#dorothy patterson

[campgender]

“The S Word” – on the performance of Christian patriarchy & the word no one says

from The Preacher’s Wife: The Precarious Power of Evangelical Women Celebrities by Kate Bowler (2019)

transcript under the cut

The apportionment of power between husband and wife was not simply a private matter, either. In the 1970s and 1980s, submission had become something akin to dogma as conservative Christianity reacted to economic and social challenges that had pulled many wives out of the house and into paid employment. Over half of the readership of Today’s Christian Woman, to take a sample of an evangelical readership, had entered the workforce. In this new dispensation, it had become increasingly difficult to assume what women’s work was—she might work longer hours or earn more than he did. He may have heeded the call to assume more of the housework.

Those church leaders uneasy about such a situation began to emphasize that there was a natural order to things—in families, in churches, and in nations—and that God had ordained the superiority of men and a life of submission for women. Defenses of the Christian patriarchy were everywhere, from bestsellers like Larry Christenson’s The Christian Family, seminars like Bill Gothard’s, parachurch ministries like Focus on the Family, and entire movements, like the Shepherding controversy (see Chapter One).

The ambiguity around what constituted modern women’s work created great shows of deference from conservative Christian women who were beginning to be offered other choices. Books like Being #1 at Being #2 encouraged women to accept their husbands’ place as number one (“Do you find yourself in the role of supporting cast rather than the star?”). However, submission was as much a performance as it was a teaching, something to be seen and believed.

A 1968 how-to manual for Christian wifedom offers clues about how such submission was meant to be performed. Submission, the author contended, was like a divine drama with God playing the part of producer, husband playing the part of Jesus, and wife playing the part of the church. A wife’s “script” is submission, but it is not treated as an established fact but an ongoing series of gestures. She puts out the nice china for him with a little comment about how “I’ve been asking the Lord to help me be a better wife.” Her “hearty and joyous” lovemaking demonstrates “the quality of her submission” in the most powerful manner. The wife is even given a script and props for his enthronement as she “voluntarily dethrones her will to make him her lord,” a coronation ceremony that requires that she cut out a paper crown for him.

The most vocal defenders of submission understood that subservience must be enacted. Dorothy Patterson regularly made mention of the fact that, despite her own onerous teaching and speaking schedule, she was Paige’s enthusiastic helpmeet. “I enjoy teaching, I enjoy traveling, I enjoy speaking to women, but I don’t enjoy anything as much as being the wife of Paige Patterson,” she happily told one reporter, while also mentioning her willingness to iron their pillowcases and sixteen of Paige’s shirts before turning to her own work. “I had an appointment at 10 a.m. and a speaking engagement that night, so I started at 6:30 a.m.,” she said. “I just couldn’t go another day without having all those shirts in order.”

Though both had doctoral degrees in theology, he takes his rightful place and she takes hers. Likewise, the cover of the evangelical women’s book A Woman’s Privilege shows a housewife with a cape draped over her apron using a scepter as a scrub brush. The message is clear: she is still royalty at the kitchen sink.

Submission was always much easier to see than to defend. A photograph series in Upon This Rock, a tribute to Anne and John Gimenez’s Virginia megachurch, shows its entirely unremarkable body language. The caption reads: “Pat Robertson interviewing the Gimenezes.” The illustration shows a sunny day and Pat Robertson and John Gimenez are turned toward each other, chatting into their respective microphones. A step behind her husband, Anne clasps her empty hands in front of her, smiling though no one is looking at her.

Talking about submission was a complicated act, for it was difficult for men to discuss without reinforcing their reputations as dominating and primary beneficiaries of this teaching. So, for the most part, submission was played out with the lightest touch. The most popular defenders of the doctrine of submission were usually women, who could put audiences’ minds at ease that their husbands exercise benevolent leadership rather than a cold dictatorship. “Woman is the feminine of man. We are not only created to be man’s helper, but also his complement,” wrote cowgirl Dale Evans Rogers of her co-star and husband.

