#conrad ricamora icons

[muze6]

L

[mrdarcygenderenvy]

Recent Austen adaptations yelling

Ok I DID make this blog to review historical-set Pride & Prejudice adaptations (with an exception made for iconic B&P). But for everyone who was DEFINITELY WONDERING, yes I have also been storing away a lot of opinions about other recent Austen adaptations that I Must Tell Someone.

.

Fire island (2022)

A modern gay party cheesy rom-com P&P that genuinely made me laugh. Having seen some other (whiter) cheesy gay romcoms that were extreeeemely PG & playing it safe, I was pleasantly surprised.

Also Bowen Yang and his story just came across really earnest in a way I was into - would watch this man cry again, 10/10.

Personally as an extremely disabled british nerd (now tragically unable to travel and/or go to the club...) this gay scene is a long way from my queer scene. But I still had emotions, you know?

Kinda wanted more of the Mary analogue and generally just normal looking people (almost everyone is so ripped) but I appreciate that's how beautiful smooth people often look in mainstream american films, we can't have everything.

DARCY WATCH: I do not want to dress like this adaptation's chinos Mr Darcy. But Conrad Ricamora was generally great and very hot and awkward and understood the assignment. Good ice cream throw.

.

Emma (2020)

I know I know, it's pretty... but I don't think that's enough!!!!!

Lovely production, beautiful costumes, a candy wes-anderson cinematography that really suits the story, and it's fun to notice references to actual outfits and prints from the time but lads. LADS. UNPOPULAR OPINION TIME: Where is the chemistry???

You can’t make Mr Knightley a nice sweet boy (so funny to have cast a posh folksy singing man) and leave the plot the same and expect it to work!! Also I was personally pissed off that a lot of the promo/ ads for this made it look like ~forbidden love~ when it's the 2 richest white people in town getting together?? ? There's actually not even a class difference in this one, guys.

Basically this romance was nothing to me!!! I felt nothing!!!!!!!! WHERE'S THE DEPTH

I did like the bit where he lies down though. Relatable.

Also why are you drawing so much attention to the servants when you don’t seem to have anything to say about class...? 'Wow look how many servants they had! Anyway, they don't get any speaking lines'... it's 2020 guys!!! like what are we saying here. 'isn't it cool to think about how people were rich'??

kind of the point of Emma (character) is she's pretty superficial, but the story does not, in fact, have to be

.

Persuasion (2022)

Weeping softly into a pillow........ did you know this version meant a version with Sarah Snook and Joel Fry got cancelled?? we could have had it all

(standing on a table yelling) THE MODERNISATION WAS NOT THE PROBLEM WITH THIS FILM!!!

Honestly I actively liked all the entire secondary cast in this. Louisa and Mary were extremely charming fun takes to watch. ('I'm an empath' IS right for the character if you're doing modern jokes!!!) And nobody can deny this was a correct and powerful use of Richard E Grant.

Henry Golding was naturally great. Apparently he got offered the lead and took the villain instead, which DOES mean the villain is super charming and fun to watch which is... hard to match and.... kind of shows up.... the main man.

It's been said before but the main two were WOEFUL imo. I have no beef with the actors I just question the DIRECTION and whether anyone making this knew (or cared) why people... enjoy things.

Book Anne is the quietest gentlest loser and I LOVE HER and so does basically every Austen nerd. Making her a quirky wine-bath girl who's honestly just cruel sometimes fully stops the main romance chemistry and plot from working.

And it means the main boy is still like 'god I'm so horny for how KIND AND CAPABLE YOU ARE' which is just 100% no longer true. You can't transplant a personality in a romance but leave the plot the exact same and expect it to work. The chemistry IS the plot in a romance..........

you can't act morally superior to your siblings and still rate people out of ten.... also so funny to me that everyone else gets period outfits and hair whereas this protagonist looks like she just glanced at a picture of any time in the past and grabbed a couple shirts from primark. it doen't even look good or build character!!!!!

Anyway, not to be an elderly man like 'ohhh why does nobody care about character these days' but the reason something like Clueless works is because it has the heart of the story right, instead of just copying the surface level stuff.

[dankusner]

Cole Escola’s Great Day on Broadway

“She never made this cake,” Cole Escola informed me, briskly whipping egg whites as I sifted flour.

It was early June, and we were baking at Joe’s Pub, the downtown performance venue, where the line cooks watched our efforts with mounting concern.

The cake was a white almond cake, and “she” was Mary Todd Lincoln, whom Escola portrays as an unhinged diva with a drinking problem in “Oh, Mary!,” their self-written Broadway début.

