#Katharine Arden

[iveseenitinmovies]

hi here’s a very short, very silly stage door edit i just spent all my free time making

[miserywizard]

Jk I’m in a work program I can’t actually read this here the last one made me sob uncontrollably

Oh my god there’s a sequel to I want to die but I want to eat tteokbokki

[thereadingchallengechallenge]

🔎 YA Under the Radar Part 6 🔍

for a long time, I've been keeping (and eventually posting) lists of YA books I read that have received less attention than they deserve. it's been more than 12 months since I posted the last list in this series but I finally hit 50 the other day so here it is, the latest instalment of my YA Under the Radar series 😊

all of these books have less than 15,000 ratings on Goodreads, give or take, and were books that I thoroughly enjoyed and recommend. I've marked ones with queer rep with pride flag emojis and ones with disability rep with wheelchair symbols. be sure to check them out!

Vampires Never Get Old (ed.) by Zoraida Córdova & Natalie C Parker 🏳️‍🌈 ♿️

Hometown Haunts: #LoveOzYA Horror Tales (ed.) by Poppy Nwosu 🏳️‍🌈

How to Excavate a Heart by Jake Maia Arlow 🏳️‍🌈

This Poison Heart duology by Kalynn Bayron 🏳️‍🌈

All These Bodies by Kendare Blake

Slipping the Noose by Meg Caddy 🏳️‍🌈

Into the Crooked Place duology by Alexandra Christo

The Scapegracers series by HA Clarke 🏳️‍🌈

Lakesedge duology by Lyndall Clipstone

Clean by Juno Dawson 🏳️‍🌈♿️

Meat Market by Juno Dawson 🏳️‍🌈♿️

Wonderland by Juno Dawson 🏳️‍🌈

Stay Another Day by Juno Dawson 🏳️‍🌈♿️

The Last True Poets of the Sea by Julia Drake 🏳️‍🌈♿️

The Witch King duology by HE Edgmon 🏳️‍🌈

The Not So Chosen One by Kate Emery

Ghost Bird by Lisa Fuller

Girl Mans Up by M-E Girard 🏳️‍🌈

At the Edge of the Universe by Shaun David Hutchinson 🏳️‍🌈♿️

The Apocalypse of Elena Mendoza by Shaun David Hutchinson 🏳️‍🌈

The Past and Other Things That Should Stay Buried by Shaun David Hutchinson 🏳️‍🌈

Social Queue by Kay Kerr ♿️

Kiss and Tell by Adib Khorram 🏳️‍🌈

Elatsoe by Darcie Little Badger 🏳️‍🌈

What They Don’t Know by Nicole Maggi

Fix by J Albert Mann ♿️

The Holiday Switch by Tif Marcelo

The Killing Code by Ellie Marney 🏳️‍🌈

Lakelore by Anna-Marie McLemore 🏳️‍🌈♿️

Fraternity by Andy Mientus 🏳️‍🌈

Sick Kids in Love by Hannah Moskowitz 🏳️‍🌈♿️

At the End of Everything by Marieke Nijkamp 🏳️‍🌈♿️

Lycanthropy and Other Chronic Illnesses by Kristen O’Neal ♿️

The Woods Are Always Watching by Stephanie Perkins

Wider Than the Sky by Katharine Rothschild 🏳️‍🌈

Trouble Girls by Julia Lynn Rubin 🏳️‍🌈

Crown of Coral and Pearl duology by Mara Rutherford

Surrender Your Sons by Adam Sass 🏳️‍🌈

The 99 Boyfriends of Micah Summers by Adam Sass 🏳️‍🌈

Improbable Magic for Cynical Witches by Kate Scelsa 🏳️‍🌈

Market of Monsters trilogy by Rebecca Schaeffer

Windfall by Jennifer E Smith

Field Notes on Love by Jennifer E Smith

Arden Grey by Ray Stoeve 🏳️‍🌈

Definitions of Indefinable Things by Whitney Taylor ♿️

Stars in Their Eyes by Jessica Walton & Aśka 🏳️‍🌈 ♿️

Hell Followed With Us by Andrew Joseph White 🏳️‍🌈 ♿️

The Chaos of Stars by Kiersten White

Henry Hamlet’s Heart by Rhiannon Wilde 🏳️‍🌈

Where You Left Us by Rhiannon Wilde 🏳️‍🌈

More of my rec lists can be found in my "book recommendations" tag

[the-rewatch-rewind]

Back after a week off!

