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tearmann-safehaven · 5 years

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LF RP (Zalera): Clara Murdoch [updated]

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Age: 22, but appears to be closer to 19 Birthday: 32nd Sun of the Fifth Umbral Moon Race: Hyur Midlander Gender: Pansexual demiromantic Marital Status: Canonically single Multi-ship Friendly!

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Hair:

Age 6: Clara’s auburn hair is lightly braided out of her face, but still loose. It hangs in well-groomed curls, shiny and luscious. She brushes it diligently every day before her father, Elrich, plaits it out of her freckled face.

Age 14: Her hair has lost most of its curl, due to being so dirty. She pulls a few bunches of hair out of her face, but has little time to groom it.

Age 16: Clara’s hair is somewhat sorter, badly chopped, and tied back into a tight braid. A few strands still hang in her eyes.

Age 18: Her curls have come back and are typically swept off onto her shoulder

Age 20: She keeps her locks tied back into a sloppy bun, with many wispy strands in her face.

Age 22: Clara’s hair is cropped into a short, functional bob.

Eyes: Clara’s eyes are a startling, mawsitsit green, with thick lashes and naturally pinkish eyelids.

Height: 5′2′‘

Build: Lithe and slender, much like a willow tree

Skin: Pale, freckled

Distinguishing Marks:

Face Claim: Dalila Barbieri

Voice Claim: Emma Watson

Singing Voice Claim: Méav Ní Mhaolchatha

Common Accessories: Clara wears her late parents’ wedding bands on a chain around her neck. The bands have been fused into one ring and she always has them close to her heart. Her left arm is replaced with a brass magitech prosthetic that can be detached for servicing. She can also be found with her Triple Triad cards, a set of weighted dice, and a dinged pewter flask, usually filled with mulled whiskey. In her pocket, she keeps a small package of jerky to feed to her falcon, Olympia.

Clothing:

Daily wear: During a typical day, Clara wears a loose, black crop-top, with a short sleeved leather jacket over top, unbuttoned. She wears rumpled black trousers, cut off at the knee, and a pair of black lace-up boots. If she’s working, she also wears a black mask to cover her eyes.

Winter wear: In winter, or areas such as Ishgard, Clara wears a warm pair of velvet leggings, a cozy poncho, and warm woolen hat. Her feet are covered by leather boots and her hands are covered by leather gloves, with her string-fingers exposed.

Formal wear: For more formal occasions, Clara wears an almost metallic brown coat, with decorative pauldrons and a warm fur collar. She has a matching set of trousers and heeled boots, with a bronze circlet worn on her brow.

Style of fighting: Clara’s fighting style is a veritable hodgepodge of technique, as she was never truly trained in any real practice. She relies on her small stature and swiftness in melee combat, preferring to run dizzying circles around her opponent until they run out of energy or to strike when they are least expecting it. In ranged combat, Clara is a nearly flawless shot, able to strike down a dragonfly with a sling stone. Her favored combat style, however, is simple and effective; slip in, take the kill, and leave, without anyone being the wiser. As long as it gets the job done, she’ll go for it, even if it means disrobing in front of her opponent (something she has done on several occasions). Weapon(s): Slingshot, daggers, poisoned sewing needle, brass knuckles, bow and arrow, pistols, rapier

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Profession: vigilante, bard, rogue Hobbies: Dance, music of all types, writing poetry, cooking Languages: Common, a small bit of Ishgardian and Bakapulaen (mostly just swear words) Residence: the Black Opal Birthplace: the Midland Wind Patron Deity: None Fears: Claustrophobia, strangulation,

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Spouse: N/A Children:

Rosie Murdoch (daughter, desc.)

Parents:

Elrich Murdoch (father, desc. - merchant sailor)

Rosanna Murdoch (mother, desc.)

Severine Murdoch (step-mother, desc.)

Siblings:

Misato Otsuka (paternal half-sister),

Miophax Murdoch (step-brother),

Isine Murdoch (step-sister)

Other Relatives: N/A (but open to rp partners becoming them ^^)

Pets:

Olympia (falcon)

Downy (chocobo)

Mittens (coreul kitten)

Powder-Puff (happy bunny)

Player connections:

Vhett Rhevy ( @hunterofphoenix)

Sigward “Cid” Locke ( @lockeff14)

Jurien Ashur ( @jurien-ashur)

Cyril Stacey ( @lordofcrowns)

Seina Kurokiba ( @the-ruby-rogue)

Damien Takayama ( @unkemptandtired)

Misato Otsuka ( @misato-otsuka)

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Extroverted / In Between / Introverted Disorganized / In Between / Organized Close Minded / In Between / Open Minded Calm / In Between / Anxious Disagreeable / In Between / Agreeable Cautious / In Between / Reckless Patient / In Between / Impatient Outspoken / In Between / Reserved Leader / In Between / Follower Empathetic / In Between / Apathetic Optimistic / In Between / Pessimistic Traditional / In Between / Modern Hard-working / In Between / Lazy Cultured / In Between / Uncultured Loyal / In Between / Disloyal Faithful / In Between / Unfaithful

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Smoking Habit: She has a cigarette on occasion, when extremely stressed. Drugs: rarely Alcohol: Clara seems to be a petty heavy drinker, however she uses the notion to get more information from people. It takes a lot of alcohol to get her to lose her inhibitions, but she plays herself as a lightweight and uses the advantage of others thinking that she’s too far gone against them in the long run. Sex: Clara definitely enjoys sex. She’s known for her one-night-stands and often doesn’t talk to the person afterwards. She uses it as a form of distraction from the difficulties in her life and usually doesn’t care much what others think from that perspective.

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The Maiden of Death: Clara commandeered own vessel alongside her childhood friend, Vhett, in order to start hunting down slave vessels. Join the crew of The Black Opal or come under attack by them.

Liberator: Enslaved? Trapped? Perhaps Clara can find you on a liberation mission.

The Gardens of Death: Clara’s moral compass, in her opinion, is relatively black and white. Anyone who takes another person’s freedom doesn’t deserve to live. Slaver and slave owners beware, she has no qualms with killing you.

Keep Your Enemies Closer: Clara has plenty of enemies, considering her profession. Are you hired muscle? Maybe your employer wants to teach her a lesson. Need a nemesis? Clara may just be your girl.

Childhood Friends/Acquaintances: As the daughter of a traveling merchant, Clara spent most of her childhood (from infancy to about nine years of age) traveling between towns and city states. She was a friendly girl, very bright and witty, and had an easy time making friends. If you would like your character to be involved in her childhood in some way, shoot me a message!

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1. Ask before integrating my characters into your character’s story. I’m usually very open about it, so just shoot me a message.

2. I do RP gore, abuse, violence, assault etc. but not just to do it. It needs to have a purpose. Know that there is a chance that I will take a break from dark subject matters if I need to, occasionally without warning.

3. Writer’s block is a bitch, please give me time.

4. Chances are, if you ship it, I probably will as well. Just hit me up ^^

5. Role-playing romance does not mean I want an OOC relationship.

6. Please do not randomly message me explicit things, it makes me extremely uncomfortable. I don’t mind ERP, but I prefer it to be coordinated beforehand

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Discord: @small ham man#8767

@crystalxivrp @mooglemeet @ffxivrpdatabase

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↤↤↤↤↤ 🅣🅡🅘🅖🅖🅔🅡 🅦🅐🅡🅝🅘🅝🅖 ↦↦↦↦↦

Born to merchant captain, Elrich Murdoch and his wife, Rosanna, aboard their merchant vessel, the Midland Wind. Due to complications with her pregnancy, Rosanna died shortly thereafter, leaving Elrich to raise Clara on his own. He was a doting father, giving Clara all she could ever want. As a child, Clara took dance lessons in Costa del Sol, music lessons in Gridania, and gave to the poor in Ul'dah.

In Limsa Lominsa, six-year old Clara met Aela Moha, a half-Raen girl, about a year older than her. The pair became best friends, with Elrich even offering to adopt Aela. During her time in Gridania, she met Jurien Ashur, the son of a local baker. The pair didn’t get along quite well, with Jurien constantly teasing Clara. They went on a few childish adventures together, including one in which they rescued a trapped chocobo chick. Little did Clara know, the cocky Jurien was nursing a crush on her.

Elrich eventually bought a home in the Lavender Beds and remarried an Elezen woman named Severine, adopting her two children, Miophax and Isine. Despite his marriage, Elrich continued to travel the realms with Clara, until one fateful trip, when the ship was caught in a violent storm. The Midland Wind's crew perished, with nine year-old Clara as the only survivor.

After floating for several days in the tiny longboat, Clara was picked up by a crew of fishermen. She was dehydrated, hungry, and barely conscious, and spent the next week under the care of a healer, before being sent back to Gridania. Upon her return, Severine treated her with disdain, going as far as to say that she wished Clara had died as well. The Elezen woman encouraged her children to bully Clara, who was still mourning the death of her father. Severine did little to hide her distaste of Clara and confined her to the attic. Clara quickly became the family errand runner and servant, learning harsh lessons at the hands of her step mother and siblings.

As Clara grew older and more beautiful by the day, her stepbrother Miophax began to make advances towards her, only to be spurned at every turn. He grew more and more angry at each refusal, eventually violently beating, then fourteen year-old, Clara and throwing her down a set of stairs. From then, Miophax's attention towards her became more obsessive. Isine, on the other hand, was far more secretive of her violence towards Clara. An aspiring alchemist, she often tested various potions on her stepsister. While Miophax was violent and Isine was insidious, Severine herself was domineering and cruel, and found joy in finding new ways to punish her stepdaughter for the slightest indiscretions.

