#bradley woodward

[justplainwhump]

Pirate Lady

This is a very, very far time jump in the storyline of Pet Safety. And a small one in Angel's story .

Because there's a happy ending, eventually, and I think, you deserve to see at least a part of it.

Enjoy.

Content: Hints at the BBU setting (but from an escape / recovery perspective). Mentioned past death of a family member.

The doorbell rang.

Usually, Rosa would open the door at the Woodward house. But these days nothing was usual any longer. 

Bradley's father was dead, his mother a disheveled mess, and his older sister had pulled the consequences she'd always said she would and ran off. She'd called eventually, told him she was safe and far away. He thought he'd heard the sea in the background.

In front of all that, it was off-putting how much Bradley's life had stayed the same. Sloane hadn't asked him to tag along. He would have, probably. But alone, on his own, he hadn't mustered the courage. He'd pulled out his long packed, long stashed bag, stared at it for a while, and then stuffed it back and went to bed.

Rosa had hugged him particularly long that night, and he'd let it happen, a little surprised, but still glad. Rosa's hugs were the best.

Rosa.

Even she had changed after his father's death. 

She was still quiet, still utterly reliable, cared for Bradley, made his breakfast, brought him to school and picked him up again, helped with his homework, but she was... more, even though he didn't know more of what. Vibrant, maybe. Alive.

Her movements were less mechanic, her smiles more rare but also, when they showed, somewhat deeper. 

He liked her like this, but somehow, the change in her was more terrifying than all the other things happening around him.

And it all culminated in this one day, when it was Bradley who answered the door, because Rosa was in the basement, storing away some things from his late father's wake.

Another person to offer belated condolences, he'd figured, when he saw a the shape of a woman dressed in black through the milky glass. He hated these visitors, with their fake smiles, their feigned interest, and their casual contempt of teenagers.

With a sigh, he opened the door.

The woman was short, with dark brown hair, playing into red. She was dressed rather like a fighter than a mourner, he realized, in black jeans, black blouse, and a leather jacket. The most fascinating thing about her, however, was the black eyepatch covering her left eye. 

Her other eye was gray, like a sword, Bradley thought, and she stared him down wordlessly.

She didn't seem like someone to visit his parents. She was way too cool.

She was, however, also pretty scary.

"Um," Bradley said. "I don't think you've come to the right place."

She looked at the house, the facade, the inside behind him, and then back at his face, almost wistful. "You do look like your father," she said. It didn't sound like a good thing. 

"He's dead," Bradley said flatly. He didn't particularly know why he felt the urge to say it. It came out like an excuse.

She smirked at that. "I know," she said.

Nothing about condolences. Nothing else, either, even though the muscles in her neck clenched. It seemed as if she wanted to speak, but... couldn't. 

He felt a pang of sympathy. Like when he was asked to read his English homework in class. This woman was way too dangerous looking to be afraid of teachers, he thought. She couldn't be afraid of him, now, could she?

"Are you... are you looking for something?", he offered.

"Ro...", she began, before her voice broke off. Her breath was shaky. "Rosa?"

"Rosa?" Bradley couldn't hide his surprise. Rosa didn't have any friends. Rosa didn't... she didn't have anyone, except for him and Sloane. Right? She wouldn't keep secrets from them. Or. Did she? 

A weird jealousy hit him. "Why?" he asked, more sharply than intended.

She flinched.

The scary, cool, biker pirate woman in front of him flinched at the sound of his voice.

What the hell.

"Sorry," he hurried to say. "Sorry, I, uh. I don't know. I'll... I'll get her. Wait a second." He turned over his shoulder and called "Rosa?"

"Coming," Rosa called back from the basement.

The pirate woman's hand clasped around the railing. She seemed to have paled, suddenly. For a moment, Bradley was afraid she'd puke right there, on their front porch.

Then he heard Rosa come up the stairs, and stepped back.

"How can I-" Rosa began, and then froze. Like he had pressed pause in a video game. He'd never seen her like this. He'd never seen her in shock or afraid or even at loss of words. 

