#Leslie Dame

[summeryshine]

Pygmalion (1938)

Wendy Hiller and Leslie Howard

[damsel-in-mistress]

I am so tired of raising my wand as we lose one legend after another.

[judi-daily]

The Last of the Blonde Bombshells, 2000 with Ian Holm, Olympia Dukakis, Leslie Caron, Joan Sims, Cleo Lain, Billie Whitelaw, June Whitfield clip: tayryn

[brainfugk]

My fellow spoonie! *Swoon*

02/23/2024 Daily OFMD Recap

TLDR; How To Help; Rotten Tomatoes Reviews/GoggleBox; Cast & Crew Sightings; Taika; Rhys; Leslie Jones; New Watch Party: These Thems; Save OFMD UK Billboard; Transparency policy; RhysDarbyFaction; We'reWolves; Fan Spotlight; Podcasts/Youtube vids; Articles; Love Notes; Daily Darby / Tonight's Taika

Hey all. I'm starting out with the how to help section tonight because there are some things we'd love to see happen to try and help with the renewal.

== HOW TO HELP ==

= Rotten Tomatoes Reviews =

Okay all, this is a big one. It's been brought to my attention by @bzy_hands on twitter, that there are less than 1000 reviews on rotten tomatoes for Season 2. They have an excellent point, Con DID screenshot Season 2. If you haven't already, please go over to Season 2 and review it to help get over that 1000 review mark.

Need help on how to review on RT? @lowrahh Was kind enough to make a tutorial for us, check it out on the repo: Review on Rotten Tomatoes and IMDB

== Let's Get OFMD On Gogglebox ==

Our crew-mate @queerly-autistic was kind enough to have written up a How-To on on getting OFMD on Gogglebox!

"One of the biggest things we can do to try and get Our Flag Means Death picked up by another network is keep making noise about it, and so I had a wild middle-of-the-night idea about one way we could do this: try and get the show on Gogglebox! For anyone who doesn't know, Gogglebox is an extremely popular and successful show in the UK on Channel 4, where ordinary people (and sometimes celebrities) watch and react to television shows, pop culture moments and films."

Wanna give it a go? Please check out their tutorial here!

== Cast & Crew Sightings ==

==Taika!==

It's been a minute since we've seen Taika! But he's out with Rita at the Taylor Swift concert.

= Rhys Darby =

Well, even though Rhys is taking some time off until March, we still have some Cameo's coming in from prior to him closing cameos!

= Cameo 1 - Cryptids! =

Thank you to @iamadequate1 for sharing this fun little cryptid video +

Tumblr / Twitter Links

= Cameo 2 =

Our friend @blackcravatart over on twitter was kind enough to share a birthday video for her (edited for names). I don't know if it's anywhere else and I didn't get permission to download it, so I apologize I'll try to do that and get back to you if we are allowed to share it elsewhere! Cameo Video on Twitter.

= Red Dead Redemption 2: Episode 3 =

The next exciting episode of Rhys playing Red Dead is up!

= Leslie Jones =

I really don't post enough about Leslie, who is my absolute idol. She's out doing comedy at the Hawaii Theater in Honolulu tonight with @lennymarcusnyc! Just wanted to give a shout out her way since she's a BAMF and deserves all the love.

== New Watch Party ==

Join @adoptourcrew on Friday 3/1 for a watch party of #TheseThems! Times haven't been secured quite yet but mark your calendars!

Watch Party Hashtags:

#TheseThems

#These Gems

#AdoptOurCrew

Wanna see what other watch parties are planned? Feel free to visit the repo for Watch Party Events.

== Save OFMD Billboard Campaign ==

Some of you may have noticed that there's been some suspicious pictures going up across multiple platforms regarding a billboard with the hashtag #WatchTheHorizon from our SaveOFMD Crew. There's definitely some Billboard planning in the works and the crew has provided a bit more transparency on the situation this time. All links in the images will be listed below.

Links:

SaveOFMD Crew Transparency Policy

Team HAVEN

Trans Lifeline

RainbowYOUTH

Outright International

Full Twitter Thread

== SchadenFreude ==

Just a little karma for WB.

== Rhys Darby Faction ==

So for those of you not on twitter, there was a bit of fun had with a random film poll guy who posted a poll that included Rhys Darby on Twitter.

It was found by OFMD twitter, and immediately started being retweeted, which, is how twitter works, right? His Response to this was:

So several of our OFMD Twitter group decided to OWN that lovely little name, and put together an actual hashtag #RhysDarbyFaction... and start polite menacing and trying to boost engagement for #AdoptOurCrew and #SaveOFMD Which triggered a meme factory, here's a few:

#RhysDarbyFaction is now a trending Hashtag on Twitter, and the Faction is using that to help support the #SaveOFMD and #AdoptOurCrew effort as well as spread positivity and love around Rhys Darby works. There's even a discord server if you're interested in joining: https://discord.gg/r7db78j4 There's been talks of putting together some events for a Cryptid Scavenger hunt, but in general it's just a small safe space to try and promote little guys and support the ofmd renewal effort. You don't need to join the discord to be part of the crew, just use #RhysDarbyFaction and be a polite menace/positive force!

== We're Wolves ==

So according to the #WellingtonParanormalPodcast's tiktok, it sounds like Jermaine is finally in talks for writing "We're Wolves"! A sequel to the 2014 What We Do In the Shadows movie. I know we've all been in a Vianton mood since that one Rhys Cameo, so just wanted to make sure you'd heard if you hadn't! SRC: Tiktok

== Fan Spotlight! ==

Getting close to the end of the month so gotta catch up! More collages from our friend @wnderngnomad on Twitter!

Day 23: The Cinematography

Day 4: Nat Faxon

Day 5: Vico Ortiz

Day 6: Leslie Jones

== Podcasts / Youtube Vids ==

Speaking of podcasts, checkout some podcasts from our fandom!

= Citizen Dame =

First up! @celluloidbroomcloset, has a podcast that’s called Citizen Dame. While it doesn't specifically discuss OFMD in this episode, they do discuss Taika, and you all know how much we love that man. So give it a listen and support a fellow crew-mate! Podbean Link / Patreon / Spotify

= Never Left Podcast =

Another fan-podcast I'd like to add tonight is Never Left! More podcasts and discussions on all things OFMD -- give them a listen if you feel up for it! "Welcome aboard our Safe Space Ship! Your Co-Captains, Ariana Perry and Amanda Catron, will be hosting this completely spoiled, totally unofficial, deep dive into Our Flag Means Death." Podbay / Linktr.ee

== Movies With Marty ==

Marty has a new First Watch video out! If you haven't watched Marty's vids yet, feel free to check them out! He's a hoot and is a HUGE supporter of OFMD!

== Articles ==

What to watch on Netflix and BBC this weekend?

Keeping promises of queer representation

== Love Notes ==

Today has been a long day lovelies, and I'm out of spoons so I'm gonna take a night off from writing out love notes and spread some from someone else. Just know I'm very proud of you for everything you did today, I hope you're doing well and feeling safe. <3

== Daily Darby / Tonight's Taika ==

Idk if these really go together tonight, but here we go. Both of them were on tenor with no srcs? Sorry! Hope you all enjoy!

[finleyforevermore]

EPIC: The Musical Dream Cast

Drew Sarich as Odysseus

Art by @gigizetz!

Matthew Patrick Quinn, Paul Jordan Jansen, Norm Lewis, or Josh Groban as Zeus

Art by @bambiilooza!

Ato Blankson-Wood or Omar Baroud as Eurylochus

Art by @anniflamma!

J. Antonio Rodriguez as Polites

Art by @platzart_ on Instagram!

Donna Vivino or Talia Suskauer as Athena

Art by @/bambiilooza!

Kristin Stokes as Aeolus

Art by @/gigizetz!

Adam Lambert, Dave Malloy, or Heath Saunders as Poseidon

Art by @/bambiilooza!

