#fanny sidney

[haveyouseenthisseries-poll]

[leonardcohenofficial]

as is tradition here are my top nine new-to-me watches of the year—in no particular order (l-r, top row to bottom row):

the african desperate (martine syms, 2022) not a pretty picture (martha coolidge, 1975) anatomy of a fall (justine triet, 2023) the girls (mai zetterling, 1968) network (sidney lumet, 1976) the year of the cannibals (liliana cavani, 1970) all the beauty and the bloodshed (laura poitras, 2022) straight on till morning (peter collinson, 1972) microhabitat (jeon go-woon, 2017)

i hit 150 total films and my continual goal of half of the films by women and nonbinary filmmakers, and still definitely need to keep up with deliberately seeking out films by directors of color! feel free to tell me your faves if you’ve seen any of these 🖤👀🎬🍿🎥

i'll tag @privatejoker / @wanlittlehusk / @majorbaby / @edwardalbee / @draftdodgerag / @lesbiancolumbo / @frmulcahy / @nelson-riddle-me-this / @firewalkwithmedvd and anyone else who'd like to share their top watches of the year!

full list of films for the year is included below, favorites are bolded in red:

Farewell Amor (Ekwa Msangi, 2020)

Hell Camp: Teen Nightmare (Liza Williams, 2023)

Blacks Britannica (David Koff, 1978)

New Year, New You (Sophia Takal, 2023)

Family Band: The Cowsills Story (Louise Palanker and Bill Filipiak, 2011)

The Color Purple (Blitz Bazawule, 2023)

The Apology (Alison Star Locke, 2022)

Close (Lukas Dhont, 2022)

Unintended (Anja Murmann, 2018)

Other People’s Children (Liz Hinlein, 2015)

Omega Rising Women of Rastafari (D. Elmina Davis, 1988)

The Gypsy Moths (John Frankenheimer, 1969)

Be My Cat: A Film for Anne (Adrian Țofei, 2015)

Insomnia (Christopher Nolan, 2002)

Chowchilla (Paul Solet, 2023)

Intimate Relations (Philip Goodhew, 1996)

Monument (Jagoda Szelc, 2018)

After Sherman (Jon Sesrie Goff, 2022)

Remnants of the Watts Festival (Ulysses Jenkins, 1980)

Network (Sidney Lumet, 1976)

The Taking of Pelham One Two Three (Joseph Sargent, 1974)

Down Low (Rightor Doyle, 2023)

Our Father, the Devil (Ellie Foumbi, 2021)

The Zone of Interest (Jonathan Glazer, 2023)

Youngblood (Noel Nosseck, 1978)

Joy Division - Under Review (Christian Davies, 2006)

Being Frank: The Chris Sievey Story (Steve Sullivan, 2018)

Sun Ra: A Joyful Noise (Robert Mugge, 1980)

Fanny: The Right To Rock (Bobbi Jo Hart, 2021)

Depeche Mode: The Dark Progression (Alec Lindsell, 2009)

Kraftwerk And The Electronic Revolution (Thomas Arnold, 2008)

Blank City (Celine Danhier, 2010)

Oliver Sacks: His Own Life (Ric Burns, 2019)

Monster (Hirokazu Kore-eda, 2023)

Black Is Beltza (Fermín Muguruza, 2018)

Werewolf (Ashley McKenzie, 2016)

The Humans (Stephen Karam, 2021)

Relative (Tracey Arcabasso Smith, 2022)

The Believer (Henry Bean, 2001)

Lost Angel: The Genius of Judee Sill (Brian Lindstrom and Andy Brown, 2022) 

Animals (Collin Schiffli, 2014)

Scott Walker: 30 Century Man (Stephen Kijak, 2006)

Novitiate (Maggie Betts, 2017)

Hunger (Henning Carlsen, 1966)

Late Night With The Devil (Cameron Cairnes and Colin Cairnes, 2023)

The Stunt Man (Richard Rush, 1980)

