#boudoir virginia

[witchybitchybisexual]

The one and only Blanche Devereaux for that character ask game, of course! :)

Thank you. @the-eclectic-wonderer

1. Blanche is by far my favourite character! She is such a complex person and uses faux confidence to mask her insecurities. She also has an amazing fashion sense and embraces the change in society. She may not always be the clearest person to read, but she really does care deeply for people underneath it all and is always trying to help others though their problems; she just needs a little love. I think the girls definitely helped her to become a more supportive and accepting person - Blanche always had it in her, she just needed someone to help bring it out of her! I’m also head over heels for Rue McClanahan, so like the many, many, many men of Blanche’s boudoir, I can appreciate Blanche’s beauty too! I can relate a lot to both Rue and Blanche (not regarding relationships, but in everything else) so I have a bit of a soft spot for them.

2. I ship Blanche with Rose Nylund a little, George Devereaux for obvious reasons (excluding the cheating on George’s part, I despise that storyline because I thought the writing was rather cruel, considering Blanche seemed to worship the ground he walked on and vice versa) and our dear Dorothy Zbornak! You cannot convince me that they weren’t sleeping together at the very least, I mean… the glances, the hand holding! The “You’re beautiful.”, “dirty talk.”, “you have to help me, Dorothy.” (and correct me if I got the quote wrong but you get the gist) “Blanche, you’re the most beautiful woman who ever lived, and ever will live.” Scenes have me obsessed! Plus, Blanche always goes to Dorothy when she needs comfort and protection, and whenever Dorothy perceives any danger, she always shoves Blanche behind her. These two have my heart, in short, and Rue and Bea’s platonic and romantic chemistry was off the charts! (I had to rewrite this paragraph as it got deleted accidentally, so forgive me if it comes off as a little sloppy.)

3. Since Blanche has made up and/or reconnected with all of her siblings, I think definitely having her be in a little trio with Clayton and Charmaine would be a cute little idea! Virginia would be too straight-laced for them and Tag is obviously a separate case (though out of all the siblings, I could see Blanche being the most protective of him. Virginia would try to be too, but I can see Blanche being his favourite sibling and Tag trying to make a pet of her, but I digress) considering all of them are man-obsessed, artistic fashionistas! I can see the three of them going on dates together all the time when they’re in Miami.

4. Blanche is a bratty switch with sub tendencies. She can be a little dominant with men, but in terms of women (especially Dorothy) that all goes out the window. The general consensus is that she’d be dominant 100% of the time (and I agree she can be sometimes) but most of the time she’d be a sub in my opinion. That seems like an unpopular opinion I suppose. I still enjoy stories where she isn’t though!

5. That Blanche and Dorothy had canonically got together or that Blanche had gotten together with someone who loved her at the end of the show. Rose had Miles, Sophia was content with her arrangements of being single and more than ready to mingle, Dorothy ran off with Lucas into the sunset, and I just wish Blanche had gotten a steady romantic partnership too.

[watching-pictures-move]

Movie Review | The Hot Spot (Hopper, 1990)

I should reveal upfront that the primary reason I watched this is for the presence of Don Johnson. As I may have divulged earlier, I’m currently working my way through Miami Vice, and as a side project I’ve been checking out a few movies featuring some of the cast members. So far I’ve only really dabbled in the filmography of Edward James Olmos, having found a pair of great performances in The Ballad of Gregorio Cortez and Talent for the Game that see him hitting very different notes from the ones he plays in the series as the pathologically taciturn Lt. Castillo. In contrast, Johnson’s role here seems similar in some respects to Sonny Crockett, at least in demeanour, and in fact gains a little from his other role. For one thing, the fact that he’s a TV star and not a real movie star means that he’s got a slightly faded, slightly disreputable quality that lends an edge to his immense charisma. For another thing, his character here is certainly a lowlife, but as we can expect from Crockett, he’s maybe got a bit of a moral streak, or at the very least won’t be the most unscrupulous person in the movie. So the Miami Vice to The Hot Spot pipeline yields certain rewards. And in case I suggested otherwise, I can confirm that Johnson is very good in this.

The movie is filled with strong performances, including a very sympathetic Jennifer Connelly and a nicely scummy William Sadler. But the best performance here is courtesy of Virginia Madsen as an almost parodically sultry femme fatale. Introduced in a Barbie pink car and cat eye sunglasses. Calling Johnson from her boudoir, which looks like the backdrop of a Penthouse photoshoot. Peeking out the window topless and then acting offended when Johnson tries to take her up on her invitation. It goes without saying that she’s going to be awfully good at manipulating Johnson and maybe a few other characters too, but the sheer zest with which Madsen plays this role is nevertheless entertaining.