Jeanna de Waal as Circe

Art by @/gigizetz!

Mason Alexander Park, Matt Rogers, Levi Kreis, or Zach Reino as Hermes

Art by @/gigizetz!

Olga Merediz as Anticlea

Art by @mircsy!

Damon Daunno, Reeve Carney, Fra Fee, or Dónal Finn as Tiresias

Art by @ximenanatzel on YouTube!

Krystal Joy Brown as Penelope

Art by @/gigizetz!

Eva Noblezada as Scylla

Art by @artist-hermes!

Colin LeMoine as Telemachus

Art by @/gigizetz!

Jordan Fisher, Okieriete Onaodowan, or Leslie Odom Jr. as Antinous

Art by @duvetbox!

Nabiyah Be as Calypso

Art by @/gigizetz!

Chibueze Ihouma or Mike Faist as Apollo

Art by @/bambiilooza!

Paul Pinto as Hephaestus

Art by @Tamattuta on YouTube!

Jai'Len Josey as Aphrodite

Art by @/gigizetz!

Nicholas Christopher as Ares

Art by @saiiibaki!

Emmy Raver-Lampman, Allie Daniel, or Solea Pfeiffer as Hera

Art by @/gigizetz!

THEATRE CREDITS:

Drew Sarich - Quasimodo in Der Glöckner von Notre Dame, Jesus in Jesus Christ Superstar, Judas in Jesus Christ Superstar, The Emcee in Cabaret, Javert in Les Miserables

Josh Groban - Pierre in Natasha, Pierre and The Great Comet of 1812

Matthew Patrick Quinn - Hades in Hadestown

Norm Lewis - Erik in The Phantom of The Opera

Paul Jordan Jansen - Sweeney Todd in Sweeney Todd: The Demon Barber of Fleet Street

Ato Blankson-Wood - Cliff in Cabaret at the Kit Kat Club

Omar Baroud - Cliff in Cabaret at the Kit Kat Club

J. Antonio Rodriguez - Orpheus in Hadestown

Donna Vivino - Elphaba in Wicked

Talia Suskauer - Elphaba in Wicked

Kristin Stokes - Annabeth Chase in The Lightning Thief: The Percy Jackson Musical

Heath Saunders - Ensemble/Understudy in Great Comet, Ensemble/Understudy in Company

Adam Lambert - The Emcee in Cabaret at the Kit Kat Club

Dave Malloy - Pierre in Natasha, Pierre and The Great Comet of 1812

Jeanna de Waal - Princess Diana in Diana: The Musical, Mrs. Lovett in Sweeney Todd: The Demon Barber of Fleet Street, Glinda in Wicked

Mason Alexander Park - The Emcee in Cabaret at the Kit kat Club

Matt Rogers - Off Book: The Improvised Musical Podcast

Levi Kreis - Hermes in Hadestown

Zach Reino - Off Book: The Improvised Musical Podcast, Dropout's Welcome to Mountport, Play It By Ear

Olga Merediz - Abuela Claudia in In The Heights

Damon Daunno - Orpheus in Hadestown

Reeve Carney - Orpheus in Hadestown

Fra Fee - The Emcee in Cabaret at the Kit Kat Club, Mole in The Wind in the Willows

Dónal Finn - Orpheus in Hadestown

Krystal Joy Brown - Eliza Schuyler in Hamilton

Eva Noblezada - Eurydice in Hadestown

Colin LeMoine - Orpheus in Hadestown, Fiyero in Wicked

Jordan Fisher - Orpheus in Hadestown, Anthony in Sweeney Todd: The Demon Barber of Fleet Street, Evan in Dear Evan Hansen, John Laurens/Phillip Hamilton in Hamilton

Okieriete Onaodowan - Pierre in Natasha, Pierre and The Great Comet of 1812, Hercules Mulligan/James Madison in Hamilton

Leslie Odom Jr. - Aaron Burr in Hamilton

Nabiyah Be - Eurydice in Hadestown

Chibueze Ihouma - Orpheus in Hadestown

Mike Faist - Riff in West Side Story, White Rabbit/Alfred Hallam/March Hare in Alice By Heart, Morris Delancey in Newsies

Paul Pinto - Balaga in Great Comet

Jai'len Josey - Pearl in The SpongeBob Musical

Nicholas Christopher - Sweeney Todd in Sweeney Todd: The Demon Barber of Fleet Street, Aaron Burr in Hamilton

Emmy Raver-Lampman - Elphaba in Wicked, Angelica in Hamilton

Allie Daniel - Fate/Hermes understudy in Hadestown

Solea Pfeiffer - Eurydice in Hadestown, Eliza in Hamilton

[olderthannetfic]

I'm rewatching a little playlist I put together for Escapade slash con.

Eight Slugs in Me

Li Lianhua, Private Eye // 这份情怎么能了 by la_muerta

Three Million Stories in Bay City by Franzeska

Tribute to Noir by Neon Cinema

NOIR ff/au | Trailer by Candiceflt

Moody by thirdblindmouse

Depart & Act - SGA McShep - Detective AU Trailer by Randommind Time

Cigarettes After Sex - Cry [Happy Together - Tony Leung Chiu-Wai & Leslie Cheung by KH edits

Fringe (Brown Betty)/Yesterday was a Lie- Trailer Mashup by babydolleyez22789

|fmv| soyeon & miyeon || detective au! | (g)i-dle, bts, monstax by Hope Wolfling

Framed: Back in Business by Kadorienne

Iron Man Noir AU Fan Trailer by reggievass

Chasing The Storm: A Veronica Mars Promo [Remastered] by zimshan

Fun in the thirties by Radiolaria

Murder, Inc. by ATwistOfLemonLyman

The Charm of Oldschool Villains, The Golden Age of Noir Dames x Hush by 汉斯华特软凳

cbx — 70s detective au by rui

CYE | Blood Money by LightningNoire

Night Meeting by Franzeska

I Knew You Were Trouble [Rope] by mercurycures

"Doin' Time," Lana del Rey - Bound (1996) by Barry Parker

die for you / beyond evil by butillmissyou

Film Noir Mix - Shadowplay by 汉斯华特软凳

Li Lianhua, Private Eye // 这份情怎么能了 (part 2) by la_muerta

[dannyreviews]

Veteran British born/based film/TV actors born before and including 1937 still alive:

With the recent death of Dame Maggie Smith, I thought I'd detail the legendary actors of UK cinema and television that are still living as of the date of this post:

Eileen Bennett (b. 1919)

Beulah Garrick (b. 1921)

Elizabeth Kelly (b. 1921)

Elisabeth Kirkby (b. 1921)

Sara Luzita (b. 1922)

Annabel Maule (b. 1922)

Paul Harding (b. 1923)

Vincent Ball (b. 1923)

David Lawton (b. 1923)

Anne Vernon (b. 1924)

Donald Pelmear (b. 1924)

Laurie Webb (b. 1924)

Thelma Ruby (b. 1925)

Pete Murray (b. 1925)

Michael Beint (b. 1925)

Shelia Mitchell (b. 1925)

Kerima (b. 1925)

David Attenborough (b. 1926)

Elizabeth Benson (b. 1926)

Margaret Barton (b. 1926)

Terry Kilburn (b. 1926)

Stanley Baxter (b. 1926)

David Frankham (b. 1926)

William Glover (b. 1926)

Josephine Stuart (b. 1926)

Patricia Davidson (b. 1926)

Barbara Clegg (b. 1926)

Glen Michael (b. 1926)

Araby Lockhart (b. 1926)

Eileen Page (b. 1926)

Rosemary Harris (b. 1927)

Cleo Laine (b. 1927)

Lee Montague (b. 1927)

Genevieve Page (b. 1927)

Neville Phillips (b. 1927)

Jean Lodge (b. 1927)

Barbara Ashcroft (b. 1927)

Jill Freud (b. 1927)

Jean Southern (b. 1927)

Antonia Pemberton (b. 1927)

Peter Cellier (b. 1928)