Escola boasts of having done zero research for the play—which just opened, to universal acclaim, at the Lyceum.

Yet they still saw fit to question my recipe.

“I feel like this is something they always did for First Ladies,” Escola said, affecting a treacly tour-guide voice.

“‘This is a cake that she made. This was her favorite drapery.’ ”

They whipped harder as I protested that Mary Todd was well-known to have made the cake, and, additionally, that I’d found the recipe on the Web site of the National Park Service.

Would they lie?

“Absolutely,” Escola replied.

“I’ve had it out for them for decades.”

Escola, in a two-toned polo and red leather boots, seemed at ease in the crowded space, sidling past kitchen staffers with a grace learned from a stint at a vegan bakery.

(They loved frosting cupcakes but hated working the register: “It was more degrading to fake that niceness than doing sex work.”)

At thirty-seven, they are slight yet striking, with big, powder-blue eyes, a pronounced chin dimple, and a silvery Caesar cut framing their cherubic features.

Their guileless good looks have an edge of the uncanny—sharp canines, a faraway expression—which they’ve played up in mesmerizing portrayals of deranged innocence.

Many know Escola as The Twink on “Search Party,” an inbred scion of a sticky-bun fortune who idolizes, then kidnaps the show’s femme fatale (Alia Shawkat), in a riff on Stephen King’s “Misery.”

Others are devotees of their cabaret routines and sketch comedy, often performed in drag, which put a surreal spin on morning shows, mom-oriented marketing, and other anodyne genres.

But their long-simmering celebrity has reached a boiling point with “Oh, Mary!,” which has transformed Escola from cult icon of the queer-comedy world into the It They of Broadway.

“At first it was just you and the other faggots,” they said of the show, which premièred in January, Off Broadway, at the Lucille Lortel.

Then came straight couples and Hollywood celebrities, like Pedro Pascal, Steven Spielberg, and Sally Field, who played Mary Todd in Spielberg’s “Lincoln.”

Before long, Escola was bantering in costume on late-night shows and attending the Met Gala in a white Thom Browne suit accessorized with a purse in the shape of a dachshund.

The demands of newfound fame have been relentless, and Escola has made a bit of their struggle to stay apace.

“It’s cold!” they exclaimed as we prepared to blend two sticks of butter into the mix.

“You’re setting me up to fail. You’re doing this on purpose—this is sabotage.”

I felt a bit like Louise, the hapless hired companion whom Mary torments throughout Escola’s play, once threatening to stab her in the eyes during a lesson in needlepoint.

“Oh, Mary!” revolves around the First Lady’s efforts to revive her career as a “niche cabaret legend,” despite the efforts of her husband—portrayed as a bitter, horny closet case by Conrad Ricamora—to confine her theatrics to the White House.

“How would it look for the First Lady of the United States to be flitting about a stage right now in the ruins of war!”

Abraham pleads in one exchange.

“How would it look?!” Mary, lunging toward the audience, retorts. “Sensational!”

Onstage in a taffeta hoop skirt and a wig of “bratty” curls, Escola’s Mary is a tantrum personified, clutching her flounces and furbelows as she terrorizes the Oval Office.

The First Lady goes low at every opportunity, whether it’s smashing open a desk in search of whiskey or reading Shakespeare in the cadences of “a horny

snake.” Remarkably, for a play about the Presidency scheduled to close in November, “Oh, Mary!” thumbs its nose at questions of history and politics.

(When Abe complains that he’s hated in the South, Mary exclaims, “South of what?”)

It’s less of a dodge than a puckish gambit; in Escola’s anti-“Hamilton,” bawdy jokes fly without the safety net of “serious” themes.

“I am the stupidest person here, and I mean that as an insult to all of you,” Escola said while accepting a Drama Desk Award.

For them, “stupid” is a term of art, an assertion that killer comedy needs no alibi.

“Oh, Mary!,” directed by Sam Pinkleton, earned more than a million dollars in its first full week, breaking the Lyceum’s all-time box-office record; Escola celebrated its première by inviting audiences to a leather bar.

The show is not only proof of their comedic brilliance but a defense of their sensibility.

They are often classed as part of a wave of New Queer Comedy, alongside entertainers such as Bowen Yang, John Early, and Ayo Edebiri.

But Escola’s rigorous weirdness is singular, combining “low” humor with the stylized precision of a pre-Code Hollywood starlet.

Their work forgoes relatability to revel in delusion, with all its abjection and pathos—especially their own.

“Her arc is my arc,” Escola said of their First Lady. “Her wanting to do cabaret is me wanting to do the play about Mary Todd Lincoln.”