Script below the break.

Hello and welcome back to The Rewatch Rewind, the podcast where I count down my top 40 most rewatched movies. My name is Jane, and today I will be discussing number 31 on my list: RKO’s 1937 dramatic comedy, or comedic drama, Stage Door, directed by Gregory La Cava, written by Morrie Ryskind and Anthony Veiller, from the play by Edna Ferber and George S. Kaufman, starring Katharine Hepburn, Ginger Rogers, and Adolphe Menjou.

When heiress Terry Randall (Katharine Hepburn) decides to go into show business, she moves into a theatrical boarding house called the Footlights Club with other, significantly poorer, aspiring actresses. She keeps the details of her privileged background secret, but nevertheless struggles to fit in with the others, particularly her new roommate Jean Maitland (Ginger Rogers), who see her as a snob. The conflict heats up even more when Terry is cast in a role that another Footlights Club resident, Kay Hamilton (Andrea Leeds) had her heart set on.

I can’t remember exactly how I first discovered this movie, but I assume it was because I love both Katharine Hepburn and Ginger Rogers, and I was trying to watch as many of their films as I could get my hands on. They are two of the four actors to make it into at least 4 of the movies that will be on this podcast, so it makes sense that I would keep revisiting a movie that featured both of them, even though they apparently didn’t get along very well offscreen. I think I might have seen Stage Door for the first time in 2002, I’m not sure, but once I started keeping track, I watched it 17 times: twice in 2003, three times in 2005, once in 2006, twice in 2008, twice in 2009, twice in 2011, once in 2013, once in 2014, once in 2015, once in 2016, and once in 2022. Back in 2013, I blogged about the movies I had watched at least 10 times in 10 years, and at the time Stage Door was the only one of those I didn’t own a copy of, so I know that at least all the views prior to then were because I borrowed it from the library. When I finally got it on DVD, it was part of a Katharine Hepburn collection that included the 1933 version of Little Women, which won Best Adapted Screenplay. When I was going through adapted screenplay winners in 2017, after I watched that one, the collection somehow fell under my bed without me realizing it, so the next time I wanted to watch Stage Door, I couldn’t find it, and it wasn’t until 2022 that I finally cleaned out under my bed and uncovered it. So Stage Door would be even higher on this list if I cleaned my room more often.

In my last episode, I mentioned that what I really wanted out of Newsies was more of the ensemble just hanging out, and that is exactly what Stage Door provides. There are so many great scenes featuring Footlights Club residents exchanging witty banter, without in any way hindering the plot. While some of that comes from the stars, particularly Ginger Rogers, the supporting cast is absolute gold and features several relative unknowns at the time who became quite famous later, such as future television stars Eve Arden and Lucille Ball, in addition to then-14-year-old Ann Miller, who used a fake birth certificate to pretend to be 18, and somehow managed to hold her own dancing with Ginger Rogers. Gail Patrick was already somewhat established as a master of the cold, calculating secondary character, and she continues that here as Linda, Jean’s main rival before Terry shows up, but she later became even more noteworthy for executive producing the Perry Mason TV show in the 1950s and 1960s, when she was the only female executive producer of a prime-time show. It’s so fun to see these soon-to-be household names so early in their careers hanging out and swapping jokes. But I think I would still enjoy the ensemble scenes at least almost as much if I’d never heard of any of the performers. One of my favorite moments is when the oldest resident who is now an acting coach, played by Constance Collier, is going on yet again about “Back in my day” and somebody who’s holding a book interjects, “when knighthood was in flower” and Constance Collier is all offended until she says, “I’m sorry, I was just reading aloud” and her face and delivery are so perfect, and I have no idea who that character or actress is but I love her.

