more songs that remind me of the lakes bc Finnick and reader (and Conway) take up my thoughts, I'm hyperfixating
finnick and reader as me and my husband my mitski like chefs kiss "but me and my husband we are doing better, it's always been just him and me together, so I bet all I have on that furrowed brow. " "me and my husband we're sticking together"
in the games reader with Conway is so incredibly the chain coded "running in the shadows, damn your love, damn your lies" " and if you don't love me now, you will never love me again, I can still hear you saying you would never break the chain"
reader and finnick as the river from daisy jones and the six specifically the chorus though, "if I follow you to the river, send my blues out to the sea, will you stay with me forever? will you chase me in my dreams? if I throw it all in the river, let the rhythm take the lead, will it stay with you and never let you leave on me? "
just teenage dream by olivia rodrigo is so all victors coded in the hunger games "they all say that it gets better, it gets better the more you grow, they all say that it gets better, it gets better but what if I don't?" " and I'm sorry that I couldn't always be your teenage dream. " " and when does wide-eyed affections and all good intentions start to not be enough? " I could go on forever
last night on earth by green day is so finnick and reader coded "you are the moonlight of my life every night giving all my love to you" " my beating heart belongs to you, I walked for miles 'til I found you. I'm here to honor you, if I lose everything in the fire I'm sending all my love to you. " " With every breath that I am worth here on earth"
that's all for now, let me know if y'all think of more bc my brain is hyperactive 😭💕
(I located an older song fic challenge from a deleted blog I had that had this graphic on it. LOL)
Rules:
Tag me in the authors notes & send me a message with yuor fic once it's posted! (along with the hashtag so I know which Masterlist to place the fic when I post it)
Please tag the proper warnings before the fic
Can be ANY CHARACTER YOU'D LIKE!!
More than one person can write for the same prompts
RPFs are allowed
If you’d like to write for more than one song, please make them separate fics
the songs are randomly picked from my playlist, so don't judge lol.
Can be however long you’d like the fic to be, however, please be considerate to the folks using the app and place the 'keep reading' feature on your posts!!
PLEASE tag the fic as #songs4caplan so i can easily find your fics!!!
Happy Birthday the lovely Scottish actress Michelle Duncan.
Born in Perth on April 14th 1978 Duncan studied acting at Queen Margaret University College before studying English and classics at St Andrews University.
Her television roles include Sugar Rush, Doctor Who, Low Winter Sun, Lost in Austen, and a TV film, Whatever Love Means, as Princess Diana opposite Olivia Poulet as Camilla Parker Bowles and Laurence Fox as Prince Charles.
Film work includes: Atonement, The Broken, and as Rupert Grint's love interest in Driving Lessons with Julie Walters. Duncan's role in Atonement was particularly praised by The New Yorker theatre critic Anthony Lane: Duncan's stage work includes Time and the Conways (Bath Theatre Royal/ touring), A Midsummer Night's Dream and The Burning at the Edinburgh Festival Fringe.
Further television work includes: New Tricks Call the Midwife. Duncan lent her voice to an adaptation of The Little Mermaid by Hans Christian Andersen at Little Angel Puppet Theatre in 2006 alongside Dame Judy Dench, Sir Michael Gambon, Rory Kinear, Claudie Blakley, Rosamund Pike, Claire Rushbrook and Peter Wight. Michelle also played Isobel MacLeish in the Doctor Who story Tooth and Claw. In 2007 she was cast as Portia in The Merchant of Venice at Shakespeare's Globe, but was unable to continue after the previews and was replaced by Kirsty Besterman. In 2012 Duncan appeared alongside Amanda Hale in Scrubber, a film written and directed by Romola Garai. In 2013, Duncan appeared in the third series of the BBC TV drama Luther and Case Histories. In 2014, she appeared in the ITV drama Grantchester.
In 2015 she starred alongside Ruth Negga, Douglas Henshall and Tom Brooke in Scott Graham's Film Iona. The closing gala film of the Edinburgh Film Festival.
Michelle’s work has included the great TV Movie Elizabeth Is Missing and two first class TV Series, Baptiste and Hanna. More recently she was in Detctive series Dalgliesh, she is set to appear in the reboot of Rebus, the new series let's us see a younger Detective Sergeant, I can't find a difinative date for it, just that it will be on BBC this Spring.
Figured I should make a proper post with all the name duplicates. I’ll update periodically as we get new casts. Just counting queens right now, but I’ll probably add LiW eventually.