As the oven preheated, Escola and I walked down the hall to the performance space, where a dozen booths and tables clustered around a tiny quarter-circle of a stage.

“This is my favorite seat,” they said, leading me to a table behind a partition in the very back. “It’s just like you’re watching TV.”

Joe’s Pub, an annex of the Public Theatre, is where Escola honed their craft in the early two-thousands.

Like Mary, they were a cabaret singer, in a downtown scene that counted such offbeat performers as Murray Hill, Tonya Pinkins, and Bridget Everett, who once wrote a part for Escola as a singing fetus.

“I would watch other people’s numbers and I would be, like, Oh, fuck, that really killed,” they recalled. “I want to kill like that.”

Escola struggled for years to find their place in the world of performance.

Born in the tiny mill town of Clatskanie, Oregon, they took to acting almost immediately, appearing at eleven in a production of “The Grapes of Wrath.”

A local paper put Escola on the front page (the headline: “Give My Regards to Broadway”), though the cute quotes belie their childhood’s difficulty.

At the time, Escola was sleeping over, illicitly, at their grandmother’s nursing home, because it was in the same town as the production; their mother couldn’t afford to drive them to rehearsals.

(“The actress that played Rose of Sharon would buy me lunch and dinner every day,” they recalled.)

Several years earlier, Escola’s father, a Vietnam vet who suffered from alcoholism and P.T.S.D.-induced hallucinations, had forced them and their mother out of the family’s trailer home with a rifle.

“My mom was my dad and TV was my mom,” Escola has said.

Weaned on sitcoms like “Keeping Up Appearances,” they developed an aspirational affinity with “rich-white-lady humor.”

They were also deeply attached to their grandmother, who baked, sewed, crocheted doilies, and bought them Barbies without worrying about whether or not the dolls were gender-appropriate.

Escola adopted nonbinary pronouns two years ago, but their gayness was clear from the beginning.

“I would pray to God to make me bisexual,” Escola recalled. “I was willing to compromise.”

(“Oh, Mary!” gives this experience to Abraham Lincoln.)

They came out in their late teens, helped to the realization by a lesbian cousin and a video-store clerk who introduced them to “The Rocky Horror Picture Show.”

After graduating from high school—an occasion they marked by performing their first cabaret routine—Escola moved to New York and studied acting while at Marymount Manhattan College.

But the emphasis on naturalism taught them only that drama school wouldn’t be worth the loans.

“I always associated ‘theatre’ with pretending I’m straight,” they told me.

Escola dropped out and worked odd jobs as a typist, a kid’s-party entertainer, and a bookseller in Manhattan.

“There were nights I would walk from the Scholastic bookstore to my place in Bushwick to save two dollars, whatever subway fare was then,” they told me. “It was miserable.”

Dan Fishback, a singer-songwriter and playwright whom Escola briefly dated, has recalled Escola as “a very quiet alien,” prone to sudden creative outbursts.

He encouraged them to share their “secret genius” after seeing a video of their first original character, Joyce Conner, who emerged from a spell of suicidal rumination.

A childhood friend had mailed Escola a fake fur coat and a jewel-toned onesie, inspiring them to picture themselves as a despondent older lady living on the Upper East Side:

“What if there was this woman who was planning her suicide as if it were a brunch that she kept putting off?”

Fishback invited Conner to begin m.c.’ing anti-folk shows, where her antics were a surprise hit with the largely straight crowd.

One day, Joyce failed to appear, because Escola had been mugged; a man held a gun to their head as another kicked in their teeth.

They returned to Oregon to recuperate, taking a three-day bus because they couldn’t afford airfare.

“I just laid on the couch for three months,” Escola told me. “I would drink a two-litre of Diet Coke every day, and I remember that I was watching ‘Dancing with the Stars.’ That was the season Jane Seymour was on and her mother died and she did a gorgeous foxtrot.”

They laughed.

“That really got me through.”

The binge eventually proved formative for Escola’s comedy, but at the time a career in writing and performance still seemed beyond reach.

“The plan was for me to apply to community college,” they told me. “I didn’t understand that I was traumatized.”

Escola slid the cake pan into a multitiered industrial oven, which we operated with the help of Joe’s Pub staff members.

(Our plan to bake at their apartment in Cobble Hill—a den of porcelain dolls and Old Hollywood memorabilia that an Apartment Therapy showcase described as granny chic—had been foiled by ants.)

Recovering in Oregon, they had briefly considered pastry school, based solely on their enjoyment of the show “Barefoot Contessa.”

But the expense of tuition made them realize that becoming a tart might be easier than selling them.

They got in touch with Jeffery Self, an acquaintance who did sex work on Craigslist, and moved back to New York.

