#acquiring jack quaid

[cousinthrockmorton]

my fav customer came in and i finally got to talk to him abt a movie he recommended to me and i wish we could hang out bc he literally has to say ‘ok i gotta go but man we could talk for hours’ . but he is like a very old man so the customer cashier thing works the best and he’s very respectful and understands the world in a good way which is why we can talk abt movies in depth and openly and . i wish men could all be like this ! i like being able to b excited and rambly and it’s fucking safe and welcomed. and his insight in movies and the world is very helpful for me bc i like being guided and also listened to abt this stuff. he better watch saw or the boys soon cause im tryna put him on. we talked abt the movie and he didn’t even bring up the triggering part that he warned me abt- bc hes a fucking real one!!!

[celtalks]

Jack Quaid and Amber Midthunder Inject Suspense into Hollywood with 'Novocaine': Paramount's Latest High-Octane Thriller!

Hollywood's Fresh Faces, Quaid and Midthunder, Teaming Up for Nail-Biting Thriller 'Novocaine'

Get ready to be on the edge of your seats as Paramount Pictures acquires a gripping new thriller that's bound to get your adrenaline pumping. Titled Novocaine, this latest project combines the star power of Jack Quaid, known for his role in the Amazon hit series The Boys, and Amber Midthunder, the warrior from the recent Predator franchise installment, Prey. Helming the project is Randy McKinnon, the scribe behind 'Where the Crawdads Sing' adaptation, ensuring a blend of raw storytelling with high-stakes intrigue. Set on a formidable 'life-and-death' backdrop, Novocaine is shaping up to be a thriller enthusiasts are eager to add to their must-watch lists. The Rising Stars Quaid, the son of Hollywood royalty Dennis Quaid and Meg Ryan, has rapidly risen through the ranks with diverse roles that showcase an expansive range. His performance in The Boys has already made waves, instilling high hopes for his venture into thriller territory. Meanwhile, Midthunder, with her indigenous heritage and a profound commitment to authentic representations on-screen, radiates a fierce presence. Her breakthrough performance in Prey proved she's a force to be reckoned with, potentially setting her on the path to become the next big action icon. The Deal Paramount seems committed to bolstering its slate with original, edgy content and adding Novocaine, with Quinton Peeples joining McKinnon in crafting this spiraling tale, could be a strategic masterstroke. Details of the plot are tightly under wraps, but with such creative minds at work, expectations are sky-high. Peeples, known for his work on Runaways, brings his own flair to this concoction, leaving fans buzzing with anticipation. Behind the Scenes Producing are Kevin Misher of Misher Films, who has films like Fighting and Public Enemies under his belt, as well as BRON's Aaron L. Gilbert and Creative Wealth Media's Jason Cloth, the team that gave us hits like Joker and Fences. With such heavyweight producers, Novocaine is all set to be a quality addition to the thriller genre. The Big Picture While Paramount Pictures secures this potential masterpiece, they've likewise been active on other fronts. Their recent acquisition, Infrared, boasting a 'Cloverfield'-like concept, showcases the studio's enthusiasm for inventive storytelling. With a hand in both acquisition and distribution, the studio continues to balance original works with established franchises. To sum up, Novocaine isn't simply merging fresh talent and experienced creators; it's yet another sign of a shifting landscape in Hollywood. We're witnessing a brave new wave of films that are ready to charter untrodden territories, offering narratives that pulsate with novelty and fervor. Amidst upcoming summer blockbusters and award-season darlings, keep your eye on Novocaine, as it might be the dark horse that races straight to the forefront of cinematic conversations. So hold tight, thriller aficionados! The exact release date is yet to be announced, but Jack Quaid and Amber Midthunder's ascent to thriller royalty will, without a doubt, be a journey worth following. Get your popcorn ready; the cinematic thrill ride of Novocaine is speeding your way! Read the full article

[jrfrostfamily]

Rapunzel and Jack’s Tangled Adventures Season 2

Here we go guys, the edited summaries of season 2. I even added in another episode. You will have to read further on what it is. Also, guys, I have edited the season 1 episodes. Someone has helped me come up with better ideas of how Jack plays in this. And I have been watching the episodes so I can get a feel of where Jack will play into it. It’s been fun! Not to mention season 2 is where Jack and Rapunzel become a couple at last. :D yay! Read on if you want!

Rapunzel and Jack, along with their friends, travel beyond Corona to uncover the mystery of sundrop and the strange moonstone. Could they be linked to both Rapunzel and Jack as well as the Man in the Moon? Along the way, Jack and Rapunzel officially become a couple but their relationship will be put to a test.

Season 2

 1)    Beyond the Corona Walls

Rapunzel has begun following the Black Rocks and joining her on her journey are Jack, Eugene, Cassandra, Pascal, Maximus, Fidella, Owl, Lance, Hook Foot and Shorty. During this time, Eugene is planning on admitting his strong feelings for Rapunzel, but when Rapunzel accidentally reveals herself when he is practicing it causes an awkward situation between the couple when Rapunzel states, she likes him, but she also likes someone else. She goes to Jack to talk to him and the two have an argument about Jack wanting to return to being a wandering winter spirit. Meanwhile, Rapunzel and the group are making their first stop in Vardaros, a city Eugene and Lance previously visited in their past but discover it has become overrun with criminals. While Eugene, Jack, and the boys remain in the city to gather supplies, news of Eugene's arrival quickly spreads among the citizens, including the city's leader, the Baron, a criminal kingpin who previously worked with Eugene and Lance in the past and seeks revenge. Eugene, Jack, Lance and Shorty are quickly captured by the Baron's men and taken to his castle where they met by the Baron and his daughter, Stalyan, Eugene's ex-fiancée. The Baron threatens Jack’s life unless Eugene marries Stalyan. Meanwhile, Rapunzel and Cassandra meet Adira, a mysterious warrior who harbors knowledge on the Black Rocks, but their meeting is interrupted when Hook Foot arrives and reveals Jack and Eugene has been kidnapped. Rapunzel and the group return to Vardaros to find Eugene, only to learn about his engagement to Stalyan and that Jack has been poisoned, leaving Rapunzel heartbroken and regretting her arguments with both of them. However, after being encouraged by Cassandra, Rapunzel returns to Vardaros and stops the wedding between Eugene and Stalyan, resulting in a fight breaking out. The Baron is defeated, and Jack is saved. Rapunzel admits to Eugene she will always view him as a close friend, but she wants to be with someone else. Eugene admits that he had a feeling all along and tells her to go to him. Rapunzel and Jack have a talk once more and Jack states he doesn’t care if he will ever return to be a spirit for he rather be by her side instead of being alone forever because that’s how much he loves her. Touched Rapunzel hugs Jack close and the two decide to take their relationship to the next level thus becoming boyfriend and girlfriend officially and Eugene gives them his blessing. Rapunzel and the group resume their journey, but not before Rapunzel receives a scroll piece from Adira with new information on the Black Rocks.