As a director, Dennis Hopper seems in no hurry to get anywhere, and instead prefers to bask in these old noir tropes, stretching them out like a lazy Sunday afternoon. Like with Colors, the sense of heat is always present (one might be tempted to tug at their collar even watching this in the comfort of their home). There’s maybe even a bit of Lynchian influence, with the ostensibly modern setting being populated by old timey cars and ways of talking. The premise is not unlike Oliver Stone’s U-Turn, but where that movie is overcooked to a sometimes obnoxious degree, this one plays at a nice simmer.

[jabieretxebarriafotografo]

•

Piensa en ti, eres lo más importante.

•

https://jabieretxebarria.com/fotografia-boudoir/

•

No podemos dejar que las percepciones limitadas de los demás terminen definiéndonos. Virginia Satir.

[bohemian11]

Female Boudoir Photography in Virginia

The Best Boudoir Photography in Virginia Beach, VA. Bohemianvisions create beautiful boudoir photography for the modern woman.

[boudoirbychristyl]

The shoot aims to give a deeper understanding of what to expect on the big day and help the bride feel more comfortable. There are several bridal boudoir photography ideas for the best shoot. This article shall discuss some of the top bridal boudoir photography ideas and the benefits of considering boudoir photography.

[dwellordream]

“…The complex design of the Victorian house signified the changing ratio between the cultural and physical work situated there. With its twin parlors, one for formal, the other for intimate exchange, and its separate stairs and entrances for servants, the Victorian house embodied cultural preoccupations with specialized functions, particularly distinguishing between public and private worlds.

American Victorians maintained an expectation of sexualized and intimate romanticism in private at the same time that they sustained increasingly ‘‘proper’’ expectations for conduct in public. The design of the house helped to facilitate the expression of both tendencies, with a formal front parlor designed to stage proper interactions with appropriate callers, and the nooks, crannies, and substantial private bedrooms designed for more intimate exchange or for private rumination itself.

Just as different areas of the house allowed for different gradations of intimacy, so did the house offer rooms designed for different users. The ideal home offered a lady’s boudoir, a gentleman’s library, and of course a children’s nursery. This ideal was realized in the home of Elizabeth E. Dana, daughter of Richard Henry Dana, who described her family members situated throughout the house in customary and specialized space in one winter’s late afternoon in 1865. Several of her siblings were in the nursery watching a sunset, ‘‘Father is in his study as usual, mother is taking her nap, and Charlotte is lying down and Sally reading in her room.’’ In theory, conduct in the bowels of the house was more spontaneous than conduct in the parlor.

This was partly by design, in the case of adults, but by nature in the case of children. If adults were encouraged to discover a true, natural self within the inner chambers of the house, children—and especially girls—were encouraged to learn how to shape their unruly natural selves there so that they would be presentable in company. The nursery for small children acknowledged that childish behavior was not well-suited for ‘‘society’’ and served as a school for appropriate conduct, especially in Britain, where children were taught by governesses in the nursery, and often ate there as well. In the United States children usually went to school and dined with their parents. As the age of marriage increased, the length of domestic residence for some girls extended to twenty years and more.

The lessons of the nursery became more indirect as children grew up. Privacy for children was not designed simply to segregate them from adults but was also a staging arena for their own calisthenics of self-discipline. A room of one’s own was the perfect arena for such exercises in responsibility. As the historian Steven Mintz observes, such midcentury advisers as Harriet Martineau and Orson Fowler ‘‘viewed the provision of children with privacy as an instrument for instilling self-discipline. Fowler, for example, regarded private bedrooms for children as an extension of the principle of specialization of space that had been discovered by merchants. If two or three children occupied the same room, none felt any responsibility to keep it in order.’’

…The argument for the girl’s room of her own rested on the perfect opportunity it provided for practicing for a role as a mistress of household. As such, it came naturally with early adolescence. The author Mary Virginia Terhune’s advice to daughters and their mothers presupposed a room of one’s own on which to practice the housewife’s art. Of her teenage protagonist Mamie, Terhune announced: ‘‘Mamie must be encouraged to make her room first clean, then pretty, as a natural following of plan and improvement. . . . Make over the domain to her, to have and to hold, as completely as the rest of the house belongs to you. So long as it is clean and orderly, neither housemaid nor elder sister should interfere with her sovereignty.’’ Writing in 1882, Mary Virginia Terhune favored the gradual granting of autonomy to girls as a natural part of their training for later responsibilities.

