#Stages Performing Arts Academy

[svankmajerbaby]

anyway. best choice the academy awards have ever made in my opinion is to get henry hobson graphic designer and director make the 87th academy awards title cards tbh

[sonnyjohnson]

RIP James Earl Jones an EGOT Winner an Iconic actor and voice of Mufasa and Darth Vader

January 17, 1931-September 9, 2024

"One of America's most distinguished and versatile actors” for his performances on stage and screen. Mr Jones has also been recognized as "one of the greatest actors in American history" He was inducted into the American Theater Hall of Fame in 1985. “He was honored with the National Medal of Arts in 1992, the Kennedy Center Honor in 2002, the Screen Actors Guild Life Achievement Award in 2009 and the Honorary Academy Award in 2011”

[aeth-eris]

★ how to maximize profits via 2nd house ★

aries in the 2nd house can maximize profits by capitalizing on their entrepreneurial drive and competitive spirit. aries benefits from fast-paced, high-energy ventures where they can lead and make quick decisions. they might excel by launching a fitness training program, offering personal coaching services, or starting a motivational brand that sells products like athletic apparel, energy drinks, or performance gear. aries could also find success with subscription boxes focused on high-adrenaline hobbies like hiking, martial arts, or adventure sports. by embracing ventures that allow them to innovate quickly and take the lead, aries can build profitable businesses that leverage their passion and high energy.

taurus in the 2nd house is well-suited for steady financial growth through high-quality, long-term investments and products. they thrive in businesses that emphasize luxury, beauty, and quality, such as a high-end skincare line, organic foods business, or eco-friendly clothing brand. taurus could also consider starting a boutique furniture store that sells artisan-crafted or vintage items, as they appreciate products with enduring value. with their talent for creating a comforting atmosphere, taurus might excel with a bed and breakfast, a spa, or a wellness center that offers relaxation services. taurus maximizes profits by focusing on products that prioritize quality and offer a luxurious experience, appealing to clients who value longevity and craftsmanship.

gemini in the 2nd house can boost profits by tapping into their adaptability and communication skills, especially in diverse, mentally stimulating fields. they could thrive by starting a digital marketing agency, offering copywriting or editing services, or launching an online course platform that covers a wide range of topics to cater to curious minds. with their natural social skills, gemini could also excel in creating a networking app or social media consulting service. offering services like translation, podcasting, or even freelance journalism can keep income flowing, as gemini is well-suited to manage multiple streams of revenue. their knack for curiosity-driven ventures and networking makes them ideal for businesses that involve idea-sharing, quick adaptability, and community engagement.

cancer in the 2nd house can increase earnings by focusing on nurturing and emotionally resonant businesses that bring comfort to others. they might start a home-cooked meal delivery service, a childcare center, or a family-focused event planning service that organizes intimate gatherings like birthdays and reunions. cancer could also do well in real estate, particularly with home staging or property management that emphasizes creating warm, inviting spaces. they could excel in interior decorating, especially with a focus on cozy, family-oriented spaces, or start a handcrafted candle or blanket line. by building businesses that revolve around care, comfort, and family, cancer can create loyal clients and establish long-term success through emotional connections.

leo in the 2nd house maximizes profits by showcasing their creativity and leadership, often excelling in businesses that allow them to stand out and build a brand. leo could find success with a personal brand consultancy, fashion line, or luxury event planning business. they might enjoy launching a social media channel focused on lifestyle or self-improvement, where they can attract sponsorships or sell branded merchandise. leo also thrives in roles where they can influence and inspire others, so they might consider starting a motivational speaking business, an acting or dance academy, or a high-end boutique. with their flair for self-expression, leo profits best when they create high-quality, visually captivating products and services that let their star power shine through.

virgo in the 2nd house finds financial success through practical, detail-oriented services that provide high value and efficiency. they excel in businesses that involve organization, health, and precision, such as financial consulting, tax preparation, or a personal organizing service. virgo might also thrive with a nutrition or wellness coaching business, offering tailored health plans or holistic products like herbal supplements or self-care kits. a digital bookkeeping service, copyediting business, or virtual assistant agency could also bring them steady profits, as virgo’s meticulous nature appeals to clients who seek reliability and structure. by focusing on services that emphasize quality and organization, virgo builds a reputation for excellence that attracts a steady client base.

libra in the 2nd house can increase earnings by leveraging their skills in diplomacy, aesthetics, and partnerships. they could start a wedding planning business, a floral design company, or a luxury lifestyle brand that sells carefully curated home décor items. libra would also excel in public relations consulting or brand management roles, where they can help clients present a refined, balanced image. creating a high-end art gallery, a boutique law firm, or a relationship coaching service could also align well with libra’s skills. libra thrives in partnership-focused ventures, so building collaborative business models or co-founding a business with others can also enhance their profitability and bring a sense of harmony to their financial life.

scorpio in the 2nd house maximizes profits by tapping into their ability to handle intensity and complexity, often succeeding in fields like finance, psychology, and research. scorpio could build wealth by creating a private investigation firm, a psychotherapy practice, or a financial planning service specializing in wealth management or estate planning. they might also thrive in real estate investment, particularly with properties that need transformation, such as flipping houses or managing rental properties. scorpio may also excel in businesses related to holistic healing, offering reiki or shadow work coaching. by focusing on industries that require trust, depth, and resilience, scorpio can attract clients who value privacy and are willing to invest in transformational services.

sagittarius in the 2nd house can increase profits by embracing their love for adventure, growth, and education. they could launch a travel agency specializing in unique cultural experiences, a language learning platform, or a motivational speaking business that offers courses and workshops. sagittarius could also thrive by creating a publishing company focused on philosophical or inspirational content or starting a tour guiding business for international destinations. their enthusiasm for knowledge makes them great at teaching, so they might consider offering online courses or starting a coaching business in a field they’re passionate about. by aligning with growth-oriented ventures, sagittarius can attract an audience that values inspiration and big-picture thinking.

capricorn in the 2nd house maximizes profits through disciplined, long-term planning and a practical approach to business. they’re well-suited for businesses like a corporate consulting firm, project management agency, or investment portfolio service. capricorn could also do well in real estate development, particularly with rental properties or commercial buildings. they might find success by starting a financial advisory firm or creating a luxury goods company focused on high-end, timeless products like leather goods or fine jewelry. by aligning with industries that reward patience and professionalism, capricorn can build a solid financial foundation and enjoy steady growth, often seeing long-term success through conservative but reliable investments.

aquarius in the 2nd house can increase profits by focusing on innovation, technology, and humanitarian ventures. they might launch a tech startup, a renewable energy company, or a social media platform that prioritizes community and ethical interaction. aquarius could also find success with a nonprofit organization focused on social justice, an eco-friendly product line, or a collaborative workspace for creatives and freelancers. their futuristic mindset makes them perfect for ventures in artificial intelligence, blockchain technology, or virtual reality. by aligning their finances with progressive and forward-thinking industries, aquarius can attract clients and customers who value innovation and social impact.

pisces in the 2nd house maximizes profits by leaning into their creativity, compassion, and spirituality. they may thrive in a music or art therapy practice, a spiritual coaching business, or a holistic wellness center that offers services like yoga, meditation, and crystal healing. pisces could also succeed by creating a boutique art studio, a dream journal line, or a subscription service for wellness products like essential oils, herbal teas, and calming rituals. they’re drawn to businesses that help others heal or connect with their inner selves, so they may also find success in fields like astrology, psychic readings, or intuitive counseling. by aligning with businesses that emphasize emotional well-being and creativity, pisces can build a profitable venture that resonates deeply with clients who seek personal and spiritual growth.

[blooms-in-april]

In Oxenfurt there is a sacred tradition, which no one dares encroach upon: no one can be arrested during a theatre performance. And the scholars of Oxenfurt, for all their learning, are a dramatic, suspicious sort, and so the law stands. It's been taken advantage of by many a drunk and disorderly student, taking refuge in the audience of the Grand Theatre to evade the guard, until inevitably, the curtain falls and their reprieve is over.

When they come to arrest Professor Pankrantz, his students won't have it. He had come back to them quiet and broken this winter, more careless with his dissent, more bold in his defiance. He did not seem to care when the warrant was put out for his arrest, as an elvish sympathizer, a sodomite, and a conspirator against Nilfgaard.

"He knows the White Wolf will save him. He always does." Essi had said with false confidence, but the weeks pass and the university's protection wanes and the White Wolf does not come.

"He's not coming." Adrien whispers, hunched over his songbook. "We must do something."

"We will," Essi responds.

When he hears the guards outside his office, Jaskier puts down his quill for the last time. He swings open the door.

"Gentlemen!" He says. The armored faces are featureless, unmoving. "How would you like me?" They grab and cuff him hard across the head, then frogmarch him down the hall. His head rings like a great bell tolling the hour. He can feel the blood trickling out his ear.

There is a great crash, and a scuffle, and a large hand grabs him by the elbow. "Geralt." He whispers.

But it's not. Jeremiah smiles awkwardly, and holds his dented tuba in one hand. "I used to be a blacksmith before this." The quiet youth says. "Never thought it would come in handy again."

"My dear boy." Jaskier says as he's pulled along. "You shouldn't have. You saved my life."

"Your tutoring saved mine during finals. I think we're even, Professor."

Jaskier is hurried in through the backstage door, crowded with students carrying instruments, costumes, sheet music, and props. They all part way to let him through. "Top box, Professor." Essi says, hurrying him. "We saved it just for you."

He sits down, bewildered, as the guards shout outside and the orchestra tunes frantically. The curtain opens just as the guards make it into the auditorium. Everything hushes in that special breath before a show.

Essi steps on stage.

"Thank you and welcome to the members of the Oxenfurt Academy faculty, staff, and student body who have come to support this performance," she says. "We'd also like to welcome representatives of various law enforcement communities who have chosen to join us in the Academy Grand Theatre tonight. In the spirit of the arts, leave all discord at the door, and please enjoy this special performance by the students of Oxenfurt - 'The Adversities of Loving', a tribute to the life and works of Professor Julian Alfred Pankrantz."

She bows. The audience applauds. The play begins.

[manibolly]

He was a family friend.

RIP Zia Mohyeddin (20.6.1931 - 13.2.2023)

"It would be foolish of me to say that my acting career began on the stage in a play, written by my father, at the age of 11. A lot of people who act as schoolboys become lawyers or accountants or insurance agents. But something happened to me during that first experience. I lost all sense of time and space. It was as though I had lost my sense of recognition. The people I had been rehearsing with were strangers whom I had never seen before. As for the actual setting, it appeared to be a space in another world, a dream. And although I spoke my lines, it was quite some time before I realized that it was I who was speaking."

[alldancersaretalented]

Studio Switch List 2024/25

(also includes late season switches)

Link to "How many studio switches so far?"

??

-> Elite Studio of Dance

Jordyn Hay

-> Gateway Dance Center (new studio!)

B. Bernard C. Butler M. Caryl L. Caver E. Defoe K. Heath I. Lewis C. Nielson A. Peterson S. Peterson A. White

-> Kinetic Dance

Mary Anne Serpas

-> Mather Dance Company

Sally Schulz

-> N10 Dance Studios

Juliette Birchard Jonah Guzman

-> Renner Dance Company

Connell Gocke

-> The Merge (new studio!)

Leila Pitcovich

-> The Moxie Movement (new studio!)

Beeta Barkhordar Harper Fish Bailee Hill Sky White

-> The Union (new studio!)

Veda and little sister Mia Weisz-Marin

-> Tribe Seven

Cate Block

3'N Motion Studio

-> BLA Dance Academy

Molly Weber Margaux Struble Chloe Todman

4th Street Dance Centre

-> Northern Force Dance Company

Hazel Brown Olena Brown

Adage Dance Center

-> K2 Studios

Dylan Kubo Aspen Walton

Adrenaline Dance Company

-> Prodigy Dance Studio

Bellarose Ramos

AE Dance Productions

-> The Company Space

Hazel Kinnick

All American Dance Factor

-> Evolve Dance Complex

Madison Virostek

Allegro Performing Arts Academy

-> Pave School of the Arts

Lily McFarland

AM Dance

-> Studio X

Brooklyn Abrams Alana Cato Asyah Lewis Baileigh McJimson Leiyah Nova

-> The K Project Dance Company

Aubrey Davis Jaden Gonzalez Rosalyn Gutierrez

Amirian Ballet Academy

-> Royal Danish Ballet School

Emma Crawford

Apples Dance Lab

-> Evolve Dance Complex

Payten Butler Sara Wren

Artistic Motion Dance

-> Abstraction Dance Company

Giselle Pilorin

-> Devotion The Movement

Sydney Duke Sunnie Pelant

-> Gateway Dance Center (new studio!)