2)    The Return of Quaid

Following the Baron's defeat, Rapunzel and the group are ready to depart Vardaros, but Rapunzel is unhappy to leave the city in a disastrous state and with a power vacuum, Anthony the Weasel decides to take over Vardaros. Rapunzel and the group intervene, but Anthony promises to return in a few days to permanently take over the city. Rapunzel and the group stay to fight, but find the citizens unwilling to help. Vex advises the group to seek out Captain Quaid, the retired sheriff of Vardaros. Rapunzel and the group meet Quaid and convince him to come out of retirement, but Quaid is rusty after years of retirement, causing him to lose confidence in himself but he also believes Vardaros is no longer worth saving. Rapunzel and the group train Quaid and secretly help restore his confidence by faking a robbery. With renewed confidence, Quaid begins to inspire the people and makes Vex his deputy but changes his mind when he learns the robbery was faked, leaving Vex, Rapunzel and the group to face Anthony alone who has returned with a bounty hunter. They hold the upper hand against the group, but with a change of heart, Quaid returns and alongside Vex are victorious after inspiring the citizens to take back their city.

3)    Goodbye and Goodwill

In hopes of further uplifting the spirits of the citizens, Rapunzel decides to bring the Goodwill festival to Vardaros, but the citizens are not enthusiastic about the upcoming festivities until Cassandra presents daring and dangerous activities. Rapunzel and Cassandra attempt to work together, but they quickly begin to argue and disagree, resulting in them breaking off their partnership and planning their own separate events. However, Rapunzel notices everyone is more interested in Cassandra's ideas and attempts a reconciliation, but the competitiveness between them further escalates and Rapunzel prepares the final event, featuring both dangers and thrills. Eugene and Jack try to help Rapunzel and Cassandra mend their friendship and handcuffs them together. Meanwhile, Lance and Hook Foot are in charge of finding a gopher for the final event but bring back a dangerous Sneezeweasel instead that quickly begins to cause harm and disarray. Rapunzel and Cassandra work together to stop the Sneezeweasel and at the same time reconcile their friendship. By the end of the festival, Rapunzel and the group leave Vardaros and continue on their journey.

4)    Forest of No Return

The group finds themselves lost in the mysterious, ever-changing "Forest of No Return". Eugene's navigating skills prove disastrous for everyone until the mysterious Adira appears yet again, with a map that can lead them through it. Eugene becomes envious of Adira and becomes separated from the group after falling into a sink pool. They eventually find their way out and continue their journey on the black rock trail.

5)    Freebird

When their caravan breaks down, Rapunzel and Cassandra wander off, where they eventually meet a couple only known as the Mother and Father, who trick them into drinking a tea that turns them into birds. Though assured that they could using magical eggs to return to normal before they lose their intelligence within an hour, the group finds out that the Mother and Father have been tricking and imprisoning innocent people as birds. As the group escapes and use the eggs to restore the villains' victims to normal, the supply runs out for Rapunzel, angering Cassandra enough to smash the magic teapot, causing the villains to vanish. Fortuitously, a transformed Shorty produces the eggs needed to restore himself and Rapunzel to normal.

6)    Vigor the Visionary

Rapunzel and Jack are on a romantic date together until they come across a fortune-teller, Madame Canardist who presents them her pet monkey, Vigor the Visionary who can make psychic predictions. While Jack is unsure he wants to believe this fortune-teller is real, he and Rapunzel soon find themselves helping Madame Canardist when Vigor is stolen. Jack discovers the thieves to be Angry and Red, who revealed they "borrowed" Vigor as Angry believes he can help her find her long lost family. Jack and Rapunzel agree to help, despite Jack's concerns and doubts. Vigor begins to lead the group and soon Angry is apparently reunited with her family who also welcome Red. However, Jack and Rapunzel learn the couple are not Angry's real family and are actually two thieves in hiding. Angry and Red subdue the criminals, but Angry is left upset and hurt. Jack comforts Angry, helping her realize she has found a new family in Red, uplifting her spirits. The group returns Vigor to Madame Canardist and Red and Angry once again part ways with Jack and Rapunzel.

7)    Keeper of the Spire

In order to acquire the third scroll piece, Rapunzel, Jack, Eugene, Cassandra and Lance travel to the home of the Keeper of the Spire and meet Calliope who informs them the third piece is kept inside the Spire’s vault at the top of the mountain. The group begins the long journey to the Spire's vault the following day and become increasingly annoyed by Calliope’s rude, arrogant and inconsiderate behavior. Despite Calliope's treatment, Rapunzel insists they still need her help all while they are being dangerously pursued by the vault's protector, the Kurlock. The group eventually reach the Spire's vault, but again encounter the Kurlock and discover Calliope is not the real Keeper of the Spire. Calliope admits she is actually the Keeper’s apprentice, but felt she lost purpose in herself when the Keeper mysteriously disappeared. Rapunzel encourages Calliope and by working together, they succeed in defeating the Kurlock and acquiring the third scroll piece. Calliope is reunited with the real Keeper who reveals this was Calliope's final test to which she has successfully passed, allowing her to become the new Keeper of the Spire. After parting ways, Rapunzel and the group learn the third scroll piece contains an image of a hooded male figure.

8)    King Pascal

The group is stranded on an island after a storm. The tiny islanders, the Lorbs, mistake Pascal for their mystical ruler; the chameleon loves the adulation, until he’s expected to protect his people from a vicious monster.

9)    There’s Something About Hook Foot

The group have recently begun to notice a change in Hook Foot's behavior and discover he has developed romantic feelings for a mermaid named Seraphina but is nervous about his upcoming first romantic date with her. Rapunzel, Jack, and Eugene attempt to help Hook Foot by offering him advice, but realize they have a difference in opinion on how Hook Foot should behave. Eventually, Hook Foot and Seraphina's first date arrives and despite a rocky upstart, Hook Foot and Seraphina grow closer and fall in love. However, Water Goblins suddenly appear from the ocean and are after Seraphina, who is revealed to be a thief after stealing a priceless delicate pearl. Seraphina and Hook Foot attempt to run away together, but after seeing Hook Foot and his friends in danger, Seraphina willingly gives herself to save them.

10)  Happiness Is…

Rapunzel begins to feel homesick for Corona when she finds an old letter written by her father in one of the many lanterns sent from her previous birthdays. In attempts to uplift her spirits, Rapunzel explores the island and comes across a magical idol that brings instant happiness to whomever possesses it. Rapunzel begins to hallucinate her family and friends back in Corona and soon shares the idol with the rest of the group. However, everyone starts to become obsessive over the idol, desperately wanting it for themselves. Rapunzel tricks everyone into giving her the idol, but when the Lorbs try to help Rapunzel, they fall under the idol's control and soon begin to terrorize the village. Rapunzel's friends and the Lorbs begin to fight each other to acquire the idol and Rapunzel, finally realizing the error of her ways, manages to gain the idol and with the help of Jack, Eugene, and Cassandra overcomes its power and destroys it. The group and Lorbs hold a celebration in honor of their victory and Rapunzel comes to terms with her homesickness and sends a lantern back to Corona and her parents.