The Extended Cut of Scream (2022) & Scream VI (2023) Part 1
What if there is an Extended Cut of both Scream (2022) & Scream VI (2023) with more & new additional characters & more content that can't be seen in theaters?
Here's the additional cast list for the Extended Cut of Scream (2022) & Scream VI (2023) who's playing the additional characters & the characters that related to the legacy characters & the new characters:
Jack Roberts (me) as Terrence William "Terry" Watkins
CONWAY, N.H. — (AP) — Bakery owner Sean Young was thrilled when high school art students covered the big blank wall over his doorway last spring with a painting of the sun shining over a mountain range made of sprinkle-covered chocolate and strawberry donuts, a blueberry muffin, a cinnamon roll and other pastries.
The display got rave reviews, and Young looked forward to collaborating with the school on more mural projects at his roadside bakery in Conway, New Hampshire.
Then the town zoning board got involved, deciding that the pastry painting was not so much art as advertising, and so could not remain as is because of its size. Faced with modifying or removing the mural, or possibly dealing with fines and criminal charges, Young sued, saying the town is violating his freedom of speech rights.
The painting could stay right where it is if it showed actual mountains, instead of pastries suggesting mountains, or if the building wasn’t a bakery.
“They said it would be art elsewhere,” Young told The Associated Press in an interview. “It’s just not art here.”
“The town should not have the right to police art,” he said.
The controversy has residents of this town of 10,000 grappling with big questions about creativity and liberty as it tries to preserve its rural character. Like other White Mountain communities that draw skiers, nature lovers and shoppers, Conway is under development pressure, making the sign dispute fraught with worries that any concession to commerce could change what they hold dear.
Many — including the zoning board members — applauded the students' colorful work, but said rules must be followed, even if they're old and outdated. At about 90 square feet (8.6 square meters), the mural is four times bigger than the sign code allows.
Following a longstanding democratic tradition of New England town meetings, residents deliberated how to define a sign before ultimately voting down changes last week. The local newspaper said the proposed wording wasn't clear. Ultimately, a judge may have to resolve what remains an open debate in town.
“Those kids put their heart in it,” retiree Steve Downing said. He thinks the painting should stay.
“Everyone has to comply with the ordinance," said Charlie Birch, a former U.S. Forest Service worker. "And even though it was done by the students, which was well done, and I give them a lot of credit for it ... if you have the ordinance, ‘One for all,’ that’s where we are. You can’t really make any exceptions, otherwise everybody else will want the exception.”
Art teacher Olivia Benish, who worked with three students on the project, apologized to the board in September for not doing "due diligence" to make sure the mural would comply. She didn't respond to requests for an interview. But she told the board members that there has to be a way to give students the opportunity to create positive public works of art "without upsetting the law and the powers that be," according to the town minutes.
The lawsuit Young filed in January argues that the town is unconstitutionally discriminating against him. He asked a judge to prevent the town from enforcing its sign code.
And now other businesses have been drawn into the controversy.
Long before the pastry painting was installed, the town had allowed other murals at a local shopping center, but in December the town found that three of those artworks are, indeed, signs that violate size limits. They go before the zoning board on Wednesday.
Young, who is being represented by the Virginia-based Institute for Justice, asked for $1 in damages. Meanwhile, he’s selling T-shirts as a high school art department fundraiser, saying “This is Art” with the artwork on the front, and “This is a Sign” of a roadside “Leavitt’s Country Bakery” sign on the back.
“As Conway officials have confirmed, the town does not consider a painting to be a “sign” if it does not convey what town officials perceive to be a commercial message,” the lawsuit says. “But the town’s perception is that any mural depicting anything related to a business is a ‘sign.’ This is governmental discrimination based on the content of the speech" and the speaker's identity, it said.
The lawsuit says the town's sign definition is "incredibly broad," with no mention of murals in the code: A sign in Conway is "any device, fixture, placard, structure or attachment thereto that uses color, form, graphic, illumination, symbol, or writing to advertise, announce the purpose of, or identify the purpose of any person or entity, or to communicate information of any kind to the public, whether commercial or noncommercial."
Board member Luigi Bartolomeo said he thinks the pastry painting is art, not advertising. He read the definition out loud at the board's meeting in August, and said he agrees with a local attorney who called it "unconstitutionally vague."
“I think it’s a very badly written piece of code here,” said Bartolomeo, who recently retired. But Board Chairperson John Colbath said the board has to work with the ordinance, which was approved by voters, and that there is a process to change that.
