#h.m. taylor

[detroitlib]

Theatre ticket booth and covered entryway with two doors, advertising 5 cent shows. A sign above the theater reads "Nothing nicer anywhere." Printed on front: "Princess Theatre, 98 Woodward Ave., Detroit, Mich. Popular 5c. shows. The talk of Detroit." Printed on back: "H.M. Taylor, art publisher, Detroit, Mich." Handwritten on back: "9/30/08."

Burton Historical Collection, Detroit Public Library

[svltzmans]

out of the woods - h.m.

a/n: i'm back with longer fics again! i was in a bit of a dry spell with inspiration but i'm finally getting back to it! you might be asking "lizzie will you ever stop naming your stories after taylor swift songs?" and the answer is no ❤️

warnings: smut (18+), kinda angsty? but not really, hope has her humanity off for a bit and her and reader are exes (but not for long), this is very very soft and the smut is pretty tame lmao, i didn't edit this at all

"you're just not the person i fell in love with anymore."

the moment y/n broke up with hope was still a blur. hope's humanity shutdown was rough on everyone involved, but she never would have expected losing the love of her life over it.

at the same time, she understood. now that she had her humanity on, she realized how coldhearted she had become and the way she treated y/n reflected her lack of sympathy.

it hadn't took long for hope to realize that she had made a huge mistake. sure, she had little control over the way she acted when her humanity was off. regardless, she still mistreated y/n and lost her in the process.

y/n knew that she loved hope, and she was sure that she could cope with her supernatural qualities, including her occasional lack of humanity.

however, y/n quickly realized having humanity-less hope as a girlfriend was harder than she had imagined.

any kind of affection from her girlfriend was almost entirely out of the question. it felt like the person she loved had disappeared, and it was too much to handle.

ever since the breakup, hope had been determined to win y/n back. she understood that the trust between them had diminished and it would be hard to show y/n that her recent behavior was behind her.

y/n was apprehensive when she interacted with hope. she wasn't cold, but she certainly wasn't warm either. she just didn't believe that hope truly had turned her humanity back on, knowing that a vampire with their humanity off could be beyond tricky and manipulative.

a major part of her believed that hope would never do anything to hurt her, humanity or not, but she just couldn't take that risk.

hope had tried to open up to y/n about her humanity and tell her that she was truly back, but y/n would just brush her off.

"i just need more time," she would say, and hope would solemnly nod in understanding.

eventually, hope couldn't cope with y/n's indifference any longer.

"y/n, please just talk to me."

y/n finally agrees to sit down with hope, avoiding eye contact with her ex-girlfriend.

"please look at me, y/n. i miss you so much. i know i was awful to you."

y/n reluctantly looks up, locking eyes with hope.

"how do i know it's really you, hope? how can i believe you?"

hope can't help but feel hurt by y/n's lack of trust, but she knows she would feel the same way if she was in y/n's position.

"i've spent every minute of every day thinking about you, y/n. you are everything to me and it kills me that i hurt you so badly. i wasn't myself and i know that's not an excuse. but god y/n, i miss you so much. and i'm so sorry."

y/n softens at hope's words, realizing that she was being genuine.

"i miss you too. and i'm sorry for blowing you off. i guess i was just scared. i know you wouldn't hurt me. i just couldn't bring myself to talk, i didn't know if you were actually back or not."

"i'm here, y/n. and i'm never going away again."

hope tentatively brings her face closer to y/n's, waiting for a reaction.

when she doesn't get one, she presses her lips to y/n's.

when hope finally pulls away after what feels like an eternity, y/n wraps her arms around her tightly.

"i'm so glad you're here, hope. really here. i missed you."

hope melts into y/n's arms, allowing her head to rest on her shoulder.

"hope?"

"yeah?"

"be mine again. please."

hope doesn't respond, opting to kiss y/n again instead.

hope is gentle in every sense of the word, her hand gently resting on y/n's cheek, gently coaxing her to lay down.

she takes her time, wrapping her arms around y/n as she kisses her.

hope toys with the wastline of y/n's sweatpants, running her fingers over her stomach.

"may i?" she asks tentatively, looking deeply into y/n's eyes as she awaits her response.

"thought you'd never ask," y/n laughs quietly before attaching her lips to her girlfriend's once more.

hope's touch remains gentle as she dips below y/n's underwear. she studies y/n's face carefully, ensuring that she is completely okay with what she's doing.

"that's my girl. always doing so good," hope coos, listening to y/n's gentle whines.

when y/n falls over the edge, she wraps herself around hope again, wanting to be as close to her as possible.

hope holds y/n for some time, running her hand over her back.

just when hope thinks y/n has dozed off, she hears her sleepily mutter something in her ear.