New York Doll (Greg Whiteley, 2005)

The Iron Claw (Sean Durkin, 2023)

Your Fat Friend (Jeanie Finlay, 2023)

Scarred Justice: The Orangeburg Massacre 1968 (Bestor Cram and Judy Richardson, 2008)

Targets (Peter Bogdanovich, 1968)

Uptight (Jules Dassin, 1968)

Messiah of Evil (Gloria Katz and Willard Huyck, 1973)

Plastic Paradise (Brett O’Bourke, 2013)

You Hurt My Feelings (Nicole Holofcener, 2023)

Pretty Poison (Noel Black, 1968)

The Shout (Jerzy Skolimowski, 1978)

Shakedown (Leilah Weinraub, 2018)

Class of 1984 (Mark L. Lester, 1982)

Betty: They Say I’m Different (Philip Cox, 2017)

Beautiful Boy (Felix van Groeningen, 2018)

Anatomy of a Fall (Justine Triet, 2023)

Gimme Shelter (Albert Maysles, David Maysles, and Charlotte Zwerin, 1970)

The Beach Boys (Frank Marshall and Thom Zimny, 2024)

High and Low (Kevin Macdonald, 2023)

Brats (Andrew McCarthy, 2024)

I Saw The TV Glow (Jane Schoenbrun, 2023)

The Talented Mr. Ripley (Anthony Minghella, 1999)

Altered States (Ken Russell, 1980)

This Closeness (Kit Zauhar, 2023)

How To Have Sex (Molly Manning Walker, 2023)

American Commune (Rena Mundo Croshere and Nadine Mundo, 2013)

Look In Any Window (William Alland, 1961)

Private Property (Leslie Stevens, 1960)

We’re Still Here: Johnny Cash’s Bitter Tears Revisited (Antonino D’Ambrosio, 2015)

The Wobblies (Stewart Bird and Deborah Shaffer, 1979)

Last Summer Won’t Happen (Tom Hurwitz and Peter Gessner, 1968)

Goodbye Gemini (Alan Gibson, 1970)

Keyboard Fantasies: The Beverly Glenn-Copeland Story (Posy Dixon, 2019)

The Most Beautiful Boy in the World (Kristina Lindström and Kristian Petri, 2021)

The Passenger (Carter Smith, 2023)

The Boys Who Said No (Judith Ehrlich, 2020)

Synecdoche, New York (Charlie Kaufman, 2008)

Karen Carpenter: Starving for Perfection (Randy Martin, 2023)

...And Justice For All (Norm Jewison, 1978)

I Used To Be Funny (Ally Pankiw, 2023)

Badlands (Terrence Malick, 1973)

Straight On Till Morning (Peter Collinson, 1972)

The Same Difference: Gender Roles in the Black Lesbian Community (Nneka Onuorah, 2015)

Thanksgiving (Eli Roth, 2023)

Sorry/Not Sorry (Caroline Suh and Cara Mones, 2023)

Am I OK? (Tig Notaro and Stephanie Allynne, 2022)

Joan Baez: I Am a Noise (Maeve O’Boyle, Miri Navasky, and Karen O’Connor, 2023)

No Direction Home (Martin Scorsese, 2005)

Shutter Island (Martin Scorsese, 2010)

Water Lilies (Céline Sciamma, 2007)

The Strings (Ryan Glover, 2020)

The Crucible (Nicholas Hytner, 1996)

Woman of the Hour (Anna Kendrick, 2024)

The Platform (Galder Gaztelu-Urrutia, 2019)

Tabloid (Errol Mark Morris, 2010)

Will & Harper (Josh Greenbaum, 2024)

Miller’s Girl (Jade Halley Bartlett, 2024)

Give Me Pity! (Amanda Kramer, 2022)

Landlocked (Paul Owens, 2021)

Perfect Love (Catherine Breillat, 1996)

Not a Pretty Picture (Martha Coolidge, 1975)

Seeking Mavis Beacon (Jazmin Jones, 2024)