On Clara's seventeenth birthday, Isine gave Miophax a potion which he used to drug and rape Clara. The trauma resulted in Clara giving birth to a daughter, who she named Rose Ella - after her mother and father - who had severe defects, in addition to being born prematurely. The baby was sickly and Clara often pleaded with the Conjurer’s Guild to help her, but they refused, sighting it as the Will of the Elementals that the child die. Rosie eventually passed away due to health complications, but Clara blamed herself and swore off motherhood entirely. Shortly after, Clara took Rosie’s body deep into the Shroud and buried her in a dress that she had sewn, when a member of the Conjurer’s Guild approached her. Mad with grief, she attacked them, stabbing them to death, before tossing the body in a river and collapsing, horrified at what she had done.

When she returned home, she was completely changed. Gone was the friendly, funny girl who had trailed her father from city-to-city, and in her place was a sullen, silent young woman. Her emerald eyes were haunted, she became ill often, and moved in autopilot. Clara no longer talked back to her stepmother, simply did all that was asked without contest.

One particular day, a storm came in, and Miophax had beaten Clara severely. Severine sent the girl out into the storm to collect ingredients for Isine’s potions anyway. Hours later, she was found by her childhood friend, Jurien, shivering and feverish in the shroud, with a diremite stinger in her back. Jurien then took her to his home and, with the help of his family, nursed her back to health.

With Clara often ill or injured, Serverine eventually turned to slave labor and purchased Vhett Revy, a male miqo'te about the same age as Clara. He and Clara became fast friends, eventually close to lovers. Clara helped Vhett to escape from Severine and would bring him food where he hid in the Central Shroud, until Miophax caught her sneaking out. When she refused to reveal her friend's location, Severine allowed Miophax to beat her to unconsciousness and leave her alone in a ditch.

Several days after, once infection had set into her wounds, Severine brought Clara back home, revealing that she had found Vhett and had plans to separate the pair for good. She first attempted to wed Clara to a wealthy widower from Ul'dah, but when Clara refused, she sold her instead to a brothel in Limsa Lominsa and told Vhett that she had been killed by her new husband.

In the brothel, Clara became bitter and cynical, before Vhett appeared, having been searching for her since ending Severine's life. The pair escaped and worked together to build a ship, which they christened the Black Opal (<<Opal>> FC, Zalera), and began seeking out and raiding slave ships, then freeing their prisoners and either burning or holing the ship.

After being caught in a fire-fight between ships, Clara employed Sigward “Cid” Locke to repair it, eventually leading to the pair having a relationship. After further work, Clara cut her hair short and took on a vigilante persona.

While climbing the mountains of Ishgard, Clara found her arm trapped between a pair of icy boulders. She sent Olympia, her falcon, to look for help, and was forced to amputate her arm. Locke later constructed a magitech prosthetic for her.

#ff14 #Final Fantasy XIV #Final Fantasy 14 #FFXIV #ff rp #lf rp #clara murdoch #ffxiv zalera #zalera #ffxiv crystal #zalera rp #crystal rp #looking for roleplay #antihero #long post

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reelgalsofglasgow-blog · 6 years

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The Golden Gals: The Reel Gals Academy Awards

The time has come. The envelopes have been sealed (with the right cards in each - we hope). We’ve been sewn into our best outfits. In lieu of an exuberant opening musical number featuring the ubiquitous James Corden, please enjoy a short clip of the best Oscars moment ever:

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Honestly, if this year’s ceremony doesn’t open with just those fourteen seconds on a loop for a solid seven minutes, we’ll be sorely disappointed.

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We know that all you’ll be thinking about now is that clip and basking in how gloriously weird it is… so maybe take a few minutes, watch that clip another eight or so times just to be sure; grab yourself a cuppa and settle in - because it’s time to announce our own Reel Gals Academy Award winners! The ‘Osc-hers’, if you will.

Ask any professional in TV - and they’ll tell you that the best entertainment always starts not with an idea or any spark of passion… but with a spreadsheet. Spreadsheets are the equivalent of Amino Acid for British TV programmes. Boring, but true. So we put together a spreadsheet listing each category and, depending on how many nominees, numbered them 1-5 (or 1-8 in Best Picture’s case) where 5 = favourite nominee. Then the magic spreadsheet worked out the average for us because damn, we’re not NASA.

With all our votes cast (unfortunately four of the categories had to drop as we just couldn’t get viewing copies in time - sorry Documentaries, Short Docs, Live Action Shorts and Foreign Language films!) our WhatsApp group chock full of planning for hectic last-minute trips to the cinema, trailer breakdowns, Spotify playlists, Adam Driver spam [Sorrrrry ~ Jen] and late night Netflix binges - we’re ready to present our own personal winners of each category - JUST in time for the ceremony itself.

Will we be as off-the-mark as the Academy not putting Emily Blunt up for a Lead Actress nomination for her stellar work in A Quiet Place? Or will it turn out that we are actually a collective of omniscient New Age Mystics, ordained by the gods of Hollywood themselves - imparting our sage wisdom and knowledge of the Future? Who can tell? Not us. (Or can we??)

So, get Red Carpet ready and join us for our 2019 Oscars picks and their close-fought runners-up, as voted for by us!

LEAD ACTOR

1. Christian Bale - Not gonna lie, it’s difficult to completely lavish Bale with praise considering that a major part of the prep in his transformation into the illusive Dick Cheney was “eating a LOT of pies”. If I was paid on the premise of my pie eating abilities, I’m pretty sure I would be up for an award too, just sayin’. Anyway, he does a pretty good damn job of depicting someone that no one really knows a great deal about in the first place, especially viewers outside the UK (I had to google him twice). His flair for delivering an all consuming, intense and seminal performance is as apparent as ever despite the layers of latex and make up to contend with. Particularly during the heart attack scene in which I found myself worryingly questioning how much red meat and cream I’d had in the last month. It worth saying that his performance owes a great deal to the aforementioned hair and makeup team, whose work is nothing short of astonishing. It’s literally the only Christian Bale film in which I’ve never been attracted to Christian Bale, for real. Considering that his last Oscar win was in 2011 for The Fighter, another dramatic, transformative role then he might be in with a chance. The voters have shown time and time again that they award convincing portrayals of famous figures so I reckon It’s a toss up between Malek and Bale this year, although with utmost respect to Malek, I hope it’s the latter. [~Marie]

RUNNERS UP:

2. Viggo Mortensen

3. Rami Malek

LEAD ACTRESS

1. Olivia Colman - So, I always hear “Olivia Colman can do no wrong” and I have to admit that The Favourite is absolutely no exception. I first stumbled across her while heavily invested in Peep Show during my late teens, but it was really in Broadchurch that I fell in love with her as an actor (and while watching her acceptance speech for her recent BAFTA win, I fell in love with her as a person). I know that us Reel Gals were definitely a little divided regarding The Favourite as an overall film, but I don’t think any of us will have any major qualms if she picks up the Oscar this weekend. Her performance and portrayal of Queen Anne more than deserve it, and I stumbled around looking for the perfect phrase to express this embodiment, and her ability to make us empathize with this rather “brutish” historical figure. In the end what sums it up is Colman’s lack of fear to exhibit ‘grotesque charm’ balanced with her open vulnerability in the role of Queen Anne that (along with the other female-lead performances) kept the film afloat for me. [~ Kayleigh]

RUNNERS UP:

2. Yalitza Aparicio

3. Lady Gaga

BEST SUPPORTING ACTOR

1. Mahershala Ali - Ali, to me is one of those faces (handsome faces) that, when you see, you can't quite put your finger on and when you IMDb search him you find yourself saying “Oh yeah, that's what he's in”, and to me that includes the fact that I forget about his Academy Award winning performance in Moonlight. After Green Book I don't think I'll be forgetting him again and us Gals believe he should be receiving his second Oscar tonight to join his BAFTA and Golden Globe for the performance. His portrayal of Classical and Jazz pianist Dr Don Shirley is the perfect accompaniment and antithesis to the uncouth Tony Lip portrayed by Viggo Mortensen. I don't know enough about Dr Don Shirley to say that Mahershala embodies him, but I don't think that matters as much as the feeling watching his performance gives the viewer. You can feel his frustration with Tony during their road trip, you can feel his loneliness in the hotels at night, you can feel his passion for music and playing the piano, you can feel his anger at how he is treated by the ignorant white southerners purely based on the colour of his skin and you can feel his love in the tear inducing final scene. Any performance that can make me empathise with the emotions of an American male, mid-30s, black, upper-class, talented performer trying to overcome racism and ignorance in the American Deep South in the 60s (and if you hadn't guessed I fit none of those categories), is a powerful performance indeed. Good luck Mahershala! [~Robyn]

JOINT RUNNERS UP:

2. Richard E Grant / Adam Driver

BEST SUPPORTING ACTRESS

1. Regina King - This may well have been the easiest category for me to vote on. (Even though I actually felt that this year showcased a whole lot of strongly-delivered performances, by so many talented women.) Regina King - wow - what a badass lady right there. I thought that the acting from all parties in If Beale Street Could Talk was so incredibly sincere, but especially that of King's. Together with the colour palette, soundtrack and cinematography, I was honestly so moved by the whole film (and am *entirely gutted* that it's been overshadowed by its competitors). I have only one complaint about IBSCT and that is that Regina King should have got more screen time. Everything I've seen King in I've loved and I have to admit that I was just happy to see this nomination, let alone think that her performance in IBSCT was flawless and even although she has some tough competition, that she fully deserves to win the Oscar. If Beale Street Could Talk represents love, passion, strength and power, whilst addressing themes such as race and equality - everything this film stands for, Regina King embodies in herself as a person and channels in her character, Sharon Rivers. It was refreshing to watch King and just believe her, believe in her character and believe in her as woman and a mother. You will forever be one of my heroes Regina, thank-you for sharing your talent. [~Katie]