Jeanette Landis (b. 1928)

Sheila Ballantine (b. 1928)

Dorothea Phillips (b. 1928)

Jeannie Carson (b. 1928)

Hazel Ascot (b. 1928)

Brenda Hogan (b. 1928)

Philip Guard (b. 1928)

Raymond Llewelyn (b. 1928)

Pauline Brailsford (b. 1928)

Leonard Weir (b. 1928)

Kevin Scott (b. 1928)

Joan Plowright (b. 1929)

Patricia Routledge (b. 1929)

Colin Jeavons (b. 1929)

Michael Craig (b. 1929)

Thelma Barlow (b. 1929)

Peter Myers (b. 1929)

Paul Williamson (b. 1929)

John Gale (b. 1929)

Phillip Ross (b. 1929)

Jimmy Fagg (b. 1929)

Hazel Phillips (b. 1929)

Mignon Elkins (b. 1929)

Margaret Stallard (b. 1929)

Maya Koumani (b. 1929)

Clive Revill (b. 1930)

Charles Kay (b. 1930)

Roy Evans (b. 1930)

Una McLean (b. 1930)

Roddy Maude-Roxby (b. 1930)

Ruth Trouncer (b. 1930)

Cyril Appleton (b. 1930)

Vera Frances (b. 1930)

Gary Watson (b. 1930)

Keith Alexander (b. 1930)

Libby Morris (b. 1930)

Pauline Jefferson (b. 1930)

Claire Bloom (b. 1931)

Leslie Caron (b. 1931)

Carroll Baker (b. 1931)

Virginia McKenna (b. 1931)

Vivian Pickles (b. 1931)

Stanley Meadows (b. 1931)

Gerald Harper (b. 1931)

Patricia Greene (b. 1931)

Ellen McIntosh (b. 1931)

Elvi Hale (b. 1931)

Maureen Connell (b. 1931)

June Laverick (b. 1931)

James Martin (b. 1931)

Denyse Alexander (b. 1931)

Arthur Nightingale (b. 1931)

Eileen Derbyshire (b. 1931)

Carl Held (b. 1931)

Shelia Bernette (b. 1931)

George Eugeniou (b. 1931)

Corinne Skinner-Carter (b. 1931)

Tusse Silberg (b. 1931)

Petula Clark (b. 1932)

Prunella Scales (b. 1932)

Phyllida Law (b. 1932)

Ray Cooney (b. 1932)

Brian Murphy (b. 1932)

Edward De Souza (b. 1932)

Alan Dobie (b. 1932)

John Turner (b. 1932)

Roland Curram (b. 1932)

Gabriel Woolf (b. 1932)

Johnnie Wade (b. 1932)

Eileen Moore (b. 1932)

Laurie Leigh (b. 1932)

William Roache (b. 1932)

Athol Fugard (b. 1932)

Carmen Munroe (b. 1932)

Norman Bowler (b. 1932)

Marcia Ashton (b. 1932)

Thelma Holt (b. 1932)

Antony Carrick (b. 1932)

Sally Bazely (b. 1932)

Edwina Carroll (b. 1932)

Michael Caine (b. 1933)

Joan Collins (b. 1933)

Sian Phillips (b. 1933)

Sheila Hancock (b. 1933)

Elizabeth Seal (b. 1933)

Shani Willis (b. 1933)

Patrick Godfrey (b. 1933)

Caroline Blakiston (b. 1933)

Donald Douglas (b. 1933)

Ann Firbank (b. 1933)

Vera Day (b. 1933)

Tsai Chin (b. 1933)

Geoffrey Frederick (b. 1933)

Marla Landi (b. 1933)

Monte Landis (b. 1933)

Mary Germaine (b. 1933)

Ruth Posner (b. 1933)

Barbara Archer (b. 1933)

W.B. Brydon (b. 1933)

Robert Gillespie (b. 1933)

Brian Patton (b. 1933)

Arthur White (b. 1933)

Barbara Archer (b. 1933)

Sally Bazley (b. 1933)

Madhur Jaffrey (b. 1933)

Jeanette Sterke (b. 1933)

Ann Rogers (b. 1933)

Barbara Knox (b. 1933)

John Boorman (b. 1933)

Derek Martin (b. 1933)

Michael Aspel (b. 1933)

Bill Edwards (b. 1933)

Judi Dench (b. 1934)

Eileen Atkins (b. 1934)

Tom Baker (b. 1934)

Alan Bennett (b. 1934)

Jean Marsh (b. 1934)

Annette Crosbie (b. 1934)

Wendy Craig (b. 1934)

Richard Chamberlain (b. 1934)

Millicent Martin (b. 1934)

John Standing (b. 1934)

Vernon Dobtcheff (b. 1934)

Nanette Newman (b. 1934)

David Burke (b. 1934)

Christopher Benjamin (b. 1934)

Mary Peach (b. 1934)

Geraldine Newman (b. 1934)

Renny Lister (b. 1934)

Priscilla Morgan (b. 1934)

Audrey Dalton (b. 1934)

Leila Hoffman (b. 1934)

Simone Lovell (b. 1934)

Magda Miller (b. 1934)

Robert Aldous (b. 1934)

Ram John Holder (b. 1934)

Jamila Massey (b. 1934)

Margaretta D’Arcy (b. 1934)

Leslie Saeward (b. 1934)

Maurice Podbrey (b. 1934)

Steve Emerson (b. 1934)

Peter Bland (b. 1934)

Michael Darlow (b. 1934)

Barbara Archer (b. 1934)

Joy Webster (b. 1934)

Jacqueline Ellis (b. 1934)

Jacqueline Jones (b. 1934)

Julie Andrews (b. 1935)

Julian Glover (b. 1935)

Jim Dale (b. 1935)

Anne Reid (b. 1935)

James Bolam (b. 1935)

Christina Pickles (b. 1935) 

Judy Parfitt (b. 1935)

Wanda Ventham (b. 1935)

Amanda Barrie (b. 1935)

Derren Nesbitt (b. 1935)

Nadim Swalha (b. 1935)

Gary Raymond (b. 1935)

Janet Henfrey (b. 1935)

Melvyn Hayes (b. 1935)

Susan Engel (b. 1935)

Amanda Walker (b. 1935)

Delena Kidd (b. 1935)

Derek Partridge (b. 1935)

Allister Bain (b. 1935)

Derry Power (b. 1935)

Phyllis MacMahon (b. 1935)

Rowena Cooper (b. 1935)

Derek Partridge (b. 1935)

Jill Dixon (b. 1935)

Des Keough (b. 1935)

Barbara Angell (b. 1935)

Lucille Soong (b. 1935)

Anita West (b. 1935)

June Watson (b. 1935)

David Daker (b. 1935)

Shirley Cain (b. 1935)

Bobby Pattinson (b. 1935)

George Roubicek (b. 1935)

Glenn Beck (b. 1935)

Shirley Greenwood (b. 1935)

Isabella Rye (b. 1935)

Anna Barry (b. 1935)

Brian Blessed (b. 1936)

Richard Wilson (b. 1936)

Tommy Steele (b. 1936)

Edward Petherbridge (b. 1936) 

Ursula Andress (b. 1936)

John Leyton (b. 1936)

Jess Conrad (b. 1936)

Elizabeth Shepherd (b. 1936)

Sandra Voe (b. 1936)

Doug Sheldon (b. 1936)

John Golightly (b. 1936)

Peter Ellis (b. 1936)

Andria Lawrence (b. 1936)

Jon Laurimore (b. 1936)

Tony Scoggo (b. 1936)

Barry MacGregor (b. 1936)

Frank Barrie (b. 1936)

Kenneth Farrington (b. 1936)

Eileen McCallum (b. 1936)

Frederick Pyne (b. 1936)

Philip Lowrie (b. 1936)

Marian Diamond (b. 1936)

Anthony Higginson (b. 1936)

Elsie Kelly (b. 1936)