The pirate woman's lip twitched, curved into a slow smile, that spread over her entire face, like a sunrise, and in that light Bradley suddenly realized how stunningly beautiful she was. 

"Hi," she whispered. "Hi Rosa. I've missed you."

Rosa didn't say anything.

"It's time," said the pirate softly. "For us."

Still silent, eyes glued to the strangers', Rosa reached for a coat from the racket. It was one of Bradley's moms', an expensive designer piece, long coat in a dark red.

Rosa put it on, almost mechanically, then kicked off her rubber clogs and slipped into a pair of sneakers. They were Bradley's, he realized dimly, but couldn't even find himself to bother.

Rosa lifted a hand to undo the strict bun on her head. Long, black hair fell over her shoulders. She smiled now, too.

And Bradley was struck with the realization that he'd never actually seen her happy. Never. 

She was, now.

She stepped forward, past him, without as much as a sideglance.

"Ro… Rosa?", he asked slowly.

But he didn't exist. Not to her.

"Blanca," she whispered. Her voice was hoarse. "Blanca. Blanca. Blanca."

"Yeah," the pirate whispered. There were tears in the corners of her eye. "It's me. I remember, Rosa. I… I remember." She lifted a hand.

Rosa took it.

Hand in hand with the stranger, their fingers interlaced, she walked through the door, down the steps, through the house's neat little yard, to a car parked in the street with its motor running.

A tall man pushed the car door open from inside.

Rosa got in without looking back even once.

A cold draft was blowing into the house, and Bradley shivered.

"Rosa?", he whispered, but he knew it was to himself only.

She was gone.

-

--

pet safety tag list (ask to be added or removed!): @gottawhump @flowersarefreetherapy @whumplr-reader @highwaywhump @tauntedoctopuses @pigeonwhumps @whumppsychology @labgrowndemon @whumpinggrounds @somewhumpyguy @whumpzone @tragedyinblue @theelvishcowgirl @light-me-on-pyre @whumps-and-bumps

[kingskinwalker]

Clyde McBride dejo embarazada a Lori Loud, Clyde no queria cuidar a su hijo pero las hermanas de Lori lo obligaran a asumir su responsabilidad como padre ///// Clyde McBride got Lori Loud pregnant, Clyde did not want to take care of his son but Lori's sisters forced him to assume his responsibility as a father.

[cantsayidont]

No crunking, but lots of haterating and hollerating and even some situations:

BRUTE FORCE (1947): Aptly named prison drama about a group of convicts (including Burt Lancaster, Charles Bickford, and radio actor Howard Duff) in a battle of wills and wits with the sadistic guard captain Munsey (Hume Cronyn). Forcefully directed by Jules Dasssin and certainly vivid, but the few moments of levity the Richard Brooks screenplay provides — such as a droll flashback sequence where former conman Spencer (John Hoyt, who later played Dr. Phillip Boyce in the original STAR TREK pilot) affectionately recalls the slick dame (Anita Colby) who once robbed him with his own gun — serve mostly to demonstrate that there's not enough light moments, even for such a determinedly grim and downbeat story. Worse, since the main action takes place entirely within the prison, women (including Ella Raines, Ann Blyth, and future TV Batgirl Yvonne De Carlo as well as Anita Colby) appear only in brief flashbacks. The film's main attraction is its superb acting — and even Lancaster's brooding sex appeal is somewhat overshadowed by Hume Cronyn's towering performance as the magnificently detestable Munsey. CONTAINS LESBIANS? Nope. VERDICT: Compelling in fits and starts, and Cronyn's Munsey is one of the screen's great villains, but it's so oppressive that your attention may start to wander, especially if neither Lancaster nor Cronin is currently onscreen.