Zoe Baker GG Mier Katie Rosa Piper Ryder Tatum Ryder

Art Of Technique

-> The Washington School Of Ballet

Kaitlyn Brandely

Augusta West Dance Studio

-> CCJ Conservatory

Zoe Lewis

Avanti Dance Company

-> CAP The Company

Natalie Jahn

-> Mather Dance Company

Hayden Goren Reese Goren

-> N10 Dance Studios

Saige Hibbard

-> West Coast School of the Arts

Eva Graziano

Bay Area Houston Ballet & Theatre

-> Boston Ballet II

Sophia Jones

Bayer Ballet Academy

-> John Cranko Schule

Amelia Chen

Big City Dance Center

-> MDC Bridge Into The Industry

Alex Cyncewicz

Brava Dance

-> Westchester Dance

Emily Pierog

Burbank Dance Academy

-> ABT Junior Co

Manuela De Souza

Cache Valley Civic Ballet

-> Creative Dance Academy

Kate Baldwin Sophia Baldwin

Camarillo Academy of Performing Arts

-> Bobbie's School of Performing Arts

Peyton Root Ryan Root

Canadian Dance Unit

-> Vlad's Dance Company

Quinn Powers

CanDance Studios

-> Club Dance Studio

Preslie Ball

-> Gateway Dance Center (new studio!)

Colette Stutzman

-> The Union (new studio!)

Crystalyn Chesko

Carlsbad Dance Centre

-> Pave San Diego (new studio!)

Ansel Mullick Camille Mullick Evelyn Mullick

Cary Dance Prudctions

-> Renner Dance Company

Marlee Thomas

CC & Co Dance Complex

-> Renner Dance Company

Connell Gocke Olivia Roberson

Centerstage Dance Academy

-> West Florida Dance Company

Ava Starr Rodriguez

Center Stage Dance Company

-> JBP Entertainment

Bianca Lewis

Center Stage Dance Gymnastics

-> The Fenyx Project

Arielle Miles

Center Stage Performing Arts Studio

-> The Moxie Movement (new studio!)

Halston Fisher Oakley Fisher Tatum Fisher

Charliz Balicao Dance Company

-> Larkin Dance Studio

Payton Mueller

Cincinnati Ballet Professional Training

-> Alabama Ballet

Caroline Love Jenna Renfield

City Ballet San Francisco

-> Boston Ballet II

Maddie Austin

CityDance Conservatory

-> Boston Ballet School II

Lucian DeBellis

CJ Dance Crew

-> Club Dance Studio

Madi Cole MaKinley Cole

Club Dance

-> ??

Ashton Wullbrandt

-> Dance Studio C

Gwyneth Woods

-> Elite Dance Pro

Madisyn Rose Amos Kennedy Cicerelli Abby Honstad Jaida Morin Payton Stowe

-> Gateway Dance Center (new studio!)

Tilly Allen Brinley Bennett Brynlee Bulbulian Lainey Bulbulian Makena Cameron Pallas Chiste Olivia Clouse Kensley Colman Charlotte Cook Sophia Dasalla Avery Dunwell Lena Funk Mia Funk Jaycee Grant Kalista Greer Kanon Greer Kaylan Greer Oakley Hill Goldie Hill Birdie Hill Alaina Igleski Kaydence Lawton Arianna Mendez Callie Mendez Harper O'Malley Dannika Ren'ee Quiroz Tatem Robinson Leslie Soto Nicole Soto Tatum Strauss Kate Valentine Aubrey Williams

-> Illusion Dance Company

Madyson Barney

-> Prodigy Dance PAC

Taeya Stosich Tinley Stosich

Complexity Dance Center

-> Vision Dance Alliance

Ava Dowling London Dowling

Concept Pavielle

-> Larkin Dance Studio

Siena Paradeau

Conservatory of Dance Arts

-> The Merge (new studio!)

Ella Andrews Sarah Blady Charlotte Dean Sophie Dean Calli Hollenbeck Lilly May Hartley Murla

Cypress Dance Project (closing!)

-> The Fenyx Project

Ahmya Tovar Jasleen Tovar

-> Tribe Seven

Avery Farris Gracelyn Harris Kyndle McCormick Frankie Miranda Mia Narvaez Tana Nickerson Evelin Peterson Lily Savarese Paislynn Schroeder Gabriella Slay Dalilah Soto Frankie Soto Kayla Tanea Abigail Wade Melody Thiel Rianna Weck Rosalie Wickman

Cypress Elite Dance Studio

-> The Fenyx Project

Charlie Mae

Dance Academy of State College

-> Evolve Dance Complex

Emma Girdany

Dance Arts Centre ATL

-> Dance Lab (new studio!)

Ryn Andersen Tarin Belizaire Izzy Bensinger Nina Kitchen Daniella Lerman Samantha Wilson

Dance Arts Centre

-> Summit Dance Shoppe

Beckett Eberhard Britta Eberhard

Dance Connection 2

-> Club Dance Studio

Claire Pistor

-> Gateway Dance Center (new studio!)

Jaxon Adamson Juliette Ridenour Scarlett Ridenour

Dance Connection Scottsdale

-> The Collective PHX

Madee Richardson

Dance Deluxe

-> Club Dance Studio

Dana Homes

-> Dance Connection 2

Kamryn Arnold

-> Elektro Dance Academy

Sunday Smith

Dance Dimensions PAC

-> The House Dance Complex

Sophia Hasson Victoria Safahi

Dance Enthusiasm

-> Murrieta Dance Project

Liciana Vun

-> Phunk Phenomenon Dance Studio

Landon Indeglia

Dance Exposure 2

-> The Vision Dance Alliance

Morgan Wendt

Dance FX

-> Pave San Diego (new studio!)

Aryanna Lafontaine Cooper

Dance Inc Company

-> MDC Bridge Into The Industry

Lauren Allan

Dance Lab OC

-> Dmitri Kulev Classical Ballet Academy

Maggie Till

Dancemark Studio

-> Pave San Diego (new studio!)

Katie Bishop

Dance Republic

-> Club Dance

Annabelle Greenamyer Scottie Greenamyer Abigail Patton

-> Gateway Dance Center (new studio!)

Kaia Roseland

Dance Studio C

-> Elite Dance Pro -> Dance Connection 2

Charlotte Rathjen

-> Impact Dance

Maizey Miller Savannah Miller

Dance University

-> Impact Dance Academy (new studio!)

Olivia Cherpak Stella Cherpak Chiara Siragusa Mila Steven

Dance Unlimited Miami

-> Stars Dance Studio

Mila Talab

The Dance Zone

Katelyn Miranda

-> The Living Dolls Dance Factory

Olivia Martinez

Dance Unlimited Colorado

-> Gateway Dance Center (new studio!)

Fiona McDonald

Dance Vision

-> Becky Nalevanko's Dance Studio

Aria Telander

DanceDynamicsLV

-> Academy of Nevada Ballet

Naya Fowler

-> The Rock

Brielle Bonas Parker June

Danceology

-> Club Dance

Kelsey Jackman Makayla Jackman

-> DC Dance Factory

Kendall Kolodge

-> Evoke Dance Movement

Vida Lemos

-> Hyphen Conservatory

Haley Bertino

-> North County Academy of Dance

Ella Nani Knight

-> Pave San Diego

Paisley Publico Polly Jo Publico

Dancers Edge

-> Club Dance

Emerson Van Houten

Dancers World Production

-> K2 Studios

Claire Zhang

Dance Vision

-> The Academy

Cece Nguyen

Dansations Competition Team

-> The Vision Dance Alliance

Brady Horne

DC Dance Factory

-> The Vision Dance Alliance

Harper Bowen

Dellos Dance Academy

-> The Academy

Kendall Krajewski

Diverse Elements

-> Dance Connection Scottsdale

Kenna Bonhote

-> Dance Connection 2

Peyton Whited

Divine Dance Center

-> MDC Bridge Into The Industry

Kallie Niday

DMdance Company

-> The Merge (new studio!)

Kinsley Gainer Taylor Jenkins Tyler Jenkins

Dmitri Kulev Classical Ballet Academy

-> ABT Junior Co

Clara Riggs

-> Boston Ballet II

Pavel Kulev

-> Elite Classical Coaching

Summer Lily

-> European School of Ballet

Annabel Kohn

-> San Francisco Ballet School

June Freeman

-> Westside Dance Project

Fiona Poth

DNA Dance Creatives

-> Prodigy Dance PAC

Jackson Ruekert

Drapers Center for Dance Education

-> Gateway Dance Center (new studio!)

Rhauri Samuels

-> The Rock School For Ballet

Samuel Gauss

Dynamic Dance Company

-> Stars Dance Studio

Victoria Crupi

Dynamic Dance Refinery

-> New Level Dance Company

Sophia Hernandez-Gonzalez

Elektro Dance Academy

-> Dance Deluxe

Alexis Gizzo

-> Eternal Dance Company

Madyson Koch

-> LA Dance

Kinsey Joan

-> The Collective PHX

Julianna Aispuro Tenley Anthony

Elevate Dance Academy

-> MDC Bridge Into The Industry

Sidney Sullivan

Elite Classical Coaching

-> Academie Princess Grace

Morgan Ligon

-> Royal Ballet School

Izzy Keesee

Elite Dance PAC

-> Hyphen Conservatory

Lillie Lanier

Elite Dance Pro

-> Club Dance

Peyton De La Cerda Mila Michael Lucia Piedrahita Sophia Schiano River Segerman

-> Rhythm Dance Complex

Gavin Schwarze

-> The Collective PHX

Alexa Schwarze

Elite Feet Artists Company

-> Stars Dance Studio

Norah Hurley

Elise Flagg Academy Of Dance

-> Central PA Youth Ballet

Ella Wilke

Ellison Ballet

-> ABT Junior Co

Victoria Papakalodouka

Encore Dance Arts

-> The Collective PHX

Laila Faith

Eternal Dance Company

-> CanDance Studios

Alaina Martinez

-> Gateway Dance Center

Juniper Wakefield

Evoke Dance Movement

-> Pave San Diego (new studio!)

Eleanor Bullock Lucia Jade Frazier Emmy Claire Khaiden Tayah Klimuck Dylan Schaffer Maya Steinman

Evolve 26

-> MDC Bridge Into The Industry

Blayklee Balthazar

Evolve Dance Complex

-> CCJ Conservatory

Cami Vorhees

-> Power Dance Company

Maya Rogers

Evolution Dance Center

-> North County Academy Of Dance

Presley McGraw

-> Pave San Diego (new studio!)

Casey Archibald Liv Barrelli Karisma Colyan Kirrana Colyan Ava Cucker Elyse Dueler Alli Esposito Avery Fumillari Sofia Galati Joya Garner Sofia Gorman Kendall Hensley Kaylie Koehnen Brianna Lee Isla Marshall Emma MacKay Everly McGraw Ellie Miles Avril Overlock Drew Overlock Danielle Smart Kirra Stradwiser Vivienne Tolentino Lyla Yuceit Brooke Zamoff Shayne Zell

Expressions Dance & Music

-> Tribe Seven

Francesca Casaretto Gabi Woods

Fearless Dance Company

-> K2 Studios

Marilyn Castaneda

Flashdance Studio

-> Houston Ballet Academy

Patricio Lopez

FLEX Dance and Fitness

-> The Southern Strutt

Grace Marvella

Freckled Frog Dance Studio

-> K2 Studios

Vallerina Athena

Fusion Dance Force

-> Blueprint Dance Project

Emily Deal Abigail Monahan Abby Rodriguez

Fusion Studios

-> Mather Dance Company

Brooke Kim Mariana Simoes

Gateway Dance Center (new studio!)

-> Dance Deluxe

Bradley Kawa Breckyn Kawa

Gotta Dance Company AZ

-> The Collective PHX

Avah Gonzalez Gabriella Gonzalez Valencia Gonzalez

Gotta Dance Company CA

-> Stars Dance Studio

Tristan Jones

Greenwich Conservatory of Classical Ballet

-> Dance Town

Cassie Coughlin

-> Mather Dance Company

Lydon Thach

-> The Academy

Lia Turrieta

Hart Academy of Dance

-> The Academy

Lia Turrieta

Hathaway Academy of Ballet

-> somewhere in the Netherlands

Kennedy Kahler

Heart & Sole Performing Arts

-> Gotta Dance Company

Leigha Jessee

Hollywood Ballet School

-> United Ballet Academy

Isobel Lehman

Houston Ballet Academy

-> Boston Ballet

Sam Stampleman

-> Boston Ballet II

Michael Dadlez Layla Porter

Hudson Dance Academy

-> Avanti Dance Company

Melody Garcia

Hyphen Conservatory

-> Mather Dance Company

Makaela McCosar

iBallet Studio

-> Elite Classical Coaching

Aviva Brock

Impact Dance

-> Club Dance Studio

Bostyn Thomas Holland Thomas Presley Thomas

In Motion Dance Project (closing)

-> ??