The two started sharing johns and collaborating on comedy, beginning with a workout-video parody called “Sweatin’ to Sondheim!”

Their YouTube sketches, which they also performed at Joe’s Pub, led to “Jeffery & Cole Casserole,” a show on the gay network Logo.

It ran for only two seasons, but kick-started a decade of creativity.

Escola developed a repertoire of absurd personae onstage and online, from an impersonation of the Broadway legend Bernadette Peters to characters like Jennifer Convertibles, a furniture impresario with the haughty mannerisms of a film-noir villainness.

(“Futons?” she snarls in a face-off with IKEA. “If I wanted to make something for dirty frat boys to piss all over, I’d have a gay son.”)

Yet the path from YouTube and cabaret to the main stage remained obscure.

In 2011, when Escola was struggling with alcoholism, a critic damned their work as too old-fashioned for the slick “Glee” era of gay culture.

“The message I was getting from the world was, ‘There’s no place for what you want to do,’ ” they told me. “ ‘It might be fine as a little segment in a variety show, but, come on, be real.’ ”

Escola found their footing in television, winning fans for their inspired petulance in supporting roles on “Difficult People” and “At Home with Amy Sedaris,” in addition to “Search Party.”

Even television, though, began to feel straitlaced.

“Every time I act in something filmed, the note I get is, ‘A little less,’ ” Escola told me.

“Which you don’t have to do onstage when you wrote it and it’s supposed to be big.”

The conceit of “Oh, Mary!” came to them fifteen years ago, but they put off writing it until the pandemic, afraid to ruin the idea by making it real.

The show’s unqualified success has been a dream come true, but also a trigger for “queer hypervigilance,” Escola told me.

“I think it means I’m on my way out.” During curtain call at “Oh, Mary!” ’s opening night at the Lyceum, they prankishly announced that the show was already closing;

last week on “The View,” they poked fun at its exuberant filth by saying that they “wanted to write something for families to enjoy.”

Escola was briefly tempted to tone the play down ahead of its Broadway transfer, but a memoir by the playwright and drag queen Charles Busch fortified their spirits.

“When ‘Vampire Lesbians of Sodom’ moved from being a bar show to Off Broadway, he stayed up for a couple days just being, like, ‘We’ve got to beef this up and make it more like theatre,’ ” they told me; ultimately, Busch decided to trust the show as it was, and Escola did likewise.

[jessewstuff]

[iconsxstuff-blog]

© teIImelovato

like/reblog if you save

[scpernovaedits]

Oliver Hampton Icons ❚❚ Please Like or reblog if you save it or use it.

❚❚ Don´t claim as your own.

❚❚ Credits to @thcuniversemess on twitter.

[meliorn]

CELEBRITY ICONS LGBTQ celebrities (samira wiley, janelle monae, stephanie beatriz, ellen page, amandla stenberg, sara ramirez, laverne cox, conrad ricamora, amber heard & keiynan lonsdale)  ✨ +230 icons ✨ all icons are 150x150 ✨ please like/reblog this post if you save or use 

 ✨ icons here ✨

[hereistheresources]

CONRAD RICAMORA RP ICONS / HTGAWM S3 EP1-5

Under the cut is 712 icons of CONRAD RICAMORA from their role as Oliver Hampton in ABC’s How To Get Away With Murder. Season 3 Episodes 1-5. Sized 100x00.  Some are dark, some are kinda bluish. No recoloring at all from the screencaps. Some are close up on his eyes or mouth you know that aesthetic icon business. Otherwise pretty well lit. Feel free to edit, don’t claim as your own, like if you use!! credit is great too, but optional.

[rxndomsicons]

like or @theblindsided

[ricamora-falahee]

Someone is mirroring my computer. That's the only explanation, right? I'd have to come to your office to see.

[canonicallyanxious]

[Spoilers for Fire Island (2022)]

Some of my favorite pride and prejudice adaptation choices from the movie Fire Island:

I mean the Bennets as queer found family is everything to me. it’s absolutely everything to me i think every iconic family from the literary classics should be adapted to the modern era as queer found family actually

Mrs. Bennet as an ostentatious and over-the-top but ultimately well-meaning and loving lesbian mother figure is so fucking inspired and Margaret Cho as this version of Mrs. Bennet??? they had their third eye wide fucking open with that casting choice [E: OH also how the Bennets’ struggle with wealth/social standing turned into Margaret Cho’s character having to sell their house on Fire Island! I thought that was such a fun and smart decision especially in the evolution of that storyline and how it impacted the character arcs in particular!]