11)  Three in Peril on the High Seas

Rapunzel and the group are finally leaving Tirapai Island when the cargo ferry arrives, but Eugene and Maximus get into an argument, and when Jack tries to break it up, it results in all of them falling overboard. They manage to save themselves on a passing ship but discover it to be a prison ship where all the criminals, including the Stabbington Brothers, Lady Caine and Axel have escaped and taken control. Jack, Eugene, and Maximus attempt to escape but discover the villains' plot to ambush the cargo ferry and set out to stop them. Meanwhile, Rapunzel and the group discover Jack, Eugene, and Maximus are missing and set out to rescue them.

12)  Curses!

After "stealing" a telescope, which was a present from her father, Rapunzel is cursed by Vigor the Visionary, as she and her companions traverse a mountain pass. Hook Foot gives her clues on how to break it by making a potion from the Source Book of Superstitions while Cassandra and Lance cover themselves with good luck charms. Jack is skeptical but encourages Rapunzel to make her own luck.

13)  A New Friend

Pascal is starting to feel a little left out since Rapunzel and Jack seemed more into each other then to pay attention to him. Sadden, he goes off on his own until he comes across a strange tiny figure that has been injured during a fatal storm. He is surprised to see it’s a hummingbird fairy. After helping her recover, the two become very good friends.

14)  The Eye of Pincosta

The group arrive in the town of Pincosta, but Eugene is immediately thrown in jail for having previously stolen the town's largest diamond, the Eye of Pincosta. The sheriff declares Eugene to work in the deadly copper mines and soon the rest of the group are thrown in jail. Rapunzel negotiates with the sheriff, offering to find and retrieve the Eye of Pincosta in exchange for Eugene and the group's release. The sheriff agrees, but on the condition that Rapunzel returns in two days. Rapunzel and Jack confronts Eugene about the theft and reluctantly, Eugene reveals he previously worked together with Stalyan, forcing Rapunzel and Jack to seek out Stalyan and persuades her to help.

15)  Rapunzel and the Great Tree

The group makes it to the Great Tree, only to be confronted by a new adversary: Hector, the brother of Adira, the most dangerous member of the Brotherhood; sworn to keep all from reaching the Dark Kingdom. As they navigate through the Great Tree, Rapunzel discovers the Moonstone incantation which overwhelms the magical powers of the Sundrop in her blonde hair and causes injury and weakness to those around her. Despite all that has happened, Rapunzel is determined to continue on toward the Dark Kingdom to uncover the truth behind her destiny.

16)  The Brothers Hook

Princess Rapunzel takes everyone to see Hook Hand in concert. However, this brings back bad memories in Hook Foot, as he was always overshadowed and looked down on by his elder brother. Hook Hand is revealed to be employed by the self-centered King Trevor who wants Hook Hand to play at the ceremony of the marriage between the Seal of Equis and his female mate. Hook Foot finally fulfills his childhood dream of dancing by humiliating King Trevor in a dance-off, which he wins as the female seal is the judge. This finally brings Hook Hand to accept his younger brother's dreams and allows him to accompany him on the road.

17)  Rapunzel: Day One

Rapunzel and Cassandra come across an abandoned magic stall while searching for parts of their destroyed caravan. The stall contains a wand of forgetting. Cassandra impulsively wishes that Rapunzel would "just forget about everything" when she was tired of her trying to patch things up between them, which results in Rapunzel regressing to when she was still in her tower with Gothel.

18)  Mirror, Mirror

When their caravan is waylaid by a fallen tree in the middle of a storm, the group stop by a seashell house owned by a Frenchman named Matthews. As they explore the house, they come across a mirror that houses evil doppelgängers who quickly replace everyone except Rapunzel and Pascal. Through their quick thinking, Rapunzel manages to save everyone and trap their doubles. They try to leave, but the storm is still raging, forcing the group to stay for the night, unaware that the tree that trapped them was purposely chopped down by an ax.

19)  You’re Kidding Me!

Still trapped in the mysterious seashell estate, the group try to find another way out but find a spinning top whose magic regresses Eugene, Cassandra, and Lance into toddlers and Shorty into a baby. Rapunzel and Jack try their best to act like parents, but they each have different ways to approach their friends without upsetting them. They later succeed in getting Eugene, Cassandra, Lance and Shorty back to their actual ages, but still have yet to find a way out of the estate. Matthews is revealed to be another disciple of the dark sorcerer Zhan Tiri, who has ordered him to "keep the Sundrop in the house forever".

20)  Rapunzeltopia

Matthews reveals himself as another dark spirit and disciple of Zhan Tiri, and traps Jack, Eugene, Lance and the others in unbreakable vines similar to the Great Tree's evil magic. He has Princess Rapunzel live the perfect life while he prepares to hand over the mystical powers of the Sundrop to his master. Fortunately, Princess Rapunzel is able to make contact with her brown-haired dream self and attempts to convince her to let go. She manages to gain control over the dream world and have Matthews overpowered, causing the House of Yesterday's Tomorrow to vanish. Cassandra seems to have been left behind, but suddenly reappears through the remaining door. Rapunzel embraces her close friend, but she is acting slightly strange, which Owl notices. With everyone out, the group continue are one step closer towards the Dark Kingdom.

21)  Lost and Found

Princess Rapunzel and Jack Frost go on a journey to retrieve the fourth and final piece of the scroll that will lead them to the Dark Kingdom. They receive help from Vigor the Visionary, who reveals himself to be Lord Demanitus himself, the author of the scroll depicting the purpose of the Sundrop and Moonstone. He leads them to the maze that he hid the last piece of the scroll in. Guiding them through the maze, they obtain the last piece, which united the four into one singular map. As they are about to leave, they are attacked by a stone monster. Rapunzel and Jack manage to defeat it. Vigor, in return, gives Jack the jewel from his turban. That night, Jack discovers the jewel is actually a locket. Upon opening it, he sees its a warning from Demanitus, saying that one member of their group will ultimately betray Rapunzel once they reach the Dark Kingdom. As Jack scans the group, his eyes fall on Cassandra who flashes a sinister smile as she looks at Princess Rapunzel, which shocks him.

22)  Destinies Collide

Rapunzel and the group have reached the end of their journey and have arrived on the outskirts of the Dark Kingdom. However, Jack remains worried about Lord Demanitus’ prophecy that someone will turn against Rapunzel, who is doubtful of the premonition. As the group continue onwards, they are attacked by a masked figure who has some shocking news for Jack. Rapunzel must fight to get to the moon stone.

[lenosity]

When It Comes to Action, You Can Count on The Boys

While Amazon Prime Video is still a relative newcomer in the world of on-demand viewing, with each passing day it’s becoming more and more evident that they’re here to stay. In a bid to capture more of the market share, they’ve been aggressively acquiring new titles and adding them to their lineup on a daily basis. But it may just be their Amazon Prime Originals that truly make them a heavy hitter, and knowing that action fans are an important demographic that’s not to be overlooked, they’ve certainly delivered something worth watching with one of their latest offerings: The Boys.

