#daphne sullivan

[hotcinnamonsunset]

THE WHITE LOTUS | swimwear | 2.01 Meghann Fahy as Daphne Sullivan

[emmynominees]

meghann fahy as daphne sullivan in the white lotus: sicily

primetime emmy award nominee for outstanding supporting actress in a drama series

[milliondollarhoe]

There is a question that keeps bugging me

So in ep5 of White Lotus, when Ethan, Cameron, Daphne, and Harper are in the winery, Ethan makes a comment about Cameron having 'mimetic desire', where he explains that any girl that he liked Cameron would end up sleeping with them. Now I don't exactly remember the timeline gap but with how Ethan and Daphne responded (funny enough that the mimetic desire ep was before this scene) do you think Ethan probably had feelings for Daphne way before and Cameron knew about it? I had this question not only because of the mimetic desire conversation but also because of the ep2 scene where Ethan masturbates to porn and the actress looks NOTHING like his wife but looks eerily similar to Daphne.

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Daphne Sullivan “The White Lotus” icons

‒ like or reblog if you save

[juicedudez]

if the season 2 white lotus crowd (specifically daphne and ethan) watched the talented mr ripley i think their heads would explode like think about it, we place a tv in front of them, pop in the film and then we wait 2 hours and 15 minutes. they will come out changed. i assure you all this.

daphne would love marge, she would look at gwyneth paltrow and think ugh i love this girl! she literally watches cameron cheat over and over again and it makes her still as stone. if she watches dickie cheat over and over again something will shift. she really just needs a third perspective is what i'm getting at.

imagine ethan watching tom ripley befriend dickie who he'd see as cameron. imagine ethan imagining tom and dickie's months together in italy as their glorified time with cam when they went to college together and then imagine the boat scene as the fight in the ocean... DO WE SEE WHAT I'M GETTING AT!!!!!!?!

[homoqueerjewhobbit]

Strongly headcanon that Cameron (and Daphne?) are running a ponzi scheme.

[ablogthatishenceforthmine]

Dream 2023 Emmy Nominations: Outstanding Supporting Actress in a Drama Series

In alphabetical order:

Bailey Bass (Anne Rice’s Interview with the Vampire)

Carol Burnett (Better Call Saul)

J. Smith Cameron (Succession)

Jennifer Coolidge (The White Lotus)

Meghann Fahy (The White Lotus)

Denise Gough (Andor)

Samantha Hanratty (Yellowjackets)

Rhea Seehorn (Better Call Saul)

[coolcolourstournament]

Round 3

[nycmess]

ROMANCE - all things relating to love, romance, or the disaster breakups we love!

[vntagetee]

daphne sullivan / tags

[clockwork-princess-ocs]

Daph and Dia are getting different action in totally different roleplays 😂

[debaxchery]

      A BENEVOLENT SMILE TUGS UP the corners of sullivan’s lips as the tiny blonde degrades herself. “ that’s right. at least you know your place. ” his voice is a modicum sweeter and a tiny bit kinder in response to daphne calling herself a filthy whore. only her depravity is met with any kind of positivity. it makes him wonder if he can condition her into being a shameless slut. by only providing praise for her most debased actions, will she give up trying to gain his approval ? or will it encourage her to be even more debauched ? it’s certainly a fun thought to ponder. because if he’s being honest, sullivan has to admit that the female is growing on him. how could she not ? she’s so eager to be ruined; so compliant while they’re doing so. perhaps – if tonight goes well – they’ll keep her. but that’s a matter to be discussed later. right now, he’s too focused on enjoying the view to consider the future and what it might have in store for all three of them. through eyes blown wide with lust, he watches as daphne straddles gwen, slowly lowering herself down onto the massive dildo. it’s truly a sight to behold: the oversized pink toy sinking inch by inch into her. “ fuck, ” he groans, slipping a hand into his pants to palm his cock. “ go on, then, slut. get yourself off. ”