Renfield (Chris McKay, 2023)

Compulsion (Richard Fleischer, 1959)

An Angel At My Table (Jane Campion, 1990)

Longlegs (Oz Perkins, 2024)

Rare Beasts (Billie Piper, 2019)

Nightman (Mélanie Delloye-Betancourt, 2023)

The Changin’ Times of Ike White (Daniel Vernon, 2020)

The Substance (Coralie Fargeat, 2024)

The Year of the Cannibals (Liliana Cavani, 1970)

Fanatical: The Catfishing of Tegan and Sara (Erin Lee Carr, 2024)

The Loneliest Planet (Julia Loktev, 2011)

Marjoe (Howard Smith and Sarah Kernochan, 1972)

Witches (Elizabeth Sankey, 2024)

Angela (Rebecca Miller, 1995)

The Morning After (Richard T. Heffron, 1974)

Beach Rats (Eliza Hittman, 2017)

Last Summer (Catherine Breillat, 2023)

The Fits (Anna Rose Holmer, 2015)

Hold Your Breath (Karrie Crouse and Will Joines, 2024)

What Comes Around (Amy Redford, 2022)

Dear Zachary: A Letter to a Son About His Father (Kurt Kuenne, 2008)

Priscilla (Sofia Coppola, 2023)

The Girls (Mai Zetterling, 1968)

Sweetie (Jane Campion, 1989)

Victim/Suspect (Nancy Schwartzman, 2023)

The African Desperate (Martine Syms, 2022)

Les Nôtres (Jeanne Leblanc, 2020)

A Sacrifice (Jordan Scott, 2024)

All the Beauty and the Bloodshed (Laura Poitras, 2022)

My Name is Not Ali (Viola Shafik, 2011)

Committed (Sheila McLaughlin and Lynne Tillman, 1984)

Chained (Jennifer Lynch, 2012)

The Hour of Liberation Has Arrived (Heiny Srour, 1974)

All Power To The People! (Lee Lew-Lee, 1997)

Night Moves (Kelly Reichardt, 2013)

Destroyer (Karyn Kusama, 2018)

Late Night (Nisha Ganatra, 2023)

The Year Between (Alex Heller, 2022)

Loved (Erin Dignam, 1997)

Girl In The Picture (Skye Borgman, 2022)

Microhabitat (Jeon Go-Woon, 2017)

Dear Ex (Mag Hsu and Chih-yen Hsu, 2018)

[fuckablerobotbracket]

Round 2 matchups!

High(er) res: [Side A] [Side B] [Side C]

Gonna get started on queueing these bad boys tonight. My goal is for Side A to drop on Friday. This is still a TON of polls so I'm going to stick to one side per day. Each poll will be 24 hours, same as last time. As a reminder, there will eventually be a losers' bracket, so no worries if your character was eliminated in the first round.

Text under cut.

Side A

Genos/The Sorcerer

2B/BT-7274

R.O.B./Revenant

SR-71/Genji

Victor/Xcelerator

Nemesis/Disaster Transport

Balin/Voyager

Toyota 8FGCU20/Canadarm

Lacey/Six

Shodan/K2SO

Mettaton/GLaDOS

Zenyatta/Evac

General Grievous/Roxanne Wolf

Soundwave/Shockwave

Springtrap/Starscream

C3PO/Sun/Moon

Side B

Bubs/T.O.M. 3

Swordsmachine/P03

Von Roll 101/Momo

Inspector Gadget/HAL 9000

Perseverance/Marvin

Edgar/Viktor

Xbot 4000/Roberta

ART/Perihelion/Fey

Legion/AM

Fisto/Nick Valentine

James Webb Space Telescope/Ash

Tasque Manager/Stabby the Roomba

Queen/The Smiler

Bender/Calculester

TARS/Aunt Fanny

Belisarius Cawl/Karen

Side C

Robot/Light Hope

T800/Machinedramon

Fl4K/Lady Parsec

Ramattra/CCaldarius

The Starship Aurora/Synergy

Bastion/Emperor Nefarious

Data/V1

Sundry Sidney/Batou

Phineas T. Ratchet/Seven Red Suns

Curie/Bigweld

EVE (Wall-E)/Queen Vexus

AUTO/Atlas

Frank/L0U13

Robotman/Robo Ky

Aigis/Hera

K_K/Samuel Hayden

[tuesdayisfordancing]