In fact, the stronger the public teaching against women in ministry, the stronger the woman on the stage had to be. Take, for instance, the opening of the Art of Homemaking conference, where President Paige Patterson’s quip comparing his wife’s obedience to a dog. Audiences would have flinched if Dorothy Patterson were not a steel magnolia herself, who, in closing that evening, flatly told her husband to sit down so someone else—someone who knows what they are doing—could make the announcements.

Her books were careful studies in how to submit to your husband but, in public, they seemed to relish their parts in this Punch and Judy show. The famous couple was almost expected to fight or tease or put each other in their place in a culture preoccupied so much with talk of power, dominance, and submission.

If a famous pastor was married to a shrinking violet, the pageantry of respect around her only increased. Take, for instance, the bombastic Jerry Falwell, primary architect of the Religious Right, whose rhetorical fireballs were lobbed at almost every target—single parenthood, homosexuality, divorce, abortion, drugs, public schools, secular politicians, and even fellow televangelists. His wife, Macel, was rarely seen on stage, preferring the privacy of family life, and so much had to be said about her as a formidable woman.

“My wife and I have been married twenty-eight years. . . . And I want to tell you in twenty-eight years we’ve had some knock-down and drag-outs. [Laughter] I’ve lost every one of them. [Laughter] I tell you, men, the best thing you can do is quickly raise your hands and unconditionally surrender because you’re gonna lose.”

It was a hard doctrine disguised as a joke, a playful show of weakness by men and strength by women. The role reversal—his submission, her dominance—was meant to calm fears about men lording their power over their wives. It was a twinkle in the eye that told the audience, it’s okay.

When asked in a rare interview whether she was “the power behind the Jerry Falwell throne,” she demurred, “a lot of people say that I do fit that role.” In truth, legitimating the inequality between men and women—while allowing both parties to be heroes—was the most difficult aspect of these public partnerships. Ministries longed to strike that note celebrated in the tagline of one California megachurch’s women’s ministry: “Confident heart. Surrendered soul.”

Over time, the doctrine of submission took two different paths as megaministry proliferated and diversified. White evangelicalism, for the most part, softened in its public stance on the subject. David Platt, a young star of the Southern Baptist denomination and president of their mission board, was the embodiment of the undemanding patriarch with his boy-next-door image, calling female audiences “sisters” in a soft, imploring tone and making goofy jokes about how ineptly he courted his wife.

Evangelicalism was still a standard image bearer of Christian families but submission was less discussed than occasionally alluded to. When Beth Moore, the most famous Southern Baptist evangelist, spoke to ten thousand women in Norfolk, Virginia, in 2016, she devoted only a minute to the denomination’s teachings on the matter by saying: “Some women think they can do anything in the church,” a sentiment that was initially met by cheers until the audiences collectively realized that she was beginning a critique and fell silent. “I’m not looking to take a man’s place . . . I’m just looking for my place,” she continued, and audiences warmed the silence with applause.

“Women don’t talk a lot about the s-word anymore,” another megachurch wife told me.

“What’s the s-word?” I asked.

“It’s the word no one says. Submission.”

Black churches, on the other hand, largely adhered to a rich pageantry of submission, particularly when it came to the First Lady. The most deference in women’s biographies in the four hundred largest churches in the countries fell to African American women of almost all theological persuasions (ranging from historic black denominations to non-denominational and pentecostal churches).

A First Lady was not simply a woman but an icon in three respects. She was dutiful wife, first and foremost. Second, she was the church’s paragon of womanhood. And, lastly, she was an ambassador to the community. In this last respect, the role departed significantly from white women of similar denominational stripes. White women would not be called on to serve on the board of a city council’s literacy initiative, for instance, but, rather, she might write a book called The Princess Within. As we shall see throughout the book, black women had to be both a public symbol of the church and the family with a stronger performance of submission.

The presentation of all wives, however, could be so deeply respectful that it masked the intensity of the massive family-run industries that surrounded them and of which they were often a part.