I’ve read several different stories of how this script came to be. While it’s ostensibly based on a play, apart from the title, the setting, and some of the characters’ names, it’s barely recognizable as the same story. Playwright George S. Kaufman reportedly quipped that the title should have been changed to Screen Door to further distance itself from his play. One story claims that director Gregory La Cava sent an assistant to pose as an aspiring actress in a boarding house and write down what the residents said to use as dialogue in the film. Another version says that La Cava had the actresses from the film hang out together on the set prior to shooting and incorporated their interactions into the script. And yet a third version is that much of the dialogue was improvised while filming. I’m not sure which is true, and I suppose it could be a combination of all three, or none of them, but regardless, the banter is excellent and feels entirely natural. While the slang is, of course, rather outdated, the way they insert snarky comments into their conversations feels exactly like how friend groups – particularly those who are discouraged and fed up but laughing to keep from screaming – interact in real life even now. It’s unusual to see a movie with a primarily female ensemble being so witty together, and I can’t even begin to explain how fun it is to watch. Granted, some of it does get a bit stereotypically catty, but even the least-developed unnamed extra in this movie feels like a real person. Beneath their jovial facades lurks a deep longing for success on the stage, as well as frustration at how difficult that is to achieve, and they all convey that so brilliantly. Mad props to the entire cast.

Like many of the movies I’ve talked about so far, Stage Door has a rather complicated relationship with sex and romance. Because production codes of the time prohibited most sexual content, they had to leave it kind of vague, but it’s implied that the character of theatrical producer Anthony Powell, played by Adolphe Menjou, is providing Gail Patrick’s character, Linda, with expensive clothes and jewelry in return for sexual favors – although why she’s still living at the Footlights Club is rather a mystery – until Ginger Rogers’s character Jean catches his eye and he gets her a job dancing at his nightclub. Jean initially despises him, and only starts dating him because of how much she hates Linda. It’s not entirely clear whether Jean actually sleeps with him – there’s a scene of her in his apartment getting very drunk, but then she starts talking about marriage and Powell has his butler send her home. But they apparently keep seeing each other after that, and Jean does seem to develop feelings for Powell, for completely unfathomable reasons, but Katharine Hepburn’s character Terry sees through him. There’s a great scene when Powell takes Terry to his apartment to discuss the role she’s just been given and she resists his advances, but then when Jean shows up Terry pretends they were in the middle of something so that Jean will see that Powell is no good. This doesn’t help Jean and Terry’s relationship, and most of the characters at the Footlights Club probably think that Terry got the role by sleeping with Powell – although the audience knows it’s because her father said he would help finance the new play if she was the star, hoping that she would fail and return home. Jean already thinks that Terry has previously had a similar arrangement to the one Linda had with Powell because Terry also has expensive clothes and a photograph of an old man she claims to be her grandfather – but again, the audience knows that Terry comes from a rich family and that the man probably is her actual grandfather. I guess showing characters inferring that other characters were having illicit sex was okay with the censors as long as it wasn’t confirmed? Also Powell tells Jean in the scene when she’s drunk that he has a wife and son, but later Terry exposes this as a lie, so even if he is sleeping with any or all of the people that characters think he might be, at least he’s not committing adultery because he’s not really married. Maybe this is just me, but I find it so fascinating what was and wasn’t allowed under these production codes. Anyway, in a similar but perhaps more innocent vein, Lucille Ball’s character is from Seattle, which apparently means she knows every lumberman who visits New York, so she’s often going out on dates with them. Jean clearly despises their uncouth ways, but the food at the Footlights Club is notoriously almost inedible, so she’s willing to let them dance on her feet and bore her in exchange for dinner. Incidentally, one of these double dates is what Eve Arden’s character is referring to in the line I quoted at the end of last episode about “a pleasant little foursome” and predicting a hatchet murder. It doesn’t seem like there’s sex involved in this arrangement, although Lucy’s character does end up marrying one of the lumbermen at the end, but it feels similar to the Powell situation in that it shows women willing to give men what they want in exchange for security, luxury, or both.