“If they had done a seasonal mural on the wall — covered bridges and sunflowers and what have you — and it did not represent what your business is in, then it would be more likely to be a well-respected piece of art and not construed as a sign,” Colbath said at the August meeting.
He said to Young, “I understand the art thing — and you look and you see a mountain — but the general public sees donuts on the front of the bakery.”
“I think most of the people said it’s art,” Young responded.
In its denial of Young's appeals, the board concluded that the bakery won't be negatively affected without the display.
“This supposed distinction between murals and signs shouldn’t matter,” attorney Betsy Sanz of the Institute said in a news release. “After all, nothing in the First Amendment distinguishes between art and commercial signs — or commercial speech of any kind.”
The town and Young agreed in February to pause court proceedings — and any potential fines or charges — pending a vote on a revised definition that would allow the painting to stay. But it failed in last week's elections, with 805 to 750 voting against it, according to the town clerk's office. The judge now wants to hear from both sides by May 10.
“We’re ready to keep going,” Young said.
Town Manager John Eastman declined an interview, referring questions to town lawyer Jason Dennis, who said he would soon meet with town officials to discuss next steps.
The Conway Daily Sun offered its analysis in an editorial last week: "Voters smartly concluded that the proposed new definition of signs would only further complicate enforcement. That said, it is not a stretch to conjecture that most voters are fine with the murals at Leavitt's Country Bakery and Settlers Green. We suggest the town figure out a way to back off enforcement until a clearer definition can be written, one that accommodates 'art.'"
Olivia de Havilland and Montgomery Clift in The Heiress (William Wyler, 1949)
Cast: Olivia de Havilland, Montgomery Clift, Ralph Richardson, Miriam Hopkins, Vanessa Brown, Betty Linley, Ray Collins, Mona Freeman, Selena Royle, Paul Lees, Harry Antrim, Russ Conway, David Thursby. Screenplay: Ruth Goetz, Augustus Goetz, based on their play suggested by a novella by Henry James. Cinematography: Leo Tover. Production design: Harry Horner. Film editing: William Hornbeck. Music: Aaron Copland.
With 12 Oscar nominations and three wins for directing, William Wyler holds a firm place in the history of American movies. But not without some grumbling on the part of auteur critics like Andrew Sarris, who observed, "Wyler's career is a cipher as far as personal direction is concerned." His movies were invariably polished and professionally made, but if what you're looking for is some hint of personality behind the camera, the kind that Alfred Hitchcock or Howard Hawks or John Ford displayed no matter what the subject matter of the film, then Wyler is an enigma. His most personal film, The Best Years of Our Lives (1946), grew out of his wartime experiences, but they are subsumed in the stories he has to tell and not revealed with any assertively personal point of view on them. And anyone who can trace a Wylerian personality latent in movies as varied as Mrs. Miniver (1942), Roman Holiday (1953), Ben-Hur (1959), and Funny Girl (1968) has a subtler analytical mind than mine. What they have in common is that they are well made, the work of a fine craftsman if not an artist. The other thing they have in common is that they won Oscars for their stars: Greer Garson, Audrey Hepburn, Charlton Heston, and Barbra Streisand, respectively. The Heiress, too, won an Oscar for its star, Olivia de Havilland, suggesting that in Wyler we have a director whose virtue lay not in his personal vision but in his skill at packaging, at arranging a showcase not just for performers -- he also directed Oscar-winning performances by Bette Davis in Jezebel (1938) and by Fredric March and Harold Russell in The Best Years of Our Lives -- but also for production designers, costume designers, composers, and cinematographers: Oscars for The Heiress went to John Meehan, Harry Horner, and Emile Kuri for art direction and set decoration, to Edith Head and Gile Steele for costumes, and to Aaron Copland for the score, and Leo Tover was nominated for his cinematography. Wyler lost the directing Oscar to Joseph L. Mankiewicz for A Letter to Three Wives, but is there any doubt that The Heiress would have been a lesser film than it is without Wyler's guidance? All of this is a long-winded way to say that although I honor, and in many ways prefer, the personal vision that shines through in the works of directors like Hitchcock, Hawks, Ford, et al., there is room in my pantheon for the skilled if impersonal professional. As for The Heiress itself, it's a satisfying film with two great performances (de Havilland's Catherine and Ralph Richardson's Dr. Sloper), one hugely entertaining one (Miriam Hopkins's Lavinia Penniman), and one sad miscasting: Montgomery Clift's Morris Townsend. It's a hard role to put across: Morris has to be plausible enough to persuade not only Catherine but also the somewhat more worldly Lavinia that he is genuinely in love with Catherine and not just her money, but he also needs to give the audience a whiff of the cad. Clift's Morris is too callow, too grinningly eager. There is no ambiguity in the performance. If we like Morris too much, we risk seeing Dr. Sloper more as an over-stern paterfamilias and less as the cruelly self-absorbed man he is. Richardson's fine performance goes a long way to righting this imbalance, but he's fighting Clift's sex appeal all the way.