Now before you go thinking that The Boys is just another show in the already excessively long line of superhero offerings, think again. In this series, heroes are the last people you’d want saving the day. Starring Karl Urban, Jack Quaid, and Antony Star among many others, the boys offers us and up close and personal look at the seedy side of superheroes. In a world where superheroes spend more time marketing than saving lives, they show their true colors and often abuse their powers more often than they use them for good. Celebrated like celebrities, more powerful than politicians, and often revered of feared like gods, these “heroes” prove to be the true foces the world needs protecting from. At Least according to “The Boys,” a vigilante group set on exposing the “heroes” and the corporation behind them for who they really are. It’s a compelling watch with all the action you’d expect and then some!

Looking for some action packed reads? Visit our online library at www.lenosity.com for a wide variety of ebooks, audiobooks, music, and more. Accessible anytime, anywhere, from your favorite devices.

[sultaniyaharsh]

Dan Marino Net Worth 2018

Dan Marino is quite possibly the most famous football players of the 1990s, and all that he has was acquired on the field.

An unbelievable quarterback for the Miami Dolphins of the National Football League actually holds numerous records notwithstanding being resigned since 2000. The Clock Play which he pulled in Fake Spike Game against New York Giants is deified as probably the best move throughout the entire existence of America’s game.

Dan Marino Life

Brought into the world on September fifteenth, 1961, to Daniel and Veronica Marino, Dan is of blended Italian and Polish family. He has two more youthful sisters. As a child, the acclaimed signal guest has shown interest in baseball however before long moved to football. In 1979 he declined a proposal from Kansas City Royals and rather enlisted at the University of Pittsburgh, playing for Pittsburgh Panthers football crew from 1979 to 1982. His last year at school was one of his most vulnerable, driving numerous groups to disregard him in the draft for less known players.

In spite of being drafted 27th by Miami Dolphins, Marino won the Rookie of the Year grant in 1983. He played as though to show each and every individual who didn’t pick him at the draft what have they missed. His later profession is quite possibly the most conspicuous ones throughout the entire existence of football, and he was enlisted into the Pro Football Hall of Fame in 2005. His shirt number 13 was resigned by the Miami Dolphins in 2000. Marino is one of those players who went through his whole vocation with only one group, which says a lot about the fact that he was so important to the Dolphins.

Dan Marino Net Worth 2018

Dan Marino total assets for 2018 is assessed at $40 million. It is perhaps the biggest figure of any resigned football player. The number would have been far greater, had he not lost millions out of a bombed café business and furthermore spent a huge lump of his fortune with an end goal to keep his ill-conceived girl Chloe hidden from the general population. His interests in NASCAR crew likewise hasn’t worked out, prompting another scratch in Dan Marino total assets. His group, named Elliott-Marino Motorsports, just endured one season in spite of being supported by FirstPlus Mortgage.

Luckily, his Hollywood ventures have paid off, assisting him with recuperating his total assets. He showed up in Ace Ventura: Pet Detective, along with Jim Carey and in Adam Sandler’s Little Nicky. He additionally had appearance appearances in Holly Man and Bad Boys 2. Marino voiced himself in a Simpson scene and went about as an expert for Oliver Stone’s games dramatization Any Given Sunday. A few pundits have noticed a solid similarity between the quarterback character Jack “Cap” Rooney, played by Dennis Quaid and Marino himself. Marino went through 11 years, from 2002 to 2013 as an examiner for CBA’s The NFL Today TV show.

Dan Marino Wife and Children

Dan Marino is hitched to Claire D. Veazey. A few lives in Fort Lauderdale, Florida, with their six youngsters – Daniel Charles, Michael Joseph, Joseph Donald, Alexandra Claire, Nia and Niki Lin.

[ramascreen]

RLJE Films Acquires PLUS ONE Starring Maya Erskine and Jack Quaid You've watched my previous video interview with actor #JackQuaid and now, RLJE Films has acquired the new romantic comedy PLUS ONE ahead of its Tribeca Film Festival world premiere.

[emergingkarachi]

Shan-ul-Haq Haqqee

Shan-ul-Haq Haqqee (Urdu: شان الحق حقی‎), Sitara-e-Imtiaz, Tamgha-e-Quaid-i-Azam, was a notable Urdu poet, writer, journalist, broadcaster, translator, critic, researcher, linguist and lexicographer of Pakistan.

Born in Delhi, Haqqee acquired his BA from Aligarh Muslim University. He obtained a Master's in English literature from St. Stephen's College, Delhi.[citation needed] His father, Ehtashamuddin Haqqee, wrote short stories, a study of Hafez, Tarjuman-ul-Ghaib, a translation of Diwan-i-Hafiz in verse and compiled a dictionary.[citation needed]

Haqqee recited his first ghazal at an annual poetic gathering of St. Stephen's College

Haqqee published two anthologies of poems, Tar-i-Pairahan (1957) and Harf-i-Dilras (1979). He also published ghazals under the title, Dil ki Zaban.

His other publications include:

Naqd-o-Nigarish (a work of literary criticism)

Maqalaat-e-Mumtaz

Shaakhsaanay (Short Stories)

Maqam-e-Ghazal (edited work of Hafiz Hoshiarpuri)

Nashid-i-Hurriyat

Nukta-e-Raz

Bhagvad Gita (Urdu translation)

Darpan Darpan (translated poetry from various languages)

Intikhab-e-Kalam-e-Zafar

Qitaat-e-Tareekh-e-Wafat-e-Ahle-Qalam-wa-Mutaliqeen-e-Ahle-Qalam

Lisani Masail-o-Lataif

Nazr-e-Khusro Pahelian Keh Mukarniyan

Aaeena-e-Afkar-e-Ghalib

Nok Jhonk

Suhaanay Taraanay

Phool Khilay Hain Rung Birnagay

Anjaan Rahi (translation of Jack Shaffer's novel Shane)

Teesri Duniya (translation of essays on politics and economy)

Soor-i-Israfeel (translation of Bengali poet Qazi Nazrul Islam)

Khayabaan-e-Pak (anthology of Pakistan's folk poetry of about 40 poets)

His autobiography was serialized in the Urdu journal Afkaar. He also translated Shakespeare's Antony and Cleopatra and Chanakya Kautilya's Arthashastra.

He also wrote other genres of poetry, such as Peheylian, Kehmukarnian, and Qitat-i-Tareekhi.