The idea that men always want sex and women either tolerate or use sex is certainly not unique to this film – it’s a prevalent stereotype even now that is harmful in so many ways, encouraging and normalizing incredibly toxic relationship dynamics between straight allosexuals. And a side effect is that it makes things very confusing for asexuals. Those who are socialized as girls may not recognize their own asexuality because women aren’t supposed to really want sex that much anyway. And those who are socialized as boys are pressured to ignore their asexuality because men are supposedly defined by their obsession with sex. It’s not great and we need to stop spreading this false narrative. But in terms of this movie, when you remember that it’s from 1937, the same year as Snow White and the Seven Dwarfs and “Someday My Prince Will Come,” it almost feels progressive to at least show women taking control of their own lives, even if they’re forced to do so within the confines of an oppressive, patriarchal society. There are a few times throughout the film when it’s suggested that these women would be better off getting married and raising children and giving up on their acting dreams, but this is presented as the view of society at large, particularly men like Powell, and not necessarily the truth. It’s rather empowering to see these women stubbornly taking the path that feels right to them even when they’re constantly being told to give up and conform. So from that perspective, the message feels less problematic and more encouraging, and that aspect speaks to me.

This movie also addresses mental health struggles in a very interesting way that I want to discuss a bit. Trigger Warning: I will be talking about depression and suicide in this section, so I’ll put time codes in the show notes if you need to skip through that [skip this and the next paragraph on the script]. For its time, I feel like this movie actually does a pretty good job of distinguishing between feeling a bit down and actually suffering from depression. Most of the residents of the Footlights Club are struggling to find work, but they’re managing. Kay Hamilton, however, is clearly not. She’s behind on her rent and skipping meals but refuses to ask for or accept help. It’s established that she gave a highly acclaimed performance in Anthony Powell’s previous play but hasn’t been able to find work since. Kay desperately wants the leading role in his new play, both because she needs the work and because she relates to the part. When Terry is cast instead, Kay is devastated, but insists that none of the others inform Terry how much she wanted it. To add insult to injury, Terry is awful in rehearsals, refusing to take direction and reading the lines as emotionlessly as possible, so we can all see that Kay would have been a much better choice. On opening night, Kay gives Terry her good luck charm, and then jumps out the window, killing herself. Jean confronts Terry and blames her for Kay’s death. Terry is beside herself – Kay was basically the only one who was nice to Terry – and at first doesn’t want to perform at all, but her grief puts her in the perfect mindset to play the character whose feelings she’s never understood before. She’s clearly performing to honor Kay’s memory, and all of the Footlights Club residents in attendance recognize that, and afterwards Jean and Terry finally become friends.

The main thing I remember from the first time I watched this was how shocked I was by Kay’s suicide. It felt like such an abrupt and upsetting change of tone from what had been mostly a lighthearted comedy. But upon rewatch there are so many signs. When all the other residents of the boarding house are laughing off their troubles, Kay never joins in, only occasionally managing a weak smile to try to reassure her concerned friends that she’s fine. Nobody knows how to help her, and she doesn’t know how to accept the help that’s offered. It’s an upsetting but realistic portrayal of depression, and Andrea Leeds plays it so perfectly that she was even nominated for an Oscar. Considering that, even with all the recent advances made in mental health research and treatment, many people still consider depression just a period of sadness when you’re not trying hard enough to cheer yourself up, it’s astounding that a movie made 86 years ago does such an excellent job of conveying what it actually feels like. It’s not really sadness; it’s more of a void. A hopeless void that you feel like you’ll be stuck in forever. And that’s what Kay shows us. I don’t think I consciously realized this when I was watching Stage Door as a teenager suffering from depression, but I do think in a weird way it helped, to see what I was feeling from the outside. To see that Kay was surrounded by people who cared about and wanted to help her, that the void was lying when it told her there was no other way out except through the window. I wish there had been a way to save her, and I don’t love the implication that her death was necessary to make Terry a good actress, although I don’t think that was the message they were going for. I think the film is trying to say that art and storytelling can be used to channel pain into something beautiful, and while there are certainly better ways to convey this that don’t involve suicide, I still feel like this movie is surprisingly respectful of mental health struggles, particularly for its time, and I appreciate that.