Preliminary thoughts on the second half of 3.4:

“Bob’s your uncle, Fanny’s your aunt” wtf Jack. Is this a thing people say. ETA: apparently people really do add “Fanny’s your aunt” on the end of “Bob’s your uncle”. THE MORE YOU KNOW

Oooh Jack looking at his mother while she talks about Deanna… All these ghosts that hovered around his childhood suddenly aren’t ghosts anymore!

No Raffi and… do I give a Bechdel point between Seven and the changeling? I’m gonna say no bc changeling gender unknown and also bc come the fuck on.

Sidney LaForge shoulda gotten to do more: my first thought is she should’ve been the one to think of throwing the asteroid at the ship, given that she excitedly talked about it when Vadic did it to them, but alternatively they could have also done a thing where ~oh~ people think she’s not a great pilot but when she follows her instincts in a situation with less fancy tools she’s magic! (aka give her Jack’s “wait 4 more seconds trust me” moment)

I care very much about Jack’s sad little face and his sad little cap at the bar and the feelings I am going to assume he has about Starfleet being a fucking. Simultaneous shadow over his whole life that’s the reason he doesn’t have a brother or a dad or stepdad and his mom doesn’t have friends and a bright shining thing that his mom and dad both talk about like it was something incredibly magical and that he doesn’t get to be a part of. BUT I do think all the reasons I brainstormed for Jack not wanting to meet Picard were less cliched and I’m going to continue to headcanon a whole bunch of factors. (Also it’s very hard for me to let go of Jack just being a bitch to Picard for no particular reason I preferred that. I also preferred the shining moment when “I never had [a father]!” was not the cliche bitterness at Picard not being there but instead a defiant statement that his sperm donor is irrelevant and no one is going to tell him that he has or needs a father.)

Oh and Jack saying “I know my mother didn’t hate you but” about his name, interesting. Did he assume she did at one point? More emphasis on Beverly not talking about history. But also, more Beverly being characterized in what people say about her while she’s offscreen.

Entirely insufficient Beverly. Why am I not watching a show called Crusher, about Beverly and her complicated family and her inner life? Like it’s not even that she’s generally been a character I prefer over Picard, neither of them were one of my special little guys on TNG but they were both fun, but right now they’ve set her up with way more interesting stuff going on than him and it feels like she’s not getting the time of day about it!

[mccleans]

sidney crosby is built like aunt fanny from robots

[detournementsmineurs]

"Les Belles Cicatrices" court-métrage de Raphaël Jouzeau avec les voix de Fanny Sidney et Quentin Dolmaire, novembre 2024.

[cleoenfaserum]

TWO OSCAR SHORT FILMS of 1932 FLOWERS AND TREES, MUSIC BOX. AND A WILD CARD: Rhapsody in Black and Blue to jazz it up.

The Oscar short film categories have been an integral part of the Academy Awards since 1932, which was the 5th edition. Initially, the category was divided into Live Action Short Film and Animated Short Film, and later expanded to include Documentary Short Subject. These short films, often overlooked by mainstream audiences, have made significant contributions to the world of cinema.

The very first film to win the Animated Short Film award was “Flowers and Trees” by Walt Disney.

Flowers and Trees is a Silly Symphonies cartoon produced by Walt Disney, directed by Burt Gillett, and released to theatres by United Artists on July 30, 1932. It was the first commercially released film to be produced in the full-color three-strip Technicolor process after several years of two-color Technicolor films. The film was a commercial and critical success, winning the first Academy Award for Best Cartoon Short Subject.