As a lexicographer

In addition to his regular professional duties, he remained associated with the Urdu Dictionary Board for 17 years from 1958 to 1975, compiling a 22-volume dictionary.[citation needed] He compiled two other dictionaries. Farhang-e-Talaffuz is a pronouncing dictionary of Urdu published by the National Language Authority. The Oxford English-Urdu Dictionary is a translation of the eighth and ninth editions of the Concise Oxford English Dictionary.[citation needed]

In addition to libraries in South Asia, some of Haqqee's books are found in the Library of Congress and the University of Toronto Library.[citation needed]

Death

He died from complications of lung cancer in Mississauga, Canada on October 11, 2005.[citation needed] He was 87. Haqqee left five sons and one daughter. Like his wife, teacher Salma Haqqee, who died exactly two years earlier, he was buried in Toronto, Canada.[citation needed].[citation ne

[urduclassic]

Shan-ul-Haq Haqqee

Shan-ul-Haq Haqqee  Sitara-e-Imtiaz, Tamgha-e-Quaid-i-Azam, was a notable Urdu poet, writer, journalist, broadcaster, translator, critic, researcher, linguist and lexicographer of Pakistan. Born in Delhi, Haqqee acquired his BA from Aligarh Muslim University. He obtained a Master's in English literature from St. Stephen's College, Delhi.[citation needed] His father, Ehtashamuddin Haqqee, wrote short stories, a study of Hafez, Tarjuman-ul-Ghaib, a translation of Diwan-i-Hafiz in verse and compiled a dictionary.[citation needed]Haqqee recited his first ghazal at an annual poetic gathering of St. Stephen's College Haqqee published two anthologies of poems, Tar-i-Pairahan (1957) and Harf-i-Dilras (1979). He also published ghazals under the title, Dil ki Zaban.

His other publications include:

Naqd-o-Nigarish (a work of literary criticism)

Maqalaat-e-Mumtaz

Shaakhsaanay (Short Stories)

Maqam-e-Ghazal (edited work of Hafiz Hoshiarpuri)

Nashid-i-Hurriyat

Nukta-e-Raz

Bhagvad Gita (Urdu translation)

Darpan Darpan (translated poetry from various languages)

Intikhab-e-Kalam-e-Zafar

Qitaat-e-Tareekh-e-Wafat-e-Ahle-Qalam-wa-Mutaliqeen-e-Ahle-Qalam

Lisani Masail-o-Lataif

Nazr-e-Khusro Pahelian Keh Mukarniyan

Aaeena-e-Afkar-e-Ghalib

Nok Jhonk

Suhaanay Taraanay

Phool Khilay Hain Rung Birnagay

Anjaan Rahi (translation of Jack Shaffer's novel Shane)

Teesri Duniya (translation of essays on politics and economy)

Soor-i-Israfeel (translation of Bengali poet Qazi Nazrul Islam)

Khayabaan-e-Pak (anthology of Pakistan's folk poetry of about 40 poets)

His autobiography was serialized in the Urdu journal Afkaar. He also translated Shakespeare's Antony and Cleopatra and Chanakya Kautilya's Arthashastra.

He also wrote other genres of poetry, such as Peheylian, Kehmukarnian, and Qitat-i-Tareekhi.

As a lexicographer

In addition to his regular professional duties, he remained associated with the Urdu Dictionary Board for 17 years from 1958 to 1975, compiling a 22-volume dictionary.[citation needed] He compiled two other dictionaries. Farhang-e-Talaffuz is a pronouncing dictionary of Urdu published by the National Language Authority. The Oxford English-Urdu Dictionary is a translation of the eighth and ninth editions of the Concise Oxford English Dictionary.[citation needed]In addition to libraries in South Asia, some of Haqqee's books are found in the Library of Congress and the University of Toronto Library.[citation needed]

Death

He died from complications of lung cancer in Mississauga, Canada on October 11, 2005.[citation needed] He was 87. Haqqee left five sons and one daughter. Like his wife, teacher Salma Haqqee, who died exactly two years earlier, he was buried in Toronto, Canada.[citation needed].[citation needed]

[fashiontrendin-blog]

Cher's Fabulous Journey From Camp Diva To Serious Actress And Back Again

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Cher's Fabulous Journey From Camp Diva To Serious Actress And Back Again

Of all the pop stars who have attempted to act, Cher’s track record is arguably the best. “Silkwood.” “Mask.” “The Witches of Eastwick.” “Moonstruck.” “Mermaids.” “If These Walls Could Talk.”

As her post-Sonny & Cher solo career waxed and waned in the ’80s and early ’90s, Cher’s movie career flourished ― a true achievement, given the ostentatious displays that had made her a walking glitter bomb since the mid-’60s. Shedding her eccentricities in a way that many pop stars cannot, Cher was able to transform onscreen time and again, so much so that she won an Oscar after uttering one of the most quotable lines in cinema history. 

But when Cher out-glittered herself in 1998 with her mammoth “Believe” comeback, her acting career atrophied. At 52, her diva status had become mythological, even a bit comical. She was too decadent to disappear into the same down-home movie roles, and Hollywood no longer saw her as a profitable actress. Cher played along with the joke, though, portraying exaggerated versions of herself (see: “The Player,” “Will & Grace,” “Stuck on You”) even when she wasn’t actually playing herself (see: “Burlesque”). 

That tradition continues today. Cher is the grande dame of the new “Mamma Mia! Here We Go Again,” making a flamboyant eleventh-hour entrance that only someone of her renown could pull off. (She plays Ruby, a famous singer who has a thorny relationship with her daughter Donna, portrayed by Meryl Streep.)

But as we relish Cher’s septuagenarian divadom, it’s easy to forget how we got here. We got here because Cher commanded maximum respect at a critical time in her career, challenging anyone who assumed her pop panache would prevent her from becoming a great actress capable of playing everyday women experiencing everyday struggles.

So let’s revisit just how Cher became the greatest pop-actor of them all, and why she maintains that superlative even if she’s graduated from Hollywood’s leading-lady graces.

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The Beginning

“Chastity” (1969)

To trace Cher’s acting ambitions, we have to go back to 1967, when Sonny & Cher’s musical comedy “Good Times” flopped. Wanting to prove the “I Got You Babe” duo could cut it in the film world, Sonny Bono wrote her first solo lead: the title role in “Chastity,” an 83-minute oddity about a free-spirited drifter who talks to herself in public and manipulates men’s weaknesses to get ahead.

This was Sonny & Cher’s bid to appeal to young counterculture audiences who had deemed the duo square after Bono bemoaned the era’s sex and drugs. “Chastity,” released in June 1969, tried to be a gritty derivative of the French New Wave, packing big ideas ― Bono apparently said it was about society’s sudden “lack of manhood” and “the independence women have acquired but don’t necessarily want” ― into a whiplash-inducing downer involving a lesbian romance and childhood molestation.

It was another flop — an especially embarrassing one for Cher, because she alone was the face of the project. But bad movies can be testaments to good actors’ skills. Cher is at ease in front of the camera, never letting her fame announce itself before she opens her mouth. The same qualities accenting all her best film work — a scrappy confidence that reads as a proverbial middle finger to anyone who crosses her — become the highlight of “Chastity.”

Too bad the experience drew her away from movies for 13 years, during which Cher released 11 solo albums and divorced the controlling Bono, finally escaping the Sonny & Cher brand.

“Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean” (1982)

In 1981, with her music career sputtering and her split from Bono six years in the rearview mirror, Cher trekked to New York to study acting with renowned teacher Lee Strasberg. Robert Altman, the celebrated director best known for “M*A*S*H” and “Nashville,” was casting the Broadway debut of Ed Graczyk’s play “Come Back to the Five and Dime, Jimmy Dean, Jimmy Dean.” Altman gave Cher the part of Sissy, a wisecracking libertine employed at a diner in small-town Texas. 