The choice to adapt the Bennets publically embarrassing themselves at various dances as getting overly drunk and puking on everything was hilarious and tonally on point (and also as someone who had to act as the sober and sane one at a party of too-drunk people just last week way too timely lol)

i think when doing a modern-day adaptation of a jane austen novel it’s really easy to flatten or oversimplify the nuances of the social and class commentary built into those stories but mapping the complexity of p&p’s social hierarchy onto the gay subculture of the Fire Island’s Pines party and exploring the intersection of gayness with class, race, and body dysmorphia ended up fitting the spirit of the book so well, it was such a brilliant choice your MIND mr. joel kim booster!!!

Moreover those already existing themes of social/class commentary being integrated so seamlessly into Noah and Howie’s (Lizzie and Jane’s) experiences as queer Asian Americans, how that strengthens their relationship with each other and how that experience has impacted the way they interact with the world and protect themselves from societal pressures in such different ways (Noah being more outspoken to mask his own set of insecurities, Howie being more withdrawn but still having his own brand of quiet strength, etc.) and how that is deconstructed through their parallel character arcs - and the layers of Will (Darcy) being a queer Asian American (specifically of mixed heritage amidst a social circle of mostly white affluent men - the way in which Noah assumes he fits into that world but the subtle ways the movie challenges and breaks down that assumption to show that Will feels out of place in that world too) as well!!! If I had the braincells to scream about this for another ten thousand words i absolutely would

The way they kept Will writing Noah the letter for plot reasons that made sense - he remembered that Noah’s phone wasn’t working from one throwaway comment about how he’s the only one in the group who doesn’t have a phone! Will is exactly the kind of socially awkward but thoughtful nerd who feels more comfortable expressing himself through the written word! - made me SWOON i cannot believe they kept that in a way that worked SO WELL in such a ROMANTIC WAY!!!

Also just. Everything about Conrad Ricamora as Will/Mr. Darcy. can i say that’s a favorite adaptation choice of mine bc it absolutely is. Matthew Mcfayden and Colin Firth whomst i only know Will “saw his crush and immediately threw his ice cream cone into a bush and bolted away” lastname

[man-reading]

Fire Island star Tomás Matos is finally ‘stepping into their spotlight’

Tomás Matos speaks with GAY TIMES about their beloved role in Joel Kim Booster’s lauded gaycation comedy Fire Island.

As Keegan, the “unapologetic, hyperfemme cunt girl” of Fire Island, actor Tomás Matos has been hailed as one the breakout stars of 2022. The Andrew Ahn-directed comedy, written by and starring Joel Kim Booster, follows two best friends, Noah (Booster) and Howie (Bowen Yang), as they embark on a weeklong vacation to the gay equivalent of Disney World with their queer circle of friends: Keegan, Luke (Matt Rogers) and Max (Torian Miller). Inspired by Pride and Prejudice, Fire Island (which passed the Bechdel test just FYI) was met with widespread critical acclaim for its authentic depiction of the LGBTQ+ Asian-American experience and approach to racism, wealth and class, as well as for its glorification of queer culture.

“I think this movie opens the gate for conversations within our own community and the struggles and prejudices that we all face with fatphobia, with femmephobia and with racism,” says Tomás, whose prior credits include DIANA: A New Musical, Hadestown and The Marvelous Mrs. Maisel. “I think the beauty with that is, it starts a conversation within our own family; no masking and getting to the root of the issues so we can change it. That’s why when people say, ‘I would never go to Fire Island’ I say, ‘No girl! It’s our time.’”Tomás’ character quickly emerged as a fan-favourite amongst viewers due to their fierce wardrobe, comedic sensibilities and now-iconic scene in which Keegan and Luke reprimand Will (Conrad Ricamora) for his lack of knowledge on Marisa Tomei and her Oscar-winning role as Mona Lisa Vito in My Cousin Vinny. (“The defence is wrrrrong!”) Two weeks after the film’s premiere, we caught up with Tomás to discuss Fire Island’s unprecedented impact on queer viewers, whether we can expect a sequel in the near future and how the film allowed them to finally “step” into their “spotlight”.

Tomás, this getup is stunning.

Thank you! Just a little look for you, Sam.

Well thank you! How are you?

I’m doing well. I’m really good, still riding the wave!

You were in Fire Island again over the weekend, right?

Yeah. I went for a little day trip for the screening on Sunday, which was very fun. It was wild to watch the movie on location with everyone. It was a really nice experience, I’m glad I went. It was fun. I attended a screening last week and, being in a room with queer people watching the film, is unmatched.

How are you finding the whole Fire Island experience so far?