…Victorian parents convinced their daughters that the secret to a successful life was strict and conscientious self-rule. The central administrative principle was carried forth from childhood: the responsibility to ‘‘be good.’’ The phrase conveyed the prosecution of moralist projects and routines, and perhaps equally significant, the avoidance or suppression of temper and temptation. Being good extended beyond behavior and into the realm of feeling itself. Being good meant what it said—actually transfiguring negative feelings, including desire and anger, so that they ceased to become a part of experience.

Historians of emotion have argued that culture can shape temperament and experience; the historian Peter Stearns, for one, argues that ‘‘culture often influences reality’’ and that ‘‘historians have already established some connections between Victorian culture and nineteenth-century emotional reality.’’ More recently, the essays in Joel Pfister and Nancy Schnog’s Inventing the Psychological share the assumption that the emotions are ‘‘historically contingent, socially specific, and politically situated.’’ The Victorians themselves also believed in the power of context to transform feeling.

The transformation of feeling was the end product of being good. Early lessons were easier. Part of being good was simply doing chores and other tasks regularly, as Alcott’s writings suggest. One day in 1872 Alice Blackwell practiced the piano ‘‘and was good,’’ and another day she went for a long walk ‘‘for exercise,’’ made two beds, set the table, ‘‘and felt virtuous.’’ Josephine Brown’s New Year’s resolutions suggested such a regimen of virtue—sanctioned both by the inherent benefits of the plan and by its regularity.

As part of her plan to ‘‘make this a better year,’’ she resolved to read three chapters of the Bible every day (and five on Sunday) and to ‘‘study hard and understandingly in school as I never have.’’ At the same time, Brown realized that doing a virtuous act was never simply a question of mustering the positive energy to accomplish a job. It also required mastering the disinclination to drudge. She therefore also resolved, ‘‘If I do feel disinclined, I will make up my mind and do it.’’

The emphasis on forming steady habits brought together themes in religion and industrial culture. The historian Richard Rabinowitz has explained how nineteenth-century evangelicalism encouraged a moralism which rejected the introspective soul-searching of Calvinism, instead ‘‘turning toward usefulness in Christian service as a personal goal.’’ This pragmatic spirituality valued ‘‘habits and routines rather than events,’’ including such habits as daily diary writing and other regular demonstrations of Christian conduct. Such moralism blended seamlessly with the needs of industrial capitalism—as Max Weber and others have persuasively argued.

Even the domestic world, in some ways justified by its distance from the marketplace, valued the order and serenity of steady habits. Such was the message communicated by early promoters of sewing machines, for instance, one of whom offered the use of the sewing machine as ‘‘excellent training . . . because it so insists on having every-thing perfectly adjusted, your mind calm, and your foot and hand steady and quiet and regular in their motions.’’ The relation between the market place and the home was symbiotic. Just as the home helped to produce the habits of living valued by prudent employers, so, as the historian Jeanne Boydston explains, the regularity of machinery ‘‘was the perfect regimen for developing the placid and demure qualities required by the domestic female ideal.’’

Despite its positive formulation, ‘‘being good’’ often took a negative form —focusing on first suppressing or mastering ‘‘temper’’ or anger. The major target was ‘‘willfulness.’’ An adviser participating in Chats with Girls proposed the cultivation of ‘‘a perfectly disciplined will,’’ which would never ‘‘yield to wrong’’ but instantly yield to right. Such a will, too, could teach a girl to curb her unruly feelings. The Ladies’ Home Journal columnist Ruth Ashmore (a pseudonym for Isabel Mallon) more crudely warned readers ‘‘that the woman who allows her temper to control her will not retain one single physical charm.’’ As a young teacher, Louisa May Alcott wrestled with this most common vice.

Of her struggles for self-control, she recognized that ‘‘this is the teaching I need; for as a school-marm I must behave myself and guard my tongue and temper carefully, and set an example of sweet manners.’’ Alcott, of course, made a successful career out of her efforts to master her maverick temper. The autobiographical heroine of her most successful novel, Little Women, who has spoken to successive generations of readers as they endured female socialization, was modeled on her own struggles to bring her spirited temperament in accord with feminine ideals.

So in practice being good first meant not being bad. Indeed, it was some- times better not to ‘‘be’’ much at all. Girls sometimes worked to suppress liveliness of all kinds. Agnes Hamilton resolved at the beginning of 1884 that she would ‘‘study very hard this year and not have any spare time,’’ and also that she would try to stop talking, a weakness she had identified as her principle fault.

When Lizzie Morrissey got angry she didn’t speak for the rest of the evening, certainly preferable to impassioned speech. Charlotte Perkins Gilman, who later critiqued many aspects of Victorian repression, at the advanced age of twenty-one at New Year’s made her second resolution: ‘‘Correct and necessary speech only.’’