When Altman rehired the Broadway cast for his big-screen adaptation of “Jimmy Dean,” Cher’s movie career was reborn. The scope of the film, released in November 1982, mirrors that of the play, with a single set and overly theatrical dialogue. But Cher has one of the meatier roles, nailing a teary monologue about Sissy’s failed marriage that Altman shoots in revealing close-ups. Sissy is a vixen who uses her sultry appeal to mask self-doubt ― something Cher related to after her split from Bono. She crimps Sissy’s smile, revealing an impressive vulnerability as the character laughs through her pain.

“Jimmy Dean” wasn’t a smash, but it provided a vote of confidence at a murky time for Cher, yielding her first Golden Globe nomination. 

“Silkwood” (1983)

Cher’s next role was make or break: Can the queen of glamour become the fledgling of frump? For “Silkwood,” she was again working with one of Hollywood’s most gifted directors, Mike Nichols (“The Graduate,” “Who’s Afraid of Virginia Woolf?”), playing a dowdy lesbian working at a nuclear power plant where employees are exposed to life-threatening levels of radiation.

It remains one of Cher’s best performances, even though she almost didn’t take the job because she was intimidated to act opposite Meryl Streep. (“When we did ‘Silkwood,’ I didn’t even know what a close-up was,” she told The New York Times.) Here, Cher achieved a stripped-down everydayness that defied the anthemic pop-rock for which she was known. Near the movie’s bittersweet end, Cher sits slumped in Streep’s arms, her outstretched legs growing more lax as her tears multiply.  

“Silkwood” opened in December 1983, earning Cher’s first Oscar nomination and winning her a Golden Globe. In her acceptance speech at the Globes, she jabbed the “Hollywood moguls” who wouldn’t give her a chance before Altman came calling ― evidence that, no matter the doubts Cher had in accepting “Silkwood,” she knew how to trumpet her own worth.

“Mask” (1985)

If “Silkwood” proved Cher could transcend her “Half Breed” fantasia, “Mask” proved her acting was bankable. Taking a hiatus from music after the 1982 album “I Paralyze” failed to deliver a hit single, she paired up with another great director, Peter Bogdanovich (“The Last Picture Show,” “Paper Moon”), to portray Rusty Dennis, the real-life mother of a charming teenager (Eric Stoltz) with a cranial deformity.

Her third consecutive film to include a tear-stained breakdown, “Mask” was perfect for Cher. Rusty is a biker groupie with a penchant for drugs but an unwavering dedication to her son, letting Cher convey a contentment that softens the reality of Rusty’s strained life. As she would again in 1990′s “Mermaids,” Cher was playing a single mom who lives by her own rules (e.g., trying to get her son laid by picking up a girl at a bar). The role earned her a third Golden Globe nomination and the Cannes Film Festival’s prestigious best-actress prize, but she was snubbed by the Oscars.

No matter: “Mask” stormed the box office, and Cher joined the ranks of Streep and Jane Fonda as one of Hollywood’s most sought-after actresses. At the Academy Awards, she donned her infamous midriff-bearing Bob Mackie getup, complete with a cape and a spiky headdress. The look was more punk rock than Tinseltown elegance ― an oversized fuck-you to the fusty Academy and an ebullient reminder that she wouldn’t tidy up her image to appeal to Reagan-era conservatism. 

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The Gold

“The Witches of Eastwick” (1987)

Coming off of “Mask,” some studio executives were still questioning Cher’s ability to attract audiences who knew her as an outrageous pop doyenne who hadn’t had a hit single in several years. Her credibility was put to the test each time ― and each time, she passed.

In 1987, at the critical age of 41, Cher landed a troika of commercial hits in which she was the centerpiece, starting with the delicious lark “The Witches of Eastwick,” her first comedy since her variety show a decade earlier. Then came the overwrought legal thriller “Suspect,” which required her to pull off boxy suits as a strapped D.C. attorney spouting verbose monologues. And following that was the snappy romance “Moonstruck,” which demanded a thick accent that was Italian by way of Brooklyn. In each, Cher captured a quotidian version of American life ― and what’s more transformative than Cher pretending to be quotidian?

Playing another single mom in “Eastwick” (directed by “Mad Max” maestro George Miller), she held her own against Susan Sarandon, Michelle Pfeiffer and Jack Nicholson. Cher clearly relished the role. During a tart takedown of Nicholson’s lothario, she trades the maximalist energy that many actresses would bring to the scene for a soft smirk, savoring every word as she calls him “physically repulsive, intellectually retarded, morally reprehensible, vulgar, insensitive, selfish [and] stupid.” 

“Suspect” (1987)

For “Suspect” and “Moonstruck,” Cher was the directors’ first choice, netting a salary of more than $1 million apiece ― an impressive figure in the mid-’80s, though notably less than what men like Bruce Willis and Robert Redford commanded.

“Suspect” let Cher check off a requisite movie-star box, as it was all but decreed in the ’80s and ’90s that every serious actor make at least one blandly entertaining legal thriller. Like the best of them, Cher’s was a courtroom drama with an ethically dubious love story nestled into the center. (Young Dennis Quaid was irresistible.) It might be the least Cher-y of any Cher performance ― can you imagine her sporting a no-frills power suit today? ― and yet she is comfortably forceful in the role. Amazingly, the woman whose assless one-piece would soon get her banned by MTV looks cozy amid mounds of paperwork.

“Moonstruck” (1987)

“Suspect” was a modest box-office hit in October, but it was largely forgotten by December, when Cher turned in her career-defining performance in “Moonstruck.” Playing a widowed bookkeeper who falls for her fiancé’s unruly younger brother (Nicolas Cage), Cher cycled through a wider range of emotions than any movie to date had asked of her, lending realism to what is ultimately a Cinderella fairy tale. That she does so with the same physical charisma is a wonder, especially considering she didn’t think Cage was a generous scene partner. (She must have savored that slap.)

“Moonstruck” became the fifth highest-grossing release of 1987 and attracted Cher’s warmest reviews. The following April, she won the Oscar for Best Actress. Wearing another audacious Bob Mackie gown, Cher delivered an earnest speech that was more movie-star sleek than pop-star chic. 

“I don’t think this means I am someone, but I guess I’m on my way,” she said in a rare moment of modesty. Every now and then, even Cher plays along.

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The Wobble

“Mermaids” (1990)

As if emboldened by the respect her film career had garnered, Cher signed a new record contract with her friend David Geffen’s label. “Cher,” released in 1987 after five years away from music, produced a couple of mild hits (“I Found Someone,” “We All Sleep Alone”) and paved the way for 1990′s “Heart of Stone,” a rock record with enough big-haired power pop (namely “If I Could Turn Back Time”) to place her in the same league as Madonna, Paula Abdul and Whitney Houston.