Mila Bonilla Anniston Clarke Adrienne Diaz Bella Flores Mia Flores Lily Holbrook Isabella Luciano Mali Photnetrakhom Madeline Terry Joey Webber

-> Dance Universe

Ellie ?

-> Marshall Ellis Dance School

Renee Forseth

-> New Dimensions Dance

Annalee Ramb

-> Starz Dance Company

Elissa Loryn Sadie Moore Isabella Peixoto

-> Orlando Ballet School

Sylvie Rock

-> Underground Movement

Lila Blood Kristyeliz Laureano Valerie Santana Izzy Warren

-> Xplosive Dance Academy

Levi Caicco Valeria Luciano Isabella Quartaro Olivia Rock Abigail Torres Adeline Vozza

Innovate Dance Studios

-> Avanti Dance Company

Pressly Loomis

Inspire Dance Complex

-> K2 Studios

Eliana Guzmán Isabela Guzmán Cali Rucker Arrow Yarbrough

Inspired Movement Dance

-> Innovate Dance Studios

Brooke Toro

Intensity Dance Academy

-> Evolve Dance Complex

Lydia Onder Bryn Onder

Intensity Dancer's Studio

-> Dance Town

Nicole Losada

In The Spotlight Dance Studio

-> Summit Dance Shoppe

Quinn Caroline

JBP Entertainment

-> BLA Dance Academy

Ashton Kinsleigh

JDI Dance Company

-> 4PM Dance

Addelyn Muesso

Jean Leigh Academy of Dance

-> Tari's School of Dance

Stella Vince

Joffrey Ballet School Texas

-> MDC Bridge Into The Industry

Ella Waitz

Jump Dance Company

-> Impact Dance Academy (new studio!)

Natalie Boone Reese Gilman Chloe Mullins Claire Sorensen Addison Weimann

Jun Lu Performing Arts

-> Bayer Ballet Academy

Athena Hu

Just off Broadway

-> Club Dance Studio

Kaia Erby

-> Elite Classical Coaching

Sadie Daniels

-> Stars Dance Studio

Zoe Swope

K2 Studios

-> ??

(Jessica Sutton) (Rebecca Sutton)

-> Studio X

Jeanne Garcia Zoey Garcia

-> The Academy

Kynzli Reece

Kaos Dance Elite

-> The Company Space

Taylor Smith

Kat & Co

-> Evolve Dance Complex

Anthony Labritz

Katies Dance Connection

-> Elite Danceworx

Taya Osso

Kick Dance Studio

-> The Vision Dance Alliance

Violet Kolb

Kinetic Dance

-> The Merge (new studio!)

Catherine Owen

Kozmic Edge

-> Q3 Dance Company

Angelina Mendez

LA Dance AZ

-> Dance Connection Scottsdale

Syvon Stokes

Larkin Dance Studio

-> Studio 4

Lola Boisen

-> Concept Pavielle

Grace Sullivan

-> Elite Classical Coaching

Savannah Manzel

Legacy Dance Productions

-> MDC Bridge Into The Industry

Mckenna Gerrits

Legacy Productions Miami

-> Stars Dance Studio

Emily Pina

Lovett Dance Center

-> Hyphen Conservatory

Logan Macy

Major Productions Studio of Dance

-> Impact Dance Academy (new studio!)

Hailey Schneider

Master Ballet Academy

-> Ballet West

Melanie McIntire

-> Club Dance Studio

Hazel Silverman (also continues training at MBA)

-> John Cranko Schule

Gracie Kirkwood Lillian Rossman

-> The Rock School For Ballet

Keagan Pickett

Mather Dance Company

-> OCPAA

Mia Santiago Savy Witeck

-> The Academy

Eliana Weiss

Mekka Dance Project

-> Tribe Seven

Ainsley Scott

Meta Fair Burns Dance

-> Kinetic Dance (new studio!)

Kylie Dalrymple

Miami City Ballet Pre-Pro

-> Boston Ballet II

Olivia Santos

Miami Dancity Studios

-> Stars Dance Studio

Sabrina Lorente

Michelle's Dance Xplosion

-> Nor Cal Dance Arts

Jaxon Albano

Michigan Dance Alliance

-> Artflux Dance Lab

Mattie Mair Millie Morante

Milele Academy, LLC

-> DC Dance Factory

Eisley Beer

MJ's House of Dance

-> Blueprint Dance Project

Kiley Holgerson Ava Azzaretto Caiden Boltz Cassidy Boltz

Monterey Peninsula Ballet Theatre

-> Bayer Ballet Academy

Harper Palmer

Move By Morrelli

-> Artistic Fusion Dance

Lilianna Hales

Murrieta Dance Project

-> K2 Studios

Jaedon Diaz Kloey Diaz

MVP Elite

-> 3'Motion Dance Studio

Mackenzie Mucha Madison Mucha

N10 Dance Studios

-> ??

Ariella Truong

-> 4PM

Jordan Eskenazi

-> Dance Star Academy of Performing Arts

Avery Margarita

-> Premier Youth Dance Academy

Clara Han

-> Project 21

Annie Hu Madison Ng

New Level

-> Stars

Kenny Braga Reese Braga

NJ Center of Dance

-> The Vision Dance Complex

Bella Baldino

No Limits Dance Company

-> CCJ Conservatory

Rylie Sickles

Northern Force Dance Company

-> Larkin Dance Studio

Aria Johnson Sloane Johnson

North Shore Dance Academy

-> Dance Enthusiasm

Juliana Desilets Ellie Fanning Sophie MacKenzie Callie Wilkins Molly Wilkins

OCPAA

-> ??

Sarah Kuy

-> K2 Studios

Amelia Faizi Ella Montano

-> Mather Dance Company

Mila Malone Sierra Yen

-> Nebraska Dance

Sophia SantaMaria

-> Project 21

Reese Arkin Valeria Ochoa

-> Studio X

Jordyn Rockett

On Pointe Dance Studio

-> K2 Studios

Giuliana Bressler

Orlando International School of Dance

-> Starz Dance Company

Layla Jordan

Palm Beach Academy of Dance Arts

-> Dance Universe

Hattie Selene

Panama City Dance Academy

-> Kinetic Dance (new studio!)

Maisie-Rose Burkey

Paula Carr Dance Academy

-> Elektro Dance Academy

Eliza Gee

Pave School of the Arts

-> Evoke Dance Movement

Addyson Paul

-> Innovate Dance Studios

Quinn Briscoe

-> Mather Dance Company

Alexa Rauth Ava Rauth

-> OCPAA

Kennedy Bush

-> Project 21

Stella Fisk Liv Matson

-> The Moxie Movement (new studio!)

Kenzie Arrendondo Talia Ayumi Gemma DeSola Kinsley Dunn Kassidy Dunn Ellie Iwamoto James Iwamoto Harper Fisk Marlowe Fisk Tatum Fisk Kirsten Jeslyn Kailey Longshore Kassidy Luong Sophia Monje Alexa Paul Goli Ranekouhi Rylee Stabeck Isaiah Wang Hadley York

-> South County Dance

Hayden Calder

Perception Dance

-> Premier Dance

Madison Smith

Perfect Pointe Dance

-> Studio X

Danya Chang

Pittsburgh Ballet Theatre School

-> Ballet West Academy

Carina Fulop

Platform Dance

-> Gateway Dance Center (new studio!)

Arielle Michalak

Precision Dance Conservatory

-> Dance Universe

Teagan Sanchez

Premier Youth Dance Company

-> Elite Classical Coaching

Greysen Fowler-Allen

Prestige Dance Institute

-> Renner Dance Company

Kensley Phillips

Profusion Talent

-> Studio X Dance Complex

Dallas Soffel

Project 21

-> ??

Ally Choi Airi Dela Cruz

-> CAP The Company

Dillon Barron

-> CA School of Classical Ballet

Aliya Yen

-> Stars Dance Studio

Leilani Lawlor

-> Westside Dance Project

Makeila Bartlett

Project Performer

-> Pave San Diego

Nora Aminlari

Renner Dance Company

-> Club Dance Studio

Ania Siri Olivia Siri

Republic Edge Dance Company

-> Tribe Seven

Adalynn Delaney Alayna Jeneva Cali Lynch Aubrey Warren

Revolution Dance

-> Dance Zone

Kaylin Gabosch

Rize All

-> Elite Studio of Dance

Carissa Chueng Roxanna Chueng

-> Natiomas Dance Method

Ayla Polendav

-> University Cheer Force

Addelyn Skube

Rockly Mountains Ballet Academy

-> San Francisco Ballet School

Shylee Sagle

Russian Masters Ballet

-> Dmitri Kulev Classical Ballet Academy

Sheridan Stone

San Clemente Dance

-> Variant Movement

Alana Ting

SFLA Dance Complex

-> Dance Enthusiasm

Addison Parker

Skyra Studios

-> Mather

Sienna Morris

Sol Studio SSD (closing!)

-> Pave San Diego (new studio!)

Phoebe Fatula Hayden Goebel Makenna McGrath Lily Parraga Riley Platenberg Gabby Reiss Tiffany Robinson Keira Segal

Soul Studio Dance

-> West Florida Dance Company

Callie Ludtke

South County Dance

-> K2 Studios

Paige Garrett Reese Garrett

-> Mather Dance Company

Gabby Campos

Southland Ballet Academy

-> ABT Junior Co

Alisa Xu

-> Pacific Dance

Natalie Chiang

South Tulsa Dance Co

-> Next Step Dance

Allyn Green

Stage One Dance Studio

-> MDC Bridge Into The Industry

Katie Kim

Starstruck Performing Arts Center

-> Perception Dance

Jacey Erwin Kinley Winn

Steps N Motion Dance

-> K2 Studios

Aspen Roberts

Studio 1 Dance Academy

-> Club Dance

Hadley Taylor

-> The House Dance Complex

Lyla Martin

Studio 4

-> Larkin

Elle Boudewyns Reese Ottney Leah Pribyl Vera Souvannavong

Studio 19 Dance Complex

-> Elite Dance By Damian

Alexis Crystal

-> Evolve Dance Complex

Carina Simone

-> MDC Bridge Into The Industry

Kaitlyn Allen

Studio 702

-> The Rock

Peyton Nowacki Addison Price Hailey Stuck Taylor Stuck

Studio Bleu Dance Center (closing!)

-> ??

Kristin Mitchell

-> Art of Technique

Abigail Daisy Olivia Rosiek Chloé Le Pettigrew Victoria Zhang

-> Cerdafied Dance Studios

Nick Shalin

-> CityDance Conservatory

Kennedy Thompson

-> Dance Academy of Loudoun

Madelyn Cuttin Addie She

-> Enchanted Stage

Lily Mendoza Ellie Myers Mina Oemler

-> Ignite The Light Performing Arts

Zion Landis

-> LM Premier Dance

Grace Wright

-> Mission Dance Project (new studio!)

Lily Carmello Ava Doell Aubrey Franklin Kayleigh Jo Ellie Myers Brianna Norgrove Emily Parinello Brooklyn Smith Stella Tullio Jessica Zhang

-> NOVA Elite Dance Alliance

Nicole Ocean

-> Rise Dance Center

Kennedy Mirabella Maddy Mirabella

-> TDC Dance

Ja Pelle Nayeli Wilder

-> The Dance Lab VA (new studio!)

Leilah Bell Lily Rae Bolno Audrina Brudner Bellatrix Castillo Isabella Plotczyk Ashlan Scheide Mina Terry Gina Zhang

Studio G Dance Company

-> Art In Motion Conservatory of Dance

Madilyn Rexrode

-> Artistic Edge

Devin Dalmolin

Summer's Danceworks

-> The Union (new studio!)

