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cinema-tv-etc · 5 years ago

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Leading Men Age, But Their Love Interests Don’t

Yesterday, Kristen Stewart fell out of the con-artist comedy Focus after Will Smith replaced Ben Affleck as the male lead; according to Variety, she was nagged by "the feeling that the age difference between the two would be too large a gap." For the record, Smith is a mere four years older than the 40-year-old Affleck, and if it seems a little odd that either of them would be considered a romantic partner for the 23-year-old Stewart in the first place … well, welcome to Hollywood. It seems like time and time again, male movie stars are allowed to age into their forties, fifties, and even sixties while the ages of their female love interests remain firmly on one side of the big 4-0, but is this a perception borne out of reality? To find out for sure, Vulture has analyzed the data of ten middle-aged leading men and the ages of the women they've wooed onscreen; you'll see the results in the charts below.

How'd we arrive at our conclusions? For each of our leading men, we tried to pick a representative sample of films — usually ten — where that A-lister had a notable love interest or wife, then we plotted the age gaps on our charts over the course of that star's career. (Because production dates for older movies can be hard to come by, we measured the stars' ages on the day the film in question was released.) The results confirmed our suspicions: As leading men age, their love interests stay the same, and even the oldest men on our list have had few romantic pairings with a woman their own age (or even one out of her mid-thirties). If our actor was sharing the screen with an A-lister of commensurate star power like Julia Roberts or Angelina Jolie, the age difference would drop somewhat, but in movies that relied solely on our guy's big name, the lesser-known love interests would nearly always be decades younger.

Scroll down to check out our findings in-depth.

DENZEL WASHINGTON Denzel Washington's pushing 60, but you wouldn't know it from his love interests, who tend to stay 35 and under. Perhaps that's because Washington rarely gets to romance an actress as formidable as he is (a fact of life that may owe more to Hollywood's racial prejudices than gender inequality), because when he went toe-to-toe with Angela Bassett for Malcolm X and Whitney Houston in The Preacher's Wife, the age differences weren't quite as egregious. (He did pair with Julia Roberts and Angelina Jolie when they were newbie superstars, but those films — The Pelican Brief and The Bone Collector — were cautious and chaste when it came to suggesting a love connection). The older Washington gets, the less it seems to matter to his love interests, as the last three notable ones — Paula Patton, Lymari Nadal, and Kelly Reilly — were all more than twenty years younger than he was.

HARRISON FORD Ford rose to stardom in his late thirties, but the first time he had a notable love interest in her late thirties, it was in 1999's Random Hearts … when Ford was an age 57 to Kristin Scott Thomas's 39. The vast majority of Ford's love interests have been at least fifteen years younger than him, and some were far younger than that: When Six Days Seven Nights came out in 1998, pundits debated whether the sexuality of Ford's co-star Anne Heche might prove a distraction, paying little mind to the fact that Ford was 26 years older than the woman he was supposed to woo.

JOHNNY DEPP Johnny Depp likes 'em young: Nearly all of his notable love interests have been 25 or under, and a few of them — including Winona Ryder, Juliette Lewis, Christina Ricci, and Keira Knightley (who shared a kiss with Depp in the second Pirates film) — would have been carded at the time they swapped spit with the star. In fact, the cradle-robbing Depp has only had two notable love interests in their mid-thirties, and all Juliette Binoche and Angelina Jolie had to do to make that cut is win an Oscar beforehand. Easy!

TOM CRUISE Tom Cruise has had an interesting romantic trajectory onscreen: At the start of his career, almost all of his love interests were older than him. Shelley Long in Losin' It, Rebecca De Mornay in Risky Business, Kelly McGillis in Top Gun … time and time again, an older woman would seduce the sexually inexperienced Cruise onscreen. It's no wonder women used to love him! In the nineties, though, Cruise began squiring the five-years-younger Nicole Kidman, and he's remained the older man in all of his romantic encounters since. From Vanilla Sky on, the closest Cruise will let a woman get to his age is ten years; in the new Oblivion, he's a full seventeen years older than his female lead, Olga Kurylenko.

GEORGE CLOONEY Compared to Cruise, the women that George Clooney screen-dates are a smidge more age-appropriate (most of them are only eight or nine years his junior), and twice he even wooed actresses who were three older than him: Michelle Pfeiffer in One Fine Day and Holly Hunter in O Brother, Where Art Thou? When it comes to co-stars, Clooney tends to have his pick of classy actresses in their mid-thirties, though as he gets older — Clooney will turn 52 in May — the age of his love interests still seems to have plateaued.

RICHARD GERE Former Sexiest Man Alive winner Richard Gere is a good-looking 63, but his love interests haven't aged much in the three decades he's been a star: From Pretty Woman on, Gere's female co-stars have been 10 to 30 years younger than him, a trend that shows no signs of abating now that he's in his seventh decade. To be fair, he's played husband to the three-years-older Susan Sarandon in both Shall We Dance and Arbitrage … but in the former, he spends far more screen time with the much younger Jennifer Lopez, and in the latter, he's stepping out on Sarandon with supermodel-turned-actress Laetitia Casta, who's separated in age from Gere by a solid 29 years. At least Gere had the tables turned on him somewhat in Unfaithful, where his fifteen-years-younger screen-wife Diane Lane had an affair with a younger man, Olivier Martinez. How much younger than Lane was Martinez? Well … one measly year, actually.

STEVE CARELL When your breakout film is called The 40 Year Old Virgin, it ensures that audiences will forever be aware of your age … even if you were actually 43 when it came out, as Steve Carell was. In that movie, he fell in love with the three-years-older Catherine Keener, and ever since, Carell has looked most at home with romantic partners nearer to his age, like Lauren Graham, Tina Fey, and Julianne Moore. Every so often, though, Hollywood will insist at throwing a twentysomething starlet at Carell, and it's just awkward: Movies like Get Smart, Seeking a Friend for the End of the World, and The Incredible Burt Wonderstone had more than a few problems, but the main issue in all three is how ill at ease Carell seems when romantically paired with an actress who's twenty years younger. Let's hope Carell got the memo and will continue to be the rare male star who mostly sticks to love interests in their forties (as his new screen paramour Kristen Wiig will be when Anchorman 2 comes out this winter).

BRAD PITT Brad Pitt began his career as a romantic idol by taking a page straight out of the Tom Cruise playbook: After his roll in the hay with the eight-years-older Geena Davis in Thelma & Louise, he then began screen-dating the much younger women he was seeing in real life, Juliette Lewis and Gwyneth Paltrow, who were both around a decade Pitt's junior. (That's apparently his sweet spot, as Angelina Jolie would later be able to attest.) The rest of his romantic history runs the gamut, though Pitt did once take a screen-wife his own age: Mary-Louise Parker, who only got a handful of lines in The Assassination of Jesse James by the Coward Robert Ford.

LIAM NEESON Remember how Depp only allowed a love interest within striking distance of his own age if she was an Oscar-winning actress? The same more than holds true for Liam Neeson, who was partnered with older Oscar winners Jessica Lange and Meryl Streep in the mid-nineties. Aside from that brief moment in time, Neeson usually robs the cradle by wooing actresses around fifteen years younger than him, and ever since Taken reestablished his box-office virility, the age of his love interests has dropped precipitously: More than two and a half decades separated Neeson from his screen-wife January Jones in Unknown, and in Paul Haggis's next film, Third Person, the 61-year-old Neeson will bed 29-year-old Olivia Wilde.

TOM HANKS Well, here's something novel: an A-lister whose leading ladies actually age alongside him (though they still tend, on the whole, to be a bit younger). There aren't any egregiously age-inappropriate pairings in Tom Hanks's portfolio, since Hanks keeps his love interests within at least ten years of him at all times. He also aims high: Most of his female co-stars are Oscar winners or nominees, from Helen Hunt to Halle Berry, and he'll co-star with two-time nominee Catherine Keener (who's only three years younger) in this year's fact-based drama Captain Phillips. Then again, maybe it shouldn't surprise us that Hanks is an A-list aberration in this group: For 25 years, he's been married to the same woman, actress Rita Wilson … and both Hanks and Wilson are 56.

* The charts for Steve Carell and Tom Hanks have been updated.