     WITH A FRONT-ROW SEAT to daphne riding the strap-on, gwendolyn simply sits back and enjoys the view. little by little, the pink dildo disappears inside of the other female, almost as if she’s preforming an extremely lewd magic trick. the thought brings bubbling laughter to her lips. “ this is wild, ” she comments, tone light and mirthful. “ i don’t know if your cunt will ever recover. ” reaching up, she grasps hold of one of daphne’s tits, her thumb grazing over the blonde’s nipple as she roughly fondles the sensitive globe. “ you’d be hotter if you’re breasts were bigger, ” she supplies, not bothering to be nice or even decent to the woman they’re using. “ though i guess they’re a nice handful. ” she adds the last bit almost begrudgingly, as if it pains her to complement the tiny woman. it’s not that she has anything against daphne. it’s simply that she believes the other woman to be beneath her. as long as the blonde knows and acknowledges her place, they won’t have any problems. glancing over to see if sullivan approves of the show, she notes that he’s taking care of himself. well, that simply won’t do. “ baby. come here. let me help, ” she coos, waiting until he’s shifted and removed his cock from his pants before eagerly lapping at his length. “ mmm, ” she hums happily, content to watch daphne get herself off while she sucks him off. “ too bad the little whore only gets a fake cock. yours is perfect. ”

while she's had girls fuck her before daphne has never experienced it like this — how gwen's hips piston against her, how that toy causes her cunt to squelch and tighten with every thrust and sullivan . . . him watching over the entire sordid scene only causes the femme to moan louder, to pathetically whimper as he degrades her ; a whore. a needy and greedy set of holes that were never truly satisfied. she knows it as intensely as she knows her own name and yet her cherubic cheeks still flame, " y—yes, such a filthy whore." pink stained lips push outward into a disappointed pout at gwen's snappy remark, how all her efforts to be a good girl are seemingly making no difference at all. but it won't stop daphne, even if they're both cold and uncaring toward her the pint-sized blonde won't cease proving herself to be the best toy they could ever own. "yes! yes i do and . . . " it's dizzying, forcing herself to sit up after her cunt has been stretched by that massive toy. blonde tresses fan across her shoulders and down her bare back as she catches her breath, a quick glance cast behind her at sullivan before she's crawling forward. "it's so big", hum slips from her mouth as her fingers grasp the monstrous dildo, unable to even hold it properly. spreading herself daphne slips her legs to either side of gwen's, bringing the tip of that drenched cock toward her sensitive folds. "o—oh!" a raspy giggle escapes as her hips jolt, a tiny tap of the faux dick against her clit has her giddy. "mm . . . " those baby blue hues roll as she begins to sink down, chest pushing out and lashes fluttering as her walls stretch once more. "fuck it's so thick . . . you're so good to me", she breathes, even if they have been nothing but dismissive and condescending.

[unpopularwiththepopulace]

Propelled chiefly by last year’s London production, I have written a (rather) long form piece to do with Rebecca the Musical. Though focusing mainly on this eventual and heavily expectant premiere of the English production of the musical, discussion relates also to the original and other iterations of the show, and musicals more generally, too.

The piece is anchored by the central theme of insatiability while looking in turn at:

the process of tracing the evasive histories of character representations and theatrical productions over many decades – including also flickered and largely forgotten records of the play and opera forms of Rebecca, and the “apparitional”, equivocal lens that queer female sexuality is handled with across large spans of time

decoding evidence of sparse, if periodically rather dire, female queerness in theatrical, musical contexts – guided by the disciples of dykeish dissatisfaction in the musical’s character of Mrs Danvers or the story’s primary author of Daphne du Maurier herself

considering what it means to exist as an audience member responding in situ to (principally female) performers with thrilling voices, both in and outside an auditorium, and the delicate but frequently under-discussed predicament of queer female diva devotion.

Take a look if you're interested!

In further expansion of photographic documentation of each of the examined stage-based, theatrical iterations of Rebecca, more images are presented below.

Discussion originates from the existence of the 2023 English premiere production of Rebecca the Musical at the Charing Cross Theatre in London, where cast principals included Kara Lane as Mrs Danvers (alternated by Melanie Bright), Lauren Jones as I (the new Mrs de Winter), and Richard Carson as Maxim. Photos by myself.

The first stage production of Rebecca arose much earlier, concerning the 1939 play by the same name at the Queen’s Theatre on Shaftesbury Avenue (now The Sondheim Theatre). Daphne du Maurier herself wrote its script. Margaret Rutherford played Mrs Danvers, Celia Johnson was the new Mrs de Winter, Owen Nares appeared as Maxim. The Queen’s Theatre was bombed in 1940 during WWII at the time of Rebecca’s occupancy, becoming the first theatre in London to be hit by a wartime bomb, and bringing to an immediate premature close the show’s successful run - and highlighting earlier associations of this story's connection to tumultuous tales and dramatic events in histories of it's staging, as the attempted primary stagings of the English musical iteration would later return to.