Mary Boit, too, measured her goodness in terms of actions uncommitted. ‘‘I was good and did not do much of anything,’’ she recorded ambiguously at the age of ten. It is perhaps this reservation that provoked the reflection of southerner Lucy Breckinridge, who anticipated with excitement the return of her sister from a long trip. ‘‘Eliza will be here tomorrow. She has been away so long that I do not know what I shall do to repress my joy when she comes. I don’t like to be so glad when anybody comes.’’ Breckinridge clearly interpreted being good as in practice an exercise in suppression. This was just the lesson of self-censoring that Alice James had starkly described as ‘‘‘killing myself,’ as some one calls it.’’

This emphasis on repressing emotion became especially problematic for girls in light of another and contradictory principle connected with being good. A ‘‘good’’ girl was happy, and this positive emotion she should express in moderation. Explaining the duties of a girl of sixteen, an adviser writing in the Ladies’ Home Journal noted that she should learn ‘‘that her part is to make the sunshine of the home, to bring cheer and joyousness into it.’’ At the same time that a girl must suppress selfishness and temper, she must also project contentment and love. Advisers simply suggested that a girl employ a steely resolve to substitute one for the other. ‘‘Every one of my girls can be a sunshiny girl if she will,’’ an adviser remonstrated. ‘‘Let every failure act as an incentive to greater success.’’

This message could be concentrated into an incitement not to glory and ethereal virtue but simply to a kind of obliging ‘‘niceness.’’ This was the moral of a tale published in The Youth���s Companion in 1880. A traveler in Norway arrives in a village which is closed up at midday in mourning for a recent death. The traveler imagines that the deceased must have been a magnate or a personage of wealth and power. He inquires, only to be told, ‘‘It is only a young maiden who is dead. She was not beautiful nor rich. But oh, such a pleasant girl.’’ ‘‘Pleasantness’’ was the blandest possible expression of the combined mandate to repress and ultimately destroy anger and to project and ultimately feel love and concern.

Yet it was a logical blending of the religious messages of the day as well. Richard Rabinowitz’s work on the history of spirituality notes a new later-century current which blended with the earlier emphasis on virtuous routines. The earlier moralist discipline urged the establishment of regular habits and the steady attention to duty. Later in the century, religion gained a more experiential and private dimension, expressed in devotionalism. Both of these demands—for regular virtue and the experience and expression of religious joy—could provide a loftier argument for the more mundane ‘‘pleasant.’’

…The challenges of this project were particularly bracing given the acute sensitivity of the age to hypocrisy. One must not only appear happy to meet social expectations: one must feel the happiness. The origins of this insistence came not only from a demanding evangelical culture but also from a fluid social world in which con artists lurked in parlors as well as on riverboats. A young woman must be completely sincere both in her happiness and in her manners if she was not to be guilty of the corruptions of the age. One adviser noted the dilemma: ‘‘‘Mamma says I must be sincere,’ said a fine young girl, ‘and when I ask her whether I shall say to certain people, ‘‘Good morning, I am not very glad to see you,’’ she says, ‘‘My dear, you must be glad to see them, and then there will be no trouble.’’’’’

…No wonder that girls filled their journals with mantras of reassurance as they attempted to square the circle of Victorian emotional expectation. Anna Stevens included a separate list stuck between the pages of her diary. ‘‘Everything is for the best, and all things work together for good. . . . Be good and you will be happy. . . . Think twice before you speak.’’

We look upon these aphorisms as throwaways—platitudes which scarcely deserve to be preserved along with more ‘‘authentic’’ manuscript material. Yet these mottoes, preserved and written in most careful handwriting in copy books and journals, represent the straws available to girls attempting to grasp the complex and ultimately unreconcilable projects of Victorian emotional etiquette and expectation.”

- Jane H. Hunter, “Houses, Families, Rooms of One Own.” in How Young Ladies Became Girls: The Victorian Origins of American Girlhood

[papermoonloveslucy]

SCRAPBOOK CLIPPINGS!

March 7th, 1934-1954

~March 7, 1934~

Ralph Forbes (1904-51) was an English actor who was married three times, first to actress Ruth Chatterton (1924-32); Heather Angel (1934-41); and Dora Sayers (1946-51). Forbes dated Lucille Ball shortly before he married Angel. He would appear with her in three films. Ball turned down his marriage proposal.

~March 7, 1937~

As history knows, Lucille discovered Henna and never went back!  She did not keep her ‘brownette’ hair for good but become known as Technicolor Tessie for her inimitable shade of red. 