She’d set up a production company with Tri-Star Pictures and bagged her next film role, “Mermaids,” a 1960s-set dramedy about an image-conscious firebrand raising two very different daughters (Winona Ryder and Christina Ricci). The role perfectly married Cher’s pop image and film image. Her character was progressive about sex in a way that most mildewy mom roles weren’t, but with enough working-class gumption to make her more than a head-in-the-clouds prima donna. Cher, a child of divorce who grew up without much money, nails that paradox.

But “Mermaids” was also a turning point. Having launched a lengthy world tour in summer 1989, Cher was exhausted to the point of illness, and she found herself sparring with director Lasse Hallström (“My Life as a Dog”). Production shut down so Cher could rest, during which time Frank Oz (“Little Shop of Horrors”) replaced Hallström. Cher didn’t get along with Oz any better ― “she emotionally beat the shit out of him,” a source reportedly told Vanity Fair ― and he left the project. (“Look, I’m only difficult if you’re an idiot,” Cher said.) Richard Benjamin (“The Money Pit”) came aboard and steered the movie to completion.

This backstage drama was splashed across the press, cementing the cantankerous reputation that most divas achieve at some point or another. “Mermaids” made OK money ― far less than it should have, since it’s such a delight ― and Cher mused that her acting days were probably numbered, partly because she was well past the age of 40, at which point Hollywood women become biddies.

“The Player” (1992) and “Ready to Wear” (1994)

After the “Mermaids” theatrics, Cher’s agent tried to push her to take more film roles, namely one of the leads in “Thelma & Louise.” But she needed a break. (Cher had also turned down Danny DeVito’s “The War of the Roses.”) Instead, she released the album “Love Hurts” in 1991 ― but it’s biggest single, “Love and Understanding,” stalled at No. 17. She then embarked on another tour and did hair and skin care infomercials that turned her into something of a punch line. 

But instead of fading away, she did the Cher-iest thing of all: She played herself, in ultimate diva form, twice. The first time was in old friend Robert Altman’s 1992 Hollywood satire “The Player.” The second was in old friend Robert Altman’s 1994 fashion satire “Ready to Wear.” Both movies saw her walking red carpets as a VIP at industry events. 

Waltzing into “The Player,” Cher glides down a gala red carpet as a TV announcer says, “Well, leave it to Cher to wear fire-engine red when the impossible-to-come-by invitations call for black and white only, please.” In playing along with Altman’s joke, she shattered a wall between person and persona. She’d accrued the sort of diva caliber that can feel mythological, the kind that doesn’t have to abide by the industry’s rules — and she wanted us to know it.

During an interview with a TV journalist in “Ready to Wear” who balks at how good she looks, Cher replies, “Well, yeah.” The cameos were brassy ways of asserting the stature she’s accrued after three decades in the business. Also essential: They let Cher poke fun at her own attention-seeking iconoclasm.

For as much as “The Player” verified Cher’s stardom, it did little to vault her back into Hollywood’s top tier. An Entertainment Weekly article from 1993 — written by a young Ryan Murphy — quoted an anonymous Hollywood producer who said casting Cher was now a “risk.” Her bankability had waned. “I’m not sure if I want to continue to be Cher,” she admitted in 1994. 

“Faithful” (1996)

But Cher pressed on, attempting to mount “Tabloid,” about an actress and a tabloid editor, with her “Witches of Eastwick” pal Michelle Pfeiffer. She also wanted to remake the 1945 fantasy “The Enchanted Cottage” as a musical (with the encouragement of Francis Ford Coppola), but she lost the rights and the project never came to fruition. (She would continue to discuss it well into the 2010s.)

1995 and early ’96 were especially rough for Cher commercially. Her Southern rock-inflected album “It’s a Man’s World” flopped, as did her first lead role in six years, “Faithful,” which opened April 19, 1996. Cher is, unsurprisingly, the most compelling thing about “Faithful,” portraying a vulnerable housewife whose philandering husband (Ryan O’Neal) hires a hitman (Chazz Palminteri) to murder her. But the script, written by Palminteri, isn’t funny or tense enough. It was the first time her reputation preceded a character: We never believe Cher’s life is in danger, possibly because she’s too famous to be killed off.

“Faithful” earned a piddly $2.1 million, but Cher shrugged off its reception: “It was no loss. At least the reviews said it was nice to see me acting again.” 

Cher’s movie career could have perished altogether, as most established pop stars can’t afford to flounder that hard. A bad single comes and goes, but a bad movie has millions of dollars riding on it.

“If These Walls Could Talk” (1996)

Cher has never been a quitter, though. Toward the close of 1996, she returned with a project so intrepid no Hollywood studio would touch it. Demi Moore had spent five years producing “If These Walls Could Talk,” seeking a home for it on a television network willing to back an unapologetically pro-choice triptych about women ― one in 1952 (Moore), one in 1974 (Sissy Spacek) and one in 1996 (Anne Heche) ― seeking abortions. That home turned out to be HBO.

Nearing 50 and recognizing that meaty roles were growing rare, Cher saw “If These Walls Could Talk” as a chance to advocate for reproductive rights (she’d had two legal abortions, and her mother and grandmother both nearly died from illegal abortions when they were younger). She also seized the opportunity to direct, something she’d talked about doing for years. So she took a small role and helmed the movie’s third segment, playing a self-possessed doctor co-existing with a protest mob outside her Chicago abortion clinic. It was a different role for her —  more austere — and Cher pulls off an appropriate blend of fatigue and perseverance. 

When “Walls” premiered on Oct. 13, 1996, it became the highest-rated movie in HBO’s 24-year history. Cher earned a supporting-actress nomination at the Golden Globes ― an inadvertent fuck-you pitched at anyone who said her movie pilgrimage had ended. 

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The Redemption

“Tea with Mussolini” (1999)

Cher took a breather in 1997, paving the way for what would become one of the glitziest comebacks in pop history. She was 52 when “Believe” became her first No. 1 single since 1974. Producers had urged her to embrace her gay fanbase via a dance jubilee, and suddenly she was competing with younger artists like Britney Spears, TLC and Mariah Carey. By the end of 1999, it was the year’s most popular song. Her divadom flew off the charts, far more than it had with the caricature of “The Player.”

“Believe” is also the song that made autotune a phenomenon. That someone who wasn’t known as a remarkable singer would distort her voice in such an unconventional way read as an act of rebellion, a boldfaced “look at what I can do.” Cher’s record company insisted the effects be removed, to which she said, “Over my dead body!” 

Around that time, Cher co-headlined VH1′s all-star concert “Divas Live ’99” and launched a massive world tour so grandiose it was almost comical. Furthermore, she had divas who were once considered her peers (Cyndi Lauper, Belinda Carlisle) opening for her. 

Cher was bigger and bolder than ever when “Tea with Mussolini” opened in theaters on May 14, 1999. On the Italian set the previous summer, she was the only actor to arrive with her own makeup artist, hairdresser and personal secretary ― which didn’t stop her from feeling intimidated by Maggie Smith, Judi Dench, Joan Plowright and Lily Tomlin. Director Franco Zeffirelli (“Romeo and Juliet”) based the World War II-set ensemble dramedy on a chapter of his autobiography, centering the story on a colony of English women living in Florence in the 1930s.