By Kyle Buchanan

http://www.vulture.com/2013/04/leading-men-age-but-their-love-interests-dont.html?mid=twitter_vulture

This is neither perfectly accurate nor complete, but here is a rough comparison with Susan Sarandon and Meryl Streep: Susan Sarandon OLDER THAN HER LEADING MAN 2009- The Greatest: Susan, 63 / Pierce Brosnan, 56 2007- In the Valley of Elah: Susan, 61 / Tommy Lee Jones, 61 2007- Mr. Woodcock: Susan, 61 / Billy Bob Thornton, 52 2004- Shall We Dance: Susan, 58 / Richard Gere, 55 1998- Stepmom: Susan, 52 / Ed Harris, 48 1988- Bull Durham: Susan, 42 / Kevin Costner, 33 YOUNGER THAN HER LEADING MAN 2009- Solitary Man: Susan, 63 / Michael Douglas, 65 2002- Moonlight Mile: Susan, 56 / Dustin Hoffman, 65 1992- Lorenzos Oil: Susan, 46 / Nick Nolte, 51 1987-Witches of Eastwick: Susan, 41 / Jack Nicholson, 50 In Summary: in 10 movies spanning 22 years, Susan Sarandon has been OLDER than 6 of her leading men (including Tommy Lee Jones, who is 1 month younger than she), and YOUNGER than 4. In the films where she is OLDER than the actors, the biggest age difference was 9 years (Bull Durham). In the films where she is YOUNGER than the actors, the biggest age difference was also 9 years (Witches of Eastwick & Moonlight Mile). Meryl Streep OLDER THAN HER LEADING MAN 2009: Its Complicated: Meryl, 60 / Alec Baldwin, 51 2009: Julie & Julia: Meryl, 60 / Stanley Tucci, 49 2002: Adaptation: Meryl, 53 / Chris Cooper, 51 1998: One True Thing: Meryl, 49 / William Hurt, 48 1996: Before and After: Meryl, 47 / Liam Neeson, 44 1990: Postcards from the Edge: Meryl, 41 / Dennis Quaid, 36 YOUNGER THAN HER LEADING MAN 2012: Hope Springs: Meryl, 63 / Tommy Lee Jones, 66 2009: Its Complicated: Meryl, 60 / Steve Martin, 64 1995: The Bridges of Madison County: Meryl, 46 / Clint Eastwood, 65 1994: The River Wild: Meryl, 45 / David Strathairn, 45 1991: Defending Your Life: Meryl, 42 / Albert Brooks, 44 1986: Heartburn: Meryl, 37 / Jack Nicholson, 49 1985: Out of Africa: Meryl, 36 / Robert Redford, 49 1982: Sophies Choice: Meryl, 33 / Kevin Kline, 35 1981: French Lieutenants Woman: Meryl, 32 / Jeremy Irons, 33 1979: Kramer v. Kramer: Meryl, 30 / Dustin Hoffman, 42 In Summary: in 15 movies spanning 22 years, Meryl Streep has been OLDER than 6 of her leading men, and YOUNGER than 10. In the films where she is OLDER than the actors, the biggest age difference was 11 years (Julie and Julia). In the films where she is YOUNGER than the actors, the biggest age difference was 19 years (Bridges of Madison County).

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bluethealpha · 6 years ago

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Cuphead’s Phear Lap’s Inspiration?

So, I was looking for references for a drawing of mine, and I discovered this-

I have a feeling this real racehorse was the inspiration for Cuphead’s miniboss, Phear Lap.

The story about the real racehorse lines up with the time Cuphead is supposed to take place and lines up with what info we have on the miniboss.

According to Wikipedia;

Phar Lap (4 October 1926 – 5 April 1932) was a champion Thoroughbred racehorse whose achievements captured the Australian public's imagination during the early years of the Great Depression. Foaled in New Zealand, he was trained and raced in Australia by Harry Telford. Phar Lap dominated Australian racing during a distinguished career, winning a Melbourne Cup, two Cox Plates, an AJC Derby, and 19 other weight for age races. He then won the Agua Caliente Handicap in Tijuana, Mexico, in track-record time in his final race. After a sudden and mysterious illness, Phar Lap died in 1932 in Atherton, California. At the time, he was the third highest stakes-winner in the world.

His mounted hide is displayed at the Melbourne Museum, his skeleton at Museum of New Zealand Te Papa Tongarewa and his heart is currently on display at the National Museum of Austrailia, Canberra.

Early on 5 April 1932, the horse's strapper for the North American visit, Tommy Woodcock, found him in severe pain and with a high temperature. Within a few hours, Phar Lap hemorrhaged to death. An autopsy revealed that the horse's stomach and intestines were inflamed, leading many to believe the horse had been deliberately poisoned. There have been alternative theories, including accidental poisoning from lead insecticide and a stomach condition. It was not until the 1980s that the infection could be formally identified.

In 2000, equine specialists studying the two necropsies concluded that Phar Lap probably died of duodenitis-proximal jejunitis, an acute bacterial gastroenteritis.

In 2006, Australian Synchrotron Research scientists said it was almost certain Phar Lap was poisoned with a large single dose of arsenic in the hours before he died, perhaps supporting the theory that Phar Lap was killed on the orders of U.S. gangsters, who feared the Melbourne Cup-winning champion would inflict big losses on their illegal bookmakers.

Just when you thought Cuphead was detailed on things in the 1920-1930′s...this happens. Kudos to you, Studio MDHR. This really surprised me. I never loved this mini-boss more.

I don’t know if anyone else has caught this, but I thought it was super interesting. I wanted to share my accidental discovery XD

If you wanna read about Phar Lap for yourself, here’s the Wiki link; https://en.wikipedia.org/wiki/Phar_Lap

#Cuphead #cuphead dont deal with the devil #cuphead phear lap #phear lap #cuphead boss #cuphead miniboss

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gioiabellini · 6 years ago

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L'addestratore di cavalli da corsa Tommy Woodcock e il suo cavallo Rekless,

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uglypastels · 6 years ago

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When You Say Nothing At All - Tom Holland movie AU (3/3)

(a/n) So I decided no to write the whole movie. there are two main reasons for it. 1) I don’t really like the end of Notting Hill (honestly, I always liked it more for the comedy than the romance, whoops) and 2) it also takes a long time to write. A long time, which I don’t really have. I thought that this was a good moment to end it on. Sorry to anyone who is disappointed.

word count: 5179

warning: swearing, sexual themes, SPOILERS FOR NOTTING HILL

part 1 /// part 2

Tom’s POV - 1999 - London - characters are in their late 20′s

The doorbell rang when Max was filling up Tom’s glass with some white wine. Personally, he wasn’t the biggest fan of the drink, but Tom needed the alcohol. Max put down the bottle and stared at Tom before he went and opened the door: “Now, try.” Tom just nodded. He wasn’t feeling very enthusiastic about the blind date.

Max went away to welcome Tessa, whose voice could be heard as soon as she walked inside the house. Tom shared a look with Bella as they listened. “I got completely lost. It’s really difficult, isn’t it?” Yes, bright as a button. Tom saw in Bella’s face that she was thinking the exact same thing. “Everything’s got the word Kensington in it. Kensington Park Road. Kensington Gardens. Kensington bloody Park Gardens.” She walked into the living room. Tom looked at her and couldn’t decide what was more terrifying to look at: the bright blue skirt and jacket she was wearing, or the bright red perm on her head.

“Look, Tessa, this is my wife, Bella.” Max interrupted. Tessa gasped.

“Hello. You’re in a wheelchair,” she squealed. Bella just responded:“Yeah, that’s right.” with a slightly uncomfortable smile.

“And this is Tom.” Max introduced Tom. Tessa walked up to him. Her hair bounced up and down with every step she took. “Hello, Tom.” He managed to only squeeze in a small Hi before she kept on talking, still vigorously shaking his hand. “Max has told me everything about you.”

“Has he?” he looked between her and Max.

“Oh yes. You are a naughty boy.” Max suggested her some wine before things got too inappropriate. “Oh yes, please.” she kept moving between Max and Tom, making her hair shake along. “C’mon, Tommy, let’s get sloshed.” She laughed hysterically. Tom thought she reminded him of a hyperactive puppy.

Very clearly, Tessa was not a big success. But it didn’t stop his friends from trying to find Tom other dates. Not less than four days later, Paddy called him to say that he had found the “perfect girl for him”. Tom doubted it highly.

“Keziah,” Max walked up to the table holding a tray of baked birds, “Some woodcock?” It looked rather appetizing, yet Keziah still looked blankly at it and said, in her monotone voice: “No, thank you, I’m a fruitarian.” Max awkwardly walked away and sat down in his seat between Bella and Tom.

“What is a fruitarian exactly?” Tom was scared he would soon regret asking this.

“Well, we believe that fruits and vegetables have feelings, so we think cooking is cruel.” It was unnerving to Tom to hear her say we the whole time. As in, there were more of those kinds of people. “We only eat things that have actually fallen from the tree or bush. That is, in fact, dead already.” he wished he was dead already.

“Oh, right. So, these carrots…” he pointed at the bowl of vegetables in front of him.

“Have been murdered, yes.”

“Murdered?” Keziah nodded. “Gosh, poor old carrots. That’s- that’s beastly.” Easy to say that Keziah had not stayed for very much longer either.

“Delicious coffee,” Emily said as she sipped from her cup. She was a friend of Bella’s and another attempt for Tom’s blind date. She had been absolutely lovely, so far. No strange bouncy hair, no bizarre dietary restrictions. Just a simple, lovely woman. Almost perfect.

“I’m sorry about the lamb.” Max sighed. He held a good long streak, but a day had to come where had would almost burn down the house and this day was, unfortunately, this day.

“No, I thought it was really, you know, interesting.” Emily tried to make him feel a bit better.

“Interesting means inedible.” Tom translated her words. She smiled and hid her face in her hands. “Really inedible, yes, you’re right.” She had a very cute laugh.

The dinner ended and Tom decided to walk her to the door. He had really enjoyed this evening with her.

“Well, maybe we’ll meet again.” Emily smiled nervously. Tom was already opening the door. He would actually like to meet her again. He had not expected that. “Yeah, yeah. That’ll be great.” Emily put her hand on his shoulder and kissed his cheek gently. Her lips were soft and the kiss was very nice. She pulled away and stepped outside. After four or five steps, she turned around, still walking, and said: “Bye.” Tom watched her walk until she turned the corner at the end of the street.

Back in the living room, Max and Bella were waiting for him. He sat down on the sofa, letting out a deep sigh.

“Well?” Max asked. He seemed to be a bit drunk from all the wine. Tom just smiled. “Perfect. Absolutely perfect.”

“And?” Bella knew Tom well enough to know that wasn’t all of it.