RUNNERS UP:

2. Rachel Weisz

3. Emma Stone

BEST DIRECTOR

1. Spike Lee - I’m almost pained to admit that my first experience of a Spike Lee film only came about during my 3rd year of studying film at uni (for shame). The module was ‘The Importance of Soundtrack’ and in particular, the inclusion of pop, hip-hop & R&B music to accentuate social commentary and help establish mood, setting and underlying tension that any director worth their salt can’t express through dialogue alone. I remember leaving the tiny Gilmore cinema on a Tuesday afternoon having watched Do the Right Thing and feeling unusually energised, awake and slightly angry - but in a good way. Cut to roughly 7 years later, I’m leaving Cineworld, on my 29th birthday, no less, after a screening of BlacKkKlansman, still vibrating with anger and frustration 5 minutes after the film ended. It’s the most powerful last 10 minutes of a film, but it’s not Spike Lee’s best. Nor do I think it’s the best film of the year (although I’m possibly in the minority of my Reel Gals peers in saying that). However, in light of a barrage of recent injustices in the US - social and political - it cannot be considered anything less than a vital and timely film which (despite its shortcomings) deserves all the Oscar attention it gets. Lee is a complete master in his unique ability to inject comedy and style into a hard-hitting subject matter such as blind, racial hatred. Since next year will mark the 30th year since Lee’s first infamous Oscar snub, I feel like it’s only right that the academy should Do the Right Thing (heh, you see what I did there..?) and honour him for managing to stay angry (or #woke, if you prefer) and keeping us angry - in a good way. [~Marie]

RUNNERS UP:

2. Alfonso Cuarón

3. Yorgos Lanthimos

BEST ANIMATED FEATURE

1. Spider-Man: Into the Spider-Verse - If you were to pause this film on any frame, you could print it and hang it on your wall. Every single frame is a work of art. The Best Animated Feature category was extremely strong this year with the usual gorgeous Pixar and Disney outings that ordinarily would have snatched the title as they have done in previous years. Such is the power and unique brilliance of this film to take on the two Animation behemoths at their best and come out on top. Boasting twice the normal number of animators (177!!) to bring to life Phil Lord and Christopher Miller’s vision for Miles Morales’ colourful and diverse world, it utilises a glorious twist of new and old forms of animation as well as ideas from print - halftones, hatching and overprinting as well as inserting comic cells and onomatopoeic graphics (“THWIP!” and “BAGEL!” are particular favourites). Not only have we mixtures of frame-rates for characters within the same frame (Whaaaaat?!) to denote Miles’ initial clumsiness versus the other Spider-People’s practised grace; but we’re treated to mixtures of graphic styles with Manga, Noir and classic American cartoon for each of the Multi-Verse Spiders - which shouldn’t work, but does here so, SO well. It’s easy to understand how 10 seconds of final cut content took an entire year for 177 people to create. Lovely little touches like characters stepping into Noir’s space being affected by his immediate ‘windy’ environment and the hand-drawn overlays and inserted comic style frames make this the most exciting, innovative and beautiful-looking animated film not only of 2018 but we believe also of the last decade. It is a true cinematic experience and one that not only deserves the Oscar, but also deserves recognition for changing the landscape of what’s possible for film animation. Also, not going to lie - a lot of us came out of the film inexplicably attracted to Peter B Parker and wish he was real. We would buy that man as many bagels as he wants, for sure. [~Jen]

RUNNERS UP:

2. Isle of Dogs

3. Ralph Breaks the Internet

BEST ANIMATED SHORT

1. Bao - Pixar shorts. They are great. One of the Reel gooduns is, Bao. It’s kinda silly, it’s a bit weird, but ultimately it does what Pixar does best. It taps into very touching, emotional aspects of the human condition. Bao is a 2018 computer-animated short film written and directed by Domee Shi and produced by Pixar Animation Studios. It was released with Incredibles 2 on June 15, 2018. It’s the shortest film of the shorts-lineup. Focusing on a middle aged mother is a wonderful perspective to choose. The film is about an ageing Chinese-Canadian mother, suffering from empty nest syndrome. She receives a rather unusual second chance at motherhood when she makes a baozi dumpling that comes to life as a boy. The film takes you by surprise at several points, after being lulled into a place of “OK, maybe this human baozi is something I can get on board with”, but it ends on a beautiful note. So, as Danny Devito once put it: “I like it, I love it, I want more of it”. [~ Caroline]

RUNNERS UP:

2. Late Afternoon

3. One Small Step

BEST ADAPTED SCREENPLAY

1. BlacKkKlansman - Last year Get Out won the award for best original screenplay for its haunting, hilarious, terrifying, and almost ridiculously scary tale. Some thought this tale of fiction was too simple in its over-the-topness, but the message it wanted to pass was far from it. This year, the equally unbelievable and extremely important story of racism and bigotry comes in an adapted script form based on the true reports of police officer and KKK infiltrator Ron Stallworth. Released as a memoir in 2014 by Stallworth, screenwriters David Rabinowitz and Charlie Wachtel were shocked to find out that no studios even bothered buying the rights to this unbelievable tale and independently adapted the work. It’s not just a brilliant story cause of what happened. It’s not just an amazing comedy cause of the clever dialogue. Its ingenuity, lies on how contemporary this ‘period’ piece reads. From dialogue that feel as if you’re reading the latest Trump supporter’s tweets, to the unbelievable and unapologetic beliefs some have and march for even today. And in case quotes from the Grand Duke of the KKK like ‘I just want to make America great’ didn’t give the film a terrifying enough case of the ‘history is repeating itself’, the brilliant end scene sure does. Thank you for your public service, one day *hopefully* we’ll learn from past mistakes. [~ Lia]

RUNNERS UP:

2. Can You Ever Forgive Me?

3. The Ballad of Buster Scruggs

BEST ORIGINAL SCREENPLAY

1. Green Book - Well, I can genuinely say that Green Book is one of the most beautifully written and delivered films I have been blessed with watching at the cinema in a long time. Based on a true story, it invites the audience to join a world class African-American pianist and his Italian-American driver from the Bronx, on a concert tour of the Deep South in the 60′s - a difficult storyline, fraught with potential pitfalls, executed in a gentle and respectful way. Named after a legitimate travel guide that listed businesses that would accept African-American custom, Green Book confronts infuriating themes such as racism, segregation, class and sexuality – all of which are still issues today. The story encapsulates the growth of an unlikely partnership between the musician Dr Shirley (Mahershala Ali) and Tony Lip (Viggo Mortensen) – quick note to talk about how outstanding, heart-warming and believable their performances were – as with time, the begin to respect, understand and care for each other. [Obviously there are questions about why Green Book would frame a story about racism in the Deep South around a white man’s experience - and have the man of colour take a back seat. Literally. My takeaway from the film was mostly that people aren’t defined by their class as much as they aren’t by their colour - just because Dr Shirley is black does not mean he ought to fall into tired old stereotypes - just because Tony is poor (by comparison) and working class, doesn’t mean he can’t enjoy the ‘perceived spoils of the upper classes’ - classical music or any of the rest of it. Dr Shirley expands Tony’s experience and understanding with regards race - while Tony expands Dr Shirley’s in class. In a post-Brexit and Trump world, where working class people are feeling increasingly marginalised and are partaking in scapegoating of people of colour as a result, perhaps Green Book (however problematic it may still be) presents a message that might get through to those people in today’s political climate? But of course, all of this is my opinion as a lower middle-class white lassie from the UK. ~Jen]

As such, Peter Farrelly, Brian Currie and Nick Vallelonga (notably Tony Lip’s son) presents us with a rather Hollywood (in other words: soft) version of this story, resulting in a mixed response for this film (not from us down at Reel Gals HQ, we loved it), however, he tries to carefully balance out the hard-hitting, dark scenarios that our duo face on the road with the cleverly written dialogue and characterisation running into some really special, incredibly warm moments of character-driven humour.

All in all, I would say Green Book is a cinematically stunning piece of work as well as a story of growth and respect; a feel good film that deserves the Oscar (I'm going to give Roma a quick S/O, as I do believe that it it too would be a worthy winner). I can also say that Farrelly really surprised me after some of the (in my opinion) trash that he’s previously had his name on (Dumb and Dumber, I’m looking at you). You will leave the film feeling warm, with faith in cinema and the inability to stop thinking about how much you want to fold up an entire pizza and eat it like a sandwich – I know I did. [~ Katie]

RUNNERS UP:

2. Roma

3. Vice

BEST CINEMATOGRAPHY

1. Roma - Rumour has it that the revolution will not be televised, and up until recently, the category for Cinematography was almost relegated to the ad-breaks. Why John Bailey, why? Thankfully, after a public ballyhoo, we will be able to see the award presented via live stream (as well as Editing, Live-Action Short, and Makeup and Hairstyling). So why is Cinematography so vital to us?

Let’s go back forty-eight years for a moment. Director, Norman Jewison once talked about how he created the warm, earthy haze of Fiddler on the Roof (1971) with the director of photography, Oswald Morris. They lined a lens with a pair of brown nylons seen on a woman on set (hello, 1970’s Hollywood!). Though Jewison shrugged this story off as a lucky spur-of-the-moment decision, it was made and carried out to stunning effect. Watch it and see. Almost half-a century later, and cinematography has continued to thrive in ingenuity and style.

The Reel Gals have come together to appreciate Alfonso Cuarón’s, cinematographic mastery in Roma. Originally, Emmanuel Lubezki was set to take on this task, but there was an availability clash. Cuarón took over as well as writing the screenplay and directing the film. Lubezki remained an influence to Cuarón who said in an interview with Variety that Lubezki’s voice was in the back of his mind as he worked.