Smith is the movie’s MVP, but Cher saunters in as a rich American widow possessing a caustic but wacky regality. It makes sense that the height of Cher’s bedazzled pop career coincided with a movie in which she flits around in gaudy costumes. Her persona no longer fit the rural threads of “Silkwood” or the juridical garb of “Suspect” ― and it never would again.

“Tea with Mussolini” made a stolid $14.4 million domestically. Moreover, it was tossed aside during Oscar season despite being prototypical awards bait. That’s not necessarily her fault, but it does lead to an interesting takeaway: What people wanted, post-“Believe,” was to see Cher simply be Cher.

In late 2000, she was working to get that “Enchanted Cottage” musical off the ground, imagining the lead character to be a composite of “me and Tina Turner and Madonna.” But nothing ever came of it, and Cher didn’t take another lead role until 2010′s “Burlesque.” She mounted a so-called farewell tour and leaned hard into the Cher Plays Herself trademark. It worked to her benefit.

“Will & Grace” (2000, 2002) and “Stuck on You” (2003)

In 2000 and 2002, she appeared as a sassy Cher on “Will & Grace.” In a beloved 2000 episode titled “Gypsies, Tramps and Weed,” a twist on Cher’s thundering 1971 song “Gypsies, Tramps & Thieves,” Jack (Sean Hayes) is obsessed with a Barbie-sized Cher doll. Who else would walk in on his infatuation but Cher herself? Except Jack believes she’s a drag queen ― a tongue-in-cheek crack about Cher’s campy image. They have a sing-off in which Jack, convinced his impression is superior, greatly exaggerates her husky warble and dramatic hair toss in a way that essentially mocks Cher to her face. Amused, she gets the last laugh, slapping him and administering that quotable classic: “Snap out of it.”

There’s no movie-star move more powerful than playing yourself with an ironic wink, and “Will & Grace,” like “The Player” before it, let Cher poke fun at herself in a refreshing way. She is treated as an empire, at once pointedly self-aware and deliciously aloof ― a perfect way to master her own narrative without being beholden to it.

In 2003, she appeared as a sassier Cher in the one-joke farce “Stuck on You,” starring Matt Damon and Greg Kinnear as conjoined twins who move to Hollywood when one decides to launch a movie career. Stomping around in a fitted leather jacket and a spiky thatch of jet-black hair that resembles David Bowie’s in “Labyrinth,” Cher yelled at her agent (Jackie Flynn) about the state of her acting career: “Why am I doing this lame-ass TV show when I should be doing movies?” she says before reminding him that she has an Oscar.

Cher’s “Will & Grace” appearances were hardly lame, yet one can’t help but wonder whether Cher was bitter about her acting career’s ebbs. Further complicating matters, Hollywood was drifting away from idiosyncratic character dramas and toward inflated action spectacles. Between 2004 and 2009, she didn’t appear onscreen at all. And so began the Vegas residency phase, which continues today.

“Burlesque” (2010)

When Cher returned with “Burlesque” in 2010, the punch lines wrote themselves. A hammy musical about an aspiring actress (Christina Aguilera) who coaxes her way into the tutelage of a nightclub matron (Cher), the movie went through major script rewrites (by “Juno” scribe Diablo Cody, “Erin Brockovich” scribe Susannah Grant and “Moonstruck” scribe John Patrick Shanley, no less) but still felt like a collection of rhinestone-studded music videos. Cher seems bored by the whole affair, which makes sense: David Geffen, who once dated “Burlesque” director Steve Antin, had to talk her into doing it. Cher is miscast ― would someone with her magnetism really be running a beggared cabaret? ― but she still manages to bring a sense of pride to the character. 

“Look, I have a very narrow range,” she said in 2010. “I’ve never tried anything more than playing who I am. If you look at my characters, they’re all me.”

The thing is, she’s wrong. Cher is no Cate Blanchett, but she’s far more transformative ― or at least more instinctive ― than she gives herself credit for. Regardless, her big statement in “Burlesque” reverberated loud and clear during a ballad written specifically for her: “I’ll be back / Back on my feet / This is far from over / You haven’t seen the last of me.” 

It also makes sense that Cher ended up viewing the movie as a reflection of her legacy: “I’m in a strange place right now,” she said in 2013. “I’m too old to be young and I’m too young to be old, so I have to be used creatively. In ‘Burlesque,’ which was horrible, I had no love interest, I was running this [troupe], that’s who I was. It could have been a much better film. […] Terrible director! Really terrible director. And really terrible script. I remember him saying to me, I don’t care about what you say, I just want to shoot the dance numbers. Had it been shorter, it would have squeaked by and been a really good popcorn movie.”

“Zookeeper” (2011) “Home: Adventures with Tip & Oh” (2017) and “Mamma Mia! Here We Go Again” (2018)

In the same breath, Cher vowed to keep acting. But other than voicing a lion in the Kevin James comedy “Zookeeper” and voicing a self-referential alien who “knows how to make an entrance” in Netflix’s “Home: Adventures with Tip & Oh,” no other projects had materialized until now.

“Mamma Mia! Here We Go Again,” like “Burlesque” before it, finds Cher playing Cher, insofar as her snazzy attire and snappy dialogue herald her diva bona fides. Oh, and because she is the sequel’s show-stopping main event, of course.

She shows up in the final 15 minutes, helicoptering into the Greek hotel now run by Sophie (Amanda Seyfried). You know it’s Cher the second the chopper appears. In dramatic fashion, we see Cher’s pant leg touch down before we ever glimpse her wrinkle-free face. It’s a moment that practically begs audiences to cheer.

“Mes enfants, je suis arrivé; let the party commence,” she announces after emerging from the plane. When she sings ABBA’s “Fernando” with Andy Garcia, fireworks explode across the sky. 

In almost no time, Cher steals the movie, snapping and shimmying as if onstage at one of her concerts ― the ultimate marriage of her 55-year-old career’s many tentacles. If it’s possible for Cher to outdo Cher, “Mamma Mia!” is it. But “Mamma Mia!” also crystallizes what we’ve long assumed about Cher: Even at 72, she is still in on the joke that was christened in “The Player” and confirmed on “Will & Grace.”

She’ll probably never spawn another Top 40 hit ― see: her 2013 album “Closer to the Truth” and her recently announced collection of ABBA covers ― but she can still capitalize on the Cher brand to electrify audiences familiar with her diva cachet. Today, her biggest transformation is wearing a bleach-blond wig. Maybe that’s all the transformation we really want from Cher anyway, even though “Mamma Mia!” doesn’t quite know what to do with her, plot-wise.

If pop stars are meant to be mythological and actors are meant to be aspirational, Cher has mastered both domains. She did so by never shying away from how the world metabolized her iconography, and by forever laughing at the absurdity of fame. That sense of humor is now her lifeblood. No matter what happens in the years to come, we haven’t seen the last of her. 

[cleardinosaurmiracle-blog]

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