“You see, I think you’ve forgotten what an unusual situation you two have.” he eyes the couple down. They didn’t seem to understand. They looked at each other. “To find someone you actually love, who’ll love you, I mean, the chances are always minuscule.” Bella smiled at him, understanding what Tom meant. “Look at me. Apart from the American,” he didn’t dare say her name anymore, “I’ve only loved two girls, both total disasters.” He looked up at the ceiling.

“That’s not fair.” Max said. Another glass of wine had made it into his hand.

“No, really. One of them marries me then leaves me faster than you can say, Indiana Jones. And the other, who seriously ought to have known better, casually marries my best friend,” He glanced over at Bella with a knowing smile.

“She still loves you though,” she told him.

“Yeah,” Tom rolled his eyes, “in a depressing asexual way.” Bella thought for a moment about what he said, or at least Tom assumed she did. She smiled and then said: “I never fancied you much, actually.” Max’ giggling turned to full out laughter. Tom groaned and put his head in his hands.

“I loved you, you were terribly funny, but all that kissing my ears…” she cringed around in her wheelchair.

“I don’t believe it. This is just getting worse. I will find myself 30 years from now still sitting on this sofa.” Bella laughed but it was a sad laugh. She felt sorry for him, and honestly, who wouldn't. He was a sad man after all. “Do you wanna stay?” She asked. Tom probably needed to go home, but it was late, the way back home was long and he was tired.

“Yeah, why not. All that awaits me at home is a masturbating Harrison.” Yes, a very sad life indeed.

Tom watched as Max picked Bella up from her wheelchair and carried her upstairs. The three of them said goodnight to each other and then the couple made their way up the stairs. Tom watched them disappear from his view. He wished he could find something like that. Something simple, but worthwhile. Obviously, he was happy for his friends. He just wished he could be as happy like that for himself.

The next morning, Tom was still eating breakfast when Max had to leave for work. “See you, Tom.” he waved off. Tom choked on his toast as he tried to say goodbye too. Bella rolled into the kitchen, looking for something. She went through the mail and other papers that lay on the table in front of Tom. He saw one that she neglected right next to him and handed the case file to her. “Guilty. Very, very guilty,” he spoke of the case. He knew he probably shouldn’t have, but he couldn’t sleep at all and started reading through the file. Bella glanced at it while taking a bite out of her toast.

“So it seems,” she smirked and then left too. Just like any time through the years he had known Bella and Max, he could leave whenever he wanted, as long as he locked the door with the spare key that he had in his possession.

Tom stepped outside. It was a rather warm morning. Too warm for a jacket, even one of the lighter kinds. He looked around, wondering which way to take home. There was one option really. He had not walked the other way since the night of Paddy’s birthday party. He stepped out the gate and turned left. Almost immediately, he bumped into a man who tried to walk six dogs at once. He apologized for running into him.

Back home, he knew he needed a proper wash. He took a shower and then started to shave. The facial hair never grew anyway, so what was the point in trying. His face was still half covered in shaving cream when the doorbell rang. Harrison wasn’t home so he had to answer it.

He ran downstairs, trying not to fall as he dried his face with a towel. He opened the door while busy with one final sweep of the cloth. When he pulled it away, the sight in front of him made him breathless. No! It couldn’t be! He was dreaming. Still on Bella and Max’ couch. She wasn’t actually really here. Only, she was. With a soft whisper, she said: “Hi.” She didn’t look well. A part of Tom was glad, but a bigger part hated to see her sad. Her hair had lost its shine. She was wearing a weary sweatshirt and some old jeans. Her sunglasses were clearly hiding her puffed up eyes that had gotten as red as her nose from crying. “Can I come in?”

“Come in.” he moved so she could pass. He lead her to the living room part of the flat, where she sat down in a chair. Her hands were shaking. He didn’t feel comfortable asking what was wrong. They hadn’t seen each other in months and now suddenly she was at his doorstep, probably in need of help. He did not know for sure he could be that help. But apparently, she did, because she started to explain what was going on. “They were taken years ago.” Her voice was also shaky. Her eyes glued to the ground.

“I know it was...But I was poor and it happens a lot.” she looked at him as if she was specifically trying to explain herself to him, apologizing. “That’s not an excuse, I just...But to make matters worse, it now appears as though someone was filming me as well.” Tom could see her swallow with difficulty. “So what was a stupid photo shoot now looks like a porn film.” Her eyes filled up with tears again. “And the pictures have been sold, and they’re just everywhere.” she beginning to shake more and more. She looked at him helplessly. “I didn’t know where to go. The hotel’s surrounded. I know it’s been months, but…”

“This is the place.” It might not be the perfect circumstance that brought them back together, but Tom was happy she was here. He needed to see her again.

“Thank you,” she whispered through the tears. There was a silence. (Y/N) looked down at her hands, that had stopped shaking. “I’m just in London for two days, but what with your papers, it’s the worst place to be.” She got up from the chair. Her breathing indicating anxiety. “I mean, these pictures are just so horrible and they’re so grainy! And it makes me look like…”

“Listen, don’t think about it.” He tried to use the calmest voice he could. “We’ll sort it out.” She wiped away the fresh tears from her face. “Now what would you like? Tea? Bath?” He just wanted to help.

“A bath would be great.”

After her bath, and a rather embarrassing situation with Harrison in the bathroom, Tom and (Y/N) sat next to each other at the table in the kitchen. They weren’t talking. Just looking at each other and smiling. It was nice.

“I’m really sorry about last time.” Ah, yes. Someone had to bring it up at one point, didn’t they? “I mean, he just flew in. I had no idea. In fact, I had no idea if he was ever gonna fly in again.” Tom didn’t want to talk about it. It was something he would much rather keep behind, forget if possible. (Y/N), unfortunately, did feel the urge to talk about it. Tom took a sip from his mug while thinking of something to reassure her.

“Listen, it’s not often one has the opportunity to adiós the plates of a major Hollywood film star.” he was glad to see she smiled at the comment. “It was thrilling for me.” He felt like he needed to ask about him. What if they were still together? He had to know. “So how is he?”

“I don’t know.” she laughed nervously. “It just got to the point where I couldn’t remember any of the reasons why we were together… And you and love?” Tom didn’t answer for some time. Not only because he had nothing to answer with, but because he was frozen looking at her. They broke up? They broke up. What did this mean? Did he have a chance again? He had to shake out his thought to function properly again. With a smile he said: “Oh, well, there’s a question,” he looked down at the table, thinking for a second or two if there was something with him and love, “ without an interesting answer.” Suddenly, Tom felt very peckish. He walked away from the table to counter next to sink to get some toast. He was putting marmalade on top of the piece of bread when (Y/N) confessed: “I have thought about you.” He sure hoped she did. There were a million thoughts rushing through his head, but the only one that managed to leave through the door was: “Oh.” He kept on marmalading his toast.

“It’s just that any time I’ve tried to keep anything normal with a person that was normal,” so he was normal. Good to know. “it’s just been a disaster.”

“Yeah, no, listen, I appreciate that, absolutely.” he shrugged, walking back from the kitchen part of the room to the table where she was seated. In her hands, something that looked remotely like a script. “So what is that, a film you're doing?” he pointed at it with his knife.

“I start in LA on Tuesday.” She didn’t look excited to be getting a new paycheck. He sat back down in his chair.

“Would you like me to take you through your lines?” Her excitement immediately lit up. Tom took a bite from his toast.

“Would you? Because it’s talk, talk, talk.”

“Come on, hand it over. Right.” He took the script from between her hands. It was open around the middle of the bundle of paper. “Uhm, Basic plot?”

“I’m a difficult but brilliant junior officer, who, in about 20 minutes, is gonna save the world from nuclear disaster.” Tom had to admit, the plot sounded a bit basic, but he didn’t want to offend her.

“Okay, well done, you.” they both laughed.

It was getting a bit cloudy, but the air was still warm. Tom suggested going through the lines on the roof, where (Y/N) would have more space to move around instead of the small flat. She liked the idea. He took her up to the roof. (Y/N) looked around, down at the street, at the people hurrying around. Tom settled in his usual chair. The script in his hands, he read it a few times through to be able to say it more smoothly to her. It really was not the greatest writing. When she was done, they started the scene. (Y/N) walked back and fro as she said her lines.

“Message from Command, would you like them to send in the HK’s?” Tom read out loud.

“No. Turn over the four TRS’s and tell them we need radar feedback before the KFT’s return at 1900 then inform the Pentagon we need Black Star cover from 1000 through 1215. And if you say one word about how many mistakes I made in that speech, I’ll pelt you with olives.” She had said everything so quickly that Tom had trouble catching on, even with the literal script in his hands. He had counted the mistakes as she went along. He continued with the scene: “Very well, Captain, I’ll pass that on, straight away.”

“Thank you,” she glanced at him, while still walking around, “How many mistakes did I make?”

“Eleven,” he said from behind the paper.

“Dammit. And, Wainwright…”

“Cartwright,” Tom corrected her, not really sure if he should have done that or just counted on the mistakes she made. She looked flustered at him.

“Cartwright, Wainwright, whatever your name is… I promised little Jimmy I’d be home for his birthday, so could you get a message to him that I may be a little late?”

“Certainly. And little Johnny?” he nudged her into the correct direction of the text.

“My son’s name is Johnny?” Tom just nodded. “Well, then get a message to him, too.”

“I’ll do what I can, Captain, but I can’t make promises.” He read on to the directions. “And, Cartwright goes.” (Y/N) let out a big sigh. She gripped her forehead and looked a bit frustrated.

“What do you think?”

“Gripping. You, know it’s not Jane Austen. It’s not Henry James. But it’s gripping.” he didn’t want to say what he was truly thinking, knowing that she was already unsure about her choices in work. She sat down on the chair opposite of him.