~March 7, 1937~

~March 7, 1938~

The Talk of Hollywood

TRAILER LIFE IN HOLLYWOOD is no tourist-camp effect. When Miss Ball went on location for a recent picture she took a portable boudoir, a very swanky portable boudoir, with elaborate equipment for outdoor living and for use as a location dressing room. Ross, the movie tenor (right), demonstrated his flying trailer to the Virginia Dale and Mary Russell between rehearsals. Ross uses his live-passenger plane for location commuting.

~MARCH 7, 1939~

~March 7, 1940~

~MARCH 7, 1946~

~MARCH 7, 1947~

~MARCH 7, 1950~

Footnote ~ They had to cancel it!  The movie for Ed Sedgewick never materialized - unless you count the unreleased “I Love Lucy” movie (1953) which he is credited for directing. 

~MARCH 7, 1950~

She didn’t!  Neither did he!  When the film was released in June 1951, it starred Edmond O’Brien and Lizabeth Scott. 

~MARCH 7, 1950~

~MARCH 7, 1954~

[boudoirbychristyl]

What sets Boudoir Photography apart from other styles of Photography? However, this method is more personal and might be likened to street photography. Continue reading to learn more!

[renlishsims]

I know... I need to do more male sims. But when you have prettiness like this to play with... Next one will be male. Promise.

*crossing fingers behind back*

I’ve also started dressing my sims in all outfit categories so my downloads are more “plug and play” friendly. To save my sanity, I am using the EA styled looks so I don’t accidentally add in anymore CC aside from what is in their main outfit.  Feel free to re-style them as much as you like, however.

Download Sarina here. (SFS, no ads.)

CC Links:

Skin: @annamsblue / V3

Cleavage detail: Heihu / Nilinai Overlay

Eyes: @dangerouslyfreejellyfish / Whisper Eyes

Eyebrows: @adiec / Eyebrow Set 2 (#4)

Eyelashes: @kijiko-sims / 3D Lashes

Teeth: @lightdeficient / Simblreen 2019 Teeth Pack

Hair: @naevys-sims / Bluebell Hair

Eye Shadow: @crypticsim / Sailor Moon Palette

Eye Liner: Mine / Next Day Liner

Lipstick: @crypticsim / Coco Lipstick

Shirt: @ridgeport / Virginia Wrap Top

Pants: @imvikai & @greenllamas / Sogue Collab (Bluebell Pants)

Shoes: @dallasgirl79 / Boudoir Slippers

Necklace: @blahberry-pancake / Night Owl (Simsdom, sorry. :/ )

@maxismatchccworld @mmoutfitters @maxismatch4sims @mmfinds 

[lezandraphotography]

Mx D's Norfolk Boudoir Photography Experience

Mx D’s Norfolk Boudoir Photography Experience

Every client is so, so special to me. It means so much that people come to our downtown Norfolk boudoir studio and open their hearts to this experience. Mx D visited us a couple years ago to model for our Lux In Tenebris Lingerie Line. We wanted to create an inclusive, representative lingerie brand and put a call out to all of you babes to model!   Read below for some of their thoughts about…

[kiss-my-freckle]

Dialogues

1x2 -

Red: Watch yourself with her, Donald. She hates men, and cops most of all.

1x3 -

Red: I prefer to play with myself in private.

Liz: He’s a myth. Red: That’s what they said about Deep Throat … and the G-Spot.

1x5 -

Red: She owns that nightclub. Last time I was there, we had a great deal of fun, until she tried to strangle me with her stocking.

Red: Or just bend over any available piece of furniture and let her slap you on the ass. She loves that.

Red: He knows you better than I do, and I know where that lovely little freckle is.

1x6 -

Red: Because Yuri talks faster than a cheerleader after a nooner under the grandstands. Probably not a metaphor you understand.

1x8 -

Red: Oh, my God. I’ve never been more scared of a woman in my life. She was thrilling in bed. What a pair of legs. I think she played field hockey in college.  

1x14 -

Red: I had a little talk with Rasil. We had a few laughs, compared notes about you. He told me all about that delightful thing you do with a trouser belt, which was a bit hurtful, since I was pretty sure it was our thing.

1x18 -

Vlad: You slept with my wife. Red: How is Fadila? Vlad, it was a mistake. I can easily blame it on the hashish and the grappa, but the truth is - may I speak freely? You’re better off without her. She’s fickle.

1x19 -

Red: Calculus. I can’t even think about derivatives without thinking of that tutor in manor hall. Cindy something-or-other. Never wore a brassiere. Always a bounce in her step.

1x20 -

Red: Ah. Smells like decadence and vice.

2x1 -

Red: They know your habits, the banks you use, the pills you pop, the men or women you sleep with.

Red: Lord Baltimore. Aren’t you a surprisingly saucy minx.