[thechanelmuse]

My Book Review

In his first memoir, The Big Sea, Langston Hughes unveils his self-portrait as a depressed, vulnerable young world traveler in his 20s in the 1920s, aiming to understand his family and sense of self against the barriers of society. His gift of words and will to finally be leads to his self-discovery, awakening, and budding friendships in the midst of examining the racial construct and class structures around him in various countries. I Wonder As I Wonder is a continuation of his wanderlust spirit around the world into the 1930s. Langston paints a portrait of societal structures and cultures around the world —Cuba, Haiti, Russia, Soviet Central Asia, Japan, Spain — (even witnessing dictatorships and the Spanish Civil War) and within the US. He makes his imprint as a gifted wordsmith during the The Great Depression, meeting new and some familiar faces along the way. Just as The Big Sea, I Wonder As I Wonder is a layered sensory book. You feel like you’re right there in the past as a curious world traveler, seeing through his eyes, taking field notes, witnessing the shaping of various countries and the way it translates to the daily lives of the people, and how it all compares/contrasts to today. It's funny that upon concluding this memoir, Langston still writes about wanting to be a writer: “But that is what I want to be, a writer, recording what I see commenting upon it, and distilling from my own emotions a personal interpretation.” The thought of doing while actually doing. Journeying through the preceding pages with him, you understand it's really his longing to make his passion a successful earning career in spite of barriers. He did indeed.

SN: The photos aren’t included in book, but are pivotal to the details in the book. 

Langston Hughes with dog on beach at Carmel, California (1934)

The next 3 photos are Langston Hughes in Haiti (1931)

The next 2 photos are Langston Hughes and Dorothy West in route to Russia (1932)

The Russian film company Meschrabpom's "Black and White" film team on the SS Europe (1932). Front row from left: Mildred Jones, Louis Thompson, Constance White, Katherine Jenkins, Sylvia Garner, Dorothy West, Mollie Lewis. Middle row from left: Wayland Rudd, Frank Montero, Matt Crawford, George Sample, Laurence Alberga, Langston Hughes, Juanita Lewis, Alan McKenzie. Back row from left: Ted Poston, Henry Lee Moon, Thurston Lewis, Lloyd Patterson, Loren Miller

Langston Hughes and German journalist Arthur Koestler (far right) on a cotton kolhoy in Soviet Central Asia (1932)

Langston Hughes in Ashgabat (1932)

Thaddeus Battle, former student at Howard University and activist in the National Negro Congress, Bernard “Bunny” Rucker, and Langston Hughes on the battlefield in Spain (January 1938)

Langston Hughes, Soviet journalist Mikhail Koltsov, Ernest Hemingway, Cuban poet and journalist Nicolás Guillén in Madrid, 1937

[oculiaperticlausi]

fright fest w/ @eclvpses

Kai sits down at the bar, turning his head to nod at the person pushing his drink toward him. He reaches down and plucks it off the table, raising it up to his lips and taking a long sip of it. His attention shifts to the stool next to him as a dark-haired woman struggles to get on it. He notices she's about to slip, his hands reach out and grab a hold of her hips, a low chuckle leaving his lips. "You good?"

[demidevildiva]

Closed Starter:@eclvpses

Bash was just aimlessly playing through the games, not really giving any of it any real attention. Soon enough he'd gathered a bit of a crowd as he kept popping balloons off without missing. It was making him a bit anxious so he quickly rid of the last darts winning a large teddy bear in the process. "Uh - thanks." he said awkwardly to the person who handed to him before turning towards Dottie. "Would you like a stuffed bear?"

[stigmvtas]

( @eclvpses )

"You look so cute!" Myria practically squealed upon approaching Dottie - clasping her hands in theirs; it wasn't the costume, really - Myria always thought Dottie looked cute. Like a little dress up doll - one that she just wanted to pinch the cheeks of, and eat all up. Like a little sister, really. "Have you been on the hayride yet? I heard that there's these, like - chainsaw guys who start chasing you on foot, and like - climbing out of the corn and everything - it sounds really fun, right?"