Unimaginable. I didn’t expect it to be such a hit. I think it’s going to go down in queer history. It’s crazy to be a part of it but I’m very grateful.

(gay times)

[thequeereview]

Exclusive Interview: the cast of Fire Island on the queer icons & LGBTQ+ culture that's shaped them

Exclusive Interview: the cast of Fire Island on the queer icons & LGBTQ+ culture that’s shaped them

Ahead of tonight’s NewFest Pride world premiere of Fire Island, written by and starring Joel Kim Booster, and directed by Andrew Ahn, The Queer Review’s editor James Kleinmann spoke exclusively with Ahn and cast members Matt Rogers, Conrad Ricamora, Bowen Yang, James Scully, Zane Phillips, Torian Miller, Tomas Matos and Nick Adams about the queer icons and LGBTQ+ culture that’s shaped them. The…

[lusus-naturae-academia-blog]

most wanted males

  After discussing with Admin Chris, here’s the list that we came up with: Manny Montana (him in the mentor division? Iconic), Avan Jogia, Charles Melton, Booboo Stewart, Ryan Potter, Tom Williamson, Bob Morley, Conrad Ricamora, Isaiah Mustafa (YES PLEASE!), Harry Shum Jr., Carlos Valdes, John Boyega (!!!), Chance Perdomo, Jordan Fisher, Michael B Jordan, Henrik Holm, Billy Lewis Jr., Gavin Leatherwood, Richard Madden, Santiago Segura, Maxence Danet-Fauvel, Joe Keery, Jacob Batalon, Cengiz Al (PLEASE!) and Jeremy Allen White are just a few of the fcs we’d love to see on the dash!

[dear-indies]

Hi! I'm looking for a male FC in their thirties to forties with a beard and, if possible, curls. Ideal would be resources with glasses and the FC being a POC. I'm going for the Alfonso Herrera in Sense8 look, basically. Would you be able to recommend some faces with gif resources? Thank you in advance!

Robbie Magasiva (1970) Samoan. 

Daniel Sunjata (1971) African-American, Irish, German.

Majid Al Muhandis (1971) Iraqi. 

Arjun Rampal (1972) Indian. 

Sendhil Ramamurthy (1974) Kannada and Tamil Indian - no gif resources at time of posting but has loads of icon resources! 

Adam Rodriguez (1975) Puerto Rican.

Sterling K. Brown (1976) African-American.

Jericho Rosales  (1979) Filipino. 

Conrad Ricamora (1979) Filipino / German, English, possibly other.

William Jackson Harper (1980) African-American. 

Ricky Whittle (1981) African-Jamaican / English.

Elyas M'Barek (1982) Tunisian / Austrian. 

Gerardo Celasco (1982) Salvadoran.

Santiago X (1982) Coushatta, Chamorro.

Michael Malarkey (1983) Arab, Italian-Maltese / Irish, German.

Charles Michael Davis (1985) African-American / Filipino. 

Michael Trevino (1985) Mexican. 

Ranveer Singh (1985) Indian.

Rahul Kohli (1985) (1985) Indian. 

James Lafferty (1985) Mexican / Irish, English, German, Scots-Irish/Northern Irish.

Valy Hedjasi (1986) Afghan.

Yahya Abdul-Mateen II (1986) African-American.

Arjun Gupta (1986) Indian.

Michael B. Jordan (1987) African-American.

Ahmad Massad (1987) Jordanian.

Ryan Guzman (1987) Mexican / English, Scottish, German, Swedish, more distant French and Dutch.

Hamed Sinno (1988) Lebanese. 

Laroyce Hawkins (1988) African-American. 

Hey anon - not all of these faceclaims have beards but were worth a mention! -C

[helpersofindie]

could i please get some suggestions for faceclaims ( male and female ) that are 35+ and have some resources, like a pack of gif icons or a gif hunt, to be used? poc and non poc mixed in would be perfect!!

hi anon! i’m putting this under the cut because it got very long. under the cut there are 189 female faceclaims 35 and up that have at least one gif hunt and gif icons in the tags, and 206 male faceclaims 35 and up that have at least one gif hunt and gif icons in the tags. i hope this helps you out!