“Think I should do Henry James instead?”

“Well, I think you would be brilliant in Henry James,” Tom put down the script. “But, you know, this writer…” He looked down at the front page, where several names were scribbled down. “Writers… they’re pretty damn good, too.”

“Well, you never get anyone in Wings of the Dove saying, Inform the Pentagon we need Black Star cover.” She slouched her shoulder a bit. Tom tried to make her feel a bit better by commenting: “Well, and for me, the book is the poorer for it.” She smiled, knowing very well it was a joke.

They decided it was enough for the moment and went back downstairs. Tom thought they would go to the sofa, but (Y/N) took the stairs down to the kitchen and sat down at the table. He followed her, but before sitting down, getting something to drink. He was pouring it out for her as she looked to the side.

“I can’t believe you have that picture.” Tom looked up from the glasses to the wall to which she was pointing at, where a replica poster of Marc Chagall’s LA Mariee was hanging.

“You like Chagall?” he had not expected her to do so. Not many people that had come to his flat had ever really paid attention to the little poster, let alone actually compliment it.

“I do.” She played with the hem of the sweater that Tom borrowed her as she looked at the poster again. “It feels like how love should be. Floating through a dark blue sky”

“With a goat, playing the violin,” he questioned her idea, but at the same time agreed completely. She stared at him, dead in the eye. “Well, yes. Happiness isn’t happiness without a violin-playing goat.”

After drinking something, they moved back upstairs into the living room part of the flat. There, they stayed for the rest of the day. Harrison had not shown up for the better of it. She was sitting on the sofa, while he sat in the arm-chair. Their feet on the table. It was already getting dark and Tom had turned on a few lamps around the room so they could continue reading; she her script and he his book.

Tom could feel her eyes move around, glancing at his feet. He looked up from the words on paper in front of him.

“You have big feet.” She commented, biting her nails.

“Yes. yes, always have had.” Where was she going with this? He could see her smirk. “You know what they say about men with big feet?”

“No, I don’t know. What’s that?” he knew very well what they say, but was just curious where the conversation would be taken.

“Uh, big feet, large... shoes.” She hid her face behind her script. Tom chuckled at the innocent yet still indicating a joke.

Tom had suggested some ice cream. Without a hesitation, in her look or voice, she said that she would love some. He took out the emergency tub of Häagen-Dazs and split the content in half. One half in a bowl, for (Y/N) and then he could eat out of the tub itself.

He handed her the dessert and a conversation formed again. Tom had enjoyed the pleasant silence in which they had read before, but this was time and times better. He watched from the couch as she walked back and forth around the room, just like she did on the roof when they were going through her lines.

“The thing that’s so irritating is that now I’m so totally fierce when it comes to nudity clauses.” Tom had no idea how they had come to the subject, but it didn’t matter. It was nice to listen to her voice again.

“You actually have clauses in your contract about nudity?”

“Definitely.” She gave him a look as if it was the most normal thing in the world. And in her world, he assumed, it probably was the most normal thing. “You may show the dent of the top of the artist’s buttocks but neither cheek. Or, if there’s a stunt bottom being used, the artist must have full consultation.” She recited. Tom was impressed at how easy and ordinary it all was to her. A stunt bottom?

“You have a stunt bottom?”

“Well, I could have a stunt bottom, yes.” She grinned cheekily and sat down opposite him on the sofa.

“And are people tempted to go for better bottoms that their own?” The idea was too bizarre for Tom, but (Y/N) on the other hand: “Yeah, I mean, I would. This is important stuff.”

“Well, it’s one hell of a job, isn’t it? I mean, what do you put on your passport? Profession: Mel Gibson’s bottom.” Tom laughed, but (Y/N) didn’t.

“Actually, Mel does his own ass work.”

“Right.” Of course, she would know that.

“Why wouldn’t he.” She took another spoon of ice cream, staring blankly at Tom. “It’s delicious.”

“What, the ice cream or Mel Gibson’s bottom?”

“Both. Equally.” She said between spoons.

“But you wouldn’t necessarily lick both?”

“Well, this is tart.” She explained and started laughing, making Tom laugh. “And fuzz free.”

After the ice cream, (Y/N started to yawn a bit. Tom thought it would be best to show (Y/N) her, or actually his, room. They took the other staircase up to the bedroom. “And… the bedroom, I’ve put clean sheets on.” He had been walking in front of her, so once he was on the landing, he stepped aside, letting her walk by. He expected her to go into the room and close the door, but she didn’t. When (Y/N) got to the door she stood in the middle of the doorframe and turned to look at him. A bit tired, she said: “Today’s been a good day.” She looked down, avoiding his eyes, “Which in the circumstances in unexpected.”

Tom just nodded awkwardly, having no other words than “Thank you”. She looked at him in a way that said that she expected him to do something, but Tom didn’t know what that was. And if he had an idea and that idea came to be true, he highly doubted it would be considered appropriate to kiss her now.

“Anyway, time for bed.” he said a bit disappointed, “or, sofa bed.” (Y/N) smiled knowingly. Then she softly kissed his cheek. The simple gesture made Tom’s heart skip a beat. He didn’t understand why this was happening. They have kissed already multiple times, yet still, a kiss on the cheek is the one that makes his palms sweaty.

She pulled away and said softly, so softly it was even barely a whisper: “Goodnight.” He responded with the same. She stood in the doorway, a glass of water in her hand, the other playing with a hem of the sweater Tom had to lend her. Tom stood on the opposite side of the landing. They stared at each other for a moment, just smiling sheepishly, until (Y/N) turned around and walked into the room, closing the door behind her and leaving Tom on the stairs alone.

With a sigh, he walked down the stairs. He made his sofa bed ready for a night sleep and lay down. It was not the most comfortable in the world, but the sofa did its job. At least, it could if Tom could actually sleep. He didn’t even manage to close his eyes for longer than five seconds. The thought of (Y/N) kissing him was fresh in his memory again. It was just a peck on the cheek, but it could be more? The blanket under which he was laying was starting to get too warm. He jumped up, throwing the material off his legs. He sat down, his face in his hands as he started thinking what he should do. Should he go up there? No, he couldn’t just walk up there. With a sigh, he lay down again, his head hit the pillow.

Then he heard something, the faintest creaking of the stairs. Could it be her? He took a deep breath before he asked: “Hello?” Another footstep and then he could feel the presence of someone right behind the wall and a voice saying: “Hello.”

Tom groaned as his head hit the pillow again. “Harrison.” He said, a little frustrated. Of course, it wasn’t (Y/N). Harrison didn’t seem to notice Tom’s agitation.

“I wonder if I could have a little word?”

“Right,” Tom was massaging his temples. Trying to keep calm. He didn’t want to be too loud in case it would wake her up.

“I don’t want to interfere or nothing, but she’s just split up from her boyfriend. That’s right, innit?” He was whispering, his face very close to Tom’s. A bit too close for his liking.

“Maybe,” Tom’s face was still in his hands.

“And she’s in your house?”

“Yes.” Tom pulled his hands away from his forehead, brushing one through his hair. He looked at Harrison with one eye.

“And you get on very well.” he kept on whispering suggestively. The only problem was, that it wasn’t very clear what he was suggesting. Tom thought for a while about Harrison’s last statement before mumbling a: “yes.”

“Well, isn’t this perhaps a nice opportunity to,” He suddenly stopped. Tom thought that he maybe froze, this time for good. Then he spoke again. “slip her one.”

“Harrison, for God’s sake. She’s in trouble. Just get a grip.” He was getting more and more frustrated by his flat-mate by every sentence he spoke.

“Right, you think it’s the wrong moment, fair enough.” and with that, Harrison sneaked back to his room, leaving Tom once again alone in the complete darkness. Tom turned around, his body now facing the direction of the window.

“Do you mind if I have a go?” Tom almost fell off the sofa. He turned his head around and yelled out: “Harrison!”

“Right, okay,” he whispered. Tom realized that he talked way too loudly for such a late moment in the night. Trying to calm down a bit he said: “I’ll - I’ll talk to you in the morning.”

“Okay,” Harrison walked away, but almost immediately came back again, “Might be too late, but okay.” Tom decided to ignore the comment. He listened as Harrison walked up the stairs. He could hear the creaking of the stairs again. But there was still a presence next to the sofa, he could feel it. Being completely and utterly tired with Harrison, he groaned, “Please, sod off.”

“Okay, sorry.” He heard the voice of the other person, but it wasn’t Harrison anymore. Tom quickly realized his mistake. He got up before (Y/N) could leave.

“No, no, no, wait, I thought you were someone else.” She came back, staring at him blankly. Most of her face was covered by the shadow, but he saw the mix of fear and sadness in her face. “I thought you were Harrison. I’m thrilled that you’re not.” He smiled weakly, but the smile got bigger when he saw her smile back. Without saying anything, she reached for his hand. Tom got up and took her hand. They were so close to each other that he could feel her breathe on his neck as he looked down into her eyes. He was pretty sure he could feel her heartbeat against his chest, and they weren’t even touching.

Slowly, and carefully, he closed the gap between them, kissing her. Finally, a kiss that he was able to initiate. A kiss he was finally prepared for. The kiss he had waited weeks, if not actual months for. A kiss that was so soft that it was like a feather touch to his lips. Without thinking, his lips moved to her cheek which was then followed by more feathery kisses on the neck. He pulled down her nightshirt off her shoulder, revealing her back to the night air. He could feel the goosebumps on her skin as he continued kissing her every possible inch of skin.