[badmovieihave]

Bad movie I have An Affair to Remember 1957

[hvneymelons]

Closed Starter: @eclvpses at hospital

Analysis all done and sent to the lab, Dilara finished checking baby Fraser’s vitals. Delivering babies over the years had turned into one of the best feelings that she had ever felt. Whether it was the unavoidable emotional moment right before the head first popped out and a new life entered the world, or the fact that babies were so pure and untainted from the moment they’re born, amongst a thousand or so other options, she couldn’t really figure out the reasoning. All she knew was how easy it was to become attached if you weren’t careful, and over the years it only adds up.  Having had the nurses take care of the analysis and the basic check ups, Dilara could focus on chatting up with Dottie which was honestly one of her favorite part of the job along with playing with Fraser. She reached for the baby, holding him up on the examining table as she bounced him on his feet. “How has he been doing with feedings? Are we eating better now?”

[oculiaperticlausi]

Kai laughs. "Superman and Batman are overrated... but of course that's between us." He winks at her as he drifts his gaze across her features. She's so fucking beautiful he wonders if she even knows it. He nods his head at her question, knowing he wouldn't take the compliment back to save his life. He also knows he should be more careful with a girl like her, knowing he was no where near ready to jump into something else. Not when Bella still owned his entire heart. "It's cute," he says, leaning in and pressing his lips against her cheek. "Pink looks good on you."

@eclvpses

“Yeah, obviously. Don’t tell anyone I said this because I feel like people will be - just, overly pissed, but I always thought Superman is overrated. You’re not though. You’re cool.” Dottie was just about over the moon at his compliment - she tried to hide it, but she wore her heart on her sleeve. A megawatt smile emerged that caused her cheeks to already begin to ache. “You think so?” She asked, both about his kind words and the power couple comment. “About - like, being a power couple even better than Superman and Lois. Big shoes to fill! But thank you for being kind as well. I think I’m blushing a lot, I feel silly.”

[hawkingbishop]

Tethered - An Imodna/Critical Role WLW Fanmix

1. DDRMR - Vegeta Hell's Bells Theme // 2. Halsey - Bells in Santa Fe // 3. Brandi Carlile - Raise Hell // 4. Tamberlin - possessed // 5. Esmé Patterson - No River // 6. L7 - Moonshine // 7. Twin Tribes - Shadows // 8. Stevie Nicks - Sorcerer // 9. girl in red - dead girl in the pool. // 10. Julia Sheer - Give Your Heart a Break // 11. Nervus - Sick Sad World // 12. Laura Jane Grace - SuperNatural Possession // 13. Amaris - Undead // 14. Haroula Rose - Lavender Moon // 15. Jenny Owen Youngs - Your Apartment // 16. Anya Marina - Tethered to the Dark // 17. Hozier - NFWMB // 18. The Civil Wars - Dust to Dust // 19. salvia palth - (dream) // 20. Lana Del Rey - Season of the Witch // 21. Dorothy - Raise Hell // 22. She Wants Revenge - A Hundred Kisses // 23. The Naked and Famous - Bells // 24. Daughter - All I Wanted // 25. Dream, Ivory - Dream, Ivory // 26. DDRMR, Kelsey Luo - Lullabies // 27. In Love With a Ghost - I Was Feeling Down, I Found a Nice Witch and We're Friends // 28. Rasputina - Bad Moon Rising // 29. Alice Phoebe Lou - Witches // 30. Tanner Adell - Strawberry Crush // 31. Lebanon Hanover - Kiss Me Until My Lips Fall Off // 32. Turnover - Like Slow Disappearing // 33. Jenny Owen Youngs - Teenage Dream // 34. Wolf Girl - Dream Partner // 35. MARINA - Immortal // 36. Adna - Beautiful Hell // 37. The xx - Together // 38. Emily Jane White - Hands // 39. Dead Man's Bones - My Body's a Zombie For You // 40. Adna - Dreamer // 41. Sarah McLachlan - Possession // 42. Against Me! - Two Coffins // 43. Nick Drake - Pink Moon // 44. Starbenders - BITCHES BE WITCHES // 45. MisterWives - Dreams // 46. Yuna - Lullabies (Adventure Club Remix) // 47. Turnover - Disintegration // 48. girl in red - we fell in love in october // 49. Mother Mother - Arms Tonite // 50. Mareux - The Perfect Girl // 51. Lana Del Rey - Born To Die (Woodkid & The Shoes Remix) // 52. Nightcomber, Jenny Owen Youngs - Witchcraft // 53. vivi rincon - if we lived on the moon //