I know I’ve been emphasizing some of the darker aspects, but it’s mostly an uplifting movie. It’s just also trying to be realistic about the hardships faced by women pursuing artistic careers, particularly during the Great Depression – not that things are much better now. I kind of think having this movie in the back of my mind has contributed to at least some of my decisions to support female actors and producers on Patreon. If only the residents of the Footlights Club had had access to the internet. Anyway, there are lots of fascinating behind-the-scenes Stage Door stories, and I’m not sure if any or all of them are actually true, but I want to mention some of them nonetheless. There was apparently a random cat on the RKO lot that took a liking to Eve Arden, so Gregory La Cava decided to make it part of the movie that her character was almost always holding or playing with the cat. Perhaps the most famous line in Stage Door is Terry’s speech in the play, which starts with “The calla lilies are in bloom again…” This was taken from a play called “The Lake” in which Katharine Hepburn had appeared on Broadway, and, in the words of critic Dorothy Parker, “ran the gamut of emotions – from A to B.” So Hepburn used this performance to redeem herself a bit. She certainly shows more emotional range than A to B, although I feel like she still had more to learn before becoming the truly excellent performer she’s remembered as. According to several accounts, Katharine Hepburn was extremely envious of Ginger Rogers, whose career at the time was going much better than her own. Rogers had a much easier time taking direction and getting along with people, and just seemed to generally have more natural talent for performing. So Hepburn resented her, and insisted on sharing top billing instead of taking second billing under her. Rogers was disappointed when Margaret Sullavan, who had played Terry Randall on Broadway and was originally cast in the film version, became pregnant and had to drop out. So neither of them were thrilled to be working together. Since I love both Katharine Hepburn and Ginger Rogers, it makes me a little sad that they didn’t actually like each other, but that was kind of perfect for their characters’ dynamic in this movie. A nicer story is that Ginger Rogers helped launch Ann Miller’s career by insisting she get the role of her dance partner even though the director thought she was too tall, and apparently Rogers and Miller became life-long friends. And one last fun piece of trivia that I recently stumbled upon is that the woman in the photograph of Anthony Powell’s pretend wife was Verree Teasdale, who was married to Adolphe Menjou – so the character’s fake wife was the actor’s actual wife.

Thank you for listening to me talk through another of my most frequently re-watched movies. We’re a quarter of the way through the list already! Remember to subscribe or follow on your podcast platform of choice for more, and rate or leave a review to let me know how you’re enjoying it so far. This episode is coming out on International Asexuality Day, so I hope my fellow aces out there are feeling particularly supported and celebrated today. As always, I will leave you with a quote from the next movie: “You promised me a zillion dollars! And a nickel!”

[muse-write]

3 and 5 for the obscure literary gems book ask!

Thanks for asking!

3-A book published within the last ten years you wish more people would read.

This might be more based on what I wish the people around me would read, because at least one of these was pretty popular online. But I don’t have anyone to talk to about it!

Katharine Arden’s “The Bear and the Nightingale” has a beautiful atmosphere. An interesting look at the life of rural Russian people and their folklore just as Christianity starts sweeping through (it’s not a Christian series, but the exploration of it seems to be something it’s setting up to explore later in the series. What form that will take I have no idea). I felt the characters were extremely believable, and the author’s description mastered tone. At the moment I’ve only read the first book, though I keep meaning to continue.

Emily Henry’s “A Million Junes” was a good read, though I have no interest in reading her adult romance books. This YA magical realism romance was a really interesting Romeo & Juliet retelling that realls gets at the destruction of a generations-long feud and the way the curse starts to be healed—not through the death of two teenagers.

5-An obscure book from your childhood.

This one took a little thinking (and researching), and there are a couple I think may qualify.