With one hand on the small of her back, and the other on her neck, he kept on kissing her until his lips had found their way back to hers. After one last long kiss, he pulled away. He watched her face. The most beautiful face he had ever seen. She had her eyes closed, a small smile on her lips as the aftermath of the kisses that they had just shared. When she opened her eyes, they flickered between his and his lips. Tom was absolutely mesmerized.

“Wow,” he whispered.

“What?” she giggled.

“Nothing.” he didn’t want to say it. He couldn’t say it. There was so much going on in his mind that he didn’t know what to say. It was too perfect to be true. She was too perfect. He didn’t deserve any of it. Instead of telling her with words, he kissed her again. Hoping that all his thoughts would be translated for her with it.

That night, he slept better than he had ever done in his life. He fell asleep as he could still feel her body against his. Her arm draped around his lazily. He could hear her soft breathing, the heat of her naked body against his. It was a night he would never forget.

THE END

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@whatanight13

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melbournenewsvine · 2 years ago

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Everest winner Giga Kick exits Sydney with a second showdown in nature on the cards

Everest winner Giga Kick and his new-faced coach Clayton Douglas quietly departed from Sydney shortly after 6pm on Monday – and were already planning another potential showdown with sprint king Nature Strip. Giga Kick caused a furore Saturday when he broke into his home late to win a $15 million advantage from Private Eye and Mazu, with the Nature Strip favorite taking fourth place. Douglas had originally planned to run a Giga Kick against three-year-olds at the Coolmore Stud Stakes on Saturday, but refused to rule out waiting an extra week for the Sprint (1,200m) tournament where the Nature Strip was likely to take place. Although he hasn’t officially turned three by his birthday until Wednesday, young rookie Giga Kick will be entitled to challenge the Nature Strip for the title of best sprinter in Australia if he crosses world class Chris Waller for a second time. Returning to Sydney in the fall for the TJ Smith Stakes, a race the Nature Strip has won in the past three years, is Giga Kick’s long-range goal. Looking somewhat refreshed after the weekend festivities ended in the early hours of Sunday, 27-year-old Douglas channeled Far Lab’s Tommy Woodcock fame by planning to escort Giga Kick on the buoy all the way back to Melbourne. Coach Clayton Douglas drives Giga Kick to his catamaran on a trip to Melbourne last nightattributed to him:Walter Peters As for his next start, Douglas told Announces And the the age On his undefeated testicle: “The Nature Strip will likely go to the weight-for-age race on the last Saturday of the Carnival, we should probably go to Coolmore, but if we decide to give it another week, there is a chance we will take on the Nature Strip again. “The three-year-old is a fixed weights race, and by his assessment now he will be very handicapped and hard to beat. If we are happy with him he will be running at Coolmore Stud Stakes. Source link Originally published at Melbourne News Vine

#Melbourne News Vine

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fabioferreiraroc · 4 years ago

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10 filmes recentes que valem a assinatura da Netflix

Para os espectadores que estão interessados ou já assinaram Netflix, a Bula reuniu em uma lista dez filmes lançados nos últimos anos que estão disponíveis na plataforma e fazem valer o investimento. A seleção reúne longas de diferentes gêneros, todos bem-avaliados pela crítica especializada em cinema e pelo público.

Hoje existem várias opções de serviços de streaming no Brasil, então pode ser difícil escolher algum para assinar. Para os que estão interessados ou já possuem Netflix, a Bula reuniu em uma lista dez filmes lançados nos últimos anos que estão disponíveis na plataforma e fazem valer o investimento. A seleção reúne longas de diferentes gêneros, todos bem-avaliados pela crítica especializada em cinema e pelo público. Entre eles, destacam-se “As Mortes de Dick Johnson” (2020), de Kirsten Johnson; “Os 7 de Chicago” (2020), de Aaron Sorkin; e “Trama Fantasma” (2018), dirigido por Paul Thomas Anderson. Os títulos estão organizados de acordo com o ano de lançamento.

Imagens: Divulgação / Reprodução Netflix

As Mortes de Dick Johnson (2020), Kirsten Johnson

Há alguns anos, Dick Johnson, pai da cineasta Kirsten Johnson, foi diagnosticado com demência. Como atividade terapêutica para enfrentar a inevitável morte do pai, Kirsten decide encenar as formas como ele pode morrer. Em cada cenário, o idoso brinca com o humor ácido e com as fantasias imaginativas de Kirsten. Assim, pai e filha se preparam para a separação e criam memórias eternas juntos.

As Três Mortes de Marisela (2020), Carlos Perez Osorio

Em 2008, a jovem Rubi foi morta pelo companheiro, no México. Ele jogou os restos do corpo da mulher em um depósito de porcos. O documentário aborda a luta de Marisela, mãe de Rubi, pela prisão do assassino. Diante da passividade das autoridades, ela mesma resolveu investigar o paradeiro dele, arriscando a própria vida ao enfrentar corruptos e organizações criminosas.

O Diabo de Cada Dia (2020), Antonio Dias

A história se passa nos anos 1960, em uma comunidade rural de Ohio, e acompanha vários personagens peculiares que foram afetados pela guerra de diferentes maneiras. O principal deles, Willard Russell, é um veterano atormentado por não ter conseguido salvar a esposa da morte. O filho dele, Arvin Eugene, cresce tentando se tornar um homem bom, mas acaba sendo atingido pela violência que domina a cidade.

Os 7 de Chicago (2020), Aaron Sorkin

Em 1968, em Chicago, o Partido Democrata realiza uma convenção para escolher os candidatos à eleição presidencial daquele ano. Do lado de fora, mais de 15 mil manifestantes contra a Guerra do Vietnã entram em confronto com a polícia e a Guarda Nacional dos EUA. Os organizadores do protesto, que era inicialmente pacífico, são acusados de conspiração e incitação da desordem. O julgamento deles atrai atenção mundial.

The Boys in The Band (2020), de Joe Mantello

Em 1968, em Nova York, um grupo de amigos gays se reúne para comemorar o aniversário de um deles, Harold. O anfitrião da noite é Michael, um roteirista bêbado e esbanjador, que comprou um presente especial para o aniversariante. Mas, a noite de drinques é interrompida quando Michael propõe um jogo de confissões. As verdades ditas acabam ameaçando a amizade do grupo.

The 40-Year-Old Version (2020), de Radha Blank

Escrito, dirigido e protagonizado por Radha Blank, este longa semibiográfico acompanha uma atriz de 40 anos, que está com a carreira em declínio. Em busca de se reinventar, ela começa a cantar rap e descobre uma nova paixão. Agora, ela precisa sobreviver em um mundo dominado por homens mais novos. Além disso, a rapper tenta lidar com vários problemas pessoais e familiares.

Lady Bird — A Hora de Voar (2018), Greta Gerwig

Christine McPherson é uma adolescente que vive em Sacramento, na Califórnia, e se autodenomina “Lady Bird”. Ela está no último ano do ensino médio e diz que seu sonho é ingressar em uma prestigiada universidade, de preferência em uma cidade grande, e abandonar Sacramento. Mas, a família de Christine enfrenta muitas dificuldades financeiras e sua mãe diz que não irá apoiá-la na mudança.

Trama Fantasma (2018), Paul Thomas Anderson

Nos anos 1950, Reynolds Woodcock é um renomado estilista que trabalha ao lado da irmã, Cyril, para vestir grandes nomes da elite britânica. Sua inspiração vem das mulheres que entram e saem de sua vida constantemente. Mas tudo muda quando ele conhece a inteligente garçonete Alma, que se torna sua musa e amante. Apesar de amar Woodcock, Alma não aceita seu jeito sistemático e agressivo.

Blade Runner 2049 (2017), Denis Villeneuve

Em 2049, os replicantes — seres humanos artificiais fabricados graças ao desenvolvimento da bioengenharia — estão mais evoluídos e obedientes. Um deles é K, um blade runner que caça foragidos para a polícia. Em uma de suas missões, K descobre um segredo: uma replicante teve um filho. A reprodução de replicantes pode desencadear uma guerra deles com os humanos. Então, o chefe de K exige que ele elimine a criança.

Dunkirk (2017), Christopher Nolan

Durante a Segunda Guerra Mundial, soldados da Bélgica, Inglaterra e França são cercados pelo exército alemão nas praias de Dunkirk. Sob cobertura aérea e terrestre das forças britânicas, eles esperam ser resgatados. O filme acompanha três momentos diferentes da operação. No céu, o piloto Farrier tenta destruir um avião inimigo; em alto mar, sr. Dawson leva seu barco de passeio para ajudar no resgate; e na praia, o soldado Tommy faz de tudo para escapar com vida.