HOTEL COCAINE Season 1 (2024): Colorful but sloppy Chris Brancato crime drama, based (apparently very loosely) on the life of a real person, Cuban exile and CIA asset Roman Compte (played, weakly, by Danny Pino), who, as the general manager of Miami's Mutiny Hotel, presided over the heyday of coke-fueled late '70s South Florida hedonism. Brancato uses this as a backdrop for a disappointingly ordinary gangster story, giving Compte a fictional older brother, Nestor Cabal (Yul Vázquez), indistinguishable from Brancato's previous fictionalization of Cuban cop/gangster José Battle Sr. in GODFATHER OF HARLEM (where he was also played by Vázquez), and pitting the brothers against a renegade DEA agent (Michael Chiklis) and an invading Columbian cartel led by Gilberto Henao (Juan Pablo Raba). Despite the title, the Mutiny setting is surprisingly under-utilized; the main plot is cliché-ridden and often listless; and the action is broken up by periodic fits of weird comic relief involving nervous acid-freak hotel owner Burton Greenberg (Mark Feuerstein), including bizarre appearances by Hunter S. Thompson (John Ventimiglia) and Rick James (Larry Powell) in the first two episodes. Pino is barely adequate in the lead, and it sometimes seems like Brancato foolishly expects viewers to find Roman sympathetic, which he really never is, even compared to his antagonists. The only real reasons to bother with the show are its Latina characters, including Roman's spunky teenage daughter Valeria (Corina Bradley); his sympathetic girlfriend Marisol (Tania Watson); and in particular Gilberto's sexy and sadistic Mexican enforcer/girlfriend Yolanda (Mayra Hermosillo). Alas, Laura Gordon is awful as Roman's loyal right-hand woman Janice, while Michael Chiklis, who had made such a strong impression as the antiheroic Vic Mackey on THE SHIELD, is just laughable as DEA agent Zulio. CONTAINS LESBIANS: Not in any meaningful way. VERDICT: Never dull, but too arch to be credible and yet not over the top enough to rival De Palma's SCARFACE, and unlike the similar but better-realized GODFATHER OF HARLEM, it has no particular insights to offer about either its era or its setting.

SEX-POSITIVE (2024): Cute but very dumb sex comedy, directed by Peter Woodward (who also co-scripted with Marie Kirby) about a down-on-her-luck young woman (Katherine Ellis) who moves into a New Orleans commune and, after her initial shock has subsided, becomes part of its loose-knit polycule of ongoing sex parties. The story tries hard to live up to its title, with mixed results: It largely avoids the performative dread sex comedies often evince at the idea of same-gender sex, and it even takes a few flailing stabs at body positivity, but much of its humor is still founded on the idea that people having a lot of (semi-public, maybe mildly kinky) sex is inherently outrageous, which means that if you don't blush and giggle at the mere idea of a sex party, the movie is only occasionally funny. On the other hand, it's refreshing to see a modern sex comedy that doesn't shy away from nudity, allows the characters to actually have sex rather than just talking about it, and doesn't paint the characters' promiscuous lifestyle as a moral failing that has to eventually be recanted. CONTAINS LESBIANS: Yes, although the script leans a little too hard on the idea that anything other than complete sexual fluidity is somehow regressive. VERDICT: In a less prudish cultural climate, a low-wattage comedy like SEX-POSITIVE would barely rate a yawn, but in an era of rampant self-censorship and dreary bourgeois repression, its dopey, good-natured smuttiness is sort of endearing.