Not sure how actually obscure it is (it didn’t take much searching to find), but there was a series called “Avalon: Web of Magic” by Rachel Roberts, that I read over and over (I had a collection of about four books, as far as I remember, though there seem to be 12 now!). A middle-grade fantasy series about a trio of magical girls, this instantly drew me, a 10-year old horse girl. The book I remember most clearly was all about the cool girl, Ariadne, and her weather-affecting (?) semi-telepathic horse as they solve a dangerous maze after being transported to the fae realm of Avalon. I remember there being a surprisingly deep exploration of grief, although I was 10 at the time, so who knows. I do know I have a wonderful nostalgia towards these books and should probably dig them up again to reread.

Another is Gail Carson Levine’s “Fairest”, actually a spin-off/companion of her much more well-known book “Ella Enchanted”! This one follows Aza, the older sister of a character in the original book, as she learns to mimic voices and become an illusionist. She catches the attention of a noblewoman and travels with her to the court, where she gets into adventures I don’t remember quite well enough to describe. There was turning to stone, magic potions, assassination attempts, and, finally, being enchanted by trolls. The parts I do remember were very good, and there was a good message of beauty not being everything. And I remember admiring Aza a lot; she was a very active and flawed character, and went through character development in that understated way Levine always liked doing.

[ginger-of-the-night-blog]

something something when Margaret Hale said: “try as we might, happy as we were, we can never go back” and when Katharine Arden said: “as I could, I loved you.”

Time’s Arrow etc.

[travsd]

Andrea Leeds: Exited Via the "Stage Door"

To blink would be to miss the career of Andrea Leeds (Antoinette Lees, 1913-1984). Leeds career blazed most brightly not long before she ended it, when she was nominated for an Oscar for her performance in Stage Door (1937). Today we tend to think of her as the actress we don’t recognize in an all-star ensemble that also includes Katharine Hepburn, Ginger Rogers, Lucille Ball, Eve Arden, Ann…

[auldcine]

Ginger Rogers, Katharine Hepburn & Lucille Ball (with Eve Arden in the background) in Stage Door (1937)

[ulrichgebert]

Obwohl die im Footlight Club, einer Pension für auf ein Engagement wartende Schauspielerinnen auf ein Engagement wartenden Schauspielerinnen durchaus unter die üblichen Verdächtigen für ein großes Busby-Berkeleyeskes Sing-und-Tanz-Spektakel fallen würden, ist die Show, die der seine Casting-Couch-Privilegien hemmungslos ausnützende Produzent Adolphe Menjou auf die Beine stellt, diesmal ein bitterernstes Drama. Überraschenderweise heuert er die bekanntermaßen total untalentierte Katharine Hepburn als Star, allerdings bloß, weil ihr reicher Vater die Produktion finanziert, in der Hoffnung, ihr durch einen Mißerfolg die Flausen von einer Bühnenkarriere auszutreiben. Bei der Premiere allerdings kommt der Geist der begnadeten Künstlerin, die die Rolle eigentlich verdient hatte, sich aber gerade aus dem Fenster gestürzt hat (aber die Show muß weitergehen), über sie, und -hätten sie’s��erwartet?- es wird ein großer Erfolg. So ist das im Showbusiness.

[shizposting]

thank u stage door for giving us katharine and ginger picking up lucy

[luthienne]

Hi!! Could you recommend some good books/ poetry about faerie/folklore/dark fairy tale ? Thank you!!!

hi ❀ here is a combination of some fiction, poetry, and nonfiction on faerie, myth, and folklore:

j.r.r. tolkien, tree and leaf (particularly his essay on fairy-stories)*; the silmarillion* / catherynne m. valente, deathless*; the bread we eat in dreams*; a guide to folktales in fragile dialects / angela carter, the bloody chamber and other stories*; book of fairy tales / naomi novik, uprooted* / katherine arden, the bear and the nightingale* / clarissa pinkola estés, women who run with the wolves / mary sharratt, through a dark forest: fairy tales as women’s stories / marina warner, from the beast to the blonde: on fairy tales and their tellers / marie-louise von franz, shadow and evil in fairy tales / maria tatar, the classic fairy tales / katharine m. briggs, the vanishing people: fairy lore and legends / w.b. yeats, the celtic twilight: faerie and folklore / vladimir propp, morphology of the folktale / jack d. zipes, fairy tale as myth/myth as fairy tale / fairy tale review, a literary journal of fiction, poetry, and nonfiction* / peter narváez (editor), the good people: new fairylore essays / wolfgang mieder (editor), disenchantments: an anthology of modern fairy tale poetry*

*indicates the books i’ve read

[smalltownfae]

If you read and loved my favourite series (Realm of the Elderlings by Robin Hobb) I would like to know if you read any of these and which you recommend or don't recommend. Thanks.