1068-1 LINK: https://youtu.be/_NKcsg8vE_U

READ UP ON: Silly Symphony - Wikipedia

FLOWERS AND TREES was Walt Disney's 29th Silly Symphony production.

The Music Box is a Laurel and Hardyshort film comedy released in 1932. It was directed by James Parrott, produced by Hal Roach and distributed by Metro-Goldwyn-Mayer. The film, which depicts the pair attempting to move a piano up a long flight of steps, won the first Academy Award for Best Live Action Short (Comedy) in 1932. In 1997, it was selected for preservation in the National Film Registry by the Library of Congress as being "culturally, historically, or aesthetically significant". The film is widely seen as the most iconic Laurel and Hardy short, with the featured stairs becoming a popular tourist attraction. The Music Box - Wikipedia

1068-2 link https://youtu.be/xIWcfBWrQlk

 Major film studios dominated this category for the first 30 years, showcasing their creativity and innovation in animation. Over time, the awareness and availability of short films have increased, thanks to organizations like Shorts International. They not only screen the Oscar-nominated shorts in theaters but also bring the best of short films into people’s homes through the Shorts HD network.

Rhapsody in Black and Blue is a short ten-minute film that was created and released in 1932, starring Sidney Easton and Fanny Belle DeKnight. It is an early example of a "music video", showcasing the tunes I’ll Be Glad When You Are Dead You Rascal You and Shine, sung and played by well-known jazz artist Louis Armstrong. The film was directed by Aubrey Scotto and the screenplay written by Phil Cohan.

The story line:

A Husband who would rather listen to jazz and drum on pots and pans than mop the floor is whacked over the head with the mop by his wife when she hears him listening to I’ll Be Glad When You Are Dead You Rascal You. He falls into a dream in which he is the king of "Jazzmania," sitting on a royal throne with servants to fan him. In the dream Louis Armstrong plays and sings jazz for him while dressed in a leopard print cave man outfit. When he wakes up and sees his flustered wife still standing over him, he smiles and breaks a vase over his own head.

1068-3 link https://youtu.be/ThudMtzD3Io

The racism in this film was appalling and offensive to Black America but as stated by Krin Gabbard,“Joe Glaser [Armstrong’s trusted manager] seized any opportunity to find work for Armstrong, and if Glaser made no effort to ask if the movies were good for the Negro people, neither did Armstrong”.

In the book Jammin’ at the Margins, Krin Gabbard quotes Miles Davis saying in his autobiography,"...some of the images of black people that I would fight against all through my career. I loved Satchmo, but I couldn’t stand all that grinning he did”.

Phil Cohan tried to portray Armstrong's role in the film as degrading, but instead Louis decided to embrace his role, and he played his trumpet and sang just as he would any other night with power and authority owning every word he sang. A Rhapsody in Black and Blue - Wikipedia

These short films or documentaries from the 1930's take us back in time, a testament to the artistry and storytelling prowess of filmmakers in a compact format! AI Copilot

[lboogie1906]

The American Negro Theater was formed in Harlem on June 5, 1940, by writer Abram Hill and actor Frederick O’Neal. The group was founded by the influence of the purposes of the Negro Unit of the Federal Theatre Project in Harlem. It produced 19 plays before closing. Designed as a community theater group, performances were held in Harlem’s Schomburg Center for Research in Black Culture. ANT began its Studio Theatre training program for beginning actors. Graduates include Sidney Poitier and Harry Belafonte.

Hill and O’Neal started the ANT by assembling several of their theatre friends: Howard Augusta, James Jackson, Virgil Richardson, Claire Leyba, Jefferson D. Davis, Vivian Hall, Austin Briggs-Hall, Stanley Green, Fanny McConnell, and Kenneth Manigault. Collectively, they started the group with just 11 cents. Hill spent his time mailing out postcards to invite as many people as he could to meetings and within just a few weeks, the group grew to thirty people.