Samar: Aren’t we confident today? Red: I’m confident every day. Samar: And I thought we had nothing in common.

2x7 -

Red: Keep your plum covered. We’re not alone.

2x10 -

Red: Luther, I never thought I’d enjoy having anything in my mouth as much as Petty Officer Virginia Sherman, but this - My God! It tastes so good! I hesitate to swallow, and I certainly don’t want to spit it out.

2x2 -

Red: Mmm! Tastes just like Patty Sutton.

2x3 -

Red: Titillating. But what Laskin and Russo do with or to one another in their spare time is none of my concern. Red: A threesome? Interesting. Based on his sartorial splendor, I gather this is Mr. Vargas. Does that even look like real hair?

Red: You poor thing. Honestly, I don’t know how you do it. It boggles the imagination. B.B., you don’t look well. Are you alright? Let me guess: irregular heartbeat, shortness of breath, perhaps a little tingling in your nether regions? Those drinks you’ve been enjoying on the house? They weren’t from the house. They were from me. I hope you don’t mind. I took the liberty of adding a special surprise ingredient, something to treat any localized dysfunction you may be suffering. Has the little man been falling down on the job? It’s a miracle drug, not so much for a glutton with a bum heart, however. But look on the bright side, you’ll die with a marvelous erection.

2x11 -

Red: The other one, the watercolorist, she - legs like a shot-putter. She gets me in this headlock. I black out. Next thing I know, I wake up - no sheets, vaseline everywhere. The lipstick on the mirror overhead reads, “Same time next year?” I haven’t missed an art expo in Basel since.

Red: Ah. A Russian milonga. Watch closely, Lizzy. Everything you need to know about negotiation is there in the tango milonga. At the outset, they are opponents. Each has something the other wants. They size one another up, assessing risk, setting boundaries, challenging each other to breach them. A sensuous battle - violence and sex balanced on the blade of a knife. Nothing given that is not earned - nothing taken that is not given. This is the pure essence of negotiation. Not a poker game, but a milonga. A tango. A seduction.

Red: And I assure you my bed accommodates a broad spectrum of behavior.

2x12 -

Red: Samar, my dear, bump in the road I can help smooth over, or have the clouds finally parted and this is a social call?

2x14 -

Red: Careful there, boys. You don’t want to bruise the merchandise.

Red: Really, I’m all for being thorough, but at this point, you’re just taking the nickel tour.

Red: Oh, the Dinky. No matter the time of day, that damn train is always full of hungover frat boys and co-eds in the throes of morning-after regret.

Red: Good heavens, Earl. You’ve never had any feeling in your heart, but now it looks like there isn’t much going on below the waist. Earl: I do all right. The wheelchair is just a little memento of our time together in Bolivia. Red: No hard feelings, I trust.

2x18 -

Red: Because, Mr. Jasper, you strike me as a man who would prefer to pitch rather than catch.

2x20 -

Red: Don’t look so glum, Kenneth. You just spent 10 minutes being ridden hard by Agent Navabi. I’d die for five.

2x21 -

Red: She makes her real money consulting. Costs a fortune. She did, however, let me name a lipstick color - “Fire In The Hole.”

Kimberly: I can only tell you what they’re doing. I’m sorry, but I can’t tell you who they’re doing it to.

3x7 -

Hasaan: What do you want? Red: Well, another spin of the bottle in Melanie Reichman’s basement, but, I’ll settle for you.

3x8 -

Red: When’s the last time you got any of that, Pablo? Or have you? Pablo: We share everything.

Red: No wonder Cash doesn’t trust you with anything more important than babysitting. Pablo: That’s big talk coming from a guy who’s -

3x9 -

Red: I prefer that slight curve at the small of the back, the swell of a breast, the soft nape of the neck to quicken my heartbeat.

3x21 -

Cynthia: I read his e-mails. Ever since I found him with the nanny, I look at everything. Samuel: We don’t even have a nanny! It was a movie. Red: A nanny movie? Cynthia: Not just nannies. Schoolteachers, nurses, and a ridiculous threesome with two completely unbelievable policewomen. Samuel: Cynthia, they’re just movies. I have never cheated on you. And besides, I don’t think he wants to hear about it. Red: Yes, I want to hear about it. All about it. Unfortunately, I do need to hear about your contract with Halcyon. So business first, and then, Cynthia, I’ll be all ears.

Red: I had an enlightening meeting with Samuel Rand today. More to the point, with his wife, Cynthia.

Scottie: Howard didn’t take that job. We haven’t had sex in four years. We’re rarely in the same country, let alone the same bed. Red: What bed have you been occupying? Scottie: I’ve been assuming a larger role in a management position lately. Red: You don’t say.