10 filmes recentes que valem a assinatura da Netflix Publicado primeiro em https://www.revistabula.com

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railing-away · 4 years ago

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Tommy Woodcock and Reckless, 1977 by Bruce Postle from the National Portrait Gallery of Australia

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solidarityinloneliness · 5 years ago

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Love is Toxic (literally)

This week, we explored the topic of “Love, Ownership, and Antagonism” by watching Paul Thomas Anderson’s Phantom Thread (2017). We also read “Jealousy” by Daniel M. Farrell and “Love, After a Fashion” by Sheila O’Malley. Phantom Thread is set in 1950’s London, and unravels a love affair between two eccentric individuals - dressmaker Reynolds Woodcock, and his muse-turned lover, then wife: Alma Elson. Both of the readings helped me understand this emotionally complex film, in different ways: O’Malley’s article both reviews and supplements the movie to further understand the significance of the film’s characters and settings in PTA’s body of work, stating that “In Paul Thomas Anderson’s work, love can be - quite literally - a miracle” (29). On the other hand, Farrell’s philosophy article helps understand the ethos underlying the film’s main conflict - Alma’s jealousy. Farrell explores the exact definition of Jealousy, stating that the emotion “presupposes both a desire to be ‘favored’ in some respect and a belief… that one is not so favored” (534). I stated earlier that the film explores a love affair between two eccentric individuals. I was intentional in the characterization of Reynolds and Alma as “eccentric individuals.” Though they fall in love, I found the characters so eccentric and individualistic at times that I found it hard to believe they were capable of feeling love at all. However, that did not take away from the fact that the film was highly enjoyable, and allowed me to expand my understanding of love’s manifestation even in such “successful obsessives.” When O’Malley uses this phrase, she means Reynolds, but I happen to find Alma to be an even more successful obessessive than Reynolds, if we were to measure the success of the obsessive based on the size of their conquest.

Returning to the topic, “Love, Ownership, and Antagonism,” I found it difficult to see the relationship between these three phrases upon first glance. I hesitate to associate what I consider love, with ownership or antagonism, since ownership implies inequality and antagonism implies hostility. Inequality and hostility are signs of unhealthy relationships, and therefore cannot be associated with love. Or so I thought. After a healthy amount of grappling with the topic, I came to understand that love can manifest in forms of ownership and antagonism. I will talk about why. However, I also want to clarify that while ownership and antagonism can be byproducts of love, the continuation of ownership and antagonism in love are signs of an unhealthy relationship.

Through this blogpost, I will demonstrate that ownership and antagonism can manifest in love. Then I will demonstrate why ownership and antagonism can cause a relationship to sour, if it outlives love. Ultimately, by grappling with this topic, I want to state that love between eccentric people with complicated emotions is both valid and beautiful, even when it comes with tumultuous byproducts.

First, why ownership and antagonism can sometimes be byproducts of love: If there’s anything I am learning through this class, it is that love arises from eccentric circumstances, sometimes even among eccentric people. Hedwig and Tommy begin as mentor and mentee. Chow Mo-Wan and Su Li-Zhen are neighbors, married to different people. Tish and Fonny are childhood friends. However, what is particularly interesting about Reynolds and Alma’s relationship is that they begin as artist and muse. The complexity of their relationship is well-summarized by a question O’Malley raises in her article, “What is the difference between love and aesthetic appreciation?” The relationship between an artist and a muse is simultaneously similar and different from romance: Like romantic partners, an artist and a muse are obsessed with each other, even dependent on each other. However, unlike romantic partners, the artist-and-muse symbiosis does not necessarily operate on the basis of reciprocity. The artist can have complete control over the relationship, and the muse can still achieve success by simply being the obedient recipient of the arrangement. However, romantic partners cannot achieve success when there is no sense of reciprocity. Like O’Malley asks, “Can you be a muse and also have needs of your own?” If you’re only a muse, no. If you are a muse and a girlfriend, yeah, it’s kind of important. Because Reynolds and Alma’s romantic relationship begins as an artist-and-muse arrangement, their inequality remains for a good majority of the film. And when this inequality continues to remain, Alma - the muse-turned-lover - grows deeply dissatisfied. Voila: Love, ownership, and antagonism.

The second act of the film, therefore, is Alma’s payback. In order to address her dissatisfaction, she fights back to have control in her relationship with Reynolds: She begins to poison Reynolds by adding wild mushrooms to his food. This doesn’t come out of nowhere, however. When Reynolds is working, Alma is reduced to either a mannequin, or a house cook. Reynolds’ primary love affair is with his work. Only when he breaks his routine out of necessity can Alma have him to herself: After all, Reynolds finds Alma at a restaurant while visiting his country home to recover from dressing one of his biggest patrons. Only when Reynolds is sick - whether the cause be exhaustion or poisonous mushrooms - Alma can nurse him back to health, without visitors or work to interrupt their time together.

Through poison, Alma and Reynolds find an equilibrium. But do they? The couple seems to think so. In the final scene, Reynolds implies his awareness of Alma’s poisonous mushrooms: “Kiss me, my girl, before I’m sick.” However, this newly-found equilibrium is quite literally toxic: While Reynolds willlingly relents to Alma’s poisoning for the time being, there is no way of controlling the dosage of the poison. As much as Alma wants to “love him the way [she] wants to,” she cannot love him if he’s not alive. We must think about Alma’s exact motivation for her poisoning of Reynolds: he gives his work more attention than her. In “Jealousy,” Farrell notes that jealousy can sometimes arise in a partner “ who seems to be concerned not about his partner’s preferences - weak or strong - but simply about what his partner does with other people” (535). Reynolds does not necessarily prefer his work over Alma, but his continuation of investment on his routine worries her about his preference of her. But can you blame her? If Reynolds was not as exacting and unsocialized a person as he is depicted in Phantom Thread, it would be easier to dismiss her jealousy. In a sense, her jealousy is not of a person - at least, not most of the time - but rather of the general idea of Reynolds’ creative practice. She realizes that he does not relent to her love unless she forces him to, so that is exactly what she does.

However, I cannot help but imagine that Alma and Reynolds’ relationship will only end in tragedy. In a sense, by fighting against Reynolds’ ownership of her, Alma has gained ownership over him. This new arrangement will either result in Reynolds’ death, or in his antagonism against her. In other words, the wild mushrooms are a short-term remedy, not the long-term cure of their love. I am hopeful, however. The film ends with a fantasy sequence of Alma and Reynolds continuing to share their life together - having a baby, Alma working as a designer in the House of Woodcock. Perhaps Alma’s poisoning will result in Reynolds learning to de-prioritize his routine.

Despite the crazy twist peppered into the plot, Phantom Thread is still largely a film that explores the beautiful world of couture gowns, the artist behind them, and his muse, who inspires him. I want to root for their love, since everyone deserves to be loved - even a talented recluse and his muse, who is crazy enough to assert her own desires to him.

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ando-in-the-mother-country · 5 years ago

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The Final Push

Mindful of Churchill’s dictum that the Opposition sits on the benches opposite, but the enemy is behind you, we decide to use Election Eve to depose the Lord Haw-Haw of our times. Dominic Grieve, who treacherously conspired with the Continent against his own country, is running as a pro-Brussels independent in Beaconsfield, and I am confident that our presence will secure his defeat. But the task is formidable as the electorate is at the far reaches of the British Isles, even beyond Zone 1 of the London Underground.

An army marches on its stomach, not on its boots. Although Wilton’s is fully booked, they rustle up a last minute table in the national interest. We contemplate the set lunch, which includes an attractive beef roast from the carving trolley. But I’m conscious that the polls are tightening, and that the price of victory is utter dedication. A Cropwell Bishop Stilton soufflé is followed by the house speciality: the magnificent Native Lobster Newburg. The “dessert menu” is tailor-made for me, with Welsh rarebit and Scotch Woodcock providing a further savoury hit.

Thus fortified, we make the arduous journey to Beaconsfield. At the “Beech House”, the local pub, we canvass locals over a pint. Two gentlemen express to us their admiration for the Australian approach to immigration, and one volunteers the northernmost island of the Outer Hebrides as an appropriate location for a UK offshore processing centre to match Nauru. I leave Beaconsfield confident that their votes have been won over to the Conservative cause, although more likely from a write-in for Tommy Robinson than from the treacherous Grieve.

Meanwhile, a colleague from the Howard era, Simon Berger, makes contact to organise our attendance at the Election Eve rally with Boris, Priti Patel and Michael Gove. Berger is too wily an operator to give it away, which is why he was chosen as an intermediary, but it is clear to me that the PM has personally requested our attendance to provide real momentum going into the final straight. After racing back to London and out to Stratford, we are delighted to learn that the teetotaler influence of killjoys like David Gazard has not yet infected British politics, and we are able to down pints of full-strength beer while the politicians serenade us. As the phrase “point-based Australian immigration system” is used for the twentieth time, I feel a surge of national pride at our policy leadership.

I ask Berger to tell Boris not to spend his precious time in the final hours thanking us: there will be time for that later. We head back to Uberpatriot HQ after our long day’s combat, just in time for Laura to borrow my rally placards for her live cross.

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5heclai · 7 years ago

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My 2018 Golden Globes Predictions

{I removed categories that included movies or shows that I haven’t seen yet}

Film

Best Motion Picture

Drama

Call Me by Your Name

Dunkirk

The Post

The Shape of Water

Three Billboards Outside Ebbing, Missouri

- Granted I’ve only seen Dunkirk and Three Billboards, I really think Dunkirk has this one in the bag; as well as Christopher Nolan for directing.

Musical or Comedy

The Disaster Artist

Get Out

The Greatest Showman

I, Tonya

Lady Bird

- Lady Bird is my second choice, and I feel it has a higher chance of winning, although I really want Get Out to win.