Roma is a semi-autobiographical take on Cuarón's upbringing in the Colonia Roma neighbourhood of Mexico City. Cuarón said of his stylistic choices:

“I would say it’s the ghost of the present that is visiting the past, without getting involved, just observing, not trying to make a judgment or commentary.”

With this in mind, I can see why he shot it in black and white. Actually, he shot it in colour with the Alexa 65, then paired it back to black-and-white, like a photo-realistic painter. The effect of this is that the film is crisp, and each scene seems almost 3D. When you take the colour away, other senses become heightened. The sounds in Roma, for example, are so much more present. The less you see, the more you fill in with your mind. Strangely, things seem more vivid in black and white.

I recommend this article as it gives much more information about the visual decisions which were made. All I can say at this point is that as viewers, we intuitively respond to what has been crafted for us, and this craft should be celebrated. Alfonso Cuarón has given us an incredible film which (like Fidder) will be talked about by new generations of Reel Gals in another fifty years. [~ Caroline]

RUNNERS UP:

2. Never Look Away

3. A Star is Born / The Favourite

BEST FILM EDITING

1.Vice - Of all of the films shortlisted for the Oscars, one has stood out as being one with as many ideas laid out in the edit as it was in the writing and shooting of the piece. Hank Corwin makes use of syncopation like the greatest of musicians - very frequently going places creatively you would never expect… cuts to black; use of archive; the visuals quite often were at odds with the sound, but in the best possible ways. It is frantic, meta, fourth-wall busting, juxtaposition-filled mania with a persistent overarching feeling of extreme unease and increasing dread - perfectly fitting for Cheney’s journey into Power.[~ Jen]

RUNNERS UP:

2. BlacKkKlansman

3. Bohemian Rhapsody

BEST SOUND MIXING

1. Bohemian Rhapsody - So quickly, for those of you (like myself before casting my votes) who didn't know the difference between Sound Editing and Sound Mixing, Sound Editing is the creation and use of sound effects, Sound Mixing is the overall use of soundtrack including music, dialogue, sound effects, the whole shebang really. Overall, although I thoroughly enjoyed Bohemian Rhapsody, I'm not sure I agree with the amount of award attention this movie is getting. Maybe being a big Queen fan the movie left me feeling like it was mostly a celebration of them as a band and lacked any profound revelation. However what can be truly marvelled at in this movie is the recreation of Freddie Mercury's performances; credit where it's due, Rami Malek did a great job of becoming him on screen; but the reproduction of that incredible voice and Queen’s Greatest Hits is what really makes the film what I would call “The Queen Experience”. After seeing the movie and rediscovering an old love by listening to the soundtrack on repeat I noticed that it included live tracks and demos, and doing a bit of digging I discovered that for the concert scenes they used the real live sound from the concerts being recreated, in fact these sequences were chosen around the choice of recording (although don't quote me on that, my sources are from the internet, could be fake news). Also, to make the Freddie Mercury voice perfect some of the recordings were mixed with Canadian Christian Rock artist Marc Martel whose voice is so similar you can barely tell the difference. All of this attention to detail along with the cinematic surround sound effects means that for millennials like us, unfortunately too young to have seen Freddie perform live ourselves, can feel like we were actually at Live Aid (sorry Adam Lambert, you don't quite cut it). That sounds award worthy to me. [~Robyn]

RUNNERS UP:

2. A Star is Born

3. First Man

BEST SOUND EDITING

1. First Man - As I mentioned above, for those of you who don't know, the Sound Editing category celebrates the creation and use of Sound Effects. There are certain members of the Reel Gals that would disagree with me on my analysis of First Man - I found it boring and too long and to be 90% Ryan Gosling not really acting and mostly just being mopey (and this is coming from someone who loves Ry-Go as much as the next girl). However I can appreciate that creating the illusion of space travel relies heavily on sound effects, on this I cannot fault the film. Any scene that features people in the cockpit of a space rocket or bouncing about the face of the moon (spoiler - Neil Armstrong is the “first man” to take one small step for man and one… blah blah blah you know the rest), is beautifully soundtracked with what I imagine since I have never been to the moon, realistic sound effects. [Like Pavlov’s Dog - if I ever hear that intense rattling from this version of the cockpit of Apollo 11 again, I will take a serious whitey. ~Jen] There are no dodgy Wilhelm Screams during the upsetting cockpit fire scene or Star Trek-like door “wooshes” here. Now maybe if these types of sounds had been included I would have been more entertained, but the sound effects were so realistic and in the moon landing scene almost beautiful. So well done to the sound team for keeping me too firmly in reality with this film. [~Robyn]

RUNNERS UP:

2. A Quiet Place

3. Bohemian Rhapsody

BEST PRODUCTION DESIGN

1. Mary Poppins Returns - I thought it was impossible to make a new Mary Poppins film and that attempting to remake a classic was just Hollywood proving it had run out of ideas but in the case of Mary Poppins Returns’ production designer John Myhre strikes a fine balance of appealing to the old eyes who watched the original and the fresh new ones experiencing this story for the first time. If you’re the one wearing the nostalgia glasses then each and every set in this film will make you feel like the kid you were all those years ago - from the cobbled streets of the reimagined 1930s London to the whimsical wonder that is the upside down house. This is where Myhre’s talent shines as he pays homage to the old while never quite replicating it. The house of 17 Cherry Tree Lane still looks and feels as if it has been lifted from Emile Kuri’s original designs but feels reimagined, the fingerprints of Michael Banks life as an adult are prevalent in every room - especially in the attic. Taking a trip up there feels like throwing yourself back in time filled with a clutter of old easter eggs that would thrill any fan of the first film - you don’t have to look far to spot the blocks used by Julie Andrews in ‘Spoonful of Sugar’ or the sash worn by Jane’s mum and of course the most notable throwback of all - the kite. In the end, this is a real house for a real man, in real depression who has lived a very real life but then cue Mary Poppins. The drab, brown and grey colour palette across the set bursts into colour as her mere presence turns this gritty reality into a magical fantasy. The mix of fantasy and reality blends seamlessly together so much so that even the expertly recreated scenes like Big Ben’s tower have a flare of magic to them.

I hadn’t realised until the credits started to roll that somewhere along the way I had taken my nostalgia glasses off and started to view this film as its own entity. Through beautifully crafted sets that meld seamlessly into the classic stylings of the animations, meticulous in detail, it captures the spirit of its predecessor but has an identity very much of its own. So, now I am prepared to eat my earlier retort and believe in the words of Mary Poppins herself - “everything is possible, even the impossible.” [~Isla]

RUNNERS UP:

2. Black Panther

3. The Favourite

BEST ORIGINAL SONG

1. Shallow - A Star is Born - I have to admit, I’m rather gutted that All The Stars missed out on our number one spot (thanks Gals) but Shallow undoubtedly is a bit of a banger. “Is there somethin’ else you’re searching for” - Shallow poetically (when I say poetically, I mean pretty darn obviously) offers the audience an insight to both Ali and Jackson’s character growth throughout the film: Ali, looking to get more out of her life than it was offering her and Jackson, his deterioration in light of his dying career (is that a spoiler? Surely not!). Don’t get me wrong, I loved A Star is Born and genuinely think Lady Gaga and Bradley Cooper *pauses for Bradley Cooper’s voice* have an undeniable connection, the way they perform together - both in this song and the film as a whole - left me with chills (an opinion shared by fewer than half of the Reel Gals) [I may have hated the film, but that won’t stop me beltin’ this mother out at the karaoke ~ Jen] - Shallow will live on and I am sure will be leaving with Academy award, however in my opinion, it’s not particularly inspiring or lyrically imaginative. Still love you, Gaga. [~ Katie]

RUNNERS UP:

2. All The Stars - Black Panther

3. The Place Where Lost Things Go - Mary Poppins Returns

BEST ORIGINAL SCORE

1. BlacKkKlansman by Terence Blanchard - BlacKkKlansman marks the 19th project and 30th year of a Spike Lee/Terence Blanchard partnership and wowzers! Blanchard has composed a score that beautifully enhances the exquisite direction of Lee, capturing a sound that really drives the audience’s emotion throughout the film. Although I found it almost impossible to choose between all the nominations for Best Score, Blanchard has stolen top spot at the Reel Gals’ Academy Awards and to be honest, rightfully so! Terence Blanchard uses “his passion and desire to serve the story” when it comes to anything he composes, which is just one of the reasons he is fully deserved of the Oscar when it comes to the BlacKkKlansman score. He pulls in influences of Hendrix with the electric guitar (which in my opinion really captures Ron Stallworth’s character as a whole) and couples it with the power of brass, a combination that successfully delivers both chilling and comedic moments – alluding to what the audience should be feeling, rather than being on the nose. Terence Blanchard had the responsibility of composing for an unbelievable and haunting TRUE story and respectfully does so, joining Spike Lee in telling the a story of hate from the 70s and leaving the audience with the hard-hitting truths that we still deal with similar hate, even now. [~ Katie]

RUNNERS UP:

2. Mary Poppins Returns by Marc Shaiman & Scott Wittman

3. Black Panther by Ludwig Goransson

BEST MAKEUP AND HAIR

1. Vice - Makeup and hair are such a crucial part of building the characters we see on screen - they help the actors embody the person they’re playing (literally!). The outcry when the Academy dared to suggest that they might bump this and other critical categories (Cinematography and Editing to name a couple for gawd’s sake - HOW DO YOU MAKE A FILM WITHOUT THOSE??!) to being hidden in the ad breaks was so vehement - and rightly so. I don’t know how many times I walked past the poster and ad screens for Vice and had next to no recognition at all for any of the main cast. When I eventually read the names under the pictures, I remember very loudly going “WHAT?! WHAAAAAAT?! all the way down the escalator in our local Cineworld (my partner can attest to his embarrassment at my outburst)… Steve Carell, Sam Rockwell, Amy Adams… and then we have Christian “So Method” Bale.