Cienna Fernow Ellah Perry

Summit Dance Shoppe

-> Concept Pavielle

Gabriella Maggitt Carrigan Paylor

-> Larkin Dance Studio

Lucy Mae Dunn

Synergy Academy Utah

-> Center Stage Performing Arts Studio

Corra Blake

Tapio School of Dance and Gymnastics

-> CCJ Conservatory

Landry Leon

TDA Prep

-> Exhibit 3 Dance

Avery Maycunich

Temecula Dance Company

-> K2 Studios

Bailey Dalton

Texas Academy of Dance Arts

-> Tribe Seven

Gatsby Lasala Quinlyn Lasala

The Academy

-> Evoke Dance Movement

Ella Carlson

-> K2 Studios

Laci Stoico

-> Mather Dance Company

Bella Puskar

-> The Next Big Thing Academy

Peyton Barron

-> The Platform Dance Studio

Malia Williams

-> YYC Dance

Kinsley Oykhman

The Art of Classical Ballet

-> Hollywood Ballet School

Kya Massimino

Theatre Arts

-> MDC Bridge Into The Industry

Hallee Francisco

The Ballet Clinic

-> Russian Ballet Academy

Sarina Rosenblum

The Center Stage Dance Studio

-> YLAB

Blakelyn Scifres

The Collective PHX

-> CanDance Studios

Sasha Landreaux

-> Club Dance Studio

Ellie Laird Zoie Laird

-> Elite Dance Pro

Alivya Alfonso

-> Gateway Dance Center (new studio!)

Breckyn Kawa -> Dance Deluxe Bradley Kawa -> Dance Deluxe

-> Russian Ballet Academy

Mila Hiatt

-> The Union (new studio!)

Addy Gaffney

TheCREW

-> Studio X

Kinley Cunningham

The Dance Academy of Puyallup

-> The Company Space

Isabella Scandale

The Dance Centre NJ

-> The Vision Dance Alliance

Savanna Grae

The Dance Complex

-> Larkin Dance Studio

Maddyn Bauermeister Henley Raak

The Dance Institute

-> Stars Dance Studio

Maribel Weishaar

The Dance Scene

-> Studio X

Desi Alcala

The Dance Space

-> Tribe Seven

Penelope Church

The Dance Spot

-> Danceology

Alessandra Escobar-Moeller

-> Mather Dance Company

Kennedy Molino

The Element Dance Center

-> The Academy

Sunnie Stanley

The Living Dolls Factory

-> Legacy Dance Studio

Lilliana Gonzalez

The Movement Complex

-> Stars Dance Studio

Victoria Reich

The NINE Dance Academy

-> Canadian Dance Company

Shaunaughsey Meagher

-> Vlad's Dance Company

Evelyn Rego Ivy Mae Rego

The Platform Dance Studio

-> CCJ Conservatory

Kaydence Mardis

-> Dance Connection 2

Jordyn Castle

-> Gateway Dance Center (new studio!)

Clara Lawless Lily Lawless Stella Lawless Arielle Michalak Charlotte Reese

The Rage Dance Complex

-> Studio 1 Dance Academy

Tennasyn Faith Giselle Miranda

The Rock Center For Dance

-> ABT Junior Co

Crystal Huang

The Southern Strutt

-> CCJ Consevatory

Annsley Huff

The Talent Factory

-> K2 Studios

Ileana Cruz Sienna Legitt Natalie Pan Quinn Pan

The Vision Dance Alliance

-> New Jersey Ballet Company

Kennedy Anderson

The Why Movement

-> Tribe Seven

Grace Gerszewski

Titanium Arts Lab

-> MDC Bridge Into The Industry

Julliana Gould

Trademark Dance Academy

-> The Vision Dance Alliance

Braelynn McKenna

Variant Movement

-> New Level Dance Company

Gabby Terschluse

Way 2 Move - Dance & Movement

-> Dance Town

Alexa Oviedo

West Coast Dance Complex

-> Pave San Diego (new studio!)

Emily Bach

West Coast School of the Arts

-> Hyphen Conservatory

Rebeca Gomez Garza

West Florida Dance Company

-> Stars Dance Studio

Ella Dobler

-> The Southern Strutt

Macey Strickland

WestMet Classical Training

-> Sarasota Ballet School

Madelyn Murphy

Westside Dance Project

-> ??

Diana Kouznetsova Isabella Kouznetsova

-> European School of Ballet

Annabel Kohn

-> Hyphen Conservatory

Esme Chou Olivia Marquez

-> San Francisco Ballet School

Izzy Howard

Woodbury Dance Center

-> Larkin Dance Studio

Kylie Roach

Xtreme Dance Studio

-> The Rock School

Blake Metcalf

YLAB

-> Project 21

Emma Walters (also continuing training at YLAB)

Your Haven Dance Company

-> West Florida Dance Co

Kylee Kay

Youth American Ballet Company

-> Boston Ballet II

Natalie Cardona

[pochiperpe90]

[ENG] PARDO - Interview with Luca Marinelli

“Luca Marinelli is a true phenomenon!” This is how Paolo Virzì, who directed him in Tutti i santi giorni in 2012, defined the actor a few years ago. He was absolutely right. Throwing himself body and soul into each of his roles, Luca Marinelli does not limit himself to playing a part, but manages to transform himself completely, creating intense, charismatic, unique characters. From the young introverted mathematician in La solitudine dei numeri primi (2010) by Saverio Costanzo, to Roberta in L’ultimo terrestre (2011) by Gipi; from the criminal in Non essere cattivo (2015) by Claudio Caligari to the cult character of the Zingaro in Lo chiamavano Jeeg Robot (2015) by Gabriele Mainetti; from the proletarian intellectual in Martin Eden (2019) by Pietro Marcello, to the King of Terror in Diabolik (2021) by Manetti Bros; from Nicky, the immortal warrior, in The Old Guard (2020) by Gina Prince-Bythewood, to Pietro, a fervent mountain enthusiast in Le otto montagne (2022) by Felix Van Groeningen and Charlotte Vandermeersch; Luca Marinelli has been able to give life, thanks to his prodigious versatility, to an extraordinary range of characters who all bear the unmistakable sign of his talent.

Maria Giovanna Vagenas: In your current career as an actor there are two important works coming out soon: the television series M. Son of the Century by Joe Wright and The Old Guard 2, by Victoria Mahoney. While waiting to be able to see them, I would like to start by addressing a perhaps less well-known but equally essential side of your work: your debut as a theater director in 2023 with Kafka's Una relazione per un’accademia, for the Festival dei Due Mondi of Spoleto. How did this project, on which you collaborated with the German actor Fabian Jung, come about?

Luca Marinelli: The first idea for this project dates back to ten years ago when I saw Fabian at his graduation performance at the Ernst Busch Academy of Dramatic Art in Berlin. I found it extraordinary, and on that occasion I had already told him: "In my opinion you should recite this text!" Then there was a ten year gap. Towards the end of the pandemic, I proposed to him that we work together on Una relazione per un’accademia. At the beginning we had to be both on stage a bit, later I understood that it would have been more sensible to mount this piece with just one actor and I asked him if he would like to be directed by me.

MGV: What was your approach as a director? 

LM: At the beginning of this project I was more of a kind of acting coach - Fabian acts in Italian, even though he doesn't speak it - then I began to understand what it meant to be a director, to take responsibility for everything the public will come to see, to make many decisions and to take care of an entire team. In this context, the exchange of ideas with Fabiana Piccioli, who deals with the light design of the show, was essential: the theatrical piece is in fact a kind of dialogue between the actor and the light, the space and the audience. Being a theater director is also a question of trust. In the cinema the director is very present until the end of the production process, but in the theater you get up to a certain point and then that's it, because the real work, evening after evening, falls to the actors and technicians, that is, to those who are in the scene and around it. The director is no longer part of the performance, he’s almost the first spectator of his own work. It was a very beautiful experience for me, because being "outside", that is, not being on the scene but in front of it, is truly something completely different! In February-March 2025, we will take this show on tour around Italy.

MGV: Do you plan to continue along this path in the future? Is it an experience that has opened up new perspectives for you?

LM: It's a road I'd like to explore, that of theater. I would like to return to the stage as an actor-director, a bit like a master, let's say. I feel that theater is much more accessible to me, while I know very little about the technical side of cinema and for which I have great respect, so for now I don't feel like it.

MGV: You come from a family close to the world of entertainment. It seems that as a kid you watched a lot of movies with your grandmother. I would be curious to know how your desire to become an actor was born in this context. 

LM: My father is first and foremost an actor who is also dedicated to dubbing and my grandmother, as you said - a great cinephile. I owe a lot to every member of my family, whether they work in the arts or not. However, I cannot tell you where this desire comes from, each of us has a drive within us, and is attracted by something. Indeed, I grew up watching many films and, thanks to my father, I happened to know this work in various forms. But when you are very young it is difficult to say: I want to do this! I felt very attracted by the world of theater and cinema, by the idea of ​​expressing myself in a way that went beyond words, which approached images, sounds, the body. I wasn't fully aware of it from the beginning, but now I feel that it's exactly this: I love observing an interpreter's body, listening to their voice. I love seeing a group working together and I love teamwork. The profession of actor contained within itself a bit of everything that nourished my curiosity. This desire has been growing more and more. My family has always been very supportive and has never hindered me in anything. Rather, I was the one who hindered myself, until, at a certain moment, I gave myself permission to approach this profession and entered the Silvio D'Amico National Academy of Dramatic Art. They were three wonderful years during which I gave free rein to all my curiosity and desire for expression. The relationship with my class was fundamental and magical. From there, little by little, I moved forward. Almost immediately, cinema arrived with Saverio Costanzo who hired me for La solitudine dei numeri primi together with Alba Rohrwacher. I auditioned while I was still at the Academy and was acting in the final recital Dream of a Summer Night directed by Carlo Cecchi. I finished the Academy and immediately went on set for the first time.

MGV: You found Carlo Cecchi again as an actor on the set of Martin Eden (2019) by Pietro Marcello many years later. 

LM: Of course, and it was wonderful to meet again! I consider Carlo my teacher, he is the first who truly made me understand the importance and urgency of this profession. 2012 was the last time I was on the boards of a stage and was with him. Carlo Cecchi had become very fond of us all and with this graduation essay he managed to take us on tour. Basically we did two theater seasons from 2010 until February 2012.

MGV: Are there other directors, among all those you have collaborated with, that you consider to be your teachers?

LM: I met some great directors during my journey, each had their own vision of art, so it's as if I had many different teachers along a single professional journey. I would practically name them all, but I would also name the actors I simply observed in films.

MGV: Between the actors who inspired and influenced you, who would you quote?

LM: For the sake of equality, I only mention the actors of the past. There are many who have struck me but I always evoke Anna Magnani, Silvana Mangano, Marlon Brando and Massimo Troisi. These are the first huge names that come to mind. When I 'met' them on the screen I immediately realized I was faced with something unique and great. I like to mention these four names also because they belong to a moment in my life in which I still didn't know what I would do, but I was drawn towards them.

MGV: Non essere cattivo (2015) was Claudio Caligari's last, poignant and wonderful film, released posthumously. What are your memories of him?

LM: Claudio Caligari was a gigantic meeting for me, from him I learned how important expression and communication, sharing and respect are. I understood how much this profession is life and how much life can be put into it. I witnessed enormous courage and a great knowledge of filmmaking. I also learned the dedication and immense respect that one must have for the public, for what is proposed, for how one interacts with those who come to see a film, without ever putting oneself on a pedestal but being all together. Caligari taught me to never judge myself, nor others, nor the stories one tells nor the characters one plays but that one must stay with them, inhabit them. These are the few things, fundamental for me, that come to mind. Beyond this, every single memory is a source of inspiration and guidance for me. And then the certainty that love and passion are the only things that really keep us here and now, alive.

MGV: In 2019 you played the complex character of Martin Eden in the film of the same name directed by Pietro Marcello, and you won the Volpi Cup at the Venice Film Festival. What did this role mean to you? And what was it like working with Pietro Marcello? 

LM: The collaboration with Pietro arose from a secular prayer which has been fulfilled over the years. I was a great observer of his work and his art and finally being able to work together was a great gift, a true exchange based on trust. We all found ourselves in a moment of grace, in a state that allowed us to work with great concentration and dedication together. As for the role, I think Martin Eden is one of the most beautiful male characters of the last century, in one of the most powerful novels ever written. I owe a lot to this character, not only a very prestigious award, but also important artistic and personal growth.

MGV: You have played an extremely wide range of roles, spanning from one film genre to another. Beyond your exuberant talent and the extreme versatility of your performances, what is striking about your acting is the generosity with which you embrace each character, offering your all. How do you prepare your roles? 

LM: It's like a kind of love at first sight; I fall in love with the story, with the character and from that moment on I begin to see everything in that direction. It is an almost routine behavior that I have never schematised. If someone were to ask me, "How do you approach a character?" I would answer that I have no idea, but every time I do it more or less in the same way. There is certainly a certain affinity with the director and an involvement in the script and the character. Little by little I'm starting to eat all the information I can find. I am often offered films to watch, and then I discuss them with the director. I love working with imagination and thinking about every element of the character. I like being with the costume designer, working on the costume and then creating the look of my character with makeup and hair. I'm very happy when I can have my say too. As I said before, I fall in love with the character and I begin to see everything in that light. My wife always tells me: "You've already started!" I don't notice but she does! "You've already started!" it means that everything has started to take on that colour, but I don't do it on purpose, I believe that there is a more intelligent, unconscious part inside me that organizes my work. It's a bit like this!