SUNRISE AT CAMPOBELLO (1960): Okay Dore Schary film adaptation (directed by Vincent Donehue) of Schary's Tony-winning play, starring Ralph Bellamy (reprising his award-winning stage role) as Franklin Delano Roosevelt, recently stricken with infantile paralysis and struggling to decide if he can still have a political future, with Greer Garson as Eleanor, Ann Shoemaker as Franklin's imperious mother Sara, and Hume Cronyn as his friend and political advisor Louis Howe. At first, both Bellamy and Garson seem like they're overplaying their roles, with a bigness more suited to stage than screen; Garson's performance never really stops feeling like caricature, but Bellamy eventually disappears into his part and becomes surprisingly convincing. Cronyn and Shoemaker are both excellent, and extensive use of location shooting (including scenes staged in the Roosevelts' actual homes) keeps the film from feeling objectionably stage-bound, but the narrative's emphasis on the heroism of overcoming chronic illness (a struggle FDR took great pains to conceal as much as possible) is awfully sticky at points, and if you're not American, you may wonder what all the fuss is about. CONTAINS LESBIANS: There have been arguments for years about Eleanor (in particular surrounding her relationship with reporter Lorena Hickok), but you'll find none of that here. VERDICT: As biopics go, it's pretty top-drawer, but if you're not a history buff or don't care about the Roosevelts, it probably won't hold your interest.

[billy-crudup]

What did you think of the episode? I can’t remember the last time I enjoyed a TMS episode that much.

COMPLETELY agree with you here! i loved ep7 for obvious reasons, but ep8 was just phenomenal, it felt like i was watching s1 <33

a number of things and dynamics i enjoyed in ep 8: - bradley doing some investigating herself and meeting up with kate. i love watching that woman WORK 😂 - her still feeling responsible for hannah’s passing and meeting up with everyone at the end of the ep to hold a memorial in her honor - cory and chip duo bc i missed them!! saw some glimpses of s1 cory there, his lines about paul and alex were hilarious - i actually loved laura this ep, her dynamic with audra was fascinating to watch. wanna see more of their scenes together, laura is much more interesting to me when she’s without bradley i’m sawry 😭 and audra is soo living for the drama, love to see it 🍵 - chris and yanko scenes, i respect them being friends despite holding different values and beliefs - stella rocking that purple suit, that color is absolute fire on her - alex’s personal life bleeding into her work (just like it did in s1 w mitch) - shannon woodward cameo 👀 her coming for alex in that interview was chef’s kiss

[ethancrossmedia]

As an American person of Filipino descent young adult person based in the greater Chicago, IL area in the US, who's into the world of entertainment and popular culture, making it as a the largest American-based arts, entertainment, and popular culture brand, who's into animation (cartoons), anime, video games (mostly with Nintendo (as I'm currently playing games on the Nintendo Switch) and Minecraft (Java and Bedrock Editions), live-action, movies, and other types of media like advertising and company mascots. As the animation cast is based in the Los Angeles, CA area (the city I went to back in 2005, when I went from there to Mexico with a cruise from Royal Caribbean, and I was only 6 years old at that time), and the live-action cast in Albuquerque, NM.

Aside from The Casagrandes Movie that will be released next month on March 22nd on Netflix, and new Loud House and Casagrandes graphic novels that are coming soon this year, I'm soon going to get a Luna Loud lithograph to be signed by Nika Futterman at Planet Comicon next month from March 8-10, as I ordered from GalaxyCon, and planning to get a Lori Loud lithograph to be signed by Catherine Taber from Celebworx, and The Really Loud House Season 1 DVD.

Once I get the Luna and Lori Loud, that will be signed by Nika Futterman and Catherine Taber soon this year, I might be one of the Loud House fans that will have all the pieces of media from all of the cartoon-based voice actresses of the Loud sisters. Liliana Mumy will be the lone person, as I only have a Cameo from her. I have yet to get a Leni Loud lithograph to be signed by her. I have both Cameo videos and lithographs from Grey DeLisle, Jessica DiCicco, and soon from Nika Futterman, while I have lithographs signed by Cristina Pucelli, Lara Jill Miller, and soon from Catherine Taber.