Photos from this first theatrical, London production include those by Angus McBean from a periodical spread entitled ‘Mystery and Murder in Stately Cornish Home - Dramatic Moments of Du Maurier’s “Rebecca.”’, published in The Sketch (vol. 190), May 1940.

The play also then appeared on the road in America, and subsequently on Broadway in 1945 at the Ethel Barrymore Theatre for a fleeting 20 performances; and of this entity, record remains even more scarce. Cast principals included: Florence Reed (Mrs Danvers), Diana Barrymore (the new Mrs de Winter), Bramwell Fletcher (Maxim).

The next and last distinct adaptation of Rebecca to appear on stage before the musical was the 1983 opera production devised for Opera North, with music by Wilfred Josephs and libretto by Edward Marsh. It toured the UK before being revived briefly in 1988 and never seen again. Cast principals included: Ann Howard as Mrs Danvers, with Gillian Sullivan and later Anne Williams-King as the new Mrs de Winter, and Peter Knapp as Maxim.

Finding these few, historic photographs in obscure newspapers or consulting original scripts and librettos, for instance, in libraries and archives during this effortful and active treasure-hunting felt special and rewarding. But possible reconstruction of these stage iterations in the present day is only incompletely possible, because of reduced ease of access to or apparent remaining visceral evidence of a visceral art form.

The frustration in trying to seek out these apparitional traces not only foregrounds the importance of maintaining accessible, comprehensive primary records within the theatre, but mirrors also the act of trying to seek out records of queer female sexuality across history in works of literature, cinema or theatre, as a process typified by a similarly effortful navigation of apparitional erasure. This facet connects with the notion that consideration around Rebecca entangles with a web of insatiability or dykeish dissatisfaction, a web that stretches from this erasure and liminality of representation, to character constructions within the work – including of its infamous housekeeper, Mrs Danvers, to contextual backgrounds like those of the story’s primary author itself, Daphne du Maurier.

The entity of Rebecca, then, across its many themes, productions and decades, is uniquely useful in the way it can in turn encompass and facilitate explorations of these many facets – being capable of simultaneously holding consideration of these expansive webs of documentation, erasure or dykeish dissatisfaction that can be found lurking in historical margins, as well as also the contrasting luminous energy that can be produced in the present in association with the musical, as physical audiences interact with and respond to the material of the show and its performers within theatres in real time. These considerations have transferrable applicability beyond this singular context of this particular show to more general notions of theatrical pieces and the practice of theatregoing, too, as they foreground the question of how audience members respond to, process, and interact with shows; and, as a matter of far less common discussion or scholarly writing on the subject of diva devotion, how female fans specifically navigate the complex predicament of queer, female, performance-driven high regard.

[docrotten]

CALTIKI, THE IMMORTAL MONSTER (1959, Caltiki il mostro immortale) – Episode 195 – Decades of Horror: The Classic Era

“The garden is filled with monsters!” No more weeding! Hooray! Join this episode’s Grue-Crew – Daphne Monary-Ernsdorff, Chad Hunt, Doc Rotten, Jeff Mohr, and guest Bill Mulligan – as they dissect one of Italy’s first horror movies, Caltiki, the Immortal Monster (1959, Caltiki il mostro immortale), helmed by Riccardo Freda and Mario Bava.

Decades of Horror: The Classic Era Episode 195 – Caltiki, the Immortal Monster (1959)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

ANNOUNCEMENT Decades of Horror The Classic Era is partnering with THE CLASSIC SCI-FI MOVIE CHANNEL, THE CLASSIC HORROR MOVIE CHANNEL, and WICKED HORROR TV CHANNEL Which all now include video episodes of The Classic Era! Available on Roku, AppleTV, Amazon FireTV, AndroidTV, Online Website. Across All OTT platforms, as well as mobile, tablet, and desktop. https://classicscifichannel.com/; https://classichorrorchannel.com/; https://wickedhorrortv.com/

Synopsis: A team of archaeologists in Mexico encounters an amorphous, blob-like monster that appears to be connected with the collapse of the Mayan civilization.