MGV: A few years ago Paolo Virzì, who directed you in Tutti i santi giorni, said of you: "Luca is a phenomenon, he's intelligent, witty, but at the same time he's crazy, he becomes what he's doing. All the great actors have a kind of lack, a defect, they know who they are and therefore they are enthusiastic about becoming the one who proposes to them!" What do you think? 

LM: I agree with him, all this is said with deep love and therefore I accept everything he says about me. I love Paolo so much and I think he understood me more than I understood myself. In fact I think none of us really have a clear focus on who we are and what we can be. Of course this is an interview from a few years ago, perhaps now I know slightly more - but only slightly [laughs] - who I am because I am closing, so to speak, the first act of my life, given that this year I will be turning 40!

MGV: Being an actor is a collective profession. Over the course of your career, a very significant bond has been created between you and Alessandro Borghi, with whom you collaborated for the first time in Non essere cattivo and who you met again on the set of Le otto montagne of Felix Van Groeningen and Charlotte Vandermeersch, Jury Prize at Cannes. Could you tell me about your working relationship and your friendship?

LM: I'll start from the beginning of what you said; for me this isn’t a job we do by ourselves. This art doesn’t exist without the other. Even a monologue is not done alone but with the audience. Acting is always a way of expressing oneself and communicating. I adore, as I said before, teamwork, over the years I have happened to work with many wonderful colleagues who have become important friends and then there was this magnificent meeting with Alessandro during Non essere cattivo, a film that carries within itself something sacred due to how it was approached, and due to the strength of the great Claudio Caligari who created it. The two of us found ourselves actors in this extraordinary work which united us so much, creating a deep bond between us which at that moment was needed, let's say, for the film but which the film then gave us for life. Since then this friendship has continued and gone forward, without interruption. After Non essere cattivo for six years we were no longer able to work together, then suddenly another wonderful film arrived, full of love: Le otto montagne and thanks to two fantastic directors, Felix and Charlotte, we managed to make this friendship coincide again on the screen too. Alessandro and I are good together. At work, to put it in a football metaphor, for me it's like I always know where the other guy is so I can make a cross almost with my eyes closed because I know he gets the ball, stops it and shoots it towards goal! We have great chemistry and on set, we don't need to worry too much. I hope we can work together again soon. I happened to see an interview where we said that we promised ourselves not to wait another seven years to do it, but now it's been almost three years already so we have to hurry!

MGV: For a few years now you have also started an important international career by participating in important productions such as The Old Guard by Gina Prince-Bythewood with Charlize Theron which was a huge success on Netflix, the series Trust (2018) by Danny Boyle, written by Simon Beaufoy and starring, among others, Donald Sutherland, and a production for German television: Die Pfeiler der Macht (A Dangerous Fortune, 2016), by Christian Schwochow. How did you experience dealing with all these new production realities?

LM: In every latitude there is a slightly different type of approach but essentially the work is always the same. The thing that always excites me is that, ultimately, we all find ourselves in the common language of acting, of art. I was lucky enough to work with some wonderful international casts, not only every single actor but also the technical departments and directors were wonderful people. Ultimately, the place changes geographically, but the work remains the same.

MGV: As a member of the Jury of the International Competition, what will your evaluation criteria be?

LM: I was just looking at the list of films in competition and judging by the images that accompany them I already like them all, so maybe I'm off to a bad start! [laughs] I don't actually have any specific parameters. I certainly won't judge only the performers, but I will look at the film as a whole. However, for me it is essential to start from the assumption of great respect for the film itself, because every film is a work that requires great efforts from many people and for this reason must be evaluated with consideration. Having said that, I would like to have a good dialogue with the film, an intelligent dialogue on an intellectual and emotional level. In short, I hope that a film leaves me with a thought, a sensation, an emotion.

As usual, sorry for any mistake and my English

[inkspiredwriting]

Timeless Encounters

Five Hargreeves x Fem!reader

Warnings: none

As a member of the Umbrella Academy and later as a hitman for the commission, Five has seen more than his fair share of temporal anomalies and paradoxes. Yet, nothing could prepare him for the peculiar pattern of his encounters with a woman named Y/N.

Their first meeting was in the 1920s, in a small bookstore where Five was hiding out, blending in among the dusty shelves. Y/N walked in, looking for a rare book. Their eyes met, and though the conversation was brief, Five felt an inexplicable connection.

Years later, in the 1950s, Five was in New Orleans, working undercover. One night, in a dimly lit jazz club, he saw her again, singing on stage. Her voice was hauntingly beautiful, and once more, Five felt that strange pull. After her performance, they spoke, sharing a drink and stories. Despite the passage of time, there was a familiarity that neither could explain.

Their paths crossed repeatedly: at a peace rally in the 1970s, a scientific conference in the 1980s, and an art festival in the early 2000s. Each time, they were inexplicably drawn to each other, and each time, they left with the feeling that they had met before.

It wasn't until their latest encounter in the 2020s that the pieces began to fall into place. Five had been tracking anomalies in the timeline, trying to prevent yet another catastrophe. Y/N, now a historian researching temporal disturbances, was attending the same conference where Five was gathering information.

After an intense day of lectures and debates, they found themselves alone in a quiet corner of the venue. As they talked, their fragmented memories started to align. They began to realize that these weren't just chance meetings. Their encounters were too precise, too consistent across the decades.

"Five, this isn't a coincidence," Y/N said, her eyes wide with realization. "We keep meeting for a reason. It's like we're... meant to be together."

Five nodded slowly, his mind racing. "I've seen a lot of strange things in my time, but this... it's different. It's like time is trying to tell us something."

Y/N leaned closer, her voice almost a whisper. "What if we could be together permanently? Use your abilities to manipulate time so we can stay in the same period?"

The idea was tempting, but Five knew the risks. Time manipulation was dangerous, and altering their destinies could have unforeseen consequences. "Y/N, you don't understand. Playing with time like that could be catastrophic. We could cause a paradox or worse."

Y/N's expression softened. "Five, we've spent lifetimes missing each other. If there's even a chance that we can be together, don't you think it's worth the risk?"

Five looked into her eyes, seeing the same yearning that he felt. The possibility of a life together, free from the constraints of time, was incredibly alluring. But the dangers were real.

After days of contemplation and planning, they devised a way to synchronize their timelines, to anchor themselves in a single period. The process was complex, requiring precise calculations and a leap of faith.

Finally, the day came. In a secluded spot, far from prying eyes, Five activated the device they'd created. As the energy surged around them, they held onto each other, hoping against hope that this would work.

The world around them blurred, colors and shapes blending into a whirlwind. When the chaos subsided, they found themselves standing in the same spot, but everything felt... right. Time had settled, and they were together.

Five looked at Y/N, his heart pounding. "We did it."

Y/N smiled, tears of joy in her eyes. "We're finally together."

But even in their joy, they knew the future was uncertain. They had taken a monumental risk, and the repercussions were unknown. But for now, they had each other, and that was enough.

As they walked hand in hand into their new life, Five felt a weight lift off his shoulders. They had defied the odds and the constraints of time itself. Whatever came next, they would face it together, timeless and united.

[mistymem0ryy]

Yandere Arlecchino x Ballerina Reader

‘Oh who is She’

Summary: As a ballerina in Fontaine’s most prestigious dancing Academy you have lived your life with the intent to serve the arts and being able to provide to your family a next meal. Life in the Opera house flows with the same old mundanity until the growing number of Fatui agents within the country alongside the death of one of your coworkers begins to solidify the already running distaste for the Shneznayan ‘diplomatic’ lackeys. Your opinion about them is as unsavory as the next guy, that is until you meet one of the grand patrons of the Theatre, Arlechinno, whose interest in you and your talent grows concerningly more fierce with every passing performance.

Author’s Notes >>> at the end of the post! please check it out for some clarifications!

Warnings: discussions of pr0stituti0n and the unsavory sides of performance arts, mentions of murder and your common yandere sketchiness

No beta we die like any teenage girl with Slavic ballet teachers

I. A misty memory 

The memory of the Genesis of your own downfall has never faded completely from your straying recollections. It possesses a freshness that stings and contorts. It is partially hidden by a cape of fog, a mist deep enough to make you look twice and yet, within its frailty, to provide you with a rough silhouette of that which now inhabits the realms of the unconscious.

Sometimes you wonder if its repression won’t be for the better. You have, for the first time in your life, genuinely reached the understanding that ignorance is truly bliss.

If you had known that a single glance could have harbored the power to throw you into the scorching depths of hell, you would have blinded yourself by the age of 9.

If you had known that the only way out of such an inferno would be through the merciless mountain of purgatory, you would have preferred for your limbs to be frozen whole alongside that six-eyed beast. Perhaps his flowing tears would have purged you of whatever sin you unknowingly committed in order to be cursed with such a fate.

She says she serves a God in her doings. You fear she has mistaken the voice of her unsightly desires for that of divinity.

But perhaps that must be the forbidden truth stuck within our suffocating throats—that our most grotesque and hideous desires are but a reflection of the Gods.

You were wearing black that day, a colour not unknown to your wardrobe, yet it was worn with a completely different intent, if memory serves you right. A girl around your age, red-haired with a blemish under her right eye. You had previously exchanged some vague pleasantries when alone behind the velvet curtains that could rival the tint of her reddening cheeks; she had once gifted you an arrangement of lavenders as a congratulation to your promotion into one of the highest grades within L’Academie and even went as far as to write one of your favourite poems upon the accompanying card attached to their freshly cut stems.

She had a name; you are sure of it, but for some reason you cannot bring yourself to recollect it now, the girl’s body had been found bloody and mud covered in a soiled ditch on Fontaine’s southern border exactly three days before you formally met Her.

She had been charming; even a blind fool would have been hypnotized by Her  enticing aura. And you had been exactly that—an ignorant and mindless fool.

It wasn’t the first time she had visited the theater; you try your best to blur the faces of the audience into an unrecognizable blob of flesh during performances, but hers was too marking to dismiss. Her gaze scrutinized each minute move of your flowing limbs, there was a certain hunger behind her eyes that made tremors consume the entirety of your body every time you set foot upon that regal stage.

It was as if you were 8 again and praying that the examiners for the exact prestigious company you now work for took pity upon yourself and did not slander your hard work with a crude rejection.

For the first few performances you presumed her attention was, in the least, wandering through your dancing colleagues too, the recurring meetings between your eyes and hers perhaps purely coincidental. That was until your first solo was presented.

You have been witness to hunger and yearning countless times, having even seen them invading and ravaging the souls of those near and afar from you, the prologue of such fervorous and ardent emotions, always far away from being sweet and clean. Like all things should strive to be.

To mistake whatever plundered her mind for ‘hunger’ or ‘yearning’ would be a bland fool’s mistake, you had unwisely mistaken a building famine for a theater’s infatuation, and that was the first of the many errors you would commit along the line.

Deep within yourself, you knew that at some point between this game of cat and mouse the Opera house ceased from being a place for the upper echelons of society to converse and demonstrate their riches while underpaid artists feebly hoped for recognition of their labors, and it began to belong solely to the two of you. 

The stage had become your own dissection table, and you did not know if it was pleasure or terror you derived from her dissecting gaze.

Perhaps your first solo had been the nail upon the coffin. You had refused to look towards her for the entirety of the arduous choreography, depicting the history of Chloé as she is taken unwillingly by pirates, eventually saved before the ravaging, thanking Pan for his graciousness, and once again reuniting with her lover.

 Your eyes were directed towards hers only once the music ceased with a harmonious  and thundering ending. You watched as, from within the silent public, her gloved hands came together and the first clap clamored through the walls, you felt a weird sense of pride and fear as she got up from her seat inside the private box, all while applauding your performance with an elegant smirk adorning her features, the rest of the audience followed suit, collectively getting up from their seats and filling the Opera house with the sound of resounding applause. 

You always felt this clamoring sting upon your scapulae every time your gazes happened to cross; their meeting as quick as their departure, or so you liked to believe.

Even after the closing of the curtains, when the only sound that met your ears was that of ragged breaths and squeaking wood, when the only smell that filled your senses was that of a mixture of human flesh and whatever toxic atrocity held your hair in place, even then you could still feel remnants of her stare covering your body, as if becoming a second layer of skin with every passing performance.