[kwebtv]

From the Golden Age of Television

Season 5 Episode 12

The Bob Cummings Show - Bob Judges a Beauty Contest - NBC - December 16, 1958

AKA "Love that Bob"

Written by Paul Henning and Dick Wesson

Produced by Paul Henning

Directed by Bob Cummings

Stars:

Bob Cummings as Bob Collins

Ann B. Davis as Charmaine "Schultzy" Schultz 

Rosemary DeCamp as Margaret MacDonald

Dwayne Hickman as Chuck MacDonald

Nancy Kulp as Pamela Livingstone

Rose Marie as Martha Randolph

Sidney Miller as Roscoe DeWitt

Madge Blake as Florence Patterson

Robert Burton as General Patterson

Dorothy Johnson as Harriet Wyle

Peter Lawford as Himself

Bill Baldwin as Announcer

[princesssarisa]

"Little Women" Posthumous Reunion: Final Resting Places of the People Behind the Novel and Its Adaptations

As a fan of the YouTube channel Hollywood Graveyard and the "Posthumous Reunion" pages on FindAGrave.com, I thought I would make a similar tribute to the people behind Little Women and its best-known screen adaptations. This is a guide to the burial sites (if they exist) of all the adaptations' leading actors and creative team members who have died, as well as those of the Alcott family and their friends, for anyone who hopes to visit them someday.

@littlewomenpodcast, @joandfriedrich, @thatscarletflycatcher

Arlington National Cemetery – Arlington, Virginia, USA

John Davis Lodge (John Brooke, 1933 film)

Cementerio de Benalmádena – Benalmádena, Spain

Paul Lukas (Friedrich Bhaer, 1933 film)

Ceder Hill Cemetery – Hartford, Connecticut, USA

Katharine Hepburn (Jo, 1933 film)

Cimitero Flaminio – Rome, Italy

Rossano Brazzi (Friedrich Bhaer, 1949 film)

Cimitiére Communal de Montrouge – Montrouge, France

May Alcott Nieriker (real-life Amy) (site unknown)

Forest Lawn Memorial Park, Glendale – Glendale, California, USA

Edna May Oliver (Aunt March, 1933 film)

June Allyson (Jo, 1949 film)

Elizabeth Taylor (Amy, 1949 film)

Robert Young (Mr. Laurence, 1978 miniseries)

George Cukor (director, 1933 film)

Mervyn LeRoy (director/producer, 1949 film)

Max Steiner (music, 1933 and 1949 films)

Adolph Deutsch (music, 1949 film)

Forest Lawn Memorial Park, Hollywood Hills – Los Angeles, California, USA

Jean Parker (Beth, 1933 film)

Leon Ames (Mr. March, 1949 film)

Holy Cross Cemetery – Culver City, California, USA

Mary Astor (Marmee, 1949 film)

Inglewood Park Cemetery – Inglewood, California, USA

Samuel S. Hinds (Mr. March, 1933 film)

Kensico Cemetery – Valhalla, New York, USA

Henry Stephenson (Mr. Laurence, 1933 film)

Mortlake Crematorium – Richmond, Greater London, England

Pat Nye (Hannah, 1970 miniseries)

Mount Hope Cemetery – Hastings-on-Hudson, New York, USA

Lucile Watson (Aunt March, 1949 film)

Oak Hill Cemetery – Lawrence, Kansas, USA

Alf Whitman (real-life Laurie)

Pleasant View Cemetery – Lyme, Connecticut, USA

Joan Bennett (Amy, 1933 film)

Savannah Cemetery – Savannah, Tennessee, USA

Elizabeth Patterson (Hannah, 1949 film)

Shiloh Cemetery – Shiloh, Illinois, USA

Mary Wickes (Aunt March, 1994 film)