Ann Taylor (b. 1936)

Heidi Erich (b. 1936)

Keith Faulkner (b. 1936)

Ruth Meyers (b. 1936)

Julia Blake (b. 1936)

Heather Downham (b. 1936)

Robin Gammell (b. 1936)

Anthony Hopkins (b. 1937)

Edward Fox (b. 1937)

Vanessa Redgrave (b. 1937)

Tom Courtenay (b. 1937)

Steven Berkoff (b. 1937)

Susan Hampshire (b. 1937)

Barbara Steele (b. 1937)

Shirley Eaton (b. 1937)

Kenneth Colley (b. 1937)

Ian Hogg (b. 1937)

Sheila Reid (b. 1937)

Valerie Singleton (b. 1937)

Suzy Kendall (b. 1937)

Gawn Grainger (b. 1937)

Tom Georgeson (b. 1937)

Alan Rothwell (b. 1937)

Michael Knowles (b. 1937)

Jocelyn Lane (b. 1937)

Michael Kilgarriff (b. 1937)

Clifton Jones (b. 1937)

Paul Collins (b. 1937)

Anna Dawson (b. 1937)

Marlene Sidaway (b. 1937)

Jeremy Spenser (b. 1937)

Freddie Davies (b. 1937)

Justine Lord (b. 1937)

Davyd Harries (b. 1937)

Hugh Futcher (b. 1937)

Anne Cunningham (b. 1937)

Anne Aubrey (b. 1937)

Vic Taliban (b. 1937)

Dorothy Paul (b. 1937)

Denis Tuohy (b. 1937)

Claire Neilson (b. 1937)

Patricia Collins (b. 1937)

Jan Waters (b. 1937)

Dorothy Paul (b. 1937)

Brian Grellis (b. 1937)

Kenneth Alan Taylor (b. 1937)

Yvonne Buckingham (b. 1937)

Eileen Helsby (b. 1937)

Ray Donn (b. 1937)

Terrence Scammell (b. 1937)

Pauline Devaney (b. 1937)

Rosie Bannister (b. 1937)

Jeanne Roland (b. 1937)

William Gaunt (b. 1937)

Rosaleen Linehan (b. 1937)

Norman Coburn (b. 1937)

[anonameisadditions]

So You Want To Write #2: The Roguish Type

It’s the 1930s in America, and the world is a dim, grimy place. Gone is the Jazz Age- with slick art deco, free-flowing illegal liquor from every speakeasy across the nation, and get-quick-rich schemes smothered under The Great Depression. The Great American Experiment seemed to be over- the rot in the once-great society (In the eyes of the vastly more empowered Caucasian men of the time) had become septic, and foul. The banks had shown themselves just as greedy and selfish as the average American, failing to properly plan for an economic bubble burst and ending up going insolvent within days of the economy crashing. The entire country would be placed out of work- the great boom of industry transformed into a sputtering, dying foghorn in the mist. It is no shock that in this era, our art would turn mistrustful, angsty, and depressed. And nowhere would this deep illness be reflected so cleanly as Film Noire.

These films- seedy, provocative crime films based around smoking, whiskey-swilling private dicks, and smoldering, vicious women would depict the dynamic of a dying society- a place where the police were rotten, the men weak, and the women hard. This is the environment we associate with the icon of the film noire- The private eye.

A “good” man, in a matter of phrase- for they always had some canny sense of right and wrong, a belief that their work was making life truer for someone. But, they’d be shaken- a dame, a woman worth trusting, beautiful and convincing, would lead them astray, tricking them into a deadly tango of treachery that would have them once again asking- Is it worth it to be good in a world that’s so bad?\

In steps The Man Who Knew Too Much.

“The Man Who Knew Too Much” is the common DNA of the modern rogue, in our modern conception of one. It stars Leslie Banks- a man known primarily for playing gruff, menacing bad guys across the pond at this point- and casts him as a leading man. He’s a brawler. He shoots first and asks questions later. He puts himself up against terrible odds- an entire criminal conspiracy to destabilize the political situation in London- and steps through with candor and charm, at each step along the way. He gets way too involved with a situation and ignores all rational advice given to him by the police- all because he trusts himself more than he trusts any institution.

And the audience EATS THIS UP

“The Man” becomes an instant classic, and Hitchcock begins to truly accue stateside appeal- and this only gets refined in his spy-fiction follow-ups, the best known being “North By Northwest.”

What’s the point of this brief history to the topic at hand- The Roguish Type, and how you want to write them? Everything. Because to write is to render fat from meat- it’s to understand how society changes a story as society adapts to it, to understand the underlying psychological underpinnings of motivation that makes an audience resonate with an archetype. And none is as misunderstood and spiritually confused as “The Rogue.” A scoundrel, A criminal, a scumsucking mouthbreeder who sits below the expectations of society- he flits from job to job, obliged to no one but himself- a modern cowboy, perhaps, but without an obligation to protect anyone but themselves. Within the rogue, however, lies an exceptionalist ideal we all wish we could live up to- the idea of innate goodness. 

Art from 2nd ed. Dungeons and Dragons, Kyle Punk and Tim Shepard

Prince Of Thieves

When we refer to “rogues”, the Jungian ideal in our world is drawn to the Tolkienesque, fantasy-focused interpretation of a rogue- a man bundled in leather, with a meaty look to him and a small, sleazy smile. He plays with knives, idly- using the point of his blade to clean out under his fingernails, suggesting a propensity for violence, and skill with a dagger. His eyes size you up and down, boldly, questioning whether a quick robbery could solve some problems that need solving, right, bub? 

But then we see him act. He joins our merry caravan, the rogue- this criminal outcast, this thief, this reject- and we see that he’s more than some petty criminal- he’s a self-styled robin hood, who won’t screw over people he likes, and will actively target those he doesn’t- but he' never given someone something they didn't have coming. He’s a self-styled anarchist- a true believer in individuality, who smiles and accepts the dog-eat-dog world of the undercity- and yet, this dog only eats a meal worth having. This “Robin Hood” didn’t need an education, a religion, a cause, or a care to be good to people- He only needed his wit. 

When Indiana Jones goes deep, deep, into the jungles of some tribal colony to steal their precious Incan gold relic, he does so to do… what? Sell it to a museum? He’s certainly making a buck off this. But, Jones is then contrasted to what a man like Beloq is- unprincipled.

A true asshole, willing to work with Nazi’s as long as they pay enough. He is quite rich from this-- His resources are plenty, his palette refined, his Jordan’s unsoiled. But then, as you see them interact, you realize that Jones and Beloq could not be more similar- The only thing stopping Indiana Jones from exceeding Beloq- no, what makes Beloq unable to win against Jones, with it’s final act, is the fact that Jones, despite his bad behavior and bad traits, still desires to be good. 

This is where I draw the core concept you must adhere to in “The Rogue”. Within our society, we have a strange relation to criminals. Our court system’s biggest inherent flaw- by design- is that ultimately, a jury of your peers will be the ones to convict you. We use this concept because we believe that a man must be considered a true criminal, a malintented traitor, worthy of punishment. This is why the jury must be convinced of the fairness of the charge to cast judgment on the offender, and why we don’t treat manslaughter and murder the same. Criminality is not inherently defined by breaking the law- it is defined by breaking the law for reasons that the state views as invalid.

Some say power corrupts, and absolute power corrupts absolutely. But the rogue presents a different hypothesis- that one can use the tools of evil and still be good, as long as they can keep their moral code intact. This places the rogue in the place of the outsider- a common character used to question societal norms with pluck, determination, and humor. 

Examples? Right. Examples.

Look, Your Worshipfulness, let’s get one thing straight. I take orders from just one person: me.