You knew she was Fatui from the beginning; after all, the servants of the so-called Tsaritsa didn’t exactly hide their duties or loyalties, be it by manner of speech or that of dressing. They had good money, though. You knew it. The rest of the dancers knew it. The directors and associates knew it. And sometimes you had to turn a deaf ear to hushed whispers about people mysteriously disappearing in the night without a single trace to be found. Sometimes you had to kill your morals if you wanted your next meal to be within an evening and not within 3 days.

The jeweled and fur-adorned audience could be drowning themselves in luxury and splendour, but the little dolls they so merrily applauded at the end of two continuous hours of Tchaikovsky couldn’t be more far away from such a blissful existence. It had been common for some spectators from the upper balconies to take an interest in certain ballerinas; with time, this commonality became a tradition and eventually a business in its own right. But to discuss it in such a manner would have been blasphemous within the highly adorned walls of the prestigious Theatre, some called it pr0stituti0n, the directors called it keeping their loyal patrons satisfied.

After yet another performance based on local folklore that the rich over-intellectualise in order to differentiate themselves from the common folk, you and your companions sluggishly returned to the poorly lit room where your belongings and whatever remnants of your honour were housed. You were all substituting the attire of Tyrian purple silk with formal dress in the colour of grief. The entire theater was in mourning, or at least that was the image the directors wished to convey.

The death of your fellow ballerina had caused quite the stir within Fontaine’s journals; the cause of the death of this poor girl was being discussed by intellectuals in fancy cafés and by drunks in dirty taverns, and yet you knew there was no real mourning behind it all. Her corpse was their quirky theme for the weekend chatter; a life had been lost, and her memory too would vanish from public memory within a week or two. The headline writers pointing to a possible murder would die out with time and enough pocket money on the directors’ part. Perhaps this was your first direct contact with the fragility and lingering nature of the human experience—to be forgotten, you presumed, was but a logical step in the grander scheme of things.

Some hours before it all went astray, you and other members of the Theatre’s staff had decided to visit a nearby cathedral before beginning the preparations for the performance destined to take place that same day. You had cleansed yourself before entering, scraped your knees upon the humidity of the wooden floor, and even lit your votive candle in front of the mosaic depicting the Hydro Archon.

You selfishly wanted to pray for the health of your family, perhaps even for a better salary, and yet you found yourself solely asking why—what greater good could the death of such a simple and honest girl have brought into this world? Was there a greater meaning behind her early departure? Did she at least have the grace of a painless death? Wherever she is now, is she happy?

The silence you received from the other side was deafening, like slaughter.

You could feel the intensity of an unknown gaze upon the left side of your face. You refused to even cower in its direction, to whomever that glance belonged to, it was most probably of no God that could fulfill your wishes.

You still remember how your knees ached as you gathered yourself from a praying position. How you had bid a good day to the priest upon your hurried leave. 

How you had petted the church’s cat that sluggishly showed you his black furred belly as you passed by his way. 

How you had offered whatever lingering candy you still gathered inside the pockets of your ageing trench coat to some street kids that always went to you for their sweet tooth (the little rascals).

The commute towards the curving golden gates that encircled the greenery belonging to the theater was too mundane to serve as a presage. The Archons had sent you no omens, no foreboding whatsoever. The birds chirped away the same conjunction of clashing tunes, the melody of human society waking up from its slumber and beginning its unceasing movement was the same you had experienced on a loop for years. 

Would you have entered the theatre’s doors if you had known what awaited you at the end of the day? Would you have been able to escape your future if only you had thought twice after the performance, after lingering gazes filled with want and something more?

Perhaps yes, perhaps no. There really is no use in pondering such things now, but you cannot deny that they do serve as interesting thought experiments to pass the time with.

No matter how many times you attempt to recollect the happenings of that day, they always re-emerge from whatever mental corner you’ve confined them in different forms, different silhouettes, different essences. Your memory has slowly lost the trust you had once graced it with, but no matter how many times you repeat that forsaken day in your diminishing mind, there is one thing that always resists change, one single constant within the writing of your doom.

The altar had smelled of chrysanthemums and lavender.

Author’s note: This will be a series of approximately 5 parts, some from Arlechino’s perspective and others structured as reminiscences such as the one just presented. Since Fontaine is still not out, the characterization of Arlecchino could with the coming of new information and lore become erroneous so I feel as if it is my duty to inform you that I am molding her personality based off of the new trailer and imbuing her with certain characteristics of fictional characters I personally think would be similar to her!

[caustinen]

Hollywood!AU Clegan....

How about John wins a major award (career changing recognition) and Gale's his plus one at the event, and John goes for a massive smooch when his name is announced and it becomes a viral meme? :') <3 <3

Hehee I ended up trying something bit different with the format of this one but I hope you like it, thank you for the lovely idea!! 🖤🤍

hollywood au! award season (drabble)

John’s lips are twitching into a smile despite his best efforts as he observes Gale staring at the front page of the newspaper in mild horror.

“That’s…” Gale bites his lip and stops talking, and John has to look the other way because the way his husband bites his lips together in a straight line is both funny and insanely cute. They have been out late partying and thus the morning has started even later. While Gale hasn’t had a drop of alcohol he looks a bit hungover from the lack of sleep alone, slower and softer than usual, somehow.

“You look like you’ve been in a fight.” That’s what he finally settles on, diplomatically, still staring at the half-page picture. John nods, controlling his expression, and smiling just as diplomatically. “Well, it did look like I was trying to wrestle you down right before, so…” Gale hides his face into his palms. “Don’t remind me,” he whines, ”it’s not funny! Look at your lip, John! You can see exactly where my teeth got caught, I can’t believe this is how you-.”

John takes the paper from his hand then. ”It’s really not so bad,” he says, ”and I really liked the piece that goes with it.” He grins, and when Gale still looks bothered he clears his throat and starts reading aloud.

“At the end of the night John Egan, 35, took home the best actor trophy for his widely acclaimed performance as Layne Cornell in worldwide hit ’I’m Only Sleeping’. Fondly nicknamed ’Hollywood's Sweetheart’ since early in his career, the star had been previously nominated twice, once in the supporting actor category and once for the main trophy, but last night’s triumph marked his first individual reward in the Academy Awards. The long awaited honor brough this well-respected peer a standing ovation, but the moment before receiving the awards was almost overshadowed by a sweet incident with his husband, Gale Cleven-Egan.

As the actor’s spouse was getting up to congratulate Egan for his accomplishment, the later in visible excitement leaned to give him an assumedly affectionate peck to the lips. A miscalculation of speed, however, almost toppled Cleven over to the benches behind them, taking Egan with him. Luckily no one was hurt and a roar of laughter around the couple covered for the mishap as Egan managed his affection before walking up to the stage to accept the esteemed award after making sure Cleven was standing on his two feet again.

Egan is known for his cheekiness, and he stayed true to his nature last night as well as he started his acceptance speech with “apologizing for being disheveled after his better half tried to take a bite of him.” As the cameras panned away from Cleven’s now meme-formatted face hidden in hands, Egan then thanked the film crew, emphasizing the amazing work of the art departments on the costumes and cinematography, both of which have also received awards this winter in Golden Globes and Brit Awards. He took time to name all heads of departments and fellow stars on the screen alike, a class act through and through.

For the fans of what netizens have affectionately coined “Clegan” in reference to the relationship of Egan and Cleven, the night’s big prize was surely in the final part of his speech, however, when the violins were about to start to play. “Nothing in life is ever achieved truly alone, and certainly nothing about my career would have been possible without my husband,” visibly touched Egan started his conclusions, “my dear Buck, thank you for your patience, your guidance, your companionship, and for your amazing body. Baby, this is for you as much as it is for me. Thank you for your time, enjoy the rest of your night!”

Egan has never been shy to show his affection for his significant other ever since the couple made their relationship public in 2022, shocking audiences around the world as it was announced Egan and Cleven had been in a secret relationship for years. Later that year they tied the knot, and while generally still keeping their love private, they are often spotted together in Egan’s professional events. Egan’s social media presence has become something of a shared internet joke as he often posts exclusively from his husband who seems different levels of unimpressed by his doings.

I’m Only Sleeping did well in box office as well as receiving overwhelmingly positive reviews from critics before now being the trophy magnet in the award season. It also received Oscars for best supporting performances by…”

John looks up from the paper. ”And so on and so on.” Gale’s expression has softened despite the blush on his face having deepened. Bucky is suddenly so overwhelmed by emotion he drops the paper to the table as he stands up to reach for his husband’s hand and pulls him up too. Gale instantly hides his face into his neck as he relaxes to the embrace, leaving John to press an admiring kiss to his golden locks.

They hug and sway for a little bit in silence as Gale gathers himself. ”… I just wish your lip wasn’t so swollen in the picture. Otherwise it was cute,” is eventually muttered against his t-shirt, making Bucky chuckle. ”That was my own fault. Not the first time you left teeth marks on me either.” Gale sighs and finally looks up to him, the experssion in his big eyes a mix of anguish and amusement. ”Why can’t we ever manage to be cool about anything?”

He makes a protesting sound in surprise as he’s spinned around and then ends up with his back against the fridge, a huge familiar body crowding him against it. ”I think we’re plenty cool,” Bucky says absentmindedly like he’s already moved on from it, ”did I ever tell you how incredibly sexy you look bed-warm and ruffled?” Gale looks at him, unimpressed. ”Well, you did specifically take time to thank my ’amazing body’ while accepting a goddamn Academy Award, so-”

Bucky leans back so he can take a good serious look at Gale, his hands on both sides of the fridge around his head. ”Doll,” he says, and oh, the blush is back, delicious, ”I’ve done most, if not all of my best work under the influence and inspiration of this body. How could I have not-”

Gale shuts him up with a kiss, and decides it’s time to test the performance of his critically acclaimed idiot on his own.

(Hope you liked it!! 💘)

(more of hollywood au)

[envirae]

my very first love ! — 24: break my heart?

masterlist

prev // next

wc: 963

written part below the cut!

"How much of that did you hear?" He asked, he stared back at you blankly, almost as if he didn't believe you were real.

"I think a lot more than I was supposed to." You answered honestly, Riki opened his mouth to speak, but both of your phones were buzzing incessantly with texts from your captains.

He sighed, before turning his phone off and looking back at you. "Let's talk after the show. There's so much I want to say to you."

⌢⌢⌢⌢⌢୨୧⌢⌢⌢⌢⌢

You were set to perform right after Enha, which Soobin was very much unhappy with. Thankfully, though, they actually performed their own choreo this time.

This hardly calmed Soobin down, however, because god— were they killing it.

Their power on stage demanded the attention of the audience and their charisma helped to distract from any mistakes they could have made.

Heeseung shot Soobin a smirk on their way off stage, and it took everything in Soobin not to choke him out right then and there.

For any team, they would have been impossible to follow up.

Not for your team, though.

It was the performance of a lifetime. You don't think you had ever put this much of your blood, sweat, and tears into anything before. And now, here you were, ready to see all of it pay off.

After your performance, you and the rest of the novas sat eagerly backstage, waiting for the rest of the teams to finish performing and for scores to be announced.

This was one of the biggest, most important moments of your high school career, but you couldn't get your mind off Riki.

All the things he told Jiwoo backstage, were they true? Would you be an idiot for letting him back into your life after he had already hurt you so bad?

You were far from discreet, and the way you and Riki kept making prolonged eye contact backstage almost killed you.

Your team, along with all of the others, stood at the wings of the stage as they announced the winners. Third place had been given to a team from Daegu, and you waited in anticipation for the top two.

"In second place," The announcer began, "from HYBE academy of the arts, ENHYPEN."

You watched as the boys' faces fell. However, they sucked it up and put on a smile as they walked out.

"And finally, in first place, the Korean Junior National champions, also from HYBE academy of arts, SUPERNOVA."

You couldn't believe it.

You almost thought that you had heard them wrong. But no, you had won. You actually beat ENHYPEN. For the first time ever, they didn't take away your spotlight.

Soobin made sure to walk out with the biggest shit-eating grin on his face, staring directly at the boys the entire time. He gracefully accepted the trophy, and it almost looked like he was about to cry.

You were over the moon, all the hard work you and your teammates had been put in for the past year was finally paying off. You showed ENHYPEN- and the entire school, that you were done living in their shadows. And as you looked at Riki, he smiled and sent you a thumbs up.

⌢⌢⌢⌢⌢୨୧⌢⌢⌢⌢⌢

When Riki finally found you backstage, you didn't know what to say. You smiled at him, and you wanted to say something, but no words came out.

"Congratulations on your win. You deserved it, really." He said, a soft yet embarrassed smile on his face.

"Thanks, Riks. I really appreciate it. How'd your team take the news?" You asked, out of pure curiosity. You knew that team, and you knew they were most likely throwing nothing short of temper tantrums right now.