Sleepy Hollow Cemetery – Concord, Massachusetts, USA

Louisa May Alcott (author and real-life Jo)

Abigail May Alcott (real-life Marmee)

Amos Bronson Alcott (real-life Mr. March)

Anna Alcott Pratt (real-life Meg)

John Bridge Pratt (real-life John Brooke)

Elizabeth Sewall Alcott (real-life Beth)

Henry David Thoreau (possible real-life Friedrich Bhaer)

Sparkman Hillcrest Memorial Park – Dallas, Texas, USA

Greer Garson (Aunt March, 1978 miniseries)

St. Leonard’s Churchyard – Hove, East Sussex, England

C. Aubrey Smith (Mr. Laurence, 1949 film)

Valhalla Memorial Park – North Hollywood, California, USA

Mabel Colcord (Hannah, 1933 film)

Westwood Village Memorial Park – Los Angeles, California, USA

Janet Leigh (Meg, 1949 film)

Cremated, Ashes Held Privately or Scattered

Frances Dee (Meg, 1933 film)

Douglass Montgomery (Laurie, 1933 film)

Peter Lawford (Laurie, 1949 film)

Patrick Troughton (Mr. March, 1970 miniseries)

Jean Anderson (Aunt March, 1970 miniseries)

Dorothy McGuire (Marmee, 1978 miniseries)

Richard Gilliland (Laurie, 1978 miniseries)

William Schallert (Mr. March, 1978 miniseries)

Virginia Gregg (Hannah, 1978 miniseries)

Angela Lansbury (Aunt March, 2017 miniseries)

Michael Gambon (Mr. Laurence, 2017 miniseries)

Sarah Y. Mason (screenwriter, 1933 and 1949 films)

Victor Heerman (screenwriter, 1933 and 1949 films)

Merian C. Cooper (producer, 1933 film)

Donated to Medical Science

Spring Byington (Marmee, 1933 film)

Unknown (Not Made Public or No Information Online)

Ladislas Wisniewski (real-life Laurie)

Richard Stapley (John Brooke, 1949 film)

Stephanie Bidmead (Marmee, 1970 miniseries)

Frederick Jaeger (Friedrich Bhaer, 1970 miniseries)

John Welsh (Mr. Laurence, 1970 miniseries)

John Neville (Mr. Laurence, 1994 film)

David Hempstead (screenwriter, 1933 film)

Elmer Bernstein (music, 1978 miniseries)

[killed-by-choice]

Their deaths were preventable.

All of these people were killed by “safe and legal” abortion. There are many more.

(from left to right, top to bottom: Roselle Owens, Antonesha Ross, Lisa Marie Fusco, Jennifer Morbelli, Sara Jane Niebel, Tonya Reaves, Karnamaya Mongar, Sandra Milton, Dawn Ravenell, Michelle Madden, Kenniah Epps, Angie Hall, Holly Patterson, Edrica Goode, Venus Ortiz, Twila Coulter, Katrina Poole, Sara Lint, Yvonne Corrie Mesteth, Marla Anne Cardamone, Alesha Thomas, Stacy Ruckman, Kia Jorden, Jamie Lee Morales, María Del Valle González López, Christi Stile, Hoa Thuy “Vivian” Tran, Manon Jones, Alexandra Nunez, Belinda Byrd, Danette Perguson, Charisse Ards, Helen Grainger, Patricia King, LaKisha Wilson, Synthia Dennard, Tia Archeiva Parks, Sharon Hamptlon, Susanne Logan, Gracealynn “Tammy” Harris, Teresa Causey, Sarah Dunn, Dorothy Muzorewa, Keisha Atkins, Oriane Shevin, Carolina Gutierrez, Semika Shaw, Jessie-Maye Barlow, Gina Gardner, LaSandra Russ, Sherry Emry, Diana Lopez, Sharon Jean Davis, Laura Hope Smith, Natalie Meyers and Janice Gumm.)