Some people might argue that his transformation was mostly down to, as Marie suggests in our Lead Actor category, his increased pie intake and his unmatched ability to give himself over completely to the character. But without the design and hard work every day of Greg Cannom, Kate Biscoe and Patricia Dehaney, he would have just been “Thicc, Evil Christian Bale” - not an almost-indistinguishable-from-the-real-thing embodiment of political monster Dick Cheney.

There is an absolutely excellent article I found in which Cannom talks website Vox through his design and daily process and it’s frankly incredible. < find it here > More incredible still, once he had a cast of Bale’s head (whom he says was wary of the process of SFX makeup and prosthetics as he hadn’t done it before) he only had two weeks to design and build the various ages of Cheney onto Bale’s very differently-shaped head. The quality of the skin (given a sweaty shine by an application of KY Jelly as a final step to the process, hilariously) is impeccable; the build of the silicone to completely change the shape of Bale’s face is grotesquely gorgeous. Across the board this is one of the most impressive examples of practical makeup and hair SFX I’ve ever seen - and in an age of CGId top lips to remove stubborn moustaches and digital de-ageing processes getting more and more advanced, this film proves the practical way is as strong and vital as ever and fully deserving of taking centre stage - on air - at the Oscars. [~Jen]

BEST COSTUME DESIGN

1. Black Panther - I couldn’t possibly pretend to be an expert on costume design or on the numerous African Tribal influences that have given these costumes their heart and soul. But, I can say that while watching Black Panther I was utterly blown away with the attention to detail, combined with the bold bursts of colour and creativity. I also can’t explain my sheer relief and empowerment of watching fierce female characters kick ass without the carbon copy, over sexualized outfit with matching heels. Now I don’t want my first blog post to cause too much of a divide, but I’m definitely referring to my eye roll during Wonder Woman right after I spotted those raised golden beauties... and just for the record, I actually loved Wonder Woman (and I love heels) but it was just so refreshing, and practical, without losing any of the superhero escapism we all long for. The head costume designer Ruth E. Carter absolutely fulfilled all my ‘tribal-warrior-female-fantasy’ dreams (is that a category from RuPaul’s Drag Race?) and I left the cinema envious of her talent. Some of the costumes were literally pieces of wearable art and will no doubt be celebrated as such. [~ Kayleigh]

JOINT RUNNERS UP:

2. The Favourite / Mary Poppins Returns

BEST VISUAL EFFECTS

1. Ready Player One - This was one of the most difficult categories to vote for. All five films brought amazing innovations in the art of cinema and definitely deserve to be recognised for them and you know what, Reel Gals will! First Man combined a mixture of diverse sources for its aesthetic; visual effects, special effects, and even archival footage of the NASA launch. Solo gave us the perfect visual effect adaptation of the legend that Star Wars fans everywhere know as the 12 parsecs run. Christopher Robin created a photoreality mixed with shot on location footage so good, that its parody Trainspotting mashup video attests to its VFX perfection. Avengers: Infinity War had two different effects teams (TWO!) building the most realistic performance from Brolin’s onset one and could possibly land Marvel with their first ever effects Oscar. However, Ready Player One, created an entire virtual world that immersed characters and viewers alike by combining effects with animation. Remember The Overlook Hotel part from The Shining in the film? The blood? The scary twins and old lady turned into a zombie? That’s right, hand them that award now and then in true Mean Girls fashion, break it up and share with the rest. You’re all VFX queens. [~Lia]

RUNNERS UP:

2. Avengers: Infinity War

3. First Man

Which leaves us with just one more award to lay out… it’s the big’un. Can you guess what it might be, from our voting habits above?

BEST PICTURE

1. BlacKkKlansman - Winning our Best Picture vote - based on a true story, BlacKkKlansman is a spectacularly timely look at institutional and societal racism and bigotry - holding a mirror up squarely in the face of modern audiences. Set against the backdrop of the Ku Klux Klan’s ‘organised hate’ in 1970’s Colorado, it is equal parts horrifying and hilarious; poignant and relevant. The performances are compelling and perfectly balanced - most notably, the relationship between buddy cops John David Washington’s ‘Ron Stallworth’ and Adam Driver’s ‘Flip Zimmerman’ is nuanced and brimming with mutual respect, both for one another in character and as actors. The two have spectacular comic timing - but they both also boast the finely-honed acting chops to carry the Singularity-strength gravity of the themes presented by Ron Stallworth’s incredible true story. The beautifully-composed shots and off-kilter score compliment Spike Lee’s characteristically brave and politically-biting choices as director, exemplified particularly in the closing scene of his latest Joint, which (after a moment of levity and possibly the biggest laugh of the film) is affecting, desperately sad and deeply terrifying - and will stay with you for a long time. [~ Jen]

RUNNERS UP:

2. Green Book

3. Roma

And that’s that. The audience’s sugar levels are low… The ‘get off the stage’ music has started playing… and the awards organisers are threatening to cut to an ad break. But before they can send the heavies onto the stage to forcibly remove us - it’s NOT OVER YET - *grabs microphone* here are some nominations we would have added:

BEST PICTURE: First Man [Genuinely thought this was a shoe-in! ~Jen]

BEST SONG: Sunflower by Post Malone & Swae Lee for Spider-Verse [Honestly, the entire score for Spider-Verse was spectacular and I'm gutted it didn't get a nomination either, although it was tough enough as it is for best original score, as all nominations are stunning - BUT BEST SONG, where is this nomination? And WHY, GOD WHHHY is ‘I'll Fight’ on there? It genuinely made me want to pull out my eyeballs ~ Katie] [Couldn’t agree more. Ruth Bader Ginsberg deserves more than this old-fashioned early 2000s-style credit-roller ballad. You’re better than this, J-Hud. ~ Jen]

LEAD ACTRESS: Emily Blunt for A Quiet Place

LEAD ACTRESS: Viola Davis for Widows

LEAD ACTOR: John David Washington for BlacKkKlansman [This omission I think has slightly tarnished Driver’s well-deserved nomination for Best Supporting; with a lot of people asking why the ‘white guy is the only one to receive an acting nom from a film about a black man’s struggles with the KKK’. I would suggest that Driver’s character Flip, as DJW’s character Ron states: “Also has skin in the game”, being Jewish - it’s hardly him doing a ‘Scarlet Johansson’, given the point of the story is that he’s Ron’s proxy and crucial to his takedown of the chapter. But then it *is* difficult to argue that the intentions of the Academy were (whether subconsciously or not) entirely well-intentioned on the matter of not including Washington in the nominations. ~ Jen]

LEAD ACTOR: Steve Carell for Beautiful Boy

BEST SUPPORTING ACTOR: Steve Carell (again - what a year he’s had!) for Vice

BEST SUPPORTING ACTOR: Timotheé Chalamet for Beautiful Boy

BEST SUPPORTING ACTRESS: Danai Gurira for Black Panther

VISUAL EFFECTS: Welcome to Marwen [This!! ~ Kayleigh]

BEST DOCUMENTARY FEATURE: Whitney [I would also say the editing of this was fantastic, if it's good enough for the Edinburgh Film Festival then it’s good enough for an Oscar consideration ~Robyn]

And despite the outwardly more-diverse-than-usual (which still isn’t saying much) nominee list this year thanks to an extremely influential #OscarsSoWhite campaign and hopefully the beginnings of a turning of the tide for Hollywood (we hope - it's about bloody time something improved) - it seems the Academy aren’t quite there with equality and representation yet...

BEST DIRECTOR: A woman. Any women, for goodness’ sake. It’s 2019! A nod to Glasgow-born Lynne Ramsay for You Were Never Really Here, Marielle Heller for Can You Ever Forgive Me? and Debra Granik for Leave No Trace. Just in case the Academy didn’t think they had enough choice! [~Marie]

At time of writing, the other main awards events for the year have been and gone - and the differences in nominations and winners laid out by the Oscars, BAFTAs, Globes and Critics’ Choice nominees lists vs the reality of women’s film work in 2018 are still quite stark - specifically in contrast with events like the Independent Spirit Awards - (admittedly films like Green Book and blockbusters etc wouldn’t qualify) - who lavished their awards last night on films like If Beale Street Could Talk; You Were Never Really Here, Leave No Trace and Sorry to Bother You - notably with many of the winners crying out for more female representation in the nominations for Directing and other categories in film in general.

2018 was the strongest year for representation of women in film yet - with places like the BFI Film Festival presenting more female-led films than ever before in its history and how vociferous the support is getting for equal opportunity and recognition - importantly not only from women - in calling out these omissions-by-gender, here’s hoping the Academy will catch on. Eventually.

But until that time… thanks for joining us for our little pre-Oscars ceremony and our first proper blog! Cheers for reading, sharing and any hits of the like button are greatly appreciated… Thank you to the Academy… we’d also like to thank our parents, everyone who believed in us, Adele Dazeem, dogs (all of them) for being excellent...

*Rugby-tackled by security guards and dragged off-stage*

Xx ~ The Reel Gals

(Find us on instagram: reel_gals_of_glasgow | twitter: ReelGalsGlasgow)

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everythingstarstuff · 6 years

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Maniac on Netflix was decent. I’d give it a B+. Its story was a bit messy in parts and the production value lacked luster. Otherwise, it was great, the performance by Jonah Hill was superb, Emma Stone was flawless as per usual. They tackle the topic of mental health in a complex and thoughtful way more than most of what you’ll see in mainstream cinema and television. I’d recommend.