Red: You have it all wrong, dear. I didn’t come to kill you. I came here because you and I are about to climb into bed together, just for a quickie.

3x23 -

Red: Aram… set him up with someone, for God’s sake. He’s like a kid with his first erection on the school bus.

4x7 -

Red: My sympathies to your significant other. And if your flag is flying at half mast, rest assured, I find in the privacy of one’s boudoir, pleasing others is the key to pleasing oneself.

4x14 -

Red: Oh, my goodness. This is tedious. I’d give almost anything to have a scratch. But seeing as how, given your profession, David, you might be more inclined to squeeze them rather than scratch them, I won’t impose. I’ll just wait for the next break.

David: Forget having your testicles scratched. You’ve been castrated.

4x20 -

Red: Baldur, you and I are deal-makers. We buy low and sell high. Getting that cruise line on the cheap was better than sex with your mistress. Either of them. I’m a little down on my luck. A penny stock. Invest in me now and when I rise, you’ll be able to afford three mistresses.

4x22 -

Red: I do wonder what else Donald’s men will find in your nightstand. Are you a vibrator kind of gal, Laurel? We’ll see.

5x1 -

Car guy: How’d she do? Red: Like Bergita Olofson in her parents’ rumpus room on a Saturday night.

5x2 -

Cooper: No, he’s playing grab-ass by the pool between naps and happy hour.

5x10 -

Isaacson: Bite me. Red: Hmm. A woman after my own heart.

5x12 -

Red: Joro spiders. In Japanese folklore, the joro is said to be able to change its appearance to that of a beautiful woman who seduces men, binding them in her web before devouring them. Hence its name “joro-gumo,” or “whore spider.”

5x13 -

Red: Imagine the confidence a man has to have in his own genitals to take on a nickname like “Big Willie.”

5x15 -

Red: Yes. Very impressive. What a gymnasium - a real shrine to athleticism. I can just feel the testosterone.

Fagen: You promised me a sure thing, gives me Viagra, and all I have to show for it is a four-hour erection.

[deleted scene]

Smokey: You’re a sucker, Red.  Everyone thinks you’re soooo tough with the hat and the shades and the people you kill but I know better.  Circus folk know a sucker when we see one.  You’re a sucker.  You’re a sucker for the pets, you’re a sucker for Heddie. And God knows why, you’re even a sucker for me. Red: I suppose I am.   Smokey: Well, that’s good for me. I’ll follow you anywhere. Red: Well, let's start in the back. I believe we have some cash to count.

5x19 -

Red: This apartment. Right here. Oh. My God. To have been the proverbial fly on Clyde Tolson’s duvet. Liz: Clyde Tolson lived here? J. Edgar Hoover’s lover? Red: This was their secret hideaway. Imagine the conversations. Cooing over JFK’s lovers. Slandering Dr. King. What peignoir to wear to bed. When I saw the apartment was for sale, I couldn’t resist. Liz: You own the apartment where the homophobic head of the FBI carried on his affair with his boyfriend? Red: Allegedly. I wouldn’t admit this in mixed company, but J. Edgar and I have a surprising amount in common. For instance, we both always get our man.

5x21 -

Red: I’ve heard steroids make your penis shrink. Have you found that to be the case?

Liz: Gonzalez called you. Red: His guard, actually. We developed something of a bond.

6x2 -

Red: Through five marriages, numerous lovers, allegedly both male and female.

Red: Cary Grant once said after a particularly evocative LSD trip, “I imagined myself as a giant penis launching off from Earth - “like a spaceship.”

6x4 -

Red: Baldomero, what do you say we call this whole thing off? What happened in Iztapalapa was a terrible mistake. I regret it dearly, and I had no idea she was your mother. Baldomero: You were in my bed. There was a picture of me on the nightstand. Red: Okay, in our defense, it was incredibly dark, and we’d been drinking heavily. Honestly, I regret the entire weekend. Of course, don’t tell your mother that.

[boudoirbychristyl]

Booking the best wedding photographer is a top priority when it comes to wedding planning priorities. There are many opportunities to be in front of the camera, from your engagement session to your first look photos. One that may not be on your radar is a bridal boudoir shoot. A wedding boudoir photography shoot.