Best Performance in a Motion Picture – Drama

Actor

Timothée Chalamet – Call Me by Your Name as Elio Perlman

Daniel Day-Lewis – Phantom Thread as Reynolds Woodcock

Tom Hanks – The Post as Ben Bradlee

Gary Oldman – Darkest Hour as Winston Churchill

Denzel Washington – Roman J. Israel, Esq. as Roman J. Israel

Actress

Jessica Chastain – Molly's Game as Molly Bloom

Sally Hawkins – The Shape of Water as Elisa Esposito

Frances McDormand – Three Billboards Outside Ebbing, Missouri as Mildred Hayes

Meryl Streep – The Post as Kay Graham

Michelle Williams – All the Money in the World as Gail Harris

Best Performance in a Motion Picture – Musical or Comedy

Actor

Steve Carell – Battle of the Sexes as Bobby Riggs

Ansel Elgort – Baby Driver as Baby / Miles

James Franco – The Disaster Artist as Tommy Wiseau

Hugh Jackman – The Greatest Showman as P. T. Barnum

Daniel Kaluuya – Get Out as Chris Washington

Actress

Judi Dench – Victoria & Abdul as Queen Victoria

Helen Mirren – The Leisure Seeker as Ella Robina

Margot Robbie – I, Tonya as Tonya Harding

Saoirse Ronan – Lady Bird as Christine "Lady Bird" McPherson

Emma Stone – Battle of the Sexes as Billie Jean King

Best Supporting Performance in a Motion Picture – Drama, Musical or Comedy

Supporting Actor

Willem Dafoe – The Florida Project as Bobby Hicks

Armie Hammer – Call Me by Your Name as Oliver

Richard Jenkins – The Shape of Water as Giles

Christopher Plummer – All the Money in the World as J. Paul Getty

Sam Rockwell – Three Billboards Outside Ebbing, Missouri as Officer Jason Dixon

Supporting Actress

Mary J. Blige – Mudbound as Florence Jackson

Hong Chau – Downsizing as Ngoc Lan Tran

Allison Janney – I, Tonya as LaVona Golden

Laurie Metcalf – Lady Bird as Marion McPherson

Octavia Spencer – The Shape of Water as Zelda Fuller

Best Director

Guillermo del Toro – The Shape of Water

Martin McDonagh – Three Billboards Outside Ebbing, Missouri

Christopher Nolan – Dunkirk

Ridley Scott – All the Money in the World

Steven Spielberg – The Post

Best Screenplay

Guillermo del Toro & Vanessa Taylor – The Shape of Water

Greta Gerwig – Lady Bird

Liz Hannah & Josh Singer – The Post

Martin McDonagh – Three Billboards Outside Ebbing, Missouri

Aaron Sorkin – Molly's Game

- Honestly bummed Jordan Peele didn’t get nominated.

Best Original Score

Carter Burwell – Three Billboards Outside Ebbing, Missouri

Alexandre Desplat – The Shape of Water

Jonny Greenwood – Phantom Thread

John Williams – The Post

Hans Zimmer – Dunkirk

Best Original Song

"Home" (Nick Jonas, Justin Tranter, and Nick Monson) – Ferdinand

"Mighty River" (Raphael Saadiq, Mary J. Blige, and Taura Stinson) – Mudbound

"Remember Me" (Kristen Anderson-Lopez and Robert Lopez) – Coco

"The Star" (Mariah Carey and Marc Shaiman) – The Star

"This Is Me" (Benj Pasek and Justin Paul) – The Greatest Showman

Best Animated Feature Film

The Boss Baby

The Breadwinner

Coco

Ferdinand

Loving Vincent

- They should really just toss the golden globe to the Pixar crew upon their arrival to the ceremony.

Television

Best Series

Drama

The Crown

Game of Thrones

The Handmaid's Tale

Stranger Things

This Is Us

Musical or Comedy

Black-ish

The Marvelous Mrs. Maisel

Master of None

SMILF

Will & Grace

Best Performance in a Television Series – Drama

Actor

Jason Bateman – Ozark as Martin "Marty" Byrde

Sterling K. Brown – This Is Us as Randall Pearson

Freddie Highmore – The Good Doctor as Dr. Shaun Murphy

Bob Odenkirk – Better Call Saul as Jimmy McGill

Liev Schreiber – Ray Donovan as Ray Donovan

Best Performance in a Television Series – Musical or Comedy

Actor

Anthony Anderson – Black-ish as Andre "Dre" Johnson Sr.

Aziz Ansari – Master of None as Dev Shah

Kevin Bacon – I Love Dick as Dick

William H. Macy – Shameless as Frank Gallagher

Eric McCormack – Will & Grace as Will Truman

Best Supporting Performance in a Series, Miniseries or Television Film

Supporting Actor

David Harbour – Stranger Things as Chief Jim Hopper

Alfred Molina – Feud: Bette and Joan as Robert Aldrich

Alexander Skarsgård – Big Little Lies as Perry Wright

Christian Slater – Mr. Robot as Mr. Robot/Edward Alderson

David Thewlis – Fargo as V.M. Varga

#golden globes #golden globes 2018 #stranger things #master of none #dunkirk #get out #lady bird #blade runner: 2049 #better call saul #three billboards outside ebbing missouri

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fishingtipsonlinesite-blog · 6 years ago

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Hunting Woodcock and Grouse in Minnesota - Larry Smith Outdoors TV

Hunting Woodcock and Grouse in Minnesota – Larry Smith Outdoors TV

On this episode we headed up to Minnesota to hunt with Wheezy Outdoors and chase some woodcock and grouse! Hunting 10 to 15 year old timber cuts we were able to get our limit! The next day we headed to Superior to fish with our good friend Tommy Hicks for late fall salmon!

Visit our website for current fishing reports, fishing/hunting tips videos, trophy fish/big buck pictures, our Facebook posts…

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proylea · 7 years ago

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AUSSIES BORN & BRED? NOT REALLY.

TOM BURLINSON (1956 – ) as Tommy Woodcock in Phar Lap (1983) ‘Simply Sinatra’ After appreciating his playing of Tommy Woodcock; ‘strapper’ for the legendary racehorse Phar Lap in the 1983 movie of the same name, most cinema-goers probably assumed that Tom Burlinson was a young man born and bred ‘Down Under’, but that is not the case. He entered this…

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pgagolf · 7 years ago

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Melbourne Cup: Billy Owen is to Single Gaze what Tommy Woodcock was to Phar Lap

#pgagolf #golf #sports #usopengolf

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theupsidedownunderblog-blog · 7 years ago

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THE MELBOURNE CUP - THE RACE THAT STOPS A NATION!

The Emirates Melbourne Cup is Australia's most prestigious annual Thoroughbred horse race and the richest in the world. The Melbourne Cup is a 3,200 metre race for three-year-olds and over, conducted by the Victoria Racing Club (VRC) on the Flemington Racecourse in Melbourne, Victoria as part of the Melbourne Spring Racing Carnival. It is the richest "two-mile" handicap in the world, and one of the richest turf races.

The Emirates Melbourne Cup The Emirates Melbourne Cup has been the official name given to the world’s richest handicap race since Emirates, the largest Middle Eastern airline, signed a seven-year-old sponsorship deal with Racing Victoria back in 2004. That deal was subsequently extended and Emirates continue to sponsor the Group 1 Melbourne Cup (3200m), run as Flemington Race 7 at 3pm on the first Tuesday of November annually on the third day of the iconic Melbourne Cup Carnival. Emirates Airline has had a long relationship with horse racing, as the home of the airline is Dubai – arguably the capital of international horse racing. Emirates thus has a great appreciation for the best in horse racing, and the Melbourne Cup is a fantastic distance race that draws more eyes than most other horse races worldwide.

Emirates Airline has had a long relationship with horse racing. While the distance, conditions, location, race number, field size or date of the annual Melbourne Cup didn’t change following the sponsorship by Emirates, one thing that did alter was the Melbourne Cup prize money. Initially the stakes were raised to just over $5 million, with the Melbourne Cup now worth in excess of $6.2 million in total prize money and trophies. The Melbourne Cup has a long tradition with the first race held in 1861 over two miles (3.219 km) but was shortened to 3,200 metres (1.988 mi) in 1972 when Australia adopted the metric system. This reduced the distance by 18.688 metres (61.312 ft), and Rain Lover's 1968 race record of 3 minutes, 19.1 seconds was accordingly adjusted to 3 minutes, 17.9 seconds. The present record holder is the 1990 winner Kingston Rule with a time of 3 minutes, 16.3 seconds. The First Melbourne Cup On 7 November 1861, some 4000 people gathered at Melbourne's Flemington Racecourse amid a carnival atmosphere for the first running of what would become the world's richest handicap race. Cup historian and author Dr Andrew Lemon said of the race... "The race attracted a lot of inter-colonial attention even in its first running, as it had a big prize and was the object of a lot of advance betting speculation,.." "It was popular because Melbourne was a gold-rich city by 1861 and already had an established reputation as a centre for horse racing. Flemington Racecourse was an ideal amphitheatre for horse racing and was close to the town."

Newspaper clipping of the First Melbourne Cup On the day of the first Melbourne Cup there were 21 entrants, but four were scratched leaving only 17 at the starting line at 3:35pm. However, before the flag was able to drop, one of the horses, Twilight, bolted. She ran the full length of the course without her jockey before she was caught and lined up again. When the flag finally dropped, it proved to be a memorable start to the now world-famous event. "The first running was marred by an accident in the early part of the race when two horses fell," says Andrew. "Both horses had to be put down and one jockey broke an arm." Frederick Standish, member of the Victorian Turf Club and steward on the day of the first Cup, was credited with forming the idea to hold a horse race and calling it the "Melbourne Cup". The winner of this first Melbourne Cup race was a 16.3 hand bay stallion by the name of Archer in a time of 3.52.00, ridden by John Cutts, trained by Etienne de Mestre, and leased (and consequently raced in his own name) by de Mestre. As a lessee de Mestre "owned" and was fully responsible for Archer during the lease. Archer was leased from the "Exeter Farm" of Jembaicumbene near Braidwood, New South Wales. His owners were Thomas John "Tom" Roberts (a good school-friend of de Mestre's), Rowland H. Hassall (Roberts' brother-in-law), and Edmund Molyneux Royds and William Edward Royds (Roberts' nephews).