female

ruth negga (35)

constance wu (35)

melissa fumero (35)

lesley ann brandt (35)

priyanka chopra (35)

rebecca hall (35)

dichen lachman (35)

natalie dormer (35)

sophia bush (35)

anna camp (35)

kelly clarkson (35)

lauren cohan (35)

natalia cordova buckley (35)

alison brie (35)

alyssa sutherland (35)

lisa schwartz (35)

bridget regan (35)

anne hathaway (35)

alexandra breckenridge (35)

meghan ory (35)

lizzy caplan (35)

cobie smulders (35)

chyler leigh (35)

mercedes mason (35)

clemence poesy (35)

lily rabe (35)

jenny slate (35)

kirsten dunst (35)

billie piper (35)

priyanka chopra (35)

romola garai (35)

emilie de ravin (35)

krysten ritter (35)

alicia keys (36)

elodie yung (36)

meghan markle (36)

fan bingbing (36)

janina gavankar (36)

jessica alba (36)

stephanie beatriz (36)

julia jones (36)

jenna dewan tatum (36)

adriana lima (36)

beyonce knowles (36)

nasim pedrad (36)

genevieve cortese/padalecki (36)

judie gonzalo (36)

caterina scorsone (36)

alexis bledel (36)

bethany joy lenz (36)

song hye-kyo (36)

natalie portman (36)

katharine isabelle (36)

vanessa ray (36)

christina aguilera (36)

alessandra ambrosio (36)

rachel bilson (36)

kareena kapoor (37)

sarah shahi (37)

hannah simone (37)

alaina huffman (37)

olivia munn (37)

kristen bell (37)

kristen connolly (37)

maimie mccoy (37)

laura jane grace (transgender)(37)

rachel miner (37)

laura prepon (37)

eva green (37)

minka kelly (37)

tegan quin (37)

sara quin (37)

zooey deschanel (37)

sarah drew (37) 

bianca lawson (38)

rosario dawson (38)

yara martinez (38)

lee hyori (38)

karen david (38)

maggie q (38)

freema agymean (38)

jennifer morrison (38)

caroline flack (38)

danneel harris (38)

caitriona balfe (38)

morena baccarin (38)

evangeline lilly (38)

lee hyori (38)

rosamund pike (38)

rose byrne (38)

shiri appleby (38)

yasmine al massri (39)

zoe saldana (39)

michelle rodriguez (39)

michaela conlin (39)

aj cook (39)

rachel mcadams (39)

ginnifer goodwin (39)

danai gurira (39)

katheryn winnick (39)

kerry washington (40)

shakira (40)

lana parrilla (40)

andrea navedo (40)

jessica chastain (40)

liza weil (40)

sarah wayne callies (40)

amber benson (40)

jaime murray (40)

liv tyler (40)

sarah michelle gellar (40)

rashida jones (41)

evelyn lozada (41)

jessica capshaw (41)

carice van houten (41)

ali larter (41)

isla fisher (41)

reese witherspoon (41)

amy acker (41)

milla jovovich (41)

emily deschanel (41) 

angelina jolie (42)

charlize theron (42)

eva longoria (42)

marion cotillard (42)

christina hendricks (42)

sarah paulson (42)

sara ramirez (43)

eva mendes (43)

holly marie combs (43)

grace park (43)

jenna fischer (43)

alyson hannigan (43) 

aishwarya rai (44)

kate beckinsale (44)

li bingbing (44)

lena headey (44)

vera farmiga (44)

alyssa milano (44)

sarah rafferty (44)

sofia vergara (45)

gwyneth paltrow (45)

angie harmon (45)

kirsten vangsness (45)

jennifer garner (45)

darby stanchfield (46)

amy poehler (46)

carla gugino (46)

shannen doherty (46)

winona ryder (46)

jennifer connelly (46)

madchen amick (46)

charisma carpenter (47)

rachel weisz (47)

taraji p henson (47)

gina torres (48)

lucy liu (48)

cate blanchett (48)

gina torres (48)

jennifer lopez (48)

ellen pompeo (48)

lucy lawless (49)

megan follows (49)

jorja fox (49)

gillian anderson (49)

lili taylor (50)

kate walsh (50)

leslie jones (50)

salma hayek (51)

helena bonham carter (51)

robin wright (51)

viola davis (52)

monica bellucci (53)

courteney cox (53)

famke janssen (53)

sandra bullock (53)

mariska hargitay (53)

calista Flockhart (53)

hulya avsar (54)

alex kingston (54)

ming na wen (54)

elizabeth mcgovern (56)

julianne moore (56)

susanna thompson (59)

angela bassett (59)

michelle pfeiffer (59)

jessica lange (68)

helen mirren (72)

maggie smith (82)

males: 

jamie dornan (35)

arthur darvill (35)

matt smith (35)

sebastian stan (35)

dan stevens (35)

riz ahmed (35)

harry shum jr (35)

matt dallas (35)

jared padalecki (35)

cam gigandet (35)

paul welsey (35)

miguel angel silvestre (35)

lee joon gi (35)

sam huntington (35)

eddie redmayne (35)