Hill approached librarians at the Harlem Branch of the New York Public Library, to start producing his plays. The librarians granted Hill and the ANT permission to use their basement stage. The basement theatre held 150 seats and Hill charged 49 cents a seat. The first show they produced, was “Hits, Bits, and Skits.” The first major play that the ANT put into rehearsal was “On Strivers’ Row” which Hill put into rehearsal after it had done so well with the Rose McClendon Players who held performances in Harlem. “On Strivers’ Row” ran for five months, Hill moved it to the Apollo Theatre as a musical with the lyrics of Don Burley, the music of J.P. Johnson, and the choreography of Leonard Harper. It ran at the Apollo Theatre for one week. #africanhistory365 #africanexcellence

[multitudecontainer420]

bebe daniels, lucille ball

billie burke jane wyman moira betty grable joan fontaine ruth chatterton diana dors paulette goddard margaret sullavan dorothy lamour mary astor jean arthur loretta young maureen o'hara gloria grahame june allyson judy holliday ann sothern doris day eva marie saint jennifer jones sandra dee mia farrow shirley jones fanny ardant tippi hedren anne baxter dorothy malone janet gaynor carmen miranda yvonne de carlo alice faye sylvia sidney helen hayes luise rainer

[starstcff-z]

#STARSTCFF,  independent,    extremely private,    plot - driven multimuse, featuring characters from star trek, doctor who, librarians, stargate and marvel, adored by odette ( she/her, 26, brazil ).

primary muses: beverly crusher, fanny price, sidney la forge, peter parker && josh lyman

⁽ ⁱ ⁾ carrd.    ⁽ ⁱⁱ ⁾ interest tracker. ⁽ ⁱⁱⁱ ⁾ inbox tag ⁽ ⁱᵛ ⁾ @nursc

[grantmentis]

Notes:

-Defense is i think the lowest amount of available talent (which. Still a lot considering how many defenders there are) so that affected a lot of my division. It’ll be easier to get top end forwards and goaltenders than defenders. Thus defender ended up drafted higher for me, with some defenders getting drafted over higher end forwards because of this 

That being said, a lot of stay at home defenders went undrafted, but I expect them to be scooped up in free agency after the draft to fill out the rosters. They are some of my favorites so this made me sads 

Opposite wise, goalies is where there’s the biggest wealth of talent available to spots available, thus I waited longer to pick them.) I didn’t even have teams who already have one signed goaltender pick another one

Age played a huge part of my drafting strategy 

Maybe its the wnba fan in me but pro experience mattered lot of them when it came down to picking some of the ncaa players vs others 

Im doing this at work with no time to spell check 

Round one:

Minnesota - Taylor Heise (F)

Toronto -Natalie Spooner (F) 

Boston - Alina Müller (F) 

New York - Claire Thompson (D)

Ottawa -  Emma Maltais (F)

Montreal - Erin Ambrose (D)  

Round two: 

Montreal - Ella Shelton (D) 

Ottawa - Sophie Jacques (D) 

New York - Loren Gabel (F) 

Boston - Kali Flanagan (D) 

Toronto - Jaime Bourbonnais (D)

Minnesota - Grace Zumwinkle (F)

Round three: 

Minnesota - Sidney Morin (D) 

Toronto - Jamie Lee Ratray (F) 

Boston - Aneta Tejralová (D) 

New York - Savannah Harmon (D) 

Ottawa - Jocelyne Larocque (D) 

Montreal - Elizabeth GIguére (F) 

Round four: 

Montreal - Dominika Lásková (D) 

Ottawa - Lina Ljungblom (F) 

New York - Emma Söderberg (G) 

Boston - Jillian Dempsey (F) 

Toronto - Ashton Bell (D) 

Minnesota - Susanna Tapani (F) 

Round five: 

Minnesota - Jincy Dunne (D) 

Toronto - Daryl Watts (F) 

Boston - Brooke Hobson (D) 