This is my special thanks to: Cartoon Based: @catherinetaber, Liliana Mumy, Nika Futterman, Cristina Pucelli, @jessicadicicco, @greydelislegriffin, Lara Jill Miller

Live-Action: Lexi DiBenedetto, Sophia Woodward, Catherine Bradley, Aubin Bradley, Annaka Fourneret, Ella Allan, Mia Allan, Lexi Janicek, August Michael Peterson, and Emily Ford

Honest: Eva Carlton, Wolfgang Schaeffer, and Brian Stepanek

The Loud House is one of my favorite cartoons of the 2010s-2020s era cartoons, even for my favorite voice actresses and longtime voice actresses, Grey DeLisle, Jessica DiCicco, Lara Jill Miller, and Nika Futterman, these ladies have been doing animation voiceover work back when I was a kid in the 2000s watching cartoons airing on Disney Channel, Cartoon Network, Nickelodeon, Nicktoons, Nick Jr. (TV channel), Noggin, and PBS Kids). 1990s (I was born in 1999) for Grey DeLisle, Lara Jill Miller, and Nika Futterman.

@theloudhouse

@nickelodeon

[citylifeorg]

New York City Ballet Presents 2024 Fall Season

Clockwise from bottom left: Alexa Maxwell, India Bradley, Victor Abreu, Indiana Woodward, Andres Zuniga, Gilbert Bolden, Kennedy Targosz, and KJ Takahashi in “Partita”, choreography by Justin Peck, New York City Ballet, David H. Koch Theater, Lincoln Center, Wednesday, May 17, 2023, 7:30pm. Credit Photo: Erin Baiano SEPTEMBER 17 – OCTOBER 13, 2024 Annual Fall Fashion Gala on Wednesday, October…

[ulkaralakbarova]

A Quiet Place: Day One

As New York City is invaded by alien creatures who hunt by sound, a woman named Sammy fights to survive. Credits: TheMovieDb. Film Cast: Sammy: Lupita Nyong’o Eric: Joseph Quinn Reuben: Alex Wolff Island Man: Djimon Hounsou Passerby: Cain Aiden Nurse: Jennifer Woodward …: Elijah Ungvary Film Crew: Producer: John Krasinski Producer: Andrew Form Producer: Bradley Fuller Executive Producer:…

[socialoutsider1a]

This is an image of Bradley Whitford in the 1980s TV series, "The Equalizer" starring English actor Edward Woodward.

Whitford appeared in the Season 1 episode, "The Children's Song" as Dillart, the leader of a group of thugs who are after a young woman, having already murdered her boyfriend.

This episode is also Whitford's debut as an actor and it first aired on October 30, 1985.

[brisbanelife]

Meet Jenny Woodward: The subject of ABC's Bradley 2023 portrait prize

What is the Bradley? And how did it come about?

Brad the Traffic guy explains how he became the namesake of ABC Brisbane's annual art competition. Plus, a get-to-know-you with ABC weather presenter Jenny Woodward as she discusses her portraiture experience (Jenny's mum was a painter!), and what she's most looking forward to as the subject of this year's Bradley portrait prize.

[delectablywaywardbeard-blog]

Mondiali di nuoto, Restivo e Mora out nelle batterie 200 dorso

Matteo Restivo e Lorenzo Mora eliminati nelle batterie dei 200 metri dorso ai Mondiali di nuoto in corso a Fukuoka, in Giappone.     Il 29enne friulano e primatista italiano Restivo ha chiuso diciassettesimo (1’58″57) e primo degli esclusi. Ventitreesimo posto (1’59″99) per il 24enne modenese Mora. Il miglior tempo della gara è stato segnato dall’australiano Bradley Woodward, con…

[bigrichseahawk]

How Katharine Graham And Ben Bradley Protected Woodward & Bernstein Duri...

[fourdiagnosesinatrenchcoat]

One of the best job perks I ever had was getting to see a screening of this with Woodward, Bernstein, and Bradley in attendance and doing a talk back after.

[auto2mation1]

Rev Up Your Industrial Automation: A Look into Auto2Mation's Servo Motor Technology

This article explores the power of servo motor technology in industrial automation and how Auto2Mation's advanced servo motor solutions can help businesses optimize their production processes. The article delves into the benefits of using servo motor technology, such as improved accuracy, higher speed, and increased productivity, and how Auto2Mation's servo motor solutions can help businesses achieve their automation goals.