The ones in bold are my current priorities :x

Series I want to continue:

Discworld by Terry Pratchett <3

The Broken Earth by N.K. Jemisin

The Queen's Thief by Megan Whalen Turner

The Memoirs of Lady Trent by Marie Brennan

The Winnowing Flame Trilogy by Jen Williams

Sevenwaters by Juliet Marillier

Lilith's Brood by Octavia E. Butler <3

Riddle-Master by Patricia A. McKillip

Series I want to start (and continue if I like the 1st book enough):

The Dark Star Trilogy by Marlon James

Earthsea Cycle by Ursula K. Le Guin

The Winternight trilogy by Katherine Arden

World of the Five Gods by Lois McMaster Bujold

Inda by Sherwood Smith

The Books of Babel by Josiah Bancroft

Hythrun Chronicles: Wolfblade by Jennifer Fallon

Seed to Harvest by Octavia E. Butler

Rook & Rose by M.A. Carrick

The Masquerade by Seth Dickinson

Poison Wars by Sam Hawke

The Soldier Son Trilogy by Robin Hobb (and 3rd and last attempt...)

Fred, The Vampire Accountant by Drew Hayes

Deverry by Katharine Kerr

The Green Bone Saga by Fonda Lee

A Chorus of Dragons by Jenn Lyons

The Dandelion Dynasty by Ken Liu

The Serpent Gates by A.K. Larkwood

The Deed of Paksenarrion by Elizabeth Moon

The Radiant Emperor by Shelley Parker-Chan

The Watchmaker of Filigree Street by Natasha Pulley

Between Earth and Sky by Rebecca Roanhorse

The Drowning Empire by Andrea Stewart

Burning Kingdoms by Tasha Suri

The Books of the Raksura by Martha Wells

Tensorate by Neon Yang

[devilsskettle]

tagged by @fixxyourheartsordie to post 10 songs i’ve had on shuffle (thank you!!)

1. hot & heavy by lucy dacus

2. long walk home by bruce springsteen

3. love me more by mitski

4. summer’s end phoebe bridgers cover

5. cowboy blues by kesha

6. too late to love you by junebug/from kentucky route zero

7. valentine, texas by mitski

8. hayloft II acoustic version by mother mother

9. ping pong! by chai

10. watch me while i bloom by hayley williams

bonus 11. not but for you bunny audiotree live version by sidney gish

tagging @callixton @sad-ghosts-club @cithaerons @horrorlesbians @cor-ardens @katharine-hepburn if you guys want

[petersonreviews]

Stage Door (1937)

“Stage Door was adapted from the stage play of the same name by Edna Ferber and George S. Kaufman, though it is such a loose reconfiguration that Kaufman even remarked that the film counterpart should be called Screen Door. But even with its storyline and its characters changed, the movie remains a stunning examination of the theatrical world. It captures everything magical about the stage — the thrill of performing, the lure of wealth, the attention from audiences and critics — as well as everything destructive, like the reality of rejection or how brief a woman’s career can last.”

http://bit.ly/2vGOx0m

[newmanspaul]

OLD HOLLYWOOD STARS & THEIR ZODIAC SIGNS

Aries: Gregory Peck, Spencer Tracy, Bette Davis, Joan Crawford, William Holden, Doris Day, Anthony Perkins, Debbie Reynolds, Ann Miller, Billie Holiday, Karl Malden, Warren Beatty, Marlon Brando, Charlie Chaplin, Mary Pickford, Lon Chaney, Steve McQueen, Ed Begley, Melvyn Douglas, Alec Guinness, Leslie Howard, Jayne Mansfield