daveed diggs (35)

adam lambert (35)

ricky whittle (35)

justin chatwin (35)

adan canto (35)

chris evans (36)

tom hiddleston (36)

colin o'donoghue (36)

david anders (36)

jesse williams (36)

rami malek (36)

lee dong wook (36)

chad michael murray (36)

joseph morgan (36)

boyd holbrook (36)

frank iero (36)

taylor kitsch (36)

elijah wood (36)

brandon flowers (36)

taylor kinney (36)

stephen amell (36)

michiel huisman (36)

russell tovey (36)

shahid kapoor (36)

fawad khan (36)

jay ryan (36)

michael pitt (36)

ben barnes (36)

fran kranz (36)

hayden christensen (36)

jo jung suk (36)

tom burke (36)

brian j smith (36)

jo in sung (36)

jake gyllenhaal (36)

ben whishaw (37)

tablo (37)

ryan gosling (37)

david giuntoli (37)

sam heughan (37)

sam riley (37)

lin manuel miranda (37)

gustaf skarsgård (37)

charlie hunnam (37)

chris pine (37)

matthew gray gubler (37)

dj cotrona (37)

james mcavoy (38)

adam levine (38)

chris pratt (38)

conrad ricamora (38)

daniel henney (38)

oscar isaac (38)

luke evans (38)

gong yoo (38)

mike vogel (38)

john krasinski (38)

joel kinnaman (38)

brandon routh (38)

lee pace (38)

jason momoa (38)

jesse metcalfe (38)

travis fimmel (38)

aaron paul (38)

matt davis (39)

anthony mackie (39)

nick zano (39)

jensen ackles (39)

aaron abrams (39)

gael garcia bernal (39)

bill hader (39)

ben mckenzie (39)

andy samberg (39)

shane west (39)

dominic cooper (39)

james franco (39)

matthew goode (39)

michael raymond james (4

tom ellis (39)

charlie weber (39)

zachary quinto (40)

milo ventimiglia (40)

justin hartley (40)

michael fassbender (40)

tom welling (40)

orlando bloom (40)

matt czuchry (40)

jonathan rhys meyers (40)

matt bomer (40)

sam witwer (40)

joe manganiello (40)

alexander skarsgård (41)

cillian murphy (41)

mike colter (41)

ryan reynolds (41)

charlie day (41)

chadwick boseman (41)

ian bohen (41)

jon bernthal (41)

ryan kwanten (41)

dean o'gorman (41)

colin farrell (41)

abhay deol (41)

sean maguire (41)

daniel gillies (41)

vincent piazza (41)

noel clarke (42)

bradley cooper (42)

hugh dancy (42)

jason sudeikis (42)

pedro pascal (42)

tahmoh penikett (42)

paul amos (42)

mahershala ali (43)

burn gorman (43)

leonardo dicaprio (43)

isaiah mustafa (43)

christian bale (43)

ryan phillippe (43)

joaquin phoenix (43)

misha collins (43)

chris messina (43)

seth meyers (43)

andrew lincoln (44)

patrick wilson (44)

anson mount (44)

adam scott (44)

brian austin green (44)

noel fielding (44)

jude law (44)

sasha roiz (44)

eric dane (45)

john cho (45)

karl urban (45)

jonny lee miller (45)

ben affleck (45)

ricky martin (45)

idris elba (45)

wentworth miller (45)

jeremy renner (46)

alan van sprang (46)

david ramsey (46)

mark wahlberg (46)

david tennant (46)

richard armitage (46)

jon hamm (46)

jr bourne (47)

skeet ulrich (47)

raul esparza (47)

nikolaj coster-waldau (47)

justin chambers (47)

shemar moore (47)

paul rudd (48)

josh holloway (48)

timothy omundson (48)

simon baker (48)

norman reedus (48)

manu bennett (48)

will smith (49)

daniel craig (49)

owen wilson (49)

rufus sewell (50)

vin diesel (50)

john barrowman (50)

liev schreiber (50)

mark ruffalo (50)

jeffrey dean morgan (51)          

billy burke (51)

mads mikkelsen (52)

frank grillo (52)

mark pellegrino (52)

christopher eccleston (53)

brad pitt (53)

david thewlis (54)

donnie yen (54)

andre braugher (55)

clark gregg (55)

robert carlyle (56)

george clooney (56)

david duchovny (57)

linden ashby (57)

colin firth (57)

hugh laurie (58)

sean bean (58)

peter capaldi (59)

jeff goldblum (65)

jeremy irons (69)

ian mcshane (75)

sam waterston (77)

ian mckellen (78)

morgan freeman (80)