"Better than I thought they would, to be honest. Except for Jay, I'm pretty sure he stormed out and drove home." You laughed, and so did he. It was nice hearing his laugh, you hadn't even realized how much you missed it.

It was silent for a while before you finally looked back at him. "About earlier- I didn't mean to eavesdrop, it's just-"

"It's okay, y/n. It's all stuff I wish I would've told you before, anyways, and I hate that I never did." He cut you off, and you were a little shocked. "I never knew why I got so flustered around you before. I have never felt this nervous around someone before, ever. But when it comes to you, I go crazy."

He paused, searching for any hint of emotions in your expression, but kept going.

"I like- No, I love you y/n. And I don't care if our teams hate each other, I don't care if you think we would never work, I don't care if there are a million logical reasons why we shouldn't be together. Because I love you, y/n. And I think that's the only reason we need to tell us that we should."

"Riki, I don't even know what to say." You chuckled, cheeks bright red from the sudden confession. "I agree that there are a million reasons we shouldn't be together."

His face fell slightly as he braced himself for rejection, but you kept going.

"But I love you too, Riki. You make me want to be the best version of myself that I can be. I think we owe it to ourselves to try."

The smile that appeared on his face was so bright, you would've thought he was the one who won a national competition today. He engulfed you in a hug so tight you thought you were going to lose all air in your lungs.

"You gonna break my heart, y/n?"

"Only if you break mine first." You teased, and this time, he placed a chaste kiss on your lips.

⌢⌢⌢⌢⌢୨୧⌢⌢⌢⌢⌢

a/n: it's finally over! i apologize for the (kinda) hiatus i took during the later parts of this smau, but that is over and i am now back! i have had so much fun writing this smau and i hope you guys had fun reading it, too :). i have an epilogue coming out and a new smau announcement very soon so please stay tuned for that!

p.s. i hope you guys noticed the tatbilb reference 😚

taglist 1 (closed): @haknom @kjrcrz @lalalalawon @123-678h @k25vi @aosbie @yenqa @wondering-out-loud @captivq @enhaz1 @luvistqrzzz @luvchungha @beomgyusonlywife @heart4hees @mrchweeee @mywons @jwnoot @jayujus @jaeyunsimswife @yumilovesloona @pagesofmiracles @eumppattv @fluerz @yjwfav @darly6n

[good-beansdraws]

Making a full post for my Fuuta Ballet AU because I actually had more thoughts about it hehe (Ballerina Girl)

+ a version of the au that's more general to the whole cast, with Es as the protag here!

As mentioned in the art, he’s exactly the same as canon except his life now revolves around dance. He’s in a very cliquey company (The Dark Pas de Trois?), surrounded by friends who are very similar-minded. Even though they're not in dance competitions specifically, they're constantly striving for better reviews/reputations than the neighboring companies. Fuuta struggles with stage fright, but doesn't let on to the others -- he just pushes through every time.

They visit a company rehearsing Nutcracker, and one of the snowflake dancers does something problematic backstage. Fuuta blasts him on social media for it, gaining popularity for his own account/dance company. Auditions and things go a bit smoother for them now that they’re internet famous.

There’s a scandal with the dancer playing the demon sorcerer Rothbart in Swan Lake, and Fuuta catches it on film. The video goes viral, once again boosting Fuuta’s popularity and ego. He’s praised as both a hero and talented performer. His friends are also soaring with this newfound fame.

Then, he catches a young background dancer in Sleeping Beauty doing something he deems worthy of a callout. He exposes her all over his social media. Rather than the usual social backlash, the girl is harassed in person. A crowd takes things too far, and an accident results in an injury that ends her career just as it was beginning. She will never dance again.

Facing his suspicious friends (and overcome with his own guilt), Fuuta flees the company. He plans on quitting dance for the rest of his life as well. Instead, he gets a mysterious invitation to the Milgram Dance Academy. He's never heard of them before, and the internet doesn't turn up much on them. Left with few other choices, he shows up for the first lesson.

The first thing that strikes him is it's a boarding school. He must live there and follow their rules in order to attend. They take his phone and restrict outside contact, much to his horror. The school solely focused on the arts -- no competitions, no big shows. There are three major shows they are planning, but Fuuta couldn't find any venues/tickets/advertisements, despite mention of a "global audience". The program is rigorous, and the instructor decides at the end of each semester if their final performance passes or fails.

The only thing more concerning than the sudden restriction of his phone is the strange group of residents he'll be spending his next few years with. His instructor is a mere child, no more than fifteen and very cryptic about their past training. His other classmates range in age and personality. He starts off dancing just as confident as usual, trying to show up the other students and make a strong first impression.

However, he fails the first semester. The grade list is made public to the whole academy, and Fuuta finds himself the subject of watching eyes and condescending whispers. Becoming sensitive to prying stares and audiences, he falls back into his usual stage fright. He endures (emotional) attacks from the passed students, although in his distraction he screws up some cues and gets injured.

Regarding the actual choreography -- as much as I love the classic shows (I mean, just look how cute he is as the nutcracker ;-;) my brain has been going brrrrr picturing ballet adaptations of the mvs... 🎹 / 🎹 / 🎹 / 🎹

[blackswaneuroparedux]

Suddenly a jump! And the gypsy girl danced. Indescribable. Soul. Pure Soul. Feeling made flesh. The floorboards vibrated with unprecedented brutality and incredible precision. La Capitana was a gross product of Nature. Like all gypsies, She must have been born dancing. It was before school, before the academy. All that she knows, She must have known from birth. Promptly, the viewer feels subjugated, upset, dominated by the face of La Capitana, by her fierce hip movements, by the bravery of her pirouettes and the force of her broken turns, whose animal ardor ran parallel with the astonishing accuracy with which she executed them. The raging battery of her heels and the unsteady play of her arms now aroused, excited, then collapsing, surrendered, abandoned, dead, gently moved by the shoulders, are still recorded in our memories like indelible plaques. what caused us to look at her dance was her nerve, which twisted her in dramatic contortions, her blood, her violence, her wild impetuosity as a caste dancer.

Sebastià Gasch, art critic, 1929.

Regarded as "the most accomplished Flamenco dancer of all time," Carmen Amaya was the first female to master the complex footwork typically reserved for top male dancers.

Amaya was born into a poverty-stricken family in Barcelona in 1913. From the tender age of 4, she began to accompany her guitarist father at night, performing in pubs where they danced and sang to earn a living by gathering the coins that patrons would toss onto the floor. Progressively, she moved from pubs to performing in minor theatres. Her fame grew, and she soon found herself in the company of Hollywood celebrities. In 1941, she graced the stage at Carnegie Hall in New York and was invited to perform at the White House by Franklin D. Roosevelt. Amaya's life was tragically cut short due to kidney failure in 1963 at the age of 50.

This footage shows her dancing in 1944 when she was around 30 years old.

[satoshi-mochida]

Revue Starlight: El Dorado launches August 8

Gematsu Source

(Possible spoilers for Revue Starlight below)

Visual novel Revue Starlight: El Dorado will launch for Switch and PC via Steam on August 8, publisher Bushiroad Games and developer Frontwing announced. It will support English, Japanese, Simplified Chinese, and Traditional Chinese language options.

In Japan, it will be priced at 3,980 yen for the physical standard edition, 14,980 yen for the Starlight Edition, and 39,800 yen for the Super Starlight Edition. The digital standard edition will cost 3,300 yen on Switch, with the PC price still to be determined.

The contents of each edition are as follows:

Standard Edition

A copy of the game

Weiβ Schwarz PR card

Raffle ticket for the stage to be performed in November 2024

Starlight Edition

A copy of the game

Blu-ray disc of Revue Starlight Re LIVE Reading Theatre Part 4 El Dorado – Includes performances of the reading stage performed on December 16 and 17

Weiβ Schwarz PR card

Raffle ticket for the stage to be performed in November 2024

Super Starlight Edition (limited to 999 copies, sold via Bushiroad Online Store raffles)

A copy of the game

Copy of original drawings with serial numbers

Blu-ray disc of Revue Starlight Re LIVE Reading Theatre Part 4 El Dorado – Includes performances of the reading stage performed on December 16 and 17

Weiβ Schwarz PR card

Raffle ticket for the stage to be performed in November 2024

And here is an overview of the game, via its official website:

About

The vast ocean sings to me. I must go and conquer it! Our last summer at Seisho Music Academy… With the 101st Seisho Festival “Starlight” coming up, we the students of the 99th class take up the challenge to perform “El Dorado,” an oceanic epic that Japan is proud of, for our summer performance. The exiled admiral, Salvatore Guglie. The heir to a royal Spanish family, Alejandro Javier Cavallero Cruz. Who will “we” choose… between the “two protagonists” of this story?

Characters

Karen Aijo – “No matter what waters I have to cross, I will… definitely reach you!” A Stage Girl who traded fates with her childhood friend Hikari to “stand on that stage together someday,” after being entranced by the stage play “Starlight” she watched as a child. She gave her all in performing “Starlight” with Hikari, and now begins to walk towards the “next stage” by herself.

Hikari Kagura – “I don’t need destiny or oaths anymore!” A Stage Girl who has loved stage plays since she was a child, and was led into the world of stage plays after watching “Starlight” with Karen. After performing the “fated stage play” with Karen, she has currently returned to studying at London’s Royal Institute of Dramatic Arts. She is striving towards becoming a stage actress while dreaming of the day she reunites with Karen on the stage.

Maya Tendo – “May my revenge shine beautifully as my fuel.” She is the top student at Seisho Music Academy. A thoroughbred, with both parents being prominent figures in the world of theater. Despite overflowing talent in acting, singing, and dancing, she is a proudly independent Stage Girl who has never become conceited and continues to aim to be the best. Aiming to join the New National First Theater Troupe, she imposes strict lessons on herself even today. Maya-sama continues to be Maya-sama even in her third year.

Junna Hoshimi – “I myself emit glimmering lights… A lighthouse star on the Evening Star!” A Stage Girl who keeps taking on stage plays with her vast amount of reading and solid knowledge, she is the most talented girl since the inception of Seisho Music Academy. She was once desperate to catch up with the frontrunners of the scene, but now aims to be a “dazzling protagonist” and sets her eyes far ahead in her own future. She is the former 99th Student Council President of Seisho Music Academy.

Mahiru Tsuyuzaki – “I will decide my own drama… burning myself like the Sun!” Karen and Hikari’s roommate. She is a cheerful Stage Girl with a vast range of expressiveness, and is looked up to by her juniors, but can get extraordinarily scary when angered. She gave Hikari a push of motivation and sent her on her way to share the fated stage play with Karen. She aims to join the New National First Theater Troupe, in order to become a Star who brings smiles to everyone.

Nana Daiba – “I’ll… go slicing for a bit.” She is Junna’s roommate, and at the same time, a Stage Girl with extraordinary talent in both performing and stage creation. She often has the chance to bake together with Mahiru, and she is affectionately nicknamed “Banana.” She loves everyone who helps to create the stage together, and that is the reason why she sometimes shows a ruthless side.

Claudine Saijo – “Thanks to you and my unjustified resentment!” She is a former child actress who has starred in numerous stage plays and movies from a young age. A pure-hearted and highly experienced Stage Girl who knows the ropes of a stage play. Although she honed her skills against Maya as her greatest rival, she returned to her roots in France after graduation and is slated to join a revue in Paris.

Futaba Isurugi – “I don’t want to see a version of you who’s good-mannered and runs neatly!” Unmatched when it comes to sword fights and action. She is a Stage Girl with great expressive power hidden in her small frame. She and Kaoruko have been stuck together since young. They both enrolled in the same school, and she drives them both to and from school on her motorbike. However, she has decided to walk her own path by accepting the challenge of the New National First Theater Troupe, and has entrusted her beloved bike to Kaoruko.

Kaoruko Hanayagi – “A competitive performance between the top stars of the Senka-ryu School and New National… I’d like such a stage play, someday.” The granddaughter of the head of the family that runs the Senka-ryu School of Japanese Dance. After graduation, she returned to Kyoto. She is a Stage Girl who lives a life of history and traditions, and will succeed the name of the 12th Head of Family, “Suisen Hanayagi.” After a huge quarrel, she accepts Futaba’s chosen path and sends her on her way. She is currently considering what to do with the motorbike that Futaba left behind with her, while grumbling that it is “a bother.”

Kiriko Masai and Shion Amemiya – “We are from the Stage Play Creation Program, in 99th Class Group B!” “In order to create an even stronger, even better Position Zero, become even greedier!” From the 99th Class Group B Stage Play Creation Program. Amemiya writes scripts with all her body and soul, while Masai flutters around controlling the stage. The two are also roommates. They stand at the forefront of Group B, having worked on many of the 99th Class’s stage plays, taking on hardships even while clashing and arguing. Before their final summer in the exchange program, they challenge making a stage play with a certain resolve in their hearts.