[byneddiedingo]

Clark Gable and Carole Lombard in No Man of Her Own (Wesley Ruggles, 1932)

Cast: Clark Gable, Carole Lombard, Dorothy Mackaill, Grant Mitchell, Elizabeth Patterson, George Barbier, J. Farrell MacDonald, Tommy Conlon, Walter Walker, Paul Ellis, Charley Grapewin. Screenplay: Maurine Dallas Watkins, Milton Herbert Gropper, Edmund Goulding, Benjamin Glazer, based on a novel by Val Lewton. Cinematography: Lee Tover. Film editing: Otho Lovering. Costume design: Travis Banton. 

If actors weren't cattle, as Alfred Hitchcock is reported to have said, they were at least property, and their studios treated them as such. Clark Gable was becoming one of MGM's most valuable properties when he was loaned out to Paramount to make the only film in which he starred with Carole Lombard, who later became his wife. It was part of a complicated talent swamp initiated by Marion Davies, who had clout with MGM because of her relationship with William Randolph Hearst, who produced films for her that were distributed by MGM. Davies wanted Bing Crosby for a movie, so Paramount traded him to MGM for Gable and No Man of Her Own. Lombard became his co-star only because Miriam Hopkins didn't want to take second billing to Gable. The studio mountains labored to bring forth a cinematic mouse: a passable romantic comedy remembered only for the star teaming. Gable and Lombard are very good in it, though he comes off somewhat better than she does. Lombard was best in movies that gave her license to clown, like Twentieth Century (Howard Hawks, 1934) and My Man Godfrey (Gregory La Cava, 1936). In No Man of Her Own she's simply a woman who knows what she wants, and it isn't necessarily Gable, it's just to get out of the dull little town where she's the librarian. Gable on the other hand is in a role tailor-made for him: "Babe" Stewart, a raffish professional poker player who's as adept at wooing women as he is at cheating at cards. On the verge of getting caught by the detective (J. Farrell MacDonald) who's been tailing him, he skips town and winds up in the burg that Lombard's Connie Randall wants to escape. She catches his eye -- in one pre-Code scene she climbs a ladder and he looks up her skirt -- and with improbable speed they get married. Eventually she finds out that he's not the stockbroker he pretends to be, but nothing fazes her. He gets in trouble again, but just as he's about to take it on the lam, deserting her, he finds of course that he really loves her. The story lacks snap and tension: It was cobbled together from several sources, nominally from a novel by Val Lewton called No Bed of Her Own, a title the Hays Office nixed, but also from another story in Paramount's files. What life the film has comes from Wesley Ruggles's direction and from its performers, including Dorothy Mackaill as Babe's former partner in card-sharping. Lombard and Gable work well together, but reportedly didn't strike any off-screen sparks at the time -- they were both married to other people. They met again at a party four years later and were married in 1939.   

[oculiaperticlausi]

fright fest w/ @eclvpses

Mateo bumps into someone. He's a few drinks in, okay, maybe a little more than a few and for some reason he hadn't even seen her coming since his gaze was focusing on the crowd in hopes to run into Brooklyn. He clears his throat, parting his lips to apologize when he recognizes her. "Hey... Still climbing ladders?"

[demidevildiva]

Closed Starter:@eclvpses

"I wasn't getting ahead on the taco truck, but...I found us some deep fried oreos." Dante sang as he made her way back towards Dorothy after having had left her waiting while he cut ahead in line to get some food. "You won't believe how amazing they are. Here." He grabbed an oreo and held it up to her mouth while he grinned. "Have a taste."

[stigmvtas]

( @eclvpses )

"How's your head? I didn't concuss you, did I?" Fretting over Dottie like it'd happened yesterday, and not weeks prior - Kiran peered over her head, as if looking for a cartoonishly big, red welt. "If you sued me - I would, well - be broke - but well deserved, I think - I genuinely still feel awful, Dot. Should've pushed you out of the way - shielded you, y'know- like the uh, meme of the soldier taking the bullets for the sleeping kid. I'm not braver than a Marine - I'm a sham, a fraud, maybe, even - you look beautiful, by the way - I didn't mean to not lead with that, uh -"