[posterporn]

Hot Fuzz (2007) by Ty Haberichter

Directed By Edgar Wright

Starring Simon Pegg, Nick Frost, Jim Broadbent, Paddy Considine, Timothy Dalton, Bill Nighy, Edward Woodward, David Bradley, Martin Freeman, & Rory McCann

[deepredradio]

Wrong Turn 1-6

Story: Alle 6 Teile des erfolgreichen Horror-Schockers! Wrong Turn 1 Weil er pünktlich zu einem wichtigen Vorstellungsgespräch kommen will, nimmt der junge Medizinstudent Chris eine Abkürzung über einen Waldweg. Mit fatalen Folgen. Er kollidiert mit dem Jeep von Jessie, die mit ihren Freunden ein entspanntes Camping-Wochenende in den Bergen verbringen wollte. Da beide Wagen fahruntüchtig sind,…

[lifejustgotawkward]

365 Day Movie Challenge (2019) - #20: Philadelphia (1993) - dir. Jonathan Demme

Philadelphia is a film that evokes three distinct responses: it was a groundbreaking drama as far as Hollywood was concerned, being the first big-budget American film to address the AIDS crisis (earlier titles like Buddies, Parting Glances, Longtime Companion and Chain of Desire were independently produced); it is impressive from a technical point of view, given director Jonathan Demme and cinematographer Tak Fujimoto’s uses of close-up and extreme close-up shots throughout the story to emphasize the deeply personal, intimate nature of the conjoined journeys of lawyers Andrew Beckett (Tom Hanks) and Joe Miller (Denzel Washington); and at the same time, the film gives one pause for thought with regard to what has and has not changed in Hollywood’s examples of representation over the past quarter of a century. Hanks’ Oscar-winning role as a dying man fighting to maintain dignity in the face of injustice and homophobia is a sensitive portrayal, to be sure, but it is also one in a long line of performances by heterosexual actors who have been praised for portraits of LBGTQ+ suffering. At least knowing that Ron Nyswaner’s screenplay for Philadelphia was inspired by two real men who had similarly taken their ex-employers to trial for HIV/AIDS-based discrimination, Geoffrey Bowers and Clarence Cain, lends credence.

To be fair, several elements of Philadelphia are indeed worthy of recognition. Denzel Washington makes his character, Joe Miller, an understandable substitute for the most prejudiced and ill-informed members of the audience. Initially, Joe’s preconceived notions about gay men, sexuality and masculinity make the concept of him taking on Andrew’s court case ridiculous - an attempt to hold Andrew’s former bosses at a law firm responsible for wrongly terminating him after the senior partners discovered he had AIDS - but of course, Joe eventually sees the light. In some ways I would argue that Joe’s arc is more interesting than Andrew’s, which is perhaps the result of Tom Hanks’ irrefutable aura of saintliness, but certainly Hanks dominates the film’s most magnificent scene: Andrew conveys to Joe the tragic beauty of Maria Callas’s expressive voice in a recording of the “La mamma morta” aria from the opera Andrea Chénier. Music, cinematography and acting combine to shape a powerful moment that simultaneously causes time to stand still and reiterates the urgency of Andrew’s medical condition.

It is also hard to deny the greatness of Philadelphia’s cast. The film bursts at the seams with talented performers; besides the aforementioned Hanks and Washington, there are Antonio Banderas (very good in a somewhat underwritten role as Andrew’s supportive partner Miguel), Jason Robards, Joanne Woodward, Mary Steenburgen, Ron Vawter (himself openly HIV-positive at the time), Bradley Whitford, Anna Deavere Smith, Charles Napier, Roger Corman, Ann Dowd, Chandra Wilson, Robert W. Castle, John Bedford Lloyd, Tracey Walter, Daniel von Bargen and Roberta Maxwell. (If you look quickly, there is also a brief, uncredited cameo by famed bon vivant Quentin Crisp during a party scene.) Philadelphia is a significant cultural document, one which has its flaws but remains an affecting piece of cinema.