[miralfreedom]

History unplugged podcast

The building of the USS JFK is part of a millennia-long story of the incredible danger that comes with building a ship. Only one place possesses the brawn, brains and brass to transform naval warfare with such a creation – the Newport News Shipbuilding yard in Virginia and its 30,000 employees and shipyard workers. Weighing 100,000 tons, Kennedy features the most futuristic technology ever put to sea, making it the most dangerous aircraft carrier in the world. Tip the Empire State Building onto its side and you’ll have a sense of the length of the United States Navy’s newest aircraft carrier, the most powerful in the world: the USS John F. Redman argues that cultural institutions can-and should-use their history to prepare for challenges and solidify their identity going forward. By diving deeper into the changes that emerged from these key challenges, Samuel J. We explore World War I and the 1918 influenza pandemic, the Great Depression, World War II, the 1970 Art Strike in New York City, and recent controversies in American museums from the COVID-19 pandemic to race and gender issues, this timely book takes a novel approach to understanding museum history, present challenges, and the future. He’s the author of The Museum: A Short History of Crisis and Resilience. To talk with us today about museums is today’s guest, historian and professor Samuel J. But museums ask questions about power and who gets to determine what stories are told or foregrounded, who gets to determine how those things are exhibited, framed, and talked about. Beset by challenges ranging from pandemic and war to fire and economic uncertainty, museums have sought ways to emerge from crisis periods stronger than before, occasionally carving important new paths forward in the process. The flames at the Smithsonian were not the first -and certainly would not be the last-disaster to upend a museum in the United States. Rare objects and valuable paintings were destroyed. The New York Times wrote that “the destruction of so many of its fine collections will be viewed as a national calamity.” Dazed soldiers and worried citizens could only watch as the flames engulfed the museum’s castle. On an afternoon in January 1865, a roaring fire swept through the Smithsonian Institution. In today’s episode, we explore the life and death of Mata Hari, a woman who was an excellent performer, perhaps a poor spy, but above all else, never, ever uninteresting. The only recent the French military charged her with espionage was to distract the nation from France’s poor showing in the war. But more recently, historians argued that she was merely a gossip who tried to steal state secrets but never discovered anything that couldn’t be found in the newspapers. Immediately after her death, biographies ran with the juicier narrative and turned her into the femme fatale archetype, who lured high-ranking officers into her boudoir and steal their documents while they were asleep. At her trial, prosecutors claimed that the world-famous exotic dancer had seduced countless men from both sides of the war (definitely true) and leaked intelligence that caused the deaths of 50,000 French soldiers (almost certainly false). Even before Mata Hari (née Margaretha Zelle) was executed by a French firing squad in 1917 for spying on behalf of the Germans, her life had already become legend.

[bohemianvisions]

Boudoir Photography – The Art of Knowing Yourself.

It's obvious that our general public is conveying in visual media all the more as often as possible. With the approach of web-based media, it's not simply the composed word that matters any longer we need to see too! What's the significance here for you? You should have the option to introduce yourself certainly on camera in the event that you need individuals to view you appropriately.

Regardless of whether you're giving a discourse or introducing your organization in a video, it's critical to understand what will cause your crowd to feel positive about your capacities and have faith in your message.

From my viewpoint as a boudoir photographic artist, this is an ability that can be mastered - even in a brief time frame. Boudoir photography in Maryland is a little glimpse of heaven for some women - the climax of fearlessness and excellence. The time and exertion that goes into the shoot, too as the expense, can be overwhelming. Nobody needs to have anything besides the best insight. Numerous women re-think their choice to go for a boudoir shoot, asking themselves, "Do I have to get thinner so I look delightful?"

I need to persistently accentuate that boudoir isn't just for Sports Illustrated bathing suit models. Women, everything being equal, and sizes look shocking under boudoir lights. Any lady who is thinking about doing a boudoir shoot ought not to stress over weight. Boudoir photographer North Carolina can be custom-made to any body type on the grounds that our center is to cause women to feel delightful, paying little mind to the size or shape they come in.

At the point when you choose to book a boudoir shoot, the principal inquiry to pose to yourself is, "The thing that is my objective?" This may appear to be a senseless inquiry since you need your boudoir shoot to be delightful and provocative. Notwithstanding, numerous women enter the shoot considering a type of objective - to feel more sure or get good criticism on their body from another person.

In the event that you're going into the shoot to rest easy thinking about yourself, don't stress - you will be content with what you look like. In case you're not content with the manner in which you look, you're actually going to be passed up the dazzling pictures we will deliver in the studio. So, what are you waiting for? Get ready to hire Boudoir Photography Richmond Virginia. Today! For more information visit our website details: https://bohemianvisions.com/.

[lezandraphotography]

A Bridal Boudoir Special You Don't Want to Miss!

A Bridal Boudoir Special You Don’t Want to Miss!

A few weeks ago we featured Miss J’s bridal boudoir photography session and received such amazing feedback from all of you from it! So, I have decided to have a bridal boudoir special so that all of our brides can experience what Miss J experienced during her photoshoot!     As you already know, wedding season is here and what better way to celebrate your upcoming nuptials than with a bridal…