#florence gordon

[narklos]

The guilt of what you did will kill you quicker than the Combine ever will.

[mostunderratedawards]

Honorable Mention Female 

Molly Gordon in Theater Camp

Florence Pugh in A Good Person

Thomasin McKenzie in Eileen

Melissa Barrera in Scream VI 

Sydney Sweeney in Anyone But You

Phoebe Dynevor in Fair Play 

Rachel Zegler in The Hunger Games: The Ballad of Songbirds & Snakes

Melissa McCarthy in The Little Mermaid

[gt-icons]

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[thelastharbinger]

Benoit Blanc/ Knives Out 3rd Installment Dream Cast!

Okay! Hear me out:

Ayo Edebiri as our lead. She slays, she’s amazing, she eats up every scene.

Penelope Cruz as the ring leader of the group. Takes no shit and looks after her family by any means necessary.

Chris Pine as the polite yet reserved one of the group. Secretly a Proud Boy.

Anne Hathaway as the rich bitch with a slight alcohol addiction.

Nicholas Braun as the narcissistic nepo baby. Right from the get-go he’s an asshole.

Anna Faris as the quirky, out-of-touch friendly one who tries to be woke but is actually a centrist.

Melissa McCarthy as the problematic aspiring comedian with the very uncomfortable “jokes.”

Jensen Ackles as the sus potential love interest who turns out to be major red flags.

Florence Pugh as the only trusting ally with a private, backstabbing agenda. Slightly murderous.

Plus...

Joseph Gordon-Levitt as the nft-ai tech bro.

Keke Palmer as the new money trying to hold onto her status.

Hunter Schafer as Chris Pine’s daughter. Self-involved, reckless. The wild card.

Woody Harrelson as the one you really wanna like but can’t because his character voted for Trump twice. Conspiracy theorist and prob also a misogynist.

[moorheadthanyoucanhandle]

GONE FISSION

Opening in theaters this weekend:

Oppenheimer--This biopic splits time the way its hero splits the atom. Narrative is fissionable to writer-director Christopher Nolan; he skips back and forth between episodes of Oppenheimer (Cillian Murphy) as a bumbling student, then as a philandering rising star in the new field of quantum physics, then as the determined yet haunted lord of Los Alamos, then as a post-bomb martyr to '50s era red-baiting. It glides along smoothly through its fractured scheme, beautifully shot by Hoyt van Hoytema in black and white and varyingly muted shades of color depending on period and point of view, and pushed along by a solemn Philip Glass-esque score by Ludwig Göransson.

Often crowned by a horizontal wide-brimmed preacher-style hat that makes him look like Brad Dourif in Wise Blood, Murphy uncannily captures the bursting, wide-eyed, near-ecstatic face that we see in photos of Oppenheimer. But he manages to give the performance a human dimension, with everyday foibles and touches of humor. He's not a pageant figure.

Murphy carries a star presence. But he's very ably supported by a huge, colorful gallery of star character players: Robert Downey Jr. as AEC Chairmen Lewis Strauss and Josh Hartnett as Ernest Lawrence and Benny Safdie as Edward Teller and Tom Conti as Albert Einstein and David Krumholtz as Isidore Rabi, Oppenheimer's menschy colleague who makes sure he eats and nudges his conscience, and Matthew Modine and Casey Affleck and Kenneth Branagh and Rami Malek and Alden Ehrenreich, to name only a few.

They're all entertaining, but two in particular jolt the movie to life: Florence Pugh as Oppenheimer's joyless lover Jean Tatlock and Matt Damon as the practical-minded, professionally unimpressed Leslie Groves, representing us laypeople in his deadpan, flummoxed scenes with Murphy. For a while it seems like Emily Blunt is underserved as Kitty Oppenheimer, but near the end she gets a juicy, angry scene opposite AEC lawyer Roger Robb (Jason Clarke), who has underestimated her.

Other than maybe a few too many scenes of the young "Oppie" having visions that look like the psychedelic mindtrip at the end of 2001, there was no point where I found Oppenheimer less than absorbing. Few would suggest that this ambitious, superbly acted, superbly crafted film isn't a major, compelling work, a vast expansion on Roland Joffé's watchable but modest Fat Man and Little Boy from 1989. If Nolan's film isn't quite completely satisfying, there could be two reasons.

One is that trying to arrive at a moral conclusion about this movie's hero seems impossible. Put (too) simply: on the one hand, Oppenheimer won World War II for the good guys and checked fascism (not checkmated it, alas) for more than half a century. On the other hand, his invention has the potential to ruin the world for everybody. Both can be true, and the ambiguity is unresolvable.

Another problem with the film, however, is a matter of simple showmanship. Back in 1994, James Cameron brought his silly action picture True Lies to a point where Arnold Schwarzenegger and Jamie Lee Curtis kiss while, far in the distance, we see a mushroom cloud erupt on the horizon. Triumphant, but then Cameron pushed his luck, piling on one last struggle with the villain in a Harrier jet. I remember thinking (and writing) at the time that when your hero and heroine kiss in front of a mushroom cloud, the movie is over.

Oppenheimer, obviously a very different movie, is uneasily structured in the same way. The scenes leading up to the Trinity Test at White Sands in 1945 are riveting, pulse pounding. The explosion and the immediate aftermath, ending the war in Japan, is a stunning dramatic climax.

But then the movie keeps going, for another hour or so, detailing the war of spite and will between Strauss and Oppenheimer, and the revocation of Oppenheimer's security clearance. It's interesting, provocative material in itself, but it seems a little petty and trivial after the "I am become death; destroyer of worlds" stuff. Given Nolan's supposed consummate skill at scrambling sequence, couldn't he have somehow structured the movie to end with a bang and not a whimper?

Barbie--Something is rotten in the state of Barbieland. As this, her first live-action feature begins, our titular heroine finds herself haunted, right in the middle of raging dance parties at her Dreamhouse, by thoughts of death. Still more alarming, when she steps out of her pumps, her feet go flat to the ground.

To be clear, the Barbie in question, played by Margot Robbie, is "Stereotypical Barbie," the blond, inhumanly thin and leggy iconic version of the Mattel doll. She shares the relentlessly cheery pink-plastic realm of Barbieland with countless other Barbies of every race and body shape and profession, all happy and accomplished and untroubled and mutually supportive. They're dimly aware of us in the "Real World"; they believe that their own harmony has created an example that has led to female empowerment and civil rights over here.

The Barbies also share Barbieland with Ken (Ryan Gosling) and countless variant Kens, as well as Ken's featureless friend Allan (a perfectly cast Michael Cera). But the guys exist entirely as accessories to the relatively uninterested Barbies. Ken's unrequited fascination with Barbie makes him subject, unlike the Barbies, to dissatisfaction.

Barbie goes for advice to "Weird Barbie" (Kate McKinnon), whose hair is frizzy and patchy and who's stuck in a permanent split. She's told that her troubles come from the dark feelings of somebody who's playing with her in our reality, so she sets out on a quest to the Real World, emerging in Venice Beach. Barbie connects with a mom and teenage daughter (America Ferrera and Ariana Greenblatt) whose relationship is strained; she's also pursued by the all-male board of Mattel, led by Will Ferrell. Ken, meanwhile, learns about our patriarchy, likes what he hears, and heads back to Barbieland alone to institute it, with himself at the top.

Mattel was founded in 1945, the same year as the Trinity Test, and there are probably feminist social critics who would argue that Barbie, invented in 1959 by Mattel co-founder Ruth Handler (well played by Rhea Perlman in the film), has wreaked only a little less havoc on the modern psyche than Oppenheimer's gadget. Even though I'm in exactly the right generational wheelhouse (I was born in 1962), my own childhood experience with Barbie was very limited, and thus so were my nostalgic associations with her.

Even so, this nutty fantasy, directed by Greta Gerwig from a brilliant script she wrote with Noah Baumbach, made me laugh from its inspired first scene to its Wings of Desire finish. Narrated in the droll, arch tones of Helen Mirren, it manages to come across as both an ingenious pop-culture lampoon/celebration and an unpretentious but surprisingly heartfelt deep dive into the implications of the Barbie archetype. I wasn't a big fan of Gerwig's 2019 version of Little Women, but here she builds her world with the freedom of, well, a kid playing with dolls, but also with the confidence and adult perspective of an artist.

Not everything in the movie works; in the second half the narrative gets a little lost at times in some very strange musical numbers/battle scenes, and the whole thing comes close to going on a bit too long. And it's hard to say just who this movie is for. It hardly seems intended for little girls; however smart, they're too young for the commentary about female identity to mean much to them yet. It seems more like it's meant for adult women with both a fondness for and an ambivalence toward Barbie.

No doubt there are those who would also complain that, however witty and self-effacing, the movie amounts to a feature-length commercial for the brand. But in the age of Marvel and other such franchises, it seems a little late to object to this.

The revelation in the film is Margot Robbie. It seems ridiculous that she's able, in the role of freaking Barbie, to give a performance of such subtlety and nuance and shading and quiet, unforced wistfulness, but she does. And she gets to deliver the best last line of the year.

Theater Camp--Joan, the founder of "AndirondACTS," a slightly gone-to-seed theater camp in upstate New York, has fallen into a coma. The job of keeping the struggling camp afloat falls to her decidedly non-theatrical "crypto bro" son Troy. Meanwhile the devoted instructors work with the exuberantly happy campers to mount the shows, including an original musical about the life of poor comatose Joan (Amy Sedaris). Needless to say, all does not go smoothly.

The creators of this Waiting for Guffman-esque "mockumentary" comedy, Molly Gordon, Nick Lieberman, Ben Platt and Noah Galvin, know the world they're depicting well; all of them have been doing theater since they were small children. Gordon and Lieberman co-directed, from a script by all four; Platt and Gordon play Amos and Rebecca-Diane, the utterly enmeshed, co-dependent acting instructors and Galvin plays the low-profile tech director.

They capture the camaraderie and the sense of belonging that theater can give kids, and their affection for that world is unmistakable, but they're careful not to get too sentimental. The envies and resentments and passive-aggressive denigrations among theater folk, especially at this often professionally frustrated level, are vividly represented.

Getting laughs from the self-important vanities of theater people is pretty low-hanging fruit, I suppose, but Theater Camp is nonetheless often hilarious. The film also manages to get a little deeper at times, touching on the irony that while theater can create a haven and a community for misfit kids, this can generate its own clannishness and exclusionary snobbery, as in Amos and Rebecca-Diane's coldness toward the imbecilic but well-intentioned Troy, charmingly played by a sort of poor-man's Channing Tatum named Jimmy Tatro.

The real joy in Theater Camp, of course, is the acting: Platt, Gordon, Tatro, plus a few vets like Sedaris, Caroline Aaron and David Rasche bring the material to life. But as Glenn, the long-suffering backstage drudge who really ought to be onstage, Noah Galvin, who replaced Platt on Broadway in Dear Evan Hansen, is the revelation among the adults in the cast. He's a knockout.

The revelation among the kids playing the campers is, well, pretty much all of the kids playing the campers. There are some real singing, dancing and acting prodigies in this company. If there was a real theater camp somewhere with this kind of talent, their shows would sell out.

[gangles-toybox]

Ships!!

Might continue this later but here is a current list of ships I ship for Moral Orel!! Kids: -Joe x Orel(Keeping this here for consistency but know that I no longer ship this after learning that Orel and Joe are second cousins) -Joe x Christina -Orel x Christina -Christina x Marionetta -Tommy x Doughy -Doughy x Orel -Billy x Kid One(or unnamed ginger kid) Adults: -Stephaine x Nurse Bendy -Mr. Cartsen x Miss Censordoll -Bloberta x Millie Fakey -Clay x Reverend Putty -Dottie x Florence -Gordon Massykiss x Clay(bc of a Twitter parody account) And yea, that's my taste, for now at least. How about yours?

[streamondemand]

'Thirteen Women' – Irene Dunne vs. Myrna Loy on Criterion Channel

Thirteen Women (1932) is a “Ten Little Indians”-style thriller set in a circle of sorority sisters whose planned reunion is marred with premonitions of death, murder, and suicide sent by a swami (C. Henry Gordon) whose astrological readings are all the rage in their society. Irene Dunne is Laura Stanhope, the good girl center of the sorority society, and Myrna Loy is Ursula Georgi, the exotic…

[denimbex1986]

'In case you didn't hear, Oppenheimer has a stacked cast — stacked to a degree that we haven't seen since Kenneth Branagh's Hamlet back in 1996. It's one thing to have a top-level cast of main actors like Cillian Murphy, Robert Downey Jr., Matt Damon, Emily Blunt, and Florence Pugh; it's another to have characters that appear on-screen for all of a few minutes be filled with actors like Rami Malek, Casey Affleck, Gary Oldman, and the '90s king himself Josh Hartnett. Whether you knew ahead of time any of these actors would be in this film or not, it provides a small surge of surprise at the moment and makes the audience perk up and pay more attention to what a seemingly small character is doing if it's somebody with a proven screen presence and a history with the audience.

How Does Christopher Nolan Use Casting To Flesh Out Smaller Roles?

Christopher Nolan seems to cast smaller roles in his films with actors who have generally played clear types of characters before. The audience's familiarity with the kinds of characters these actors have generally played in the past fill in the smaller roles in Nolan's films, thereby making it easier for the audience to get a handle on who these people are without fully introducing them through the writing itself. Early on in Oppenheimer, we're introduced to Niels Bohr, a famous scientist who Oppenheimer admired, and he's played by Kenneth Branagh, who imbues him with that feeling of commanding leadership and portentous charisma he brought to his previous roles in Dunkirk and Tenet. This ensures that we know why Oppenheimer looked up to him and was influential in setting him on his path of scientific pursuit.

Or take Gary Oldman, who has arguably the shortest role of all the major actors, since he's in one scene for about three minutes as President Harry Truman, meeting with Oppenheimer after dropping the atomic bombs on Japan. This time, the use of Oldman comes as a misdirection, as his history with Nolan recalls being the honest and good-hearted Jim Gordon in The Dark Knight trilogy, while his heavily prosthetic-laden appearance recalls his Oscar-winning role as historical antifascist hero Winston Churchill in Darkest Hour. Except in this film, Truman turns out to be neither; he's a crass and vainglorious bully who hates that Oppenheimer feels guilty for creating the bomb, calls him a "crybaby" and demands he gets out of his office. It's devastating and almost a betrayal to Oppenheimer's character, and the betrayal is magnified by our mixed history of Oldman as both upstanding figures and dastardly villains in mainstream films.

Christopher Nolan Uses Typecasting to His Advantage

Beyond Oppenheimer's cameos, some characters do have larger roles in the movie's plot but are largely defined by their function in service to the plot rather than by their personality. Those roles, then, seem to have been filled with actors who have a consistent reputation for certain characters. Take Dane DeHaan, who plays a military authority figure who works for Matt Damon's character and spends most of his screen time glowering and staring at others with condescension. This comes off as more believable coming from DeHaan since we know him primarily for a history of playing unstable or angry men in projects like Chronicle, Lawless, The Amazing Spider-Man 2. My favorite instance of this practice is David Dastmalchian, an associate of Oppenheimer's rival, Lewis Strauss (Downey, Jr.), who is always defined as being shifty, untrustworthy, and a human rat. Dastmalchian is delightful in this role not simply because he has the perfect big eyes and tight sickly demeanor, but we project his more notable roles as crazed suspicious men like Bob Taylor in Prisoners or the cop that the Joker recruited in The Dark Knight onto this walking red flag of a whistleblower.

If it isn't related to past history, sometimes it's just how an actor looks that perfectly enhances the character. The strangest example of this is Rami Malek's presence. Malek plays a scientist of relative unimportance, who is in two separate scenes where he says nothing and just looks awkward and terrified at making a wrong move. He's such a shivering puppy that you barely register him as even there. So when Strauss is made aware that a surprise witness could blow up his chance at being added to President Eisenhower's cabinet, and he openly wonders who it is, and Rami Malek shows up with his gargantuan moon eyes laser focused with secrets to spill, it's an awesome "oh THAT GUY" moment.

'Oppenheimer' Continues a Great Cameo-Casting Tradition

While this film may have gotten a lot of press for having so many big names in small roles, this isn't really all that new an occurrence for a major film to do. If you look back throughout mainstream film history, there are some great instances of already reputable actors having small roles that drastically enhanced that role's quality. Holly Hunter was already an established Oscar-nominated actress when she showed up for around six minutes in The Firm as Gary Busey's Southern belle secretary who existed mostly for exposition purposes, and her sass and sex appeal exploded off the screen and got another Oscar nomination (the same year she won for The Piano, no less).

Kenneth Branagh's Hamlet got Charlton Heston to perform a monologue that's irrelevant to the plot and got Richard Attenborough for just one scene to deliver the iconic statement that Rosencrantz and Guildenstern are dead. In Network, Ned Beatty is in about one and a half scenes where he mostly screams and disciplines Peter Finch about how he was threatening their media relations with his ranting, and it was so memorable that...twist, he got an Oscar nomination. Absolutely none of these roles were at all primed for those levels of success and recognition, but they were elevated to that status by having great actors in the right parts. Similar to Oppenheimer with Christopher Nolan, you get multiple actors to show up for small roles by being a hugely trusted director like Sidney Lumet or Sydney Pollack who are gifted with directing actors.

Christopher Nolan's Clout Attracts A-List Actors

Christopher Nolan has come a long way since Memento. He's now a five-time Oscar-nominated filmmaker (he's bound to add more to that resume, come award season) and one of the few truly auteur-branded directors in the business. At a time when Quentin Tarantino may be making one more film before retiring and most big-name directors get sucked into franchises before they have a chance to form their own identity, Nolan has expertly maneuvered his way through an evolving industry, attaching himself to a franchise he actually believed in and shepherded in order to boost his platform, then delivered on big original projects enough times that he can get a blank check for whatever he wants. With this power comes one of the most potent things a filmmaker can have: clout.

Christopher Nolan's clout attracts A-list actors and actresses out of respect and allure. Plus, his films have a guaranteed audience. On top of that, Nolan is often cited as a dream director to work with, an amazing collaborator who knows how to nudge actors in the direction he needs them to go without being fully dictatorial. If you're a high-profile actor, and you're given a good role by a great director, with a good salary and not much time taken out of your life, what's the downside? Just hope that your director has some good stuff for you to do.'

[fourorfivemovements]

Films Watched in 2023:

41. Romance (1930) - Dir. Clarence Brown

[florence-is-gay]

Gordon: I'm going to actually go insane. He has NO sense of personal space, doesn't respect my privacy, an-and he's always fucking staring at me!

Tommy: M-maybe he thinks you're p-pretty, Mister Freeman!

Gordon: No. You misunderstand. This GUY. THIS IS THE FUCKING GUY. Who- Who fucking stares at me--UNBLINKING, mind you-- for twenty fucking minutes while I eat, o-or when I'm folding laundry, washing dishes, HE TRIES THAT SHIT WHILE IM IN THE FUCKING SHOWER--

Tommy: ...(thinking)

Tommy: Have y-you ever tried gazing back at him?

Gordon: Wh- no, I'm not gonna fucking stare back, I'm not a creep! Also prolonged eye contact makes me uncomfortable!

Tommy: *gives him a knowing look*

Gordon: ...

Gordon: Um. Okay yeah, you have a point. Alright, I'll try it.

The next day, over the phone:

Tommy: S-so how'd it work, Mister Freeman?

Gordon: ...Tommy. You won't fucking believe it. He actually stops when I stare back. It's fucking madness in heaven.

Tommy: H-have I ev-ever wronged you before?

Gordon: *sighs* No. Not at all, buddy. You're literally like. Actually always right. I don't know how you fucking do it but I'm glad you've got my back. I'd give you my left kidney.

Tommy: ...That's gross, Mister Freeman.

Gordon: *exasperated laughter* I'VE SEEN YOU SHOOT OVER A-- A HUNDRED--- you little sunshine fucker!

Tommy: *laughing as well* I'm-I'm happy to help, but I think you sh-should keep your kidney!

Gordon: Alright alright, later Tommy!

Tommy: Goodbye, kidney f-fucker!

[both laughing as they hang up]

A couple days later:

[Benrey proceeds to win every single staring contest since]

[badgaymovies]

Double Wedding (1937)

Double Wedding by #RichardThorpe starring #WilliamPowell and #MyrnaLoy, "the chemistry of the stars overrides its flaws",

RICHARD THORPE Bil’s rating (out of 5): BBB USA, 1937. Metro-Goldwyn-Mayer. Screenplay by Jo Swerling, based on the play by Ferenc Molnar. Cinematography by William H. Daniels. Produced by Joseph L. Mankiewicz. Music by Edward Ward. Production Design by Cedric Gibbons, David S. Hall. Costume Design by Adrian. Film Editing by Frank Sullivan. Myrna Loy is proud of the control she exerts over every…

[musical-dreamcasts]

Chess - Bonnie Gordon (she/her) as Florence Vassy, requested by anon

Birthday: March 27, 1986 (age 36)

Birth Place: Lafayette, Louisiana

Theatre credits include: Starfleet Officer (Star Trek: The Experience), Lavender Terra (Teaching a Robot to Love), Helena (A Midsummer Night’s Dream), Luisa (The Fantasticks), Ms. Finchball (Pazzazz)

(Pictured on the right is Cassidy Janson, who played the role in the 2018 West End revival production)

Credits: Both unknown

[myvinylplaylist]

The 5th Dimension: Greatest Hits On Earth (1972)

This is a reissue on black labels from between 1976-1978.

Bell Records

[notesonfilm1]

An Act of Murder (Michael Gordon, 1948)

An example of the fluidity of noir as a term. ACT OF MURDER is a domestic melodrama which would have been marketed as a ‘serious’ film on difficult moral and ethical issues: is mercy killing acceptable even if a dear one is terminal and in unbearable pain? Should intentions be a consideration when applying the law, by whom and to what extent? It’s the themes and the ‘seriousness’ of treatment…

[meauxhausint]

Watch "Florence Pugh Eats 11 English Dishes - Mukbang | Vogue" on YouTube

[obessedwithfictionalmen]

Co-Stars pt.15

Callum Turner X Actress! Reader

Summary: Y/n is invited of cooking with Flo and gets a little drunk.

Warning: Kinda cringe (I'm sorry)/ alcohol/ Swearing/ use of Y/n/

Word count: 790 words

Florence Pugh invited her on her cooking show. She was excited to go with her, she loved to cook, and she was friends with Flo. She brought Callum with her, and Callum brought Austin. When she arrived, she hugged Florence and took the apron that she gave her. It was a white one with pomegranate all over it. ‘’I’m so excited!’’ she squeals. Y/n chuckles and kiss Callum before Florence goes live.

‘’It’s cooking with Flo, bitches!’’ she puts the knife in the cutting board. ‘’And Y/n is here!’’ Flo exclaims, hugging her again. ‘’Hey everyone! How’s everyone doing?’’ they look in the chat for the answers and then, they look at each other before laughing for no reason. ‘’Guys, today we’re going to do chicken Cajun alfredo, or whatever the order is. But for the drink, I made Y/n’s favorite, a rum n’ coke!’’ she gives her the glass and they tap their glass together before starting to pace around the kitchen to get the ingredients. ‘’By the way, if you hear people talking behind, it’s my husband and my husband’s husband’’ Y/n laughs. Austin, Callum and Florence burst out laughing, Y/n is proud of her joke, as she joins the group laughing.

‘’So now the chicken is seasoned – ‘’ Y/n impulsive thought took control as she slapped the chicken, like she would slap someone’s ass. ‘’- Mate, what the fuck’’ Florence’s smoker laugh took over her laugh, which made Y/n laugh even more. ‘’How many drinks did they have?’’ Austin asked, chuckling. ‘’I don’t know’’ Callum laughed. Y/n was out of breath from laughing so much. ‘’Okay, where were we?’’ she laughed again. Florence took a sip of her drink before looking at her friend. ‘’We have to cook the chicken’’ she explained. ‘’Oh, we should put music!’’ Y/n suggested. Florence nodded before she hit shuffle on her playlist, the first song that came to their ear was Vente Pa’ Ca by Ricky Martin ft Maluma. ‘’I love that song!’’ Y/n exclaimed as she took Florence hands to dance. ‘’The chicken is going to burn, love’’ Callum warned. As Y/n lip synced, Florence quickly took care of the piece of meat.

The pasta was almost done, so was the chicken, Florence and Y/n had about 3 drinks, Austin and Callum’s cheeks were hurting from laughing so much; Y/n was unhinged. Every thought that went through her head, she shared it. ‘’I think I would’ve been burned alive if I lived in Salem when the trial happened, because I have great tits and an opinion.’’ She said, touching the side of her tits, laughing. ‘’I’m hot, they want to make me hotter’’ she giggled. Florence face palmed as she stirred the pastas. ‘’I think you had enough to drink’’ Callum laughed. Y/n nods in agreeing with him. ‘’We’re going to take a little bit of pasta water before dumping it. That’s the secret, pasta water!’’ Y/n exclaims as she takes a scoop of the pasta water. ‘’Someone in the chat said that Callum and Austin are the parents and we’re the children’’ Florence laughs.

‘’Ok! It’s done! Look at how pretty it is!’’ Y/n says as she shows the plate to the camera. ‘’Austin, Callum, come and taste!’’ Florence says. The boys come behind the girls, Callum puts his hands on Y/n’s waist, making her giggle. ‘’That smells amazing!’’ Austin comments. ‘’Yeah, it does!’’ Callum adds. As they take a bite of the food, Y/n and Florence looks at each other. ‘’It’s so fucking good!’’ Y/n exclaims. Florence nods and chuckles. ‘’Babe, you need to come on the show more often’’ Florence says. ‘’I’ll gladly come back’’ Y/n smiles. Austin and Callum take a bite at the food and smile. ‘’That is Gordon Ramsey level’’ Austin exclaims. ‘’It’s really good, oh my! I love it’’ he smiles.

‘’Okay guys, so that was cooking with Flo and Y/n, bitches! See you next time!’’ Florence says as she stops her live. ‘’That was really fun! Thank you so much for the invite’’ Y/n hugs Flo. ‘’You’re welcome here any time. Maybe with less drinks’’ She laughs. Callum agrees as he puts his arm around Y/n’s waist. ‘’Ouh! Next time we can cook shrimp tacos!’’ Y/n proposed. Florence nods as she says goodbye to Austin.

The aftermath of the video on the internet is good. People are saying that Drunk Y/n is unhinged, the fact that Y/n called Austin her husband’s husband is funny, Florence needs to invite Y/n again, Callum’s love contact is physical touch and many more stuff. Y/n was a little bit embarrassed about things she said, but overall she had a really great time, and she wanted to do it again…