Han Solo occupies an interesting role in the first Star Wars film. He’s a smuggler who’s working under the boot of a powerful fascist army, driving a spaceship that’s widely considered one cherry vehicle, and shows a reluctance to get himself involved with the fleeing Luke Skywalker and Obi Wan. His introductory scene- the infamous “Han shot first” under-the-table pistol blast helps establish Han quite well as a rogue, using an unscrupulous and dishonorable trick to remove an obstacle in his path. But as Luke spends time with Han, so do we, and we start to realize there’s more going on in the heart of this smuggler than he lets on. He implies a background working with the resistance, several times through the film; He quickly bonds with Luke like a big brother. What’s most important for this roguish character, however, is the clash of sentimentality and practicality. Han Solo denies an opportunity to work with the rebellion to strike a major blow against the empire, in what is considered practically a suicide run. But, in the last moments of the film, while Luke is left to perform the trench run, alone, Han Solo comes back, with a quip and a cheery face; For the rogue, despite his dog-eat-dog psychology, sentimentalism and heart is why he lives to fight another day. 

"It is my belief, Watson, founded upon my experience, that the lowest and vilest alleys in London do not present a more dreadful record of sin than does the smiling and beautiful countryside."

If you thought for a fucking second i was going to use Benedico Cumshlupper or whatever, you have a lot to learn about me.

Hows this for a head teaser? It’s often easy to forget that Sherlock - the insufferable, upper-class advisor for all manner of criminal mystery - is, as accounted by the original short stories and novels, the roguish type. Consider- Sherlock seems to regard absolutely zero importance to the laws and rules of polite society, making an absolute terror to his landlord, doing large sums of illegal narcotics to stave off boredom, and generally treating the police as ineffectual at best and annoying, abusive bullies at worst.

Sherlock may be better off than the average rogue, but do not be mistaken- His interests, as selfish as they are, are still interested in helping his fellow man. Most Sherlock stories have Sherlock professing a lack of care towards the problems of “average people”, save for the mystery- yet most of his stories end with a brief segment of sentimentality, of Sherlock making right what was wrong often at personal expense, and recognizing the humanity in the poor souls who come to him, seeking his help. Sherlock utilizes both the concept of authority and breaks the law to bring justice and truth to people- despite his assurance of having nothing but self-interest in mind. 

"ARGH! The common language doesn't have enough swears!"

Chilchuck, from Dungeon Meshi allows us to explore this tendency further. Chilchuck fits our archetypical rogue- a highly skilled, vaguely illegal operator with a focus on the fine arts of thieving- mainly lockpicking, athletics, trap navigation, and other roguish skills. But while Chilchuck doesn’t typically encompass the criminal miscrent side of the rogue, he does showcase the other commonality between the last few examples- the eruption of sentimentality. Chilchuck constantly comments on how he shouldn’t even be working with the twins, and empathizes, again and again, that there is no possible way that he’s going to stick his neck out for his party beyond what he’s being paid to do. Yet, what does Chilchuck do every time the situation gets tough? He runs to danger. He only threatens to leave when he feels his concerns are unheard by Laius about the state of the adventure. Chilchuck can pretend all he wants that he doesn’t care about anyone but himself- but actions speak louder than words. 

Conclusion

The identity of the rogue is based in a rejection of the concept of nature vs nurture in a work of fiction. The Rogue, despite his background in skullduggery and criminality, showcases an intact moral compass that even the most polished wonderboy can recognize as a heart of gold. He exists in this environment to prop up an element of heroic fantasy- the belief of innate goodness, that one can utilize the powers of evil for the purpose of good and avoid letting it corrupt themselves too far. They work in contrast to other, more pure-of-heart characters to exemplify that circumstances don’t always make the man- and to let us, the audience know that we didn’t need to grow up a soft-eyed farm boy or be promised a great destiny to make a difference- only have our hearts in the right places and to do what we can to make evil lose. If you liked this blogpost, Give it a reblog and a like, and don't forget to follow me for more media analysis and creative endeavors. Below, you can vote on the focus of my next entry in "So You Want To Write" series.  

Yours Paradoxically, 

AN0N

[pulpman2]

Ellen’s New Acquaintance

The bald man was filled with a homicidal fury. He had already flung Ellen Harvey, PI, against the wall of the dingy apartment to where she had tracked him as she cautiously entered the room. Ellen, no shrinking violet and an expert in jiu-jitsu, was nonetheless completely unprepared for the ferocity of the burly man’s attack. As she felt blood begin to flow from the slight cut on her forehead, Kane followed up his surprise assault and seized Ellen by the neck and forced her entire body against the wall. Desperately, the brunette clawed at her attacker’s muscular arm with her right hand, grabbing his wrist but nothing could restrain the strength of the enraged man’s fury. Through the corner of her eye the alarmed woman could see Kane also had a lethal-looking screwdriver clutched in his fist, aimed directly at Ellen’s face. “Who sent you, b***h?” the fugitive gangster demanded.

Ellen began a choking reply. Kane frowned, the red hatred of his anger seeming to dissipate slightly and he loosened his grip a little on the woman’s neck. “No one sent me,” she gasped, “I came to warn you…” Kane’s frown deepened. “Warn me?” he repeated. “A dame wants to warn me? Warn me about what?” Ellen gazed appealingly at the man, her green/brown eyes shining, “Mr Kane,” she told him huskily, “you are in danger…” Suddenly the grip on her neck tightened again. “Stop playing games!” he yelled at her. “Danger from who? Big Louie? Those crooked downtown cops? Who?” Ellen, smiling weakly replied faintly: “Not who, but what…” Kane’s brows furrowed dimly.

At that moment Ellen’s nyloned right knee shot out and connected as hard as the female detective could manage with Kane’s groin. The man doubled up immediately with a grunt, the screwdriver falling from his hand allowing Ellen to follow up with a hard punch to her assailant’s nose. He collapsed to the ground, choking in shock and pain. Ellen, breathing hard, stepped over the gangster’s writhing form, strode to his wardrobe and pulled out a shirt which she began to tear into strips. “I was trying to warn you you would be in danger of never being able to have children again if you didn’t let go of me pronto.” she told him matter-of-factly. “Why don’t men ever listen?” Then Ellen knelt next to the stricken man and pulled his arms behind his back in order to tie him up. “Ellen Harvey, private investigator and honorary police detective with the Chicago PD, Mr Kane,” she said as she bound the still gasping man, “pleased to make your acquaintance.”

My interpretation of the story behind the cover to The Dame Dies Twice by Robert Leslie Bellem, Speed Detective #2 (February 1943)

[renthony]

Anyway here's my reading list for my big film censorship project in case anyone's been wondering what I've been up to when I'm not being a stupid idiot cringey fandom blogger or whatever the jackasses think I am:

Vaudeville, Old and New: An Encyclopedia of Variety Performers in America, by Frank Cullen

Vaudeville and the Making of Modern Entertainment, 1890-1925, by David Monod

From Traveling Show to Vaudeville: Theatrical Spectacle in America, 1830-1910, edited by Robert M. Lewis

American Vaudeville as Ritual, by Albert F. McLean Jr.