2022 was a year with seemingly just as many lows as there were highs. From January to December our hearts were tested with the deaths of many people who brightened our lives with their art. May everybody here rest peacefully know their name and art lives on.
Bob Saget: 1956- January 9th, 2022
Actor/Comedian who starred in Full House, Funniest Home Videos, and How I Met Your Mother.
Meatloaf (Marvin Lee Aday): 1947- January 20, 2022
Musician and actor who created numerous hit records and starred as Eddie in 1975′s The Rocky Horror Picture Show.
Taylor Hawkins: 1975- March 25, 2022
Musician best known as the drummer in rock band Foo Fighters.
Naomi Judd: 1946- April 30, 2022
Actress, author, and musician best known as 1/2 of the mother-daughter country duo The Judds.
Olivia Newton John: 1948- August 8th, 2022
Singer and actress known for Grease and Xanadu as well as many beloved albums.
Loretta Lynn: 1933- October 4th, 2022
Classic country music star possibly best known for her song: Coal Miners Daughter and numerous duets with Conway Twitty.
Angela Lansbury: 1925- October 11, 2022
Actress/Singer known for Beauty and the Beast, The Court Jester, and Murder She Wrote.
Robbie Coltrane: 1950- October 14, 2022
Actor best known for his role as Hagrid in the Harry Potter film series.
Nicki Aycox: 1975- November 16, 2022
Actress and musician. She starred as Meg 1.0 in Supernatural and Lisa in Lifted.
Christine McVie: 1943- November 30, 2022
Songwriter/musician best known as keyboardist and vocalist of Fleetwood Mac.
Another cold case or Kate and Triston to solve – if they can? What happened to Janey Macklin and why wasn’t her body ever found?
What I liked:
* Kate: once on the police force, taught forensics at a university, tenacious, utilizes investigative techniques wisely, organized, methodical, intuitive, focused, intriguing
* Tristan: intense, focused, good brother, capable, great investigative skills, interesting character that I would like to learn more about
* Jake: Kate’s son, university graduate, on break from internship in USA, brought Olivia home for the holidays, son of a serial killer, proposes an option to Kate & Tristan that may improve their financial stability
* The prologue that set the stage for the cold case
* The tidbits about the main characters gleaned though not many were shared in this book
* Police procedural elements
* The plot, pacing, setting, and writing
* The tie-in to Peter Conway and his impact on more than one character in this book – hoping his part in future books will be minimal
* That all of the loose ends were tied up by the end of the story and there was closure for Janey’s family
* Wondering what the next book will be about
What I didn’t like:
* Who and what I was meant not to like
* The evil some of the characters were willing to do and the impact it had on more than one in the story
* Thinking about choices made and what would have happened if a different choice had been made
Did I enjoy this book? Yes
Would I read more in this series/by this author? Yes
Thank you to NetGalley and Raven Street Publishing for the ARC – This is my honest review.
4-5 Stars
BLURB
When school girl Janey Macklin disappeared from the seedy side of London in 1988, her case went cold, with no body and no witnesses. Now, thirty years later, private detective Kate Marshall has been approached by a true crime podcast producer with an intriguing question they need her help answering: What if Janey was killed by Peter Conway, the notorious Nine Elms Cannibal?
The contract would be the most lucrative of Kate’s career, but it comes with a price of its own, dredging up a sordid, complicated past that she would sooner forget . . . one that the paparazzi are determined to keep in the headlines.
As Kate and her partner, Tristan, scour King’s Cross for clues, no two leads seem to point in the same direction. The last person to see Janey alive has already been tried, convicted, and then acquitted of her murder, Peter Conway is in poor health and fading fast, and the line between their clients and their suspects is blurring with each new revelation about the case.
With little to work from, can Tristan and Kate wade through clandestine phone calls, decades-old secrets, and deteriorating DNA evidence to solve Janey’s murder, or will she remain one of London’s countless missing persons, forever lost to time?
Can be read as a stand-alone.