Directed by: Riccardo Freda (as Robert Hamton); Mario Bava (uncredited)

Writing Credits: Filippo Sanjust (screenplay) (as Philip Just); Riccardo Freda (screenplay) (uncredited)

Special Effects by: Mario Bava (as Marie Foam)

Selected Cast:

John Merivale as Prof. John Fielding

Didi Sullivan as Ellen Fielding

Gérard Herter as Max Gunther (as Gerard Haerter)

Giacomo Rossi Stuart as Prof. Rodríguez’s Assistant (as G.R. Stuart)

Vittorio André as Prof. Rodríguez (as Victor Andrèe)

Daniele Vargas as Bob (as Daniel Vargas)

Arturo Dominici as Nieto (as Arthur Dominick)

Nerio Bernardi as Police Inspector (as Black Bernard)

Daniela Rocca as Linda

Gail Pearl as Indian Dancer (as Gay Pearl)

Armando Annuale as Journalist at Press Conference (uncredited)

Orlando Baralla as Scientist (uncredited)

Mario Bava as Mexican at Police Station (uncredited)

Tom Felleghy as Astronomer (uncredited)

Ferruccio Fregonese as Journalist at Press Conference (uncredited)

Sandro Mondini as Journalist at Press Conference (uncredited)

Renzo Palmer as Narrator (uncredited)

Renato Terra as Investigating Officer (uncredited)

The Grue-Crew’s subject this episode is Caltiki, the Immortal Monster (1959, Caltiki il mostro immortale), the “is it Riccardo Freda’s or is it Mario Bava’s” Italian horror movie featuring a giant glob of tripe. Whether Freda’s film, Bava’s film, or both, Caltiki is a fun watch with surprising chills from such a low-budget, early entry in the now legendary Italian horror film industry. Of course, Bava’s cinematography and special effects are splendidly displayed throughout the film. Bill Mulligan comes along for the Bava ride, providing his valuable insights regarding his favorite director. As Bill has written, “(Caltiki) is definitely one of the top 3 blob movies of all time, a genre that is composed of The Blob, The Blob, and Caltiki.” The rest of the Grue-Crew are in complete agreement.

At the time of this writing, Caltiki, the Immortal Monster (1959) is available to stream from Tubi and PPV from Apple TV and Amazon Prime. The film is available on physical media as a 2-Disc Special Edition [Blu-ray + DVD] from Arrow Video.

For a different take, check out Paul Cardullo’s Groovy Gory Gruesome Gold Review of Caltiki, the Immortal Monster here: https://gruesomemagazine.com/2017/05/21/caltiki-immortal-monster/ 

Gruesome Magazine’s Decades of Horror: The Classic Era records a new episode every two weeks. Next in their very flexible schedule – this one chosen by Jeff – is The Curse of the Crying Woman (1963, La maldición de la Llorona), a Mexican horror film directed by Rafael Baledón and featuring Rita Macedo, Rosita Arenas, Abel Salazar, Carlos López Moctezuma, and Enrique Lucero.

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans: leave them a message or leave a comment on the Gruesome Magazine YouTube channel, the site, or email the Decades of Horror: The Classic Era podcast hosts at feedback@gruesomemagazine.com

To each of you from each of them, “Thank you so much for watching and listening!”

Check out this episode!

[sirensinxs]

Callum smirked as his attentive eyes watched the blonde's orgasm hit her hard, making a mess out of her and his fingers. "Fuck, babe, look at the mess you made..." His eyes moved down to his fingers soaked and took them to her mouth so she could taste herself. "Look at you..." He moved his free hand to caress her face as her body trembled, looking so vulnerable. "You look gorgeous," The older male leaned forward to kiss her lips hungrily, nipping on her lower lip. "I love you, baby girl. So much... Daddy will always take care of you," He wanted to reassure the girl that he always would be there for her, to make her cum or whatever else she needed. Cal would always take good care of her. "You're not tired, are you?" He wanted more. He needed her.

Daphne was so close to the edge it didn't take much encouragement from him before she made a mess over his hand. She gasped and cried out desperately, grasping tightly onto his wrist, her nails digging into the skin. Her pussy clenched around his fingers, her orgasm hitting her hard, causing her whole body to tremble and arch.

"Fuck-oh god!" She moaned. She was his, fully and completely. He owned her entire body, mind, and soul. "I love you daddy...I'm all yours..." She looked up at him, still coming down from her climax, her body a trembling mess. "I'm yours..."