American Vaudeville As Seen by its Contemporaries, edited by Charles W. Stein

Rank Ladies: Gender and Cultural Hierarchy in American Vaudeville, by M. Alison Kibler

The New Humor in the Progressive Era: Americanization and the Vaudeville Comedian, by Rick DesRochers

Humor and Ethnic Stereotypes in Vaudeville and Burlesque, by Lawrence E. Mintz

"Vaudeville Indians" on Global Circuits, 1880s-1930s, by Christine Bold

The Original Blues: The Emergence of the blues in African American Vaudeville, by Lynn Abbott and Doug Seroff

Waltzing in the Dark: African American Vaudeville and Race Politics in the Swing Era, by Brenda Dixon Gottschild

The Wizard of Menlo Park: How Thomas Alva Edison Invented the Modern World, by Randall Stross

Edison, by Edmund Morris

The Rise and Place of the Motion Picture, by Terry Ramsaye

The Romantic History of the Motion Picture: A Story of Facts More Fascinating than Fiction, by Terry Ramsaye (Photoplay Magazine)

Before the Nickelodeon: Edwin S. Porter and the Edison Manufacturing Company, by Charles Musser

The Kinetoscope: A British History, by Richard Brown, Barry Anthony, and Michael Harvey

The Man Who Made Movies: W.K.L. Dickson, by Paul Spehr

A Million and One Nights: A History of the Motion Picture, by Terry Ramsaye

Emergence of Cinema: The American Screen to 1907, by Charles Musser

Dancing for the Kinetograph: The Lakota Ghost Dance and the Silence of Early Cinema, by Michael Gaudio

The First Screen Kiss and "The Cry of Censorship," by Ralph S.J. Dengler

Archival Rediscovery and the Production of History: Solving the Mystery of Something Good - Negro Kiss (1898), by Allyson Nadia Field

Prizefighting and the Birth of Movie Censorship, by Barak Y. Orbach

A History of Sports Highlights: Replayed Plays from Edison to ESPN, by Raymond Gamache

A History of the Boxing Film, 1894-1915: Social Control and Social Reform in the Progressive Era, by Dan Streible

Fight Pictures: A History of Boxing and Early Cinema, by Dan Streible

The Boxing Film: A Cultural and Transmedia History, by Travis Vogan

Policing Sexuality: the Mann Act and the Making of the FBI, by Jessica R. Pliley

Screened Out: Playing Gay in Hollywood, from Edison to Stonewall, by Richard Barrios

The Ashgate Research Companion to Moral Panics, edited by Charles Krinsky

A Companion to Early Cinema, edited by Andre Gaudreault, Nicolas Dulac, and Santiago Hidalgo

The Silent Cinema Reader, edited by Lee Grieveson and Peter Kramer

The Harlot's Progress: Myth and Reality in European and American Film, 1900-1934, by Leslie Fishbein

Oscar Micheaux and His Circle: African-American Filmmaking and Race Cinema of the Silent Era, by Pearl Bowser, Jane Gaines, and Charles Musser

Banned in Kansas: Motion Picture Censorship, 1915-1966, by Gerald R. Butters, Jr.

Black and White and Blue: Adult Cinema From the Victorian Age to the VCR

Complicated Women: Sex and Power in Pre-Code Hollywood, by Mick Lasalle

Dangerous Men: Pre-Code Hollywood and the Birth of the Modern Man, by Mick Lasalle

Pre-Code Hollywood: Sex, Immorality, and Insurrection in American Cinema, 1930-1934, by Thomas Doherty

Forbidden Hollywood: The Pre-Code Era (1930-1934), When Sin Ruled the Movies, by Mark A. Vieira

Sin in Soft Focus: Pre-Code Hollywood, by Mark A. Vieira

Hollywood's Censor: Joseph I. Breen & the Production Code Administration, by Thomas Doherty

The Dame in the Kimono: Hollywood, Censorship, and the Production Code, by Leonard J. Leff and Jerold L. Simmons

Moral House-Cleaning in Hollywood: What's it All About? An Open Letter to Mr. Will Hays, by James R. Quirk (Photoplay Magazine)

Will H. Hays - A Real Leader: A Word Portrait of the Man Selected to Head the Motion Picture Industry, by Meredith Nicholson (Photoplay Magazine)

Ignorance: An Obnoxiously Moral morality Play, Suggested by "Experience," by Agnes Smith (Photoplay Magazine)

Close-Ups: Editorial Expression and Timely Comment (Photoplay Magazine)

Children, Cinema & Censorship: From Dracula to the Dead End Kids, by Sarah J. Smith

Freedom of the Screen: Legal Challenges to State Film Censorship, 1915-1981, by Laura Wittern-Keller

Picturing Indians: Native Americans in Film, 1941-1960, by Liza Black

America on Film: Representing Race, Class, Gender and Sexuality at the Movies, by Harry M. Benshoff and Sean Griffin

White: Essays on Race and culture, by Richard Dyer

Black American Cinema, edited by Manthia Diawara

Colorization: One Hundred Years of Black Films in a White World, by Wil Haygood

Hollywood's Indian: the Portrayal of the Native American in Film, edited by Peter C. Rollins and John E. O'Connor

Wiping the War Paint Off the Lens: Native American Film and Video, by Beverly R. Singer

Celluloid Indians: Native Americans and Film, by Jacquelyn Kilpatrick

Native Americans on Film: Conversations, Teaching, and Theory, edited by M. Elise Marubbio and Eric L. Buffalohead

Framing Blackness: The African American Image in Film, by Ed Guerrero

Toms, Coons, Mulattoes, Mammies, & Bucks: An Interpretive History of Blacks in American Films, by Donald Bogle

Hollywood Black: the Stars, the Films, the Filmmakers, by Donald Bogle

White Screens, Black Images: Hollywood From the Dark Side, by James Snead

Latino Images in Film: Stereotypes, Subversion, and Resistance, by Charles Ramirez Berg

Reel Inequality: Hollywood Actors and Racism, by Nancy Wang Yuen

Visions of the East: Orientalism in Film, edited by Matthew Bernstein and Gaylyn Studlar

The Hollywood Jim Crow: the Racial Politics of the Movie Industry, by Maryann Erigha

America's Film Legacy: The Authoritative Guide to the Landmark Movies in the National Film Registry, by Daniel Eagan

Movie-Made America: A Cultural History of American Movies, by Robert Sklar

Of Kisses and Ellipses: The Long Adolescence of American Movies, by Linda Williams

Banned in the Media: A Reference Guide to Censorship in the Press, Motion Pictures, Broadcasting, and the Internet, by Herbert N. Foerstel

Censoring Hollywood: Sex and Violence in Film and on the Cutting Room Floor, by Aubrey Malone

Hollywood v. Hard Core: How the Struggle Over Censorship Saved the Modern Film Industry, by Jon Lewis

Not in Front of the Children: "Indecency," Censorship, and the Innocence of Youth, by Marjorie Heins

Degradation: What the History of Obscenity Tells Us About Hate Speech, by Kevin W. Saunders

Censoring Sex: A Historical Journey Through American Media, by John E. Semonche

Dirty Words & Filthy Pictures: Film and the First Amendment, by Jeremy Geltzer

Flaming Classics: Queering the Film Canon, by Alexander Doty

Masculine Interests: Homoerotics in Hollywood Film, by Robert Lang

Monsters in the Closet: Homosexuality and the Horror Film, by Harry M. Benshoff

New Queer Cinema: A Critical Reader, edited by Michele Aaron

New Queer Cinema: The Director's Cut, by B. Ruby Rich

Now You See It: Studies on Lesbian and Gay Film, by Richard Dyer

Gays & Film, edited by Richard Dyer

Screening the Sexes: Homosexuality in the Movies, by Parker Tyler

Out in Culture: Gay, Lesbian, and Queer Essays on Popular Culture, edited by Corey K. Creekmur and Alexander Doty

Out Takes: Essays on Queer Theory and Film, edited by Ellis Hanson

Queer Images: a History of Gay and Lesbian Film in America, by Harry M. Benshoff and Sean Griffin

The Lavender Screen: the Gay and Lesbian Films, Their Stars, Makers, Characters, & Critics, by Boze Hadleigh

The Celluloid Closet: Homosexuality in the Movies, by Vito Russo

Tinker Belles and Evil Queens: the Walt Disney Company From the Inside Out, by Sean Griffin

The Encyclopedia of Censorship, by Jonathon Green

[vintagestagehotties]

Hot Vintage Stage Actress Round 1

Ethel Waters: Lew Leslie's Blackbirds (1930 Broadway); As Thousands Cheer (1933 Broadway); Hagar in Mamba's Daughters (1939 Broadway)

Dame Olivia de Havilland: Juliet in Romeo and Juliet (1951 Broadway); Candida in Candida (1952 Broadway); Lael Tucker Wertenbaker in A Gift of Time (1962 Broadway)

Propaganda under the cut

Ethel Waters:

She was such a groundbreaking performer, she broke so many barriers and laid the groundwork for women of color in the entertainment industry. So much that we have we owe to her

Olivia de Havilland:

[dear-indies]

full list of biden letter 2:

Aaron Bay-Schuck Aaron Sorkin Adam & Jackie Sandler Adam Goodman Adam Levine Alan Grubman Alex Aja Alex Edelman Alexandra Shiva Ali Wentworth Alison Statter Allan Loeb Alona Tal Amy Chozick Amy Pascal Amy Schumer Amy Sherman Palladino Andrew Singer Andy Cohen Angela Robinson Anthony Russo Antonio Campos Ari Dayan Ari Greenburg Arik Kneller Aron Coleite Ashley Levinson Asif Satchu Aubrey Plaza Barbara Hershey Barry Diller Barry Levinson Barry Rosenstein Beau Flynn Behati Prinsloo Bella Thorne Ben Stiller Ben Turner Ben Winston Ben Younger Billy Crystal Blair Kohan Bob Odenkirk Bobbi Brown Bobby Kotick Brad Falchuk Brad Slater Bradley Cooper Bradley Fischer Brett Gelman Brian Grazer Bridget Everett Brooke Shields Bruna Papandrea Cameron Curtis Casey Neistat Cazzie David

Charles Roven Chelsea Handler Chloe Fineman Chris Fischer Chris Jericho Chris Rock Christian Carino Cindi Berger Claire Coffee Colleen Camp Constance Wu Courteney Cox Craig Silverstein Dame Maureen Lipman Dan Aloni Dan Rosenweig Dana Goldberg Dana Klein Daniel Palladino Danielle Bernstein Danny Cohen Danny Strong Daphne Kastner David Alan Grier David Baddiel David Bernad David Chang David Ellison David Geffen David Gilmour & David Goodman David Joseph David Kohan David Lowery David Oyelowo David Schwimmer Dawn Porter Dean Cain Deborah Lee Furness Deborah Snyder Debra Messing Diane Von Furstenberg Donny Deutsch Doug Liman Douglas Chabbott Eddy Kitsis Edgar Ramirez Eli Roth Elisabeth Shue Elizabeth Himelstein Embeth Davidtz Emma Seligman Emmanuelle Chriqui Eric Andre Erik Feig Erin Foster Eugene Levy Evan Jonigkeit Evan Winiker Ewan McGregor Francis Benhamou Francis Lawrence Fred Raskin Gabe Turner Gail Berman Gal Gadot Gary Barber Gene Stupinski Genevieve Angelson Gideon Raff Gina Gershon Grant Singer Greg Berlanti Guy Nattiv Guy Oseary Gwyneth Paltrow Hannah Fidell Hannah Graf Harlan Coben Harold Brown Harvey Keitel Henrietta Conrad Henry Winkler Holland Taylor Howard Gordon Iain Morris Imran Ahmed Inbar Lavi Isla Fisher Jack Black Jackie Sandler Jake Graf Jake Kasdan James Brolin James Corden Jamie Ray Newman Jaron Varsano Jason Biggs & Jenny Mollen Biggs Jason Blum Jason Fuchs Jason Reitman Jason Segel Jason Sudeikis JD Lifshitz Jeff Goldblum Jeff Rake Jen Joel Jeremy Piven Jerry Seinfeld Jesse Itzler Jesse Plemons Jesse Sisgold Jessica Biel Jessica Elbaum Jessica Seinfeld Jill Littman Jimmy Carr Jody Gerson

Joe Hipps Joe Quinn Joe Russo Joe Tippett Joel Fields Joey King John Landgraf John Slattery Jon Bernthal Jon Glickman Jon Hamm Jon Liebman Jonathan Baruch Jonathan Groff Jonathan Marc Sherman Jonathan Ross Jonathan Steinberg Jonathan Tisch Jonathan Tropper Jordan Peele Josh Brolin Josh Charles Josh Goldstine Josh Greenstein Josh Grode Judd Apatow Judge Judy Sheindlin Julia Garner Julia Lester Julianna Margulies Julie Greenwald Julie Rudd Juliette Lewis Justin Theroux Justin Timberlake Karen Pollock Karlie Kloss Katy Perry Kelley Lynch Kevin Kane Kevin Zegers Kirsten Dunst Kitao Sakurai KJ Steinberg Kristen Schaal Kristin Chenoweth Lana Del Rey Laura Dern Laura Pradelska Lauren Schuker Blum Laurence Mark Laurie David Lea Michele Lee Eisenberg Leo Pearlman Leslie Siebert Liev Schreiber Limor Gott Lina Esco Liz Garbus Lizanne Rosenstein Lizzie Tisch Lorraine Schwartz Lynn Harris Lyor Cohen Madonna Mandana Dayani Mara Buxbaum Marc Webb Marco Perego Maria Dizzia Mark Feuerstein Mark Foster Mark Scheinberg Mark Shedletsky Martin Short Mary Elizabeth Winstead Mathew Rosengart Matt Lucas Matt Miller Matthew Bronfman Matthew Hiltzik Matthew Weiner Matti Leshem Max Mutchnik Maya Lasry Meaghan Oppenheimer Melissa Zukerman Michael Aloni Michael Ellenberg Michael Green Michael Rapino Michael Rappaport Michael Weber Michelle Williams Mike Medavoy Mila Kunis Mimi Leder Modi Wiczyk Molly Shannon Nancy Josephson Natasha Leggero

Neil Blair Neil Druckmann Nicola Peltz Nicole Avant Nina Jacobson Noa Kirel Noa Tishby Noah Oppenheim Noah Schnapp Noreena Hertz Odeya Rush Olivia Wilde Oran Zegman Orlando Bloom Pasha Kovalev Pattie LuPone Paul & Julie Rudd Paul Haas Paul Pflug Peter Traugott Polly Sampson Rachel Riley Rafi Marmor Ram Bergman Raphael Margulies Rebecca Angelo Rebecca Mall Regina Spektor Reinaldo Marcus Green Rich Statter Richard Jenkins Richard Kind Rick Hoffman Rick Rosen Rita Ora Rob Rinder Robert Newman Roger Birnbaum Roger Green Rosie O’Donnell Ross Duffer Ryan Feldman Sacha Baron Cohen Sam Levinson Sam Trammell Sara Foster Sarah Baker Sarah Bremner Sarah Cooper Sarah Paulson Sarah Treem Scott Braun Scott Braun Scott Neustadter Scott Tenley Sean Combs Seth Meyers Seth Oster Shannon Watts Shari Redstone Sharon Jackson Sharon Stone Shauna Perlman Shawn Levy Sheila Nevins Shira Haas Simon Sebag Montefiore Simon Tikhman Skylar Astin Stacey Snider Stephen Fry Steve Agee Steve Rifkind Sting & Trudie Styler Susanna Felleman Susie Arons Taika Waititi Thomas Kail Tiffany Haddish Todd Lieberman Todd Moscowitz Todd Waldman Tom Freston Tom Werner Tomer Capone Tracy Ann Oberman Trudie Styler Tyler James Williams Tyler Perry Vanessa Bayer Veronica Grazer Veronica Smiley Whitney Wolfe Herd

Will Ferrell Will Graham Yamanieka Saunders Yariv Milchan Ynon Kreiz Zack Snyder Zoe Saldana Zoey Deutch Zosia Mamet

[camillasgirl]

The Queen's speech at the Foreign Press Association Awards 2023

Ladies and gentlemen, it is a huge pleasure to be here with you this evening to celebrate the 135th anniversary of the Foreign Press Association and to reflect on your many achievements as the world’s oldest and biggest association of foreign journalists.  But I cannot begin without also reflecting that as we gather, journalists, photographers and their support teams are even now risking their lives.  We think particularly of those reporting from Ukraine and the Middle East in these most difficult of times. 