"i love you."

hope wasn't sure if she would ever hear y/n say that again, and she feels relief flooding her whole body at her words.

"i love you so much, y/n."

[clove-pinks]

H.M. Sloop of War ''Sir Isaac Brock'', on the Stocks at York (Toronto), April 1813, drawing by Owen Staples c. 1913 (Toronto Public Library).

Fearing that Kingston had too strong a British garrison, [American General Henry] Dearborn sought a surer victory by attacking a secondary target: York. Poorly fortified and lightly defended (by seven hundred men), York also promised a symbolic payoff as the capital of Upper Canada. And there was the allure of a warship, the Sir Isaac Brock, under construction at York. By capturing and completing that ship, the Americans could increase and prolong their command of Lake Ontario. [...]

Making the best of a bad situation, the British commander, General Roger H. Sheaffe, ordered a retreat by his regulars toward Kingston to the east. He had fires set to destroy the Sir Isaac Brock and to blow up a stock of gunpowder in a stone storehouse. The massive explosion sent skyward a deafening fireball and tons of stone, which fell in a deadly rain on the advancing American troops, killing 38 and wounding 222.

— Alan Taylor, The Civil War Of 1812: American Citizens, British Subjects, Irish Rebels, and Indian Allies

Although destroying military assets before they fall into enemy hands is standard practice, General Dearborn was apparently so annoyed by the destruction of Sir Isaac Brock that he delayed in ratifying an agreement of surrender after capturing York. This would have far-reaching consequences. American soldiers and sailors looted and burned York, and this was an impetus for British forces eventually burning the White House in revenge.

US Brigadier-General Zebulon Pike fatally wounded in the explosion of the Fort York gunpowder magazine, 1813 (The Friends of Fort York).

[verydesperatehousewife]

Check out this listing I just added to my Poshmark closet: Vintage 1953 Taylor Kent Bone China Queen Elizabeth II Coronation Tea Cup Saucer.

[female-malice]

Workers and lords kept records of their work hours. This is not a vague estimate. It's based on real historical work by real historians who spent decades studying these periods. Holidays revolved around seasonal agricultural work. They were not randomly placed throughout the year. Those holidays developed as part of a traditional agrarian calendar.

Industrial agriculture under capitalism is very different from agriculture in the medieval period. Workers in the medieval period worked 1500-2000 hours per year. Workers in the 1850s worked 3500 hours per year.

"We must take a longer view and look back not just one hundred years, but three or four, even six or seven hundred. Consider a typical working day in the medieval period. It stretched from dawn to dusk (sixteen hours in summer and eight in winter), but, as the Bishop Pilkington has noted, work was intermittent - called to a halt for breakfast, lunch, the customary afternoon nap, and dinner. Depending on time and place, there were also midmorning and midafternoon refreshment breaks. These rest periods were the traditional rights of laborers, which they enjoyed even during peak harvest times. During slack periods, which accounted for a large part of the year, adherence to regular working hours was not usual. According to Oxford Professor James E. Thorold Rogers, the medieval workday was not more than eight hours. The worker participating in the eight-hour movements of the late nineteenth century was "simply striving to recover what his ancestor worked by four or five centuries ago."

Sources

[1] James E. Thorold Rogers, Six Centuries of Work and Wages (London: Allen and Unwin, 1949), 542-43.

[2] H.S. Bennett, Life on the English Manor (Cambridge: Cambridge University Press, 1960), 104-6.

[3] Douglas Knoop and G.P. Jones, The Medieval Mason (New York: Barnes and Noble, 1967), 105.

[4] R. Allen Brown, H.M. Colvin, and A.J. Taylor, The History of the King's Works, vol. I, the Middle Ages (London: Her Majesty's Stationary Office, 1963).

[5] Edith Rodgers, Discussion of Holidays in the Later Middle Ages (New York: Columbia University Press, 1940), 10-11. See also C.R. Cheney, "Rules for the observance of feast-days in medieval England", Bulletin of the Institute of Historical Research 34, 90, 117-29 (1961).

Every single one of y'all fuckers who talks like this would die after a week on a farm in the modern day let alone doing pre industrial farming. Apologize to every farmer right fucking now.

[antoniosvivaldi]

@tayloralisonswiftnetwork​ | Lover Anniversary Event: reimagine one of the songs as your favourite book

Three Dimensions of Love: Taylor Swift’s 7th studio album Lover explores the notion of love in various forms. 

Here is a conceptual reimagining of three songs from Taylor Swift’s Lover album as books I enjoyed reading in 2021.

Lover: Paris by Starlight (Robert Dinsdale)

Afterglow: Hall of Smoke (H.M. Long)

Daylight: Klara and the Sun (Kazuo Ishiguro)

Comes with an accompanying playliset set, illustrating how love is conveyed in these three songs and the respective books.