Taurus: Jimmy Stewart, Fred Astaire, Bing Crosby, Audrey Hepburn, Katharine Hepburn, Don Rickles, Orson Welles, Tyrone Power, Rudolph Valentino, Gary Cooper, Henry Fonda, Shirley MacLaine, Shirley Temple, Anthony Quinn, James Mason, Ella Fitzgerald, Lionel Barrymore, Phil Silvers, Jack Klugman, Harold Lloyd, Mary Astor, Simone Simon, Margaret Sullavan, Eve Arden

Gemini: Judy Garland, Bob Hope, Dean Martin, Errol Flynn, Laurence Olivier, Marilyn Monroe, John Wayne, Tony Curtis, Rosemary Clooney, Douglas Fairbanks, Burl Ives, Al Jolson, Stan Laurel, Vincent Price, Basil Rathbone, Rosalind Russell, Hattie McDaniel, Priscilla Lane, Josephine Baker, Jeanette MacDonald, Peggy Lee

Cancer: Ginger Rogers, Eva Marie Saint, Natalie Wood, Olivia de Havilland, Barbara Stanwyck, Lena Horne, Jimmy Cagney, Milton Berle, Yul Brynner, Peter Lorre, Red Skelton, Jane Russell, Gina Lollobrigida, Leslie Caron, Farley Granger

Leo: William Powell, Myrna Loy, Mae West, Clara Bow, Norma Shearer, Esther Williams, Walter Brennan, Robert Mitchum, Louis Armstrong, Peter O’Toole, Jack Haley, Bert Lahr, Alfred Hitchcock, Maureen O’Hara, Lucille Ball, Shelley Winters, Dolores del Rio

Virgo: Lauren Bacall, Gene Kelly, Sophia Loren, Claudette Colbert, Greta Garbo, Donald O’Connor, Ingrid Bergman, Peter Lawford, Fredric March, James Coburn, Fred MacMurray, Peter Sellers, Raquel Welch, George Chakiris, Vera Miles

Libra: Jean Arthur, Carole Lombard, Montgomery Clift, Rita Hayworth, Deborah Kerr, Charlton Heston, Mickey Rooney, Lillian Gish, Groucho Marx, Buster Keaton, Bela Lugosi, George C. Scott, Lenny Bruce, Walter Pidgeon, Greer Garson, Joan Fontaine, Brigitte Bardot, June Allyson, Julie London

Scorpio: Richard Burton, Rock Hudson, Vivien Leigh, Burt Lancaster, Gene Tierney, Grace Kelly, Claude Rains, Joel McCrea, Johnny Carson, Burgess Meredith, Hedy Lamarr, Eleanor Powell, Veronica Lake

Sagittarius: Frank Sinatra, Kirk Douglas, Sammy Davis Jr, Edward G. Robinson, Rita Moreno, Lee Remick, Boris Karloff, Lee J. Cobb, Ricardo Montalban, Irene Dunne, Agnes Moorehead, Gloria Grahame, Betty Grable, Julie Harris

Capricorn: Cary Grant, Humphrey Bogart, Ava Gardner, Marlene Dietrich, Loretta Young, Ethel Merman, Eartha Kitt, Janet Leigh, Lew Ayres, Ray Bolger, Sal Mineo, Danny Kaye, Oliver Hardy, Oscar Levant, Ray Milland, Elvis Presley, Jane Wyman, Kay Francis, Barbara Rush

Aquarius: Kathryn Grayson, James Dean, Paul Newman, Clark Gable, Jimmy Durante, Jack Benny, Lana Turner, Kim Novak, Ronald Colman, Ernest Borgnine, Randolph Scott, Vera-Ellen, Donna Reed, Jack Lemmon, John Barrymore, George Burns, Arthur Kennedy, Cesar Romero, Jean Simmons, Zsa Zsa Gabor

Pisces: Jerry Lewis, Elizabeth Taylor, Jean Harlow, Nat King Cole, Sidney Poitier, Cyd Charisse, Lee Marvin, Jackie Gleason, Edward Everett Horton, David Niven