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defianccs-blog · 6 years

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❛ you have to try to be happy , okay ? ❜

undertale sentence starters. / accepting.

how utterly pathetic. just when they were finally able to control fate within their own hands, change the tides for the better, it all came crashing down. it was suffocating, like she was drowning under the pressure — everything shattering before her hopeless eyes; norman’s life was hanging by a thread right before her, about to snap at any second and she was completely and utterly powerless to stop it. this was really happening — he was going to be shipped out, yet another member of her precious family was going to die. norman’s going to die. usually emma was very grounded, a wall absolutely no one could take down. but faced with the thought her knees weakly wobble, lip trembling in anguish as every part of her body begins shakes, slowly breaking down. it felt like she was in a dimly light room, and that final candle, which was on its last leg, tragically blew out. ‘ don’t lose hope. keep believing. keep smiling — ’ like a skipping record his words — no, his last words play over and over in her head. her biggest fear is forgetting how calming his voice always sounds, even when he emma could sense he was downright terrified, desperately wanting to live. it hurts like hell. even now it feels like her fingers have to be pried off his hands, because the thought of letting him go destroys her very soul.

what kind of big sister, no, friend are you? so worthless.

“ n-norman … ” she hiccups sadly, hands shaking in their adjoined form with his. from her earliest recollections they’ve always been together, like two peas in a pod. it didn’t long before they both found ray, completing their little friend circle and eventually becoming the notorious gracefield house trio, the three brightest kids. so much has changed over the past few months, but never in a million years could she of ever predicted an outcome like this. yet his mind was made up, set in stone as he did not wish to hide in the forest for refuge, because he wanted their escape to be absolutely flawless. slowly, she forces herself to stray from him ( warmth like pure sunshine he admits starting to fade ) and takes one last glimpse at that smile, embedding it deep within her memory. “ i can’t lose hope here. i have to keep going, or his death will be in vain — ” emma tells herself over and over in her mind as fists tightly clench, trying to make his send-off at least somewhat graceful. “ g-goodbye ... and ... g-good luck. ” so this is was what letting go felt like? so bitter, not even a mix of sweetness in there, just horrible. but ultimately she’ll have to push through this despair, no matter how broken she felt or appeared. she just has too.

because for her precious family, she’ll go to hell and back just to make sure they’re safe.

#vestigares #* ✶ ╰ ❛ ᴍᴏʀsᴇ ᴄᴏᴅᴇ ! —— 「 INBOX. 」#tpn spoilers //

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krokodile · 7 years

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movie watched in 2018, just three n this one with two behind a cut because spoilers for movies older than all of you :P

battle of the sexes - holy fuck, so good. SO SO SO GOOD. look, i usually can’t stand emma stone and i rarely like sports movies. but i loved this movie so much i couldn’t shut up about it for days. emma stone and steve carell are fucking flawless, and watching the bonus features, seeing how emma lights up whenever billie jean is onset, it’s clear how strongly she felt about doing this right. and it absolutely shows. her transformation goes beyond the makeup (although holy crap they did a good job with that). her performance is remarkable; i won’t take back all i’ve said about how annoying i’ve found her over the years, because i did, but i underestimated her (which i guess is thematically appropriate for this movie :P ). she is immensely skilled, and her desire to do this project justice is plainly visible. the fire in her eyes when she’s on the court is fucking magnetic. i can’t say enough about how much i adored this performance. and i generally feel that biopics bring out the worst in actors (academy catnip though they may be).

steve carell nailed his role as well, but that was no surprise; i knew he would be perfect. i hope he gets his oscar for this, finally, though i’m assuming 3 billboards will sweep all the major categories. andrea riseborough is predictably perfect, and cute as a bug’s ear - i’ve always thought she was incredibly pretty, but this is the first time i’ve found her adorable. she and emma stone have the most insanely believable chemistry - i don’t think i’ve believed an onscreen relationship more, in every facet.

the movie looks amazing; it drops you right into the 70s with no detail ignored. and, you know, having lived on planet earth, i knew how this story ended. and yet, i was nervous. i was on the edge of my seat wringing my hands through every set. i wanted to stand up and cheer. i just...i really loved this movie. i expected to like it, because reviewers i tend to agree with raved over it, but i didn’t think i’d fall in love with it. easily one of the best to come out of 2017, at least for me.

when the wind blows - this is the best movie i NEVER EVER WANT TO SEE AGAIN. oh my god. look, if you know this movie, you understand me. if you don’t, how do i sum it up? an elderly couple living in (i think) rural england has been following the news of a seemingly inevitable nuclear conflict approaching. the wife is largely unconcerned - after all, they made it through world war ii, and enough time has past that the memories have become romantic - and the husband is confident that the government pamphlets instructing him to whitewash the windows and create a shelter out of doors will instruct him well.

...you know where this is going, because there’s only one way this story can go.

bombs fall, everyone dies.

but not like that. while most of their area is flattened, their home stands. and at first all seems well. emergency services will be along soon enough to rescue them, after all. the pamphlets instruct them to stay in their little shelter for fourteen days to avoid fallout, but the impracticality of that is immediately apparent, and after all - if you can’t hear it, feel it, see it, how can it be harming you?

sure, they’ve had headaches, but stress, you know?

if you for some reason have been meaning to see this but haven’t gotten to it, and don’t want spoilers, skip this, because i really can’t figure out how to explain how quietly horrific this film is without spoiling the entire thing.

the couple - jim and hilda - quickly grow bored indoors and stroll around their garden, chatting about how nice everything will look once it’s grown back next season.

yeah, you’ve correctly inferred just how much denial they’re in. hilda notices a neighbor’s dog in the distance and worriedly comments that it must be hungry; we can see that the dog is not only dead but partially fused to the ground. grimmer still is jim’s comment that people must have put sunday dinner on early in the week; he can smell the meat roasting. hilda mentions her worsening nausea, which jim attributes to a woman’s inability to handle stress.

the water runs out, there are rats in the toilets, and hilda and jim can’t quite pinpoint why they feel so off; so tired and weak. surely nothing a cup of tea wouldn’t fix, but that’s out of the question now. still, emergency services should be arriving any moment now. they wonder how their son and his family are faring.

jim wonders if hilda is wearing lipstick; she isn’t. her gums are bleeding. but surely it’s a result of ill-fitting dentures. they’re old; it happens. those strange sores on their limbs must be varicose veins. they’re old; it happens. bloody diarrhea? hemorrhoids. they’re old; it happens.

jim runs out of answers when hilda’s hair starts coming out in handfuls - or perhaps he’s simply too weak to speak much at this point.

ultimately, they retire to their tiny shelter, both finally acknowledging - wordlessly but clearly - that no help is coming. with no better ideas left, hilda suggests they might pray. jim, endearingly, begins his prayer with “dear sir,” which hilda suggests is wrong. they are, after all, an old married couple.

mid-sentence, jim ceases to speak. and that is all.

this movie came out in the 80s, as part of that boom of nuclear holocaust films that flooded the nation at that time. but unlike the thrillers or the family dramas, this film is almost painfully quiet. jim and hilda have no fear. there’s no screaming, no crying, just wondering why on earth their son seems to have gone mad at the news. war is survivable; they’ve done it before. there are no horrific shots of dead bodies, of people burned and in agony. just jim and hilda, quietly transforming from round-faced little old cherubs to hollow-eyed skeletons.

and my god, they make you love them. they’re fucking adorable, with their accents and their quaint little house. they bicker, but you know neither would know what to do with themselves without the other. (the sweetness of their relationship is, i imagine, what makes the moment where jim carelessly calls hilda a “stupid bitch” as she refuses to get into the shelter - the oven’s on, the laundry’s still on the line, she really should take care of these things first - so disproportionately upsetting. it feels personal, somehow.)

the movie looks absolutely gorgeous. the characters are animated, the home is done in 3d models, manipulated with stop motion, and the blending of mediums is startlingly seamless. the character designs are simple - jim looks rather like an elderly charlie brown, with a large round head, dots for eyes, a little squiggle mouth and little else - making it all the more effective when the effects of their sickness start to visibly affect them. there’s no gore, nothing hyperrealistic, and yet the images are deeply disturbing in ways eli roth can only dream of being.

as the saying goes, one death is a tragedy; a million, a statistic. we can speculate about the number of lives lost if nuclear war breaks out, but somehow that will feel less devastating than watching just these two. there’s nothing exaggerating, nothing made “bigger” for film. just the quiet, horrible truth.

and fuck, it’s a sick feeling when you remember that this is exactly what we did to every single japanese individual who didn’t immediately die when we bombed them. they died in days and weeks after with radiation poisoning, or years later of blood and bone cancers. either they went through this themselves, dying horrible, agonizing deaths that they couldn’t even feel the hope of curing, or they helplessly watched their families. numbers are sobering, but the reality of the suffering is nauseating.

oh and i mean trump seems determined to bring about the same fate to the us, so there’s that to think about, if you didn’t feel shitty enough.

it’s an absolutely brilliant piece of art; one of the best animated films i’ve ever seen. but i think it’s best to go in warned about what you’re seeing. you know it’s going to be sad, you know they’re going to die, but...you should know that it’s worse than you’re envisioning.

still. see it. it’s on youtube.

ringing bell - because shit, i didn’t already want to die enough, right? it’s bambi, but with sheep. oh, and instead of growing up and marrying his cousin, bambi joins forces with the hunter and becomes an expert gunman.

yeah.

honestly, i didn’t like it, and not for the reasons you might think. yeah, it’s sad, but i didn’t think it was well put-together. the first third is just a baby lamb called chirin prancing around being nauseating (or cute, i guess). the second third is an irritating, dumb baby sheep deciding he wants to become an apprentice to the wolf who killed his mother, which...okay, i can accept that he’s come to reason that only the strong survive (there’s an absolutely gutting scene, one of the few done well, where the lamb attempts to rescue a bird and her eggs from a snake. the mother is killed, and in the scuffle, the eggs are broken. the image of chirin wailing “why do the weak have to die?” is going to be the thing that fucks me up for the rest of my life. jesus christ.) but we see NONE of this - he goes from hunting down the wolf determined to kill it, the wolf knocks him down a fucking mountain, he climbs back up and declares his intent to become a wolf.