Archer - First Melbourne Cup winner The inaugural Melbourne Cup of 1861 was an eventful affair when one horse bolted before the start, and three of the seventeen starters fell during the race, two of which died. Archer, a Sydney "outsider" who drew scant favour in the betting, spread-eagled the field and defeated the favourite, and Victorian champion, Mormon by six lengths. Dismissed by the bookies, Archer took a lot of money away from Melbourne, 'refuelling interstate rivalry' and adding to the excitement of the Cup. The next day, Archer was raced in and won another 2 mile long distance race, the Melbourne Town Plate. It has become legend that Archer walked over 800 km (over 500 miles) to Flemington from de Mestre's stable at "Terara" near Nowra, New South Wales. However, newspaper archives of the day reveal that he had travelled south from Sydney to Melbourne on the steamboat City Of Melbourne, together with de Mestre, and two of de Mestre's other horses Exeter and Inheritor. Before being winched aboard the steamboat for the trip to Melbourne, the horses had arrived in Sydney in September 1861. Fees Entries for the Melbourne Cup usually close during the first week of August. The initial entry fee is $600 per horse. Around 300 to 400 horses are nominated each year, but the final field is limited to 24 starters. Following the allocation of weights, the owner of each horse must on four occasions before the race in November, declare the horse as an acceptor and pay a fee. First acceptance is $960, second acceptance is $1,450 and third acceptance is $2,420. The final acceptance fee, on the Saturday prior to the race, is $45,375. Should a horse be balloted out of the final field, the final declaration fee is refunded. Balloting conditions The race directors retain the absolute discretion to exclude any horse from the race, or exempt any horse from the ballot on the race, but in order to reduce the field to the safety limit of 24, horses are balloted out based on a number of factors which include: prize money earned in the previous two years, wins or placings in certain lead-up races allocated handicap weight Prize money The total prize money for the 2015 race is A$6,200,000 (USD $4,759,120) , plus trophies valued at $175,000. The first 10 past the post receive prize money, with the winner being paid $3.6 million, and tenth place $125,000. Prize money is distributed to the connections of each horse in the ratio of 85 percent to the owner, 10 percent to the trainer and 5 percent to the jockey.

2017 Melbourne Cup Prize Breakdown The 1985 Melbourne Cup, won by "What a Nuisance", was the first race run in Australia with prize money of $1 million. The Cup currently has a $500,000 bonus for the owner of the winner if it has also won the group one Irish St. Leger run the previous September. Trophies The winner of the first Melbourne Cup in 1861 received a gold watch. The first Melbourne Cup trophy was awarded in 1865 and was an elaborate silver bowl on a stand that had been manufactured in England. The first existing and un-altered Melbourne Cup is from 1866, presented to the owners of The Barb; as of 2013, it is in the National Museum of Australia. The silver trophy presented in 1867, now also in the National Museum of Australia, was also made in England but jewellers in Victoria complained to the Victorian Racing Club that the trophy should have been made locally. They believed the work of Melbournian, William Edwards, to be superior in both design and workmanship to the English made trophy. No trophy was awarded to the Melbourne Cup winner for the next eight years.

The 1865 Melbourne Cup Trophy In 1876 Edward Fischer, an immigrant from Austria, produced the first Australian-made trophy. It was an Etruscan shape with two handles. One side depicted a horse race with the grandstand and hill of Flemington in the background. The opposite side had the words "Melbourne Cup, 1876" and the name of the winning horse. A silver-plated base sporting three silver horses was added in 1888, but in 1891 the prize changed to being a 15-inch-high (380 mm), 24-inch-long (610 mm) trophy showing a Victory figure offering an olive wreath to a jockey. From 1899 the trophy was in the form of silver galloping horse embossed on a 3-foot-long (0.91 m) plaque, although it was said to look like a greyhound by some people.

The 1876 Melbourne Cup Trophy The last Melbourne Cup trophy manufactured in England was made for the 1914 event. It was a chalice centred on a long base which had a horse at each end. The trophy awarded in 1916, the first gold trophy, was a three-legged, three-armed rose bowl. The three-handled loving cup design was first awarded in 1919. In that year the Victorian Racing Club had commissioned James Steeth to design a trophy that would be in keeping with the prestige of the race, little realising that it would become the iconic Melbourne Cup still presented today. In the Second World War years (1942, 1943 and 1944) the winning owner received war bonds valued at 200 pounds. The 18-carat gold Melbourne Cup trophy, nicknamed the 'Loving Cup' because of its handmade design, is awarded to the winning horse's owner. The winning trainer and jockey are each awarded a miniature version of the trophy, and the strapper receives the Tommy Woodcock, which is named on behalf of Phar Lap's attendant.

The 'Loving Cup' Melbourne Cup Trophy Trophy Values: Melbourne Cup trophy: $150,000. Trainer & Jockey miniatures: $10,000 trophy. Strapper's trophy: $5,000. A new trophy is crafted each year, and a second identical trophy is also present should the race ever end in a dead-heat. This isn't as far-fetched as it sounds with two out of the last eight cups being decided by a hair's breadth: 2008 when Viewed pipped Bauer; and 2011 when Dunaden just nosed out Red Cadeaux. The Emirates Melbourne Cup Tour Since 2003, the revered Melbourne Cup has travelled more than 456,000 kilometers to rural, regional and metropolitan communities across Australia and New Zealand. Victorian Racing Club Chief Executive Simon Love said... "The VRC created the concept of the Emirates Melbourne Cup Tour with the aim to provide communities without easy geographical access to the Melbourne Cup an opportunity to experience the magic of the trophy first-hand," "We never dreamed that the Tour would evolve into such a significant community event, which 15 years later, continues to grow in popularity.

In 2016, the $175,000 gold trophy toured 34 destinations, providing schools, councils, hospitals, aged-care facilities and racing clubs with a unique opportunity to host a day of community events and raise valuable funds for local causes. While the winner of the first Melbourne Cup in 1861 received a gold watch, today's three handled 'loving cup' is made from 44 pieces of hand-beaten gold sourced from West Wyalong in NSW, and crafted over 200 hours by ABC Bullion. The Emirates Melbourne Cup Tour welcomes submissions from community groups, councils and racing bodies in rural and regional areas as well as capital cities. Each host destination selected makes a commitment to provide memorable and engaging community events involving the Cup for everyone to enjoy. Local fundraising initiatives are also supported. Myer Fashions on the Field Myer Fashions on the Field at Flemington is not only an undisputed institution of the Melbourne Cup Carnival, it has established its place as Australia's largest and most prestigious outdoor fashion event. It continues to grow in prestige and stature and today attracts media attention and celebrity judges from around the world.

The 2012 state finalist for Myer Fashions on the Field, with Online People's Choice winner The first Melbourne Cup was run at Flemington Racecourse in 1861 and right from the start the complete costume women wore became a subject of interest for journalists and the public alike. This didn’t abate over the century following, instead their curiosity only increased as changes in society happened and two World Wars came and went. In the edition of every woman’s favourite magazine The Australian Women’s Weekly published on 13th November 1957, they used the headline.. ‘In the Fashion Field for Flemington’.

The Lawn at Flemington on Melbourne Cup Day c1889 by Carl Kahler, courtesy National Library of Australia As part of a push to promote the Centenary Cup in 1960 fashion, flowers and favourites were promoted to ‘woo more women to the races’. This was so successful in 1962 the Victoria Racing Club launched a ‘Fashions on the Field’ competition for the Spring Racing Carnival to find ‘the smartest dressed woman. Heats and finals now stretch across the Melbourne Cup Carnival, staged in a two-story enclosure inspired by the fashion runways around the world which offers an enhanced contestant and VIP experience and greater public viewing. The competition was first staged in 1962 in a bid to attract more women to the races, with the object of ‘finding the smartest dressed women at the Carnival within economic restraints’. There were initially three categories for ladies – for outfits that had cost £30 and under, and £50 and over; and a category for Most Elegant Hat. During its colourful history, Myer Fashions on the Field has undergone many developments but the competition’s basic premise remains: an opportunity for the fashion industry to showcase its wares and for women and men to indulge in their passion for fashion.

Myer Fashions on the Field is not only for women. The newspaper The Sydney Morning Herald reported in November 1987 the stock market may have crashed, but women were still sparing no expense to compete in the Fashions on the Field. Today it is a national event and is marketed around the world. Throughout the year events are held across the country at race events to find finalists in the Women’s Racewear category interstate. The winners are then all flown to Melbourne to compete in the major competition held on Crown Oaks Day, traditionally now Women’s Day at the races in Melbourne. The local finalist is chosen from the three winners of the Fashions on the Field competitions held on Victoria Derby Day, Melbourne Cup Day and Crown Oaks Day and this lady competes against all the other state winners. Sources: https://en.wikipedia.org/wiki/Melbourne_Cup https://www.sunshinecoastdaily.com.au/news/sign-your-area-be-part-melbourne-cup/3159453/ http://www.australiangeographic.com.au/blogs/on-this-day/2012/11/on-this-day-in-history-the-first-melbourne-cup/ https://www.flemington.com.au/melbourne-cup-carnival/myer-fashions-on-the-field https://www.punters.com.au/melbourne-cup/melbourne-cup-prize/ http://www.races.com.au/melbourne-cup/melbourne-cup-history/about-emirates/ Read the full article

#emirates melbourne cup #fashion on the field #horse racing #melbourne cup #sport

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