[dannyreviews]

Frasier (1993 and 2023)

The 1990s was probably the last great era for the American Sitcom and the majority of television viewers would probably pick "Seinfeld" as their favorite. As much as I love "Seinfeld" and its brand of famous gags, one liners and character quips, "Frasier" is in a class of its own above. For 11 seasons, Frasier maintained its Moliere/Alan Ayckbourn wit and farce without missing a beat. Nearly 20 years after the perfectly written series finale, "Frasier" has been rebooted and things have changed, some for the better and the rest for the worst. Here is the rundown about what made the original series a classic and the reboot (so far) a shadow of its former self.

TV Spinoffs are usually a hit or miss affair. The hits like "Laverne and Shirley" and "The Jeffersons" managed to remove themselves from their origin and create their own brand of humor. Others like "After MASH" and "Phyllis" were tedious affairs that forgot their roots and sailed into the sunset of mediocrity. And then you have "Frasier" which took the spinoff to brand new heights. Having already been an established supporting character in another massively successful series "Cheers", Frasier Crane was engrained in the collective consciousness of the prime time audience, so that was one notch in watching the pilot of the original "Frasier". The first thing was to reinvent Frasier as a radio psychiatrist which becomes the foundation for jokes about the human mind. But then you add supporting characters that are so multi-dimensional that they have to compete with the title character for the most laughs. That came in the form of David Hyde Pierce as Frasier's equally pompous psychiatrist brother Niles and John Mahoney as their blue collar, retired, disabled policeman father Martin. Watching the difference between tasting wine and singing Gilbert and Sullivan operettas to drinking beer and watching the ballgame on TV and you have a dynamic that is another foundation of excellent writing. At the same time, there's Peri Gilpin as Frasier's producer Roz who beds every man (single or married) in town and Jane Leeves as Daphne, Martin's in-house nurse and Niles' crush. When you have several running gags all synchronized in 11 amazing seasons that never jumped the shark, the possibilities are endless. Even recurring jokes like the rivalry between the Crane brothers, the elusive identity of Niles' wife Maris, or the random actions of Martin's dog Eddie, were add ons to an already colorful mosaic of wit and wisdom. Like the Sistine Chapel, or Bach's Goldberg Variations, Frasier is several fine tuned sequences that make up a Leviathan of a presentation. What can possibly go wrong?

The reboot of "Frasier" in hindsight should never have happened because in the series finale, the viewer wanted Frasier to have a happy ending and fine true love with his last girlfriend Charlotte. That hope goes out the window and instead what we get is another chapter in our titular character's hapless life when he becomes a lecturer in Psychiatry at Harvard. In the original pilot, we got to know each character's strengths and flaws in only 22 minutes. With the reboot, it takes 2 episodes just to establish each character's back story. Now that Martin is dead and Niles & Daphne are MIA, the majority of the new characters are generic, paint by numbers creations. Frasier's son Frederick (Jack Cutmore-Scott) is blue collar like his grandfather and the deja vu dynamic is not played up for laughs. You have a storyline written in about Frederick's roommate Eve (Jess Salguero) that gets too convoluted and ends up like a subplot in a cheesy soap opera. Most unforgivably, there's Niles and Daphne's son David (Anders Keith) who is supposed to be an amalgam of his parents, but instead of having headstrong principles and acerbic banter, he's just obnoxiously atrocious. This isn't the offspring of a fascinating couple, it's a clone of Screech from "Saved By The Bell". The only thing that somewhat works and has any relevance to the original series is Frasier's scenes with his new colleagues at Harvard which includes his old college friend Alan (Nicholas Lyndhurst) and department head Olivia (Toks Olagundoye). Alan is the new Niles in how he and Frasier exchange intellectual topics and if you can close your eyes, you'd think it was the Crane Brothers. Olivia is tolerable only when she's in the same room as Alan. Otherwise, her scenes with Frasier border on cringeworthy, which goes against the original formula of all the characters mingling with indefinite punchlines. Finally, Kelsey Grammer is at the helm of a rocky boat trying to steer it through choppy waves. He hasn't lost any of his charm but he can only do so much with what's written in the script.

Only three episodes of the reboot have aired as of now (10/22/2023), and the show has a lot to live up to its source material. Roz and Frasier's ex wife Lilith are supposed to make appearances in future episodes. What will they bring to the table and will it rival the classic episodes? I'm not holding my breath, but do hope that the show improves itself.

Original: 10/10

Reboot: 6/10