we get a rocky movie’s worth of training montages, and really a whole bunch of nothing for the second act. i’ll give it credit for having the wolf’s design be badass as fuck and for the hunting scene having more realism than i’d expect from a sanrio production (yeah, this came from the people who brought you hello kitty.) but the story elements are really ignored. we never do find out why the wolf never just ate the damn sheep when it came looking for him.

the third act is better - chirin’s adult model is the stuff of nightmares compared to his cotton fluffball appearance in the earlier scenes, and everything looks gorgeous and is animated far better than what came before it. i won’t spoil the story of the ending, but the final shot, of chirin alone, wailing for the wolf in what sounds creepily like a howl, is...depressing. it’s not SAD. it just comes with a resignation that makes it so much worse than just being sad. of course this is how it ends. what else could there be for this wretch, no longer a ram, but not enough a wolf?

it’s a short, about 50 minutes, and at first i was thinking it might have worked better as a feature, but really, it would’ve worked better at the same length, just with differently-applied focus. still, i appreciate its existence. i think the 70s and 80s realized what we’ve forgotten now - kids eat up the dark stuff, the cautionary and morality tales. when things are scary, you get to feel proud and excited that you made it through. when things are sad, you learn to remember that happiness returns. when you experience loss vicariously, you begin to understand it, how to process it. when you see death, you accept it as part of life. kids WANT to understand these things; they WANT to know more than what they know; they WANT to take on tough things and overcome them. WE want to keep them “safe” and “innocent” - they know that that’s the opposite of what they need.

that said, if any kid i’m watching wants to watch it, i’m going to another room until it’s over. JESUS.

#movies watched in 2018 #MWi2018: battle of the sexes #MWi2018: when the wind blows #MWi2018: ringing bell #anime

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pinkvilla · 6 years

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Emma Stone's makeup artist talks about the beauty 'magic eraser'and the actress'Oscar look

At the 2019 Academy Awards, there were multiple faces and looks that stood out. One of them was award-winning actress Emma Stone's. She made an appearance at the award show in a stunning Louis Vuitton dress in a beef-jerkey like colour. Her makeup was flawless as usual. This time around, the actress skipped her signature bold lip and opted for a darker eyeshadow, to switch things up. Clean and minimal, was her way to go, for this award season.

Stone's makeup artist Rachel Goodwin who has been doing her makeup for the Academy Awards for the past 6 years now, shared the thought process and method, to achieve this deep yet grungey look. Goodwin was inspired by Emma's gown and got a futuristic feeling through it because of the dramatic shoulders and diamond-like pattern, which is why she created deep copper eyes for a simple yet graphic look.

To recreate this look use,

A thick waterproof pencil from Phyto-Eye-Twist in shade 11 Copper was used on the lid, crease and lower lash line for Emma.

The shade 1 Topaze was added across the lid to define the edges well and then blended well with a brown waterproof eyeliner.

To give the look more intensity, she added an Ombre eyeshadow in the Amber shade, on the lid.

Since there was no other colour on her face, a basic foundation in your face shade should do the trick.

Pale lip completed Emma's look. A basic pink lip balm or nudey pink lipstick should do the trick.

One trick that kept Emma looking fresh all night was constant touch-ups of foundation. Goodwin's hack saved Stone and ensured she looked glamorous till wee hours in the morning! "I give my clients Q-tips dipped in a little foundation and wrapped in tissue to put in their bags, just in case they need to do any touch-ups or if their lipstick moved," she speaks up about her version of the "magic eraser".

Also Read: Supermodel Karlie Kloss shares her beauty tips & give lessons on how to switch up your look from day to night

What do you think of Emma's look? Let us know in the comment section below.

#emma stone #oscar

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lostinprocrastination · 8 years

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I don’t care whether you think Emma Stone is the coolest girl in movies today - I myself don’t have anything against her personally and actually think she seems like a really sweet and fun girl - but she does NOT deserve to be an Oscar winner, especially not for that movie. She doesn’t take risks, she always plays the same character, and the one time she didn’t (for which she was deservingly nominated btw) it worked WONDERS for both her and the movie, so she *is* talented. But no. Nope nope nope. NOT for this. And that’s not even considering Natalie Portman in that miracle of a role and Isabelle Huppert in her usual intensity and all-around flawlessness losing in this category (or Amy Adams failing to even score a nomination, for that matter).

#emma stone #la la land #best actress #shame on you shame on your cow oscars #oscars #2017 oscars #natalie portman #isabelle huppert #amy adams

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memoistore · 4 years

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Clare Waight Keller’s Most Memorable Moments For Givenchy

Back in early 2000s I used to work at Pringle of Scotland when Clare Waight Keller was the creative director, so I have followed her journey from the office she used to design the collections from in Sloane Street, London, to Paris for Chloe and Givenchy.

I was shocked to learn that the Clare – the first woman to be the Artistic Director of this legendary Givenchy Maison – was stepping back from her position as artistic director.

Mostly because she made me fall in love with Givenchy again. I did like Givenchy under Riccardo Tisci, but I love how Clare brought the elegance back to the fashion house.

Her occasional ode to Hubert de Givenchy archives received rapturous applause.

Rosamund Pike, Julianne Moore and Rooney Mara proved to be the perfect brand ambassadors. I just wish Angelina Jolie had worn more of the brand.

So with Clare’s gracious exit, here is a look back at my favourite red carpet looks from Clare’s reign at Givenchy, which started back in October 2017, when she presented her first Spring 2018 collection.

Rosamund Pike In Givenchy Haute Couture – ‘A Private War’ London Film Festival Premiere

I often like to do these list in date order, but I wanted to start with my favourite Clare Waight Keller for Givenchy Haute Couture look, and that was presented by Rosamund Pike. The class, elegance, sex appeal and modernity still give me goosebumps two years on.

If ‘The Matrix 4’ was casting a female lead. Rosamund would get the part in this outfit

Rosie Huntington Whiteley In Givenchy Haute Couture – The Fashion Awards 2018

Speaking of goosebumps. Rosie Huntington Whiteley’s Haute Couture moment at The Fashion Awards 2018 runs a close second. Yep. It’s another cape. But they always bring so much drama to a red carpet look.

Cate Blanchett In Givenchy Haute Couture – ‘Blackkklansman’ Cannes Film Festival Premiere

There are a lot of Cate Blanchett in Givenchy moments I could’ve listed.

The 2018 British Academy Britannia Awards is one of them, but the ‘Blackkklansman’ Cannes Film Festival Premiere was my ultimate favourite, as the Australian actress looked so statuesque in her proud moment of being jury president, and Queen of Cannes Film Festival 2018.

Rachel Weisz In Givenchy Haute Couture – 2019 Oscars

As we all know Rachel Weisz’s style is pretty straight-laced, so when she hit the red carpet at the 2019 Oscars wearing this red Haute Couture hybrid between a superhero costume and a sophisticated gown, we were all mesmerized.

Lady Gaga In Givenchy Haute Couture – ‘A Star Is Born’ LA Premiere

You might not have expected this one, but it was one of my many highlights from Lady Gaga’s promo tour for ‘A Star is Born’. If only she had kept this same energy for her awards season run.

Emma Stone In Givenchy – Netflix Original Series ‘Maniac’ New York Premiere

We don’t get enough of Emma Stone in Givenchy. But this was a shining example of why she should wear the brand more often.

Rihanna In Givenchy Haute Couture – 2019 Diamond Ball

It was between her Ocean’s 8 world premiere look, her 2020 NAACP Image Awards look, and this stunning creation from the 2019 Diamond Ball.

Ruffles would usually win in most situations, but this silhouette, and the fit on Rihanna still makes me swoon.

Jordan Roth In Givenchy Haute Couture – 2019 Tony Awards

It would’ve been a crime had I not included this iconic moment from producer Jordan Roth in this mixed media, joyous outing.

Leather, ruffles, floral appliqués?

YES, yes, yes.

Zendaya Coleman In Givenchy Haute Couture – 2019 InStyle Awards

We’ve had butterflies. Afro wigs, and plenty of feathers, but Zendaya let elegance stand at the forefront in this Haute Couture creation.

Zhang Ziyi In Givenchy Haute Couture – ‘La Belle Epoque’ Cannes Film Festival Premiere

Yes, my thirsty for all thing shiny draws me to this elevated princess gown, but I stayed for the classic/modern cross-over, and Zhang’s flawless beauty.

Diane Kruger In Givenchy Haute Couture – ‘The Operative’ Berlinale Film Festival Premiere

There was lots to admire about this Givenchy Haute Couture look. So many elements that only someone of Diane’s stature could deliver with such elegance.

Julianne Moore In Givenchy Haute Couture – ‘Rocketman’ Cannes Film Festival Premiere

Like Cate Blanchett, Julianne could’ve had a lot of inclusions in this list, (her red Haute Couture look from the ‘Everybody Knows’ Cannes Film Festival screening being one of them, but this was the most unexpected in terms of style and delivery.

Mena Massoud In Givenchy -‘Aladdin’ Paris Screening

Sharp and elegant. Who doesn’t love a Disney moment with a twist?

Michael B Jordan In Givenchy – Just Mercy’ Toronto Film Festival Premiere

The statement jacket/coat, was definitely a hit with sharply dressed men in Givenchy on the red carpet. And Michael B Jordan proved that sometimes it’s all one needs to stand out.