New York - Mikyla Grant-Mentis (F) 

Ottawa -  Kati Tabin (D) 

Montreal - Ann-Sophie Bettez (F) 

Round Six: 

Montreal - Brittany Howard (F)

Ottawa - Minttu Tuominen (D) 

New York - Allie Munroe (D) 

Boston - Tereza Vanišová (F) 

Toronto - Corinne Schroeder (G) 

Minnesota - Gabrielle Hughes (F)

Round Seven:

Minnesota - Natalie Buchbinder (D)

Toronto - Shiann Darkangelo (F)

Boston - Chloé Aurard (F) 

New York - Kennedy Marchment (F)

Ottawa - Jesse Compher (F) 

Montreal - Jade Downie Landry (F) 

Round Eight. 

Montreal - Gabrielle David (F) 

Ottawa - Kaleigh Fratkin (D) 

New York - Dominique Kremer (D)  

Boston -Maureen Murphy (F) 

Toronto - Kristin O'Neill (F) 

Minnesota - Jonna Albers (F) 

Round Nine: 

Minnesota - Jessie Eldridge (F) 

Toronto - Maggie Flaherty (D)

Boston - Kateřina Mrázová (F) 

New York - Taylor Girard (F) 

Ottawa - Michela Cava (F) 

Montreal - Maude Poulin-Labelle (D)

Round ten: 

Montreal - Theresa Schafzahl (F) 

Ottawa - Patti Marshall (D) 

New York - Madison Packer (F) 

Boston - Olivia Zafuto (D) 

Toronto - Rebecca Leslie (F) 

Minnesota - Allie Thunstrom (F) 

Round Eleven: 

Minnesota - Sophie Shirley (F) 

Toronto - Emma Woods (F) 

Boston - Denisa Křížová (F) 

New York - Claire Dalton (F)

Ottawa - Mélodie Daoust (F) 

Montreal - Hayley Scamurra (F) 

Round twelve: 

Montreal - Audrey-Anne Veillette (F)

Ottawa - Matilda Nilsson (F)

New York - Haley Skarupa (F) 

Boston - Claudia Kepler (F) 

Toronto - Sarah Bujold (F)

Minnesota - Amanda Leveille (G) 

Round thirteen: 

Minnesota - Amanda Boulier (D) 

Toronto - Victoria Howran (D) 

Boston - Caitrin Lonergan (F) 

New York - Becca Gilmore (F) 

Ottawa - Hannah Miller (F) 

Montreal - Leah Lum (F) 

Round Fourteen: 

Montreal - Nicole LaMantia (D) 

Ottawa - Alena Mills (F) 

New York - Fanni Garat-Gasparics (F) 

Boston -  Taylor Wenczkowski (F) 

Toronto - Akane Shiga (F) 

Minnesota - Natalie Snodgrass (F) 

Round Fifteen: 

Minnesota - Sydney Brodt (F) 

Toronto - Emma Nuutinen (F)

Boston - Samantha Davis (F) 

New York -Alexa Gruschow (F) 

Ottawa - Alyssa Wohlfeiler (F) 

Montreal - Christine Deaudelin (D) 

If anyone is interested I might do a mock draft tonight

[chanelbagsandcigarettedrags]

Call My Agent

[verypersonalscreencaps]

How to conduct a job interview, by Andréa Martel – Dix Pour Cent, series 1 ep.1

[lilyhana]

I started watching season 1 of CALL MY AGENT (Original French title Dix pour cent; "ten percent") and I am quite charmed by Fanny Sidney as Camille. Have you watched the series? Am I going to like all 4 seasons?

I also really liked Cecile de France as herself in episode 1 but it seems she’s only in that episode. Too bad.

[detournementsmineurs]

"Les Belles Cicatrices" court-métrage de Raphaël Jouzeau avec les voix de Fanny Sidney et Quentin Dolmaire, novembre 2024.

[cenestpasaudrey]

If anyone asks, this is what I would be doing tomorrow.🤩