

Gush (Fox Maxy) @ New Directors/New Films 2023

How to Blow Up a Pipeline (Daniel Goldhaber)

I Thought the World of You (Kurt Walker) @ Persistent Visions Program 1: Always and Only Place, MoMI

Killers of the Flower Moon (Martin Scorsese) [+ its teaser trailer]

Knock at the Cabin (M. Night Shyamalan)

May December (Todd Haynes) @ Opening Night, NYFF61

Mission: Impossible – Dead Reckoning Part One (Christopher McQuarrie) in IMAX

My Own Private Final Destination (Alexandra McVicker & Zach Donovan) @ KGB Red Room (09/13/2023)

Oppenhemier (Christopher Nolan) in IMAX 70MM

Our Home Out West (Drew Tobia)

The Outwaters (Robbie Banfitch) [+ Card Zero & File VL-624 (Robbie Banfitch)]

Passages (Ira Sachs)

Priscilla (Sofia Coppola)

Renaissance World Tour (Beyoncé) @ SoFi Stadium, Inglewood, CA (09/01/2023)

Saint Omer (Alice Diop)

Stop Making Sense - IMAX (Jonathan Demme)

Succession, “With Open Eyes” (Mark Mylod & Jesse Armstrong)

Sunset Boulevard (Jamie Lloyd), West End Production (10/17/2023)

The Swan (Wes Anderson) [+ Asteroid City (Wes Anderson)]

Vanderpump Rules, “#Scandoval” [S10.E15]

The Zone of Interest (Jonathan Glazer)

+++

Birth/Rebirth (Laura Moss)

Creed III (Michael B. Jordan)

The Boy and the Heron (Hayao Miyazaki)

the crash sequences in Ferrari (Michael Mann)

The Holdovers (Alexander Payne)

John Wick: Chapter 4 (Chad Stahelski)

The Killer (David Fincher)

Master Gardener (Paul Schrader)

Monster (Hirokazu Kore-eda)

PARADISE LOST (Richard Hines) @ Daniel Cooney Fine Art

Poor Things (Yorgos Lanthimos)

Reality (Tina Satter)

Rotting in the Sun (Sebastián Silva)

Smoking Causes Coughing (Quentin Dupieux)

SPRING/BREAK Art Show 2023

Suzume (Makoto Shinkai)

Teen Art Salon - A Protospective @ MoMA PS1

Thanksgiving (Eli Roth)

To Catch a Killer (Damián Szifron)

“Very Delta #65 "Are You A Forever Eye-Con Like Me?” (w/ Raja)”

the 3D sequences in A Woman Escapes (Blake Williams, Sofia Bohdanowicz, & Burak Çevik)

-----------------------

Performances, 2023:

Dave Bautista - Knock at the Cabin

Robert De Niro - Killers of the Flower Moon

Cole Escola - Our Home Out West

Mia Goth - Infinity Pool

Elle Graham - Are You There God? It’s Me, Margaret.

Sandra Huller - Anatomy of a Fall & The Zone of Interest

Soya Kurokawa - Monster

Guslagie Malanda - Saint Omer

Rachel McAdams - Are You There God? It’s Me, Margaret.

Julianne Moore - May December 

Natalie Portman - May December

Addison Rae - Thanksgiving 

Judy Reyes - Birth/Rebirth

Margot Robbie - Barbie 

Franz Rogowski - Passages

Mark Ruffalo - Poor Things

Kamiki Ryunosuke - Godzilla Minus One

Dominic Sessa - The Holdovers

Nicole Scherzinger - Sunset Boulevard 

Cailee Spaeny - Priscilla 

Emma Stone - The Curse

Alyssa Sutherland - Evil Dead Rise

Sigourney Weaver - Master Gardner

Sophie Wilde – Talk to Me

Teo Yoo - Past Lives

[byneddiedingo]

Marcus Carl Franklin, Cate Blanchett, Christian Bale, Ben Whishaw, Heath Ledger, and Richard Gere in I'm Not There (Todd Haynes, 2007)

Cast: Christian Bale, Cate Blanchett, Marcus Carl Franklin, Ben Whishaw, Heath Ledger, Richard Gere, Kris Kristofferson (voice), Charlotte Gainsbourg, Bruce Greenwood, Julianne Moore, Michelle Williams. Screenplay: Todd Haynes, Oren Moverman. Cinematography: Edward Lachman. Production design: Judy Becker. Film editing: Jay Rabinowitz. Music: Bob Dylan. 

[cressida-jayoungr]

Coeli's Picks: Pink, part 1

There was a particular wealth of fantastic pink dresses for March. I feel like I could easily do another month of pink! Here are some of the costumes suggested by @coeli1000 that I didn't manage to get to.'

(Multiple movies listed left to right.)

One Dress a Day Challenge

March: Pink Redux

White Christmas (1954) / Vera-Ellen as Judy Haynes

The Princess Bride (1987) / Robin Wright as Buttercup

The Princess and the Pirate (1944) / Virginia Mayo as Princess Margaret

Death in Venice (1971)/ Silvana Mangano as Tadzio's Mother

My Fair Lady (1964)/ Audrey Hepburn as Eliza Doolittle

A League of Their Own (1992) / Geena Davis as Dottie Hinson

Elite (s4e2 "5 segundos") / Carla Diaz as Ari Blanco Commerford

"I've never heard of this Spanish Netflix series, but when I stumbled across this feather (!!) dress I had to share!"

According to ShopYourTV, the dress is by Mihano Momosa.

Legally Blonde (2001) / Reese Witherspoon as Elle Woods

I did feature a dress from this movie, but since pink is the main character's signature color, there were lots of options! Here are some of the others I could have used.

Legally Blonde 2: Red, White and Blonde (2003) / Reese Witherspoon as Elle Woods

Dynasty (s3e20, "Pretty in Pink") / Maddison Brown as Kirby Anders

Killing Eve (s1e2) / Jodie Comer as Villanelle