Chadwick Boseman In Givenchy – ‘Black Panther’ London Premiere

I couldn’t do any Givenchy menswear tribute post without shouting out the man who made the Givenchy statement jacket/coat so very appealing.

Where Chadwick leads, others follow.

Of course this wasn’t his only memorable Givenchy outing. His 2018 and 2019 Oscars looks deserve honorable mentions.

Ezra Miller In Givenchy Haute Couture – ‘Fantastic Beasts: The Crimes Of Grindelwald’ London Premiere

The actor appeared to be paying homage to ‘Harry Potter’s’ Hedwig. A Haute Couture version of course.

It may have been too costumey for some. But I’m sure JK Rowling approved.

Lily Collins In Givenchy Haute Couture – 2018 Met Gala

Met Galas can often lead to disappointment when celebrities don’t stick to the theme.

Lily Collins’ Givenchy Haute Couture look perfectly embodied the ‘Heavenly Bodies: Fashion & The Catholic Imagination’ dress code back in 2018.

This was one of her better outings in Givenchy. As her 2019 BAFTAs look was met with a lukewarm reception.

Nicole Kidman In Givenchy Haute Couture – 2018 Golden Globe Awards

One word. Sensational. This is the type of movie star glamour I craaaavee.

Zoe Saldana In Givenchy – ‘Avengers: Infinity War’ LA Premiere

This list would not be completed without one Zoe Saldana look. The two I had in mind funnily enough were both from ‘Avenger’ premiere’s.

The ‘Avengers: Endgame’ LA Premiere, and the ‘Avengers: Infinity War’ LA Premiere.

The latter stood out as more of a classic Zoe Saldana look, plus the necklace on the ‘Endgame’ dress threw me off a little.

Hunter Schafer In Givenchy Haute Couture – 2020 Vanity Fair Oscar Party

This is easily my favourite Givenchy Haute Couture look of 2020. I hope we get to some more before the year ends.

Rooney Mara In Givenchy Haute Couture – 2018 Met Gala

Now Rooney Mara had more Givenchy moments than most (or tied with Rosamund Pike), but she was the hardest person for me to narrow down one look.

I feel like I selected this 2018 Met Gala look because it didn’t have that déjà vu feel that the majority of her all black and all white looks conjured up.

The runner up will be her 2020 BAFTA gown. But perhaps that because it’s the most recent.

Meghan Markle Weds Prince Harry In Givenchy

I wouldn’t class this as one of my faovurites, but Meghan, Duchess of Sussex’s wedding dress was worthy of an inclusion as it was an iconic fashion moment for the wearer, designer and brand.

Credit: Getty

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#IFTTT #Red Carpet Fashion Awards

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lillie-ross · 5 years

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It's Unfair How Flawless Salma Hayek’s Skin Is Makeup-Free

It’s Unfair How Flawless Salma Hayek’s Skin Is Makeup-Free

They get glammed up for red carpet events, but in their downtime, celebrities from Katie Holmes to Emma Stone prefer to let their natural beauty take center stage. Yes, just like you, stars do occasionally allow the world to see their foundation-free skin and mascara-less lashes to celebrate their freckles, little imperfections and inside-out glow, usually by way of the makeup-free selfie. They…

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easynaturalhairstyle · 5 years

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The 2019 celebrity hair color changes

The best kind of transformations are those that let you say, "Is that you ?!" And when it comes to hair color, we're looking for the same reaction, plus an audible wheeze and "Yas!" To confirm that the new one Look, in fact, is to take a double worthy makeover. I had my fair share of Dye Jobs, including Platinum Blonde and my favorite lavender. And although I've acted in my love of neon colors for the health of my naturally brown strands, there are a number of celebrity hair color changes that still want me to take the plunge.

After another award season, there is plenty of inspiration. I still think about the powder blue lace knot Lady Gaga wore to match her sweeping Golden Globes gown. Oh, and you do not even get me to the effortless beauty that Charlize Theron is with a chocolate brown bob or Ashley Tisdale with millennial pink beach waves. The best part of these A-list rejuvenation classes is that we have just started. I'm 100 percent positive this year will deliver the kind of pre and post that will send me completely over the edge and into the arms of a colorist. But for now, these are the celebrity hair color transformations I think you will love too.

Before: Emma Stone

We are more than familiar with the Oscar winner's signature red hair.

After: Emma Stone

But at the 2019 Producer's Guild Awards, she got us completely careless with these chocolate brown strands.

Before: Ashley Tisdale

End of 2018, the singer and actress sported her usual blond hair.

After: Ashley Tisdale

But in early 2019, she debuted a millennial Pink Bob.

Before: Katherine Langford

What's better than long, brown hair on the Netflix star?

After: Katherine Langford

How about this little mermaid-inspired shade of red?

Before: Hilary Duff

The younger star is another resident Hollywood blonde.

After: Hilary Duff

And we love how she stamped it with platinum dye in early 2019.

Before: Iskra Lawrence

The beach waves of this model have always been beautiful.

After: Iskra Lawrence

But her gray strands are #flawless.

Before: Priyanka Chopra

The newlywed actress is not known for dramatic hair changes.

After: Priyanka Chopra

So we were really excited to see her at least experimenting with living highlights.

Before: Ruby Rose

The pixie of Aussie Beauty is one of our favorite Hollywood dos ….

After: Ruby Rose

… especially if it was dyed violet.

Before: Emma Roberts

The actress spent most of the year 2018 in a dirty blond shag.

After: Emma Roberts

But in 2019 she had swapped things with a chocolate brown bob.

Before: Emilia Clarke

The Game of Thrones star has been wearing a Daenerys-fitting blonde shade for years.

After: Emilia Clarke

But now that the show is wrapped, she's back to a beautiful brown.

Before: Lady Gaga

Mother Monster is not foreign to dramatic transformations.

After: Lady Gaga

And though this powder blue was temporary at the Golden Globes, it's one of our favorite looks from the award season.

Before: Amandla Stenberg

The Hate U Give Star is another Celeb who has not shied away from head-twisting transformations.

After: Amandla Stenberg

When she debuted in February this spring-ready brown hue, we were hardly surprised.

Before: Rachel Bloom

The brown highlights of the Crazy Ex Girlfriend stars are the perfect, warm shade for the winter.

After: Rachel Bloom

But we are absolutely obsessed with this darker look, complete with blue ends.

The 2019 celebrity hair color changes

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qualitytacolover · 5 years

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The 2019 celebrity hair color changes

New Post has been published on https://www.easypromhairstyles.com/the-2019-celebrity-hair-color-changes.html

The 2019 celebrity hair color changes

Before: Emma Stone

We are more than familiar with the Oscar winner's signature red hair.

After: Emma Stone

But at the 2019 Producer's Guild Awards, she got us completely careless with these chocolate brown strands.

Before: Ashley Tisdale

End of 2018, the singer and actress sported her usual blond hair.

After: Ashley Tisdale

But in early 2019, she debuted a millennial Pink Bob.

Before: Katherine Langford

What's better than long, brown hair on the Netflix star?

After: Katherine Langford

How about this little mermaid-inspired shade of red?

Before: Hilary Duff

The younger star is another resident Hollywood blonde.

After: Hilary Duff

And we love how she stamped it with platinum dye in early 2019.

Before: Iskra Lawrence

The beach waves of this model have always been beautiful.

After: Iskra Lawrence

But her gray strands are #flawless.

Before: Priyanka Chopra

The newlywed actress is not known for dramatic hair changes.

After: Priyanka Chopra

So we were really excited to see her at least experimenting with living highlights.

Before: Ruby Rose

The pixie of Aussie Beauty is one of our favorite Hollywood dos ….

After: Ruby Rose

… especially if it was dyed violet.

Before: Emma Roberts

The actress spent most of the year 2018 in a dirty blond shag.

After: Emma Roberts

But in 2019 she had swapped things with a chocolate brown bob.

Before: Emilia Clarke

The Game of Thrones star has been wearing a Daenerys-fitting blonde shade for years.

After: Emilia Clarke

But now that the show is wrapped, she's back to a beautiful brown.

Before: Lady Gaga

Mother Monster is not foreign to dramatic transformations.

After: Lady Gaga

And though this powder blue was temporary at the Golden Globes, it's one of our favorite looks from the award season.

Before: Amandla Stenberg

The Hate U Give Star is another Celeb who has not shied away from head-twisting transformations.

After: Amandla Stenberg

When she debuted in February this spring-ready brown hue, we were hardly surprised.

Before: Rachel Bloom

The brown highlights of the Crazy Ex Girlfriend stars are the perfect, warm shade for the winter.

After: Rachel Bloom

But we are absolutely obsessed with this darker look, complete with blue ends.

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spoiledsplendid · 6 years

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2019 Academy Awards Fashion Critique

It was the biggest awards night of the year for show-business. This year we saw lots of common trends in what the celebrities wore: capes, sparkle, shades of pink, the return of pants and men in velvet tuxedos. More than any other awards show I’ve seen, the celebrities came dressed well. Some played it safe, but lets take a look at who shone bright (and the few who didn’t).

BEST

Awkwafina - She looked badass in this perfectly tailored DSquared2 sparkly pink tuxedo. The oversized bow at the neck gave it some interest. The tossled hair and light makeup were perfection. Chopard jewelry was the perfect icing on the cake.

Melissa McCarthy - Melissa never looked better than in this feminine take on a tuxedo. The white and black satin caped outfit with tuxedo pants hits all the right notes. If I was going to be picky, I would have gone with a slimmer cut on the leg, but now I’m knit-picking. She looks elegant and gorgeous and very on-trend.

Octavia Spencer - Octavia was glowing in this glittering blue Christian Siriano gown. The colour was perfect on her. She looks relaxed and ready for a win. Her hair and makeup are great. Loves it!