Judy Knightley – “If you seek a new universe… tear apart your wailing, and overcome the sea of blood!” A Stage Girl who boasts having top grades at London’s Royal Institute of Dramatic Arts, a school that is renowned for being the hardest in the world to get into. With outstanding acting skills and expressiveness that has been lauded even in the British theater world, she is a professional stage actress with a promising future. She has arrived at Seisho Music Academy for an exchange program, and stands in the way of the students in the 99th Class with her overwhelming brilliance.

[Update: Added the opening movie.]

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Alan Scarfe

Physique: Average Build Height: 5′ 10¾″ (1.80 m)

Alan John Scarfe (8 June 1946 – 28 April 2024; aged 77) was a British–Canadian actor, stage director and author. He was an Associate Director of the Stratford Festival (1976–77) and the Everyman Theatre in Liverpool (1967–68). Best known for the films Lethal Weapon 3 and Double Impact, Scarfe won the 1985 Genie Award for Best Performance by an Actor in a Supporting Role for his role in The Bay Boy and earned two other Genie best actor nominations for Deserters (1984) and Overnight (1986) and a Gemini Award nomination for best actor in aka Albert Walker (2003). Besides his film roles, he also appeared in the TV series Seven Days and Star Trek: The Next Generation.

Being a Star Trek fan, I should be more familiar with him, but on the show he’s usual covered up that handsome face in make-up. Though I did take notice of his characters whether it’s his performance or his hotness shining though the make-up is up for grabs. One thing for sure, this guy should be more famous. I mean look at him. Handsome and he has a sexy voice. That all I need.

Born in London, but raised in Vancouver, he attended the London Academy of Music and Dramatic Art from 1964 to 1966, and then went on to appear in more than 100 roles in stage productions. Sadly, Scarfe retired from screen acting in 2007.

Twice married, his first wife was actress Sara Botsford and later actress Barbara March, who played Lursa, one of the villainous Duras sisters, on three Star Trek series. They were married for 40 years before her death in 2019. Scarfe died on April 28 from colon cancer at his home in Longueuil, Quebec, Canada. He is survived by his daughter Tosia and son and actor Jonathan Scarfe, and grandchildren.

RECOMMENDATIONS: The Hamster Cage (2005) - Rear Nudity Seven Days (TV Series 1998–2001) Star Trek: The Next Generation (TV Series 1991–1993) Double Impact (1991)

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Donald Sutherland

Commanding and versatile actor known for his roles in MAS*H, Don’t Look Now and The Hunger Games

Donald Sutherland, who has died aged 88, brought his disturbing and unconventional presence to bear in scores of films after his breakthrough role of Hawkeye Pierce, the army surgeon in Robert Altman’s M*A*S*H (1970), one of the key American films of its period. It marked Sutherland out as an iconoclastic figure of the 60s generation, but he matured into an actor who made a speciality of portraying taciturn, self-doubting characters. This was best illustrated in his portrayal of the tormented parent of a drowned girl, seeking solace in a wintry Venice, in Nicolas Roeg’s Don’t Look Now (1973), and of the weak, nervous, concerned father of a guilt-ridden teenage boy (Timothy Hutton) in Robert Redford’s Ordinary People (1980).

Although Sutherland appeared in the statutory number of stinkers that are many a film actor’s lot, he was always watchable. His career resembled a man walking a tightrope between undemanding parts in potboilers and those in which he was able to take risks, such as the title role in Federico Fellini’s Casanova (1976).

Curiously, it was Sutherland’s ears that first got him noticed, in Robert Aldrich’s The Dirty Dozen (1967). During the shoot, according to Sutherland, “Clint Walker sticks up his hand and says, ‘Mr Aldrich, as a representative of the Native American people, I don’t think it’s appropriate to do this stupid scene where I have to pretend to be a general.’ Aldrich turns and points to me and says, ‘You with the big ears. You do it’ … It changed my life.” In other words, it led to M*A*S*H and stardom.

Sutherland and his M*A*S*H co-star Elliott Gould tried to get Altman fired from the film because they did not think the director knew what he was doing due to his unorthodox methods. In the early days, Sutherland was known to have confrontations with his directors. “What I was trying to do all the time was to impose my thinking,” he remarked some years later. “Now I contribute. I offer. I don’t put my foot down.”

Sutherland, who was born in Saint John, New Brunswick, Canada, was a sickly child who battled rheumatic fever, hepatitis and polio. He spent most of his teenage years in Nova Scotia where his father, Frederick, ran a local gas, electricity and bus company; his mother, Dorothy (nee McNichol), was a maths teacher. He attended Bridgewater high school, then graduated from Victoria College, part of the University of Toronto, with a double major in engineering and drama. As a result of a highly praised performance in a college production of James Thurber’s and Elliott Nugent’s The Male Animal, he dropped the idea of becoming an engineer and decided to pursue acting.

With this in mind, he left Canada for the UK in 1957 to study at Lamda (the London Academy of Music and Dramatic Art), where he was considered too tall and ungainly to get anywhere. However, he gained a year’s work as a stage actor with the Perth repertory company, and appeared in TV series such as The Saint and The Avengers. He was Fortinbras in a 1964 BBC production of Hamlet, shot at Elsinore castle and starring Christopher Plummer. He also appeared at the Criterion theatre in the West End in The Gimmick in 1962.

In 1959 he married Lois Hardwick; they divorced in 1966. Then he married the film producer Shirley Douglas, with whom he had twins, Kiefer and Rachel; they divorced in 1971. Kiefer, who grew up to become a celebrated actor, was named after the producer-writer Warren Kiefer, who put Sutherland in an Italian-made Gothic horror film, The Castle of the Living Dead (1964). Christopher Lee played a necrophile count, while Sutherland doubled as a dim-witted police sergeant and, in drag and heavy makeup, as a witch.

In an earlier era, the gawky Sutherland might not have achieved the stardom that followed the anarchic M*A*S*H, but Hollywood at the time was open for stars with unconventional looks, and Sutherland was much in demand for eccentric roles throughout the 70s.

He was impressive as a moviemaker with “director’s block” in Paul Mazursky’s messy but interesting Alex in Wonderland (1970), which contains a prescient dream sequence in which his titular character meets Fellini. In the same year, Sutherland played a Catholic priest and the object of Geneviève Bujold’s erotic gaze in Act of the Heart; he was the appropriately named Sergeant Oddball, an anachronistic hippy tank commander, in the second world war action-comedy Kelly’s Heroes; and he and Gene Wilder were two pairs of twins in 18th-century France in the broad comedy Start the Revolution Without Me.

Sutherland was at his most laconic, sometimes verging on the soporific, in the title role of Alan J Pakula’s Klute (1971), as a voyeuristic ex-policeman investigating the disappearance of a friend and getting deeply involved with a prostitute, played by Jane Fonda.

Sutherland and Fonda were teamed up again as a couple of misfits in the caper comedy Steelyard Blues (1973). It initially had a limited distribution due mainly to their participation together in the anti-Vietnam war troop show FTA (Fuck the Army), which Sutherland co-directed, co-scripted and co-produced.

Sutherland always made his political views known, although they surfaced only occasionally in his films. In among the many mainstream comedies and thrillers was Roeg’s supernatural drama Don’t Look Now, in which Sutherland and Julie Christie are superb as a couple grieving their dead daughter. Despite the dark subject matter, the film was notable for containing “one of the sexiest love scenes in film history”, according to Scott Tobias in the Guardian, the frank depiction of their love-making coming “like a desert flower poking through concrete”. The actor so admired Roeg that he named another son after him, one of his three sons with the French-Canadian actor Francine Racette, whom he married in 1972.

John Schlesinger’s rambling version of The Day of the Locust (1975) saw Sutherland as a sexually repressed character – called Homer Simpson – who tramples a woman to death in an act of uncontrolled rage. Perhaps Bernardo Bertolucci had that in mind when he cast Sutherland in 1900 (Novecento, 1976), in which he is a broadly caricatured fascist thug who shows his sadism by smashing a cat’s head against a post and bashing a young boy’s brains out. “And I turned down Deliverance and Straw Dogs because of the violence!” Sutherland recalled.

In Fellini’s Casanova, the second of his two bizarre Italian excursions in 1976, Sutherland coldly calculates seduction under his heavily made-up features. The performance, as remarkably stylised as it is, still reveals the suffering soul within the sex machine.

In 1978 he appeared in Claude Chabrol’s Blood Relatives, a made-in-Canada murder mystery with Sutherland playing a Montreal cop investigating the murder of a young woman. More commercial was The Eagle Has Landed (1976), with Sutherland, attempting an Irish accent, as an IRA member supporting the Germans during the second world war, and as a chilling Nazi in Eye of the Needle (1981). Meanwhile, he was the hero of Invasion of the Body Snatchers (1978), who resists the insidious alien menace until the film’s devastating final shot.

In 1981 Sutherland returned to the stage, as Humbert Humbert in a highly anticipated version of Vladimir Nabokov’s Lolita, adapted by Edward Albee. It turned out to be a huge flop, running only 12 performances on Broadway. Both Sutherland and Albee played the blame game. “The second act is flawed,” Sutherland said. “Albee was supposed to have rethought it, but he never did.” Albee told reporters that he had scuttled some of his best scenes because they were “too difficult” for Sutherland because “he hasn’t been on stage for 17 years”.

Continuing his film career, Sutherland played a complex and sadistic British officer in Hugh Hudson’s Revolution (1985), and in A Dry White Season (1989) he took the role of an Afrikaner schoolteacher beginning to understand the brutal realities of apartheid. In Oliver Stone’s JFK (1991), he held the screen with an extended monologue as he spilled the conspiracy beans to Kevin Costner’s district attorney hero Jim Garrison.

After having made contact with young audiences in the 70s with offbeat appearances in gross-out pictures The Kentucky Fried Movie (1977) and National Lampoon’s Animal House (1978), the latter as a pot-smoking professor, he was cast as an unconvincing bearded stranger in Buffy the Vampire Slayer (1992).

On a more adult level were Six Degrees of Separation (1993), in which he played an unfulfilled art dealer; A Time to Kill (1996), as an alcoholic, disbarred lawyer (alongside Kiefer); Without Limits (1998), as an enthusiastic athletics coach; and Space Cowboys (2000), as an elderly pilot. By this time, he was gradually moving into grey-haired character roles, one of the best being his amiable Mr Bennet in Pride and Prejudice (2005).

The Jane Austen novel was also featured in the television series Great Books (1993-2000), to which Sutherland lent his soothing voice as narrator. Other series in which he shone as quasi baddies were Commander in Chief (2005) – as the sexist Republican speaker of the house opposed to the new president (Geena Davis) – and Dirty Sexy Money (2007-09), in which he played a powerful patriarch of a wealthy family.

Sutherland continued to be active well into his 80s, his long grey hair and beard signifying sagacity, whether as a contract killer in The Mechanic, a Roman hero in The Eagle, a nutty retired poetry professor in Man on the Train (all 2011), or a quirky bounty hunter in the western Dawn Rider (2012), bringing more depth to the characters than they deserved. As President Coriolanus Snow, the autocratic ruler of the dystopian country of Panem in The Hunger Games (2012), Sutherland was discovered by a new generation; he went on to reprise the role in three further films in that franchise, beginning with The Hunger Games: Catching Fire (2013).

He played artists in two art-world thrillers by Italian directors: in Giuseppe Tornatore’s Deception, AKA The Best Offer (2013), he was a would-be painter helping to execute multimillion-dollar scams, while in Giuseppe Capotondi’s The Burnt Orange Heresy (2019) he was on the other side of the heist as a reclusive genius targeted by a wealthy and unscrupulous dealer (Mick Jagger).

Aside from James Gray’s science-fiction drama Ad Astra (also 2019), in which he co-starred with Brad Pitt, Sutherland’s best late work was all for television. In Danny Boyle’s mini-series Trust (2018), which covered the same real-life events as Ridley Scott’s All the Money in the World, he played J Paul Getty, the oil tycoon whose grandson is kidnapped; while in The Undoing (2020), he was the father of a psychologist (Nicole Kidman), reluctantly putting up bail when her husband (Hugh Grant) is arrested for murder.

For the latter role Sutherland was in the running for a Golden Globe, having already received an honorary Oscar in 2017.

He is survived by Francine and his children, Kiefer, Rachel, Rossif, Angus and Roeg, and by four grandchildren.

🔔 Donald McNichol Sutherland, actor; born 17 July 1935; died 20 June 2024

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