By joining you this evening, I am following in the footsteps of my husband, an honorary member of the FPA, who joined you at these Awards in 2008.  On that occasion, he described your role as “not only to look at the world and study the way it works, but to report what you see accurately, to explain it and indeed to interpret it.  In so doing you shape the view and define the perspective of millions of people and that is an enormous responsibility”. 

I know, second-hand, a little of the responsibility of your profession.  There are journalists in my family…and I have even been the subject of one or two stories myself over the years...  I have also had the opportunity to visit a significant number of newsrooms and have seen how tough your work is. Particularly, if I dare say so, for women, who, despite the many hurdles they have faced, have been among the bravest reporters of all. From trailblazers like Martha Gelhorn and Christiane Amanpour, to those such as Marie Colvin (an FPA Journalist of the Year) and Daphne Caruana Galizia, who have so tragically paid with their lives, their courage was matched only by their conviction that the truth matters. Perhaps this has never been more evident than in our digital age, where disinformation runs rife and where female journalists are increasingly targeted on social media.  The FPA has done much to promote and protect women throughout your long history, appointing your first female President in 1955, and, more recently, providing specialised training for women to deal with disruptive and abusive behaviour from members of the public.  For this, all your readers and broadcast audiences are in your debt.

As the late great Dame Ann Leslie wrote, it is among the sacred duties of journaliststo ‘face the glacier in the cupboard and to expose its coldness and cruelty to the bright, clear and humanising light of day.’ That is what she, and all of you, do.  This is especially true in one area of your work for which I should particularly like to thank you:  raising awareness of domestic and sexual abuse against women in every part of the globe.  The FPA was, of course, founded in 1888, when foreign correspondents came to the United Kingdom to report on the Jack the Ripper murders and decided to band together to secure better access to information and sources.  Although we might now deplore some of the more sensational approaches to those terrible events, the fact is that the FPA grew out of the need to reveal and condemn violence against women.  And this remains a key part of journalism today. You have the ability to break the corrosive silence that frequently surrounds abuse.  You bring into the open the voices of victims, you break taboos, you shine a light on these heinous crimes and you guide the public on what they can do to help. As the foreign correspondent Christina Lamb makes clear in her devastating book ‘Our Bodies, Their Battlefield’, rape and sexual abuse continue to be a pervasive and all-too-often hidden feature of conflict zones the world over.

Ladies and gentlemen, as my husband observed 15 years ago, yours is an awe-inspiring responsibility:  you question, debate and analyse and thus protect what is so easy for us to take for granted – true freedom of expression.  As I said at the London Press Club Awards in 2011, I believe freedom of expression to be at the heart of our democratic system. In this, you play a vital, if not pivotal role.

Take courage from the words of one of our greatest writers, and former journalist, Tom Stoppard:  “I still believe that if your aim is to change the world, journalism is a more immediate short-term weapon”.  May you continue to use it wisely. Thank you. 

[droughtofapathy]

"Pasquale will be joined by Shereen Ahmed (My Fair Lady) as Claudia, Tony nominee Carolee Carmello (1776, Parade) as Liliane La Fleur, Sasha Hutchings (Oklahoma!, Hamilton) as Our Lady of the Spa, Lesli Margherita (Matilda, Dames at Sea) as Saraghina, Oscar and Tony nominee Mary Elizabeth Mastrantonio (Man of La Mancha, Scarface) as Guido’s Mother, Jen Sese (Hamilton, Hair) as Stephanie Necrophorus, Tony nominee Elizabeth Stanley (Jagged Little Pill, On The Town) as Luisa Contini, and Michelle Veintimilla (The Visit, Gotham) as Carla Albanese. Additional casting will be announced."

[larsisfrommars]

Wild Wild Reviews

The Night The Wizard Shook The Earth

Overall Score:

Story: 3.5/5

Dame: 2/5

Villain: 6/5

Gadgets: 5/5

Disguises: 1/5

Bonus Points: Gay Subtext: 3/5

The Yikes Dated Factor: 0/-5

Score: 20.5/25

Tier: A (82%)

Previous Episode Review

FULL REVIEW UNDER THE CUT

The Story

I wanted to rate the story on this episode higher, I really did but the first half is SO slow and I’m sorry but John Kneubuhl writes his female characters SO poorly that an otherwise fun and intriguing story suffers immensely for it. Which is such a shame because this is the episode where the BEST Wild Wild West villain was born! Every second Dunn/Loveless is on screen is absolutely fantastic and incredibly memorable. The doomsday device on which the episode revolves is compelling. Yet every moment where Jim interacts with Greta is an absolute slog of ham-fisted flirting and mid 20th century chauvinism. It’s like they had half a perfect episode but didn’t know what to do to fill in the rest of the story aside from the villain and the McGuffin. It also feels out of whack due to the lack of Artemus after the first 15 minutes and it’s very nearly lacking one of the delightful key features of the franchise, fun disguises. It’s absolutely better than TNOT Inferno, but I can’t honestly say it’s better than TNOT Deadly Bed, so right down the middle between them it goes.

The Dame

Our woman of the week is Leslie Parish! I know her as Carolyn from the TOS episode “Who Mourns for Adonais”.

*Sigh* Thus begins a parade of woefully underwritten female protagonists on The Wild Wild West. If I had a dollar for every time a female character on this show had potentially intriguing motivations only to be sidelined in order for Jim West to woo and fulfill the “kiss the girl” goal on each episode’s checklist I would be a rich man. She’s not getting a one but I was thinking about it. Mostly because of that TRULY weird scene where West can’t move and she’s feeding him by hand (Who let their fetish interfere with the quality of this show? Hope it doesn’t happen again! Except that it absolutely will happen… a lot). I decided against it however because she does show a modicum of agency in the first half of the story before it’s undercut by Jim playing weird mind games with her right after the odd fetish scene. I also think she gets overshadowed by Antoinette and Ms. Piecemeal, she just got lost in the shuffle. Ugh.

The Villain

Our villain of the “week” is Michael Dunn! Most iconically known for Wild Wild West but us Trekkies also know him as Alexander from the Star Trek TOS episode “Plato’s Stepchildren”. Continuing our Ancient Greece themed Star Trek cameos I suppose.

Ugh where do I even begin with Michael Dunn’s performance as Doctor Miguelito Loveless? It’s the birth of a legend, a landmark role for actors with dwarfism, an iconic antagonist for an iconic show. He’s a guaranteed smash hit every time he’s in an episode! He’s eccentric, insane, and dynamic, he’s equal parts humanitarian gentleman and genocidal maniac. His motivations toe the line of being reasonable for his background (bitter ex-aristocracy) and unhinged (what he’s willing to do to reach his goal). Heck, I know that the songs they decided to plop into his episodes almost felt like padding for time but he’s just so off-the-wall that I consider it part of Loveless’s charm. Maybe someday I’ll be able to fully articulate why this character is so beloved but that may need to be a post of it’s own (and I’m sure others have already beaten me to it). What can I say but six out of five?

The Gadgets

If I seem a bit biased about the gadgets it’s only because we haven’t gotten to any of the weirder/unlikely/unhelpful one. The carriage is so cool and it makes me absolutely insane that they never end up using a carriage with built-in defenses ever again. The only reason it wasn’t more effective is that Jim was outnumbered on enemy turf. Then of course there’s that clutch little pen that breaks him out of the cage Loveless puts Jim in.

The Disguises

The only disguise we get this week is a terrible attempt at posing as the man Jim failed to prevent being assassinated. I think you ought to leave the disguises to Artemus there Jimbo.

The Gay Subtext

(Don’t ship it? Skip it!)

Say hello to a beloved trope of this ship, and that is Artemus fretting over Jim putting himself in unnecessary danger (and occasionally vice versa)! Seconded only by Artemus complaining about rescuing him or having thought he was dead. Artemus still insists on discreetly keeping an eye on Jim after the professor gets assassinated. Not to mention the custom carriage he designed with Jim specifically in mind. Very normal of you Artemus good job my man, ilysm.

The Yikes Dated Factor

(See elaboration for 0 on this factor from previous episode)

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