The Nocturne (Lover): {Listen on Spotify}

Divine Awakening (Afterglow): {Listen on Spotify}

A Luminous Heart (Daylight): {Listen on Spotify}

[byneddiedingo]

Noah Young and Harold Lloyd in Safety Last! (Fred C. Newmeyer, Sam Taylor, 1923) Cast: Harold Lloyd, Mildred Davis, Bill Strother, Noah Young, Westcott Clarke. Screenplay: Hal Roach, Sam Taylor, Tim Whelan; titles: H.M. Walker. Cinematography: Walter Lundin. Film editing: Thomas J. Criser. I was sure I had seen Safety Last! but as the film progressed I began to suspect that I had seen only excerpts, including the scene in which Harold Lloyd, aka The Boy, dangles from the clock, reprised countless times in compilations of great movie moments. But this great film is more than that moment, or even the extended sequence in which The Boy climbs the façade and encounters that treacherous timepiece. Getting to that moment involves byzantine, almost Rube Goldberg plotting. Because The Boy is not even supposed to be climbing the building: It's a task meant for The Pal (Bill Strother), who instead is fleeing from The Law (Noah Young), racing through the building from floor to floor inside, intending to swap places with The Boy at some perpetually receding moment. And The Pal is in trouble with The Law because of a run-in that resulted from The Boy mistaking The Law for an old buddy of his, a different cop, and involving The Pal in a prank played by mistake on The Law. And the reason The Boy is involved in climbing the building is that he wants to win The Girl (Mildred Davis), who thinks he's actually the general manager of the department store where he's actually a lowly clerk in danger of getting fired. And the reason The Girl thinks that is ... oh, hell, watch the movie yourself. The point is that Safety Last! is an intricately worked piece of art. By contrast, even the best film of Charles Chaplin or Buster Keaton, let's say The Gold Rush (1925) or The General (1926), is a comparatively simple affair, with a story line that doesn't tax the summarizer. Which may be a clue to why Lloyd is not as highly regarded or as fondly remembered as Chaplin or Keaton. He doesn't have the former's balletic gracefulness or the latter's athletic control. The delight of Lloyd's films doesn't come from watching Lloyd himself so much as from watching the situations he gets himself into, from watching him fail upward, so to speak, in Safety Last! Chaplin or Keaton would devise clever ways to climb that façade, whereas Lloyd bumbles and flounders, beset by clocks and pigeons and badminton nets, only to recover by luck and pluck. We don't think "What will he do next?" so much as "What will happen to him next?" This, mind you, is comic genius in itself, a shrewd devising of hilarious situations, but it's comedy imposed on the character, not emerging from within. Which doesn't make it less comic or less genius, of course.

[thenighttrain]

books read in 2021

here we go again! i also have goodreads and @thesonofneptune​ is my book blog. bolded are favourites

The Wolf in the Whale by Jordanna Max Brodsky ★★★

Neverwhere by Neil Gaiman ★★★

The Once and Future Witches by Alix E. Harrow ★★★

The Silence of the Girls by Pat Barker ★★★

Playing Nice by J.P. Delaney ★★★★

Kings of the Wyld (The Band #1) by Nicholas Eames ★★★★

Trail of Lightning (The Sixth World #1) by Rebecca Roanhorse ★★★

Tender is the Flesh by Agustina Bazterrica ★★★★

Salt In the Sea by Ruth Sepetys ★★

Anxious People by Fredrik Backman (DNF)

The Great Alone by Kristin Hannah ★★★★

The Order of the Pure Moon Reflected in Water by Zen Cho ★★★

Hall of Smoke by H.M. Long ★★★★

The Mask of Mirrors by M.A. Carrick ★★★

The Push by Ashley Audrain ★★★★★

And Then There Were None by Agatha Christie ★★★

Where The Forest Meets The Stars by Glendy Vanderah ★★★

The Long Way to a Small, Angry Planet (Wayfarers #1) by Becky Chambers ★★

Silver in the Wood (The Greenhollow Duology #1) by Emily Tesh ★★★★

Drowned Country (The Greenhollow Duology #2) by Emily Tesh ★★★

Interior Chinatown by Charles Yu ★★★

A Witch’s Heart by Genevieve Gornichec ★★★

Pretty Little Wife by Darby Kane ★★★★

Winter’s Orbit by Everina Maxwell ★★★

On Fragile Waves by E. Lily Yu ★★

Hamnet by by Maggie O'Farrell ★★★

Do No Harm by Christina McDonald ★★

Never Die by Rob J Hayes ★★★

The Frozen Crown (Warrior Witch #1) by Greta Kelly ★★★

These Violent Delights (These Violent Delights #1) by Chloe Gong ★★★★

Hounded (The Iron Druid Chronicles, #1) by Kevin Hearne ★★

Norse Mythology by Neil Gaiman ★★★

The End of Men by Christina Sweeney-Baird ★★★

Every Last Fear by Alex Finlay ★★★★

Master of Sorrows (The Silent Gods #1) by Justin Travis Call ★★★

The Bone Maker by Sarah Beth Durst ★★★

The Southern Book Club's Guide to Slaying Vampires by Grady Hendrix ★★★

Transcendent Kingdom by Yaa Gyasi (DNF)

On Tyranny: Twenty Lessons from the Twentieth Century by Timothy Snyder ★★★★

The Night Swim by Megan Goldin ★★★

The Astonishing Color of After by Emily X.R. Pan ★★★

Project Hail Mary by Andy Weir ★★★

The Atlas Six by Olivie Blake ★★★★

The Ghost Tree by Christina Henry ★★★★

The Unbroken (Magic of the Lost, #1) by C.L. Clark ★★★

Run Away by Harlan Coben ★★★

The Drowning Kind by Jennifer McMahon ★★★★

House of Hollow by Krystal Sutherland ★★★★★

Crier’s War (Crier’s War #1) by Nina Varela ★★★

Becoming Leidah by Michelle Grierson ★★★

Sorcery of Thorns by Margaret Rogerson ★★★★

The Golem and the Jinni (The Golem and the Jinni, #1) by Helene Wecker ★★★

The Kind Worth Killing by Peter Swanson ★★

On Earth We're Briefly Gorgeous by Ocean Vuong ★★

The Ghost Bride by Yangsze Choo ★★★

These Feathered Flames (These Feathered Flames, #1) by Alexandra Overy ★★★

The Perfect Daughter by D.J. Palmer ★★★

The Book of Koli (Rampart Trilogy, #1) by M.R. Carey ★★★

Ariadne by Jennifer Saint ★★★★

Lost Boy: The True Story of Captain Hook by Christina Henry ★★★★

Deeplight by Frances Hardinge ★★★

Lore by Alexandra Bracken ★★

Black Water Sister by Zen Cho ★★★★

A Master of Djinn (Dead Djinn Universe #1) by P. Djèlí Clark ★★★★

Paris By Starlight by Robert Dinsdale ★★

The Black God's Drums by P. Djèlí Clark ★★★

A Dowry of Blood by S.T. Gibson ★★★

Little Fires Everywhere by Celeste Ng ★★

The Kingdoms by Natasha Pulley ★★★

The Perfect Family by Robyn Harding ★

The Chosen and the Beautiful by Nghi Vo ★★★

Son of the Storm (The Nameless Republic, #1) by Suyi Davies Okungbowa ★★★

An Unkindness of Ghosts by Rivers Solomon ★★★

The Jasmine Throne (Burning Kingdoms #1) by Tasha Suri ★★★★

The Beekeeper of Aleppo by Christy Lefteri ★★★

Malibu Rising by Taylor Jenkins Reid ★★★

One Last Stop by Casey McQuiston ★★★★

The Maidens by Alex Michaelides ★

The Shadow of the Gods (The Bloodsworn Saga, #1) by John Gwynne ★★★

Daughter of Sparta (Daughter of Sparta, #1) by Claire M. Andrews ★★★

The Tangleroot Palace: Stories by Marjorie M. Liu ★★★

Steel Crow Saga by Paul Krueger ★★★

This Poison Heart (The Poison Heart, #1) by Kalynn Bayron ★★★

Sistersong by Lucy Holland ★★★★

The Weight of Our Sky by Hanna Alkaf ★★★★

Six Crimson Cranes (Six Crimson Cranes, #1) by Elizabeth Lim ★★

The Taking of Jake Livingston by Ryan Douglass ★★

The Midnight Lie (The Midnight Lie, #1) by Marie Rutkoski ★★★

Ace of Spades by Faridah Àbíké-Íyímídé ★★★

She Who Became the Sun (The Radiant Emperor, #1) by Shelley Parker-Chan ★★★

The Lost War (Eidyn #1) by Justin Lee Anderson ★★★★

Malice (Malice Duology #1) by Heather Walter ★★★★

The Haunting Of Tram Car 015 (Dead Djinn Universe #2) by P. Djèlí Clark ★★★

Skullsworn (Chronicle of the Unhewn Throne #4) by Brian Staveley ★★★

A Lesson in Vengeance by Victoria Lee ★★★★

Aching God (Iconoclasts, #1) by Mike Shel ★★★

Chasing Graves (The Chasing Graves Trilogy, #1) by Ben Galley ★★★

Race the Sands by Sarah Beth Durst ★★★★

The Dead and the Dark by Courtney Gould ★★★

The Hand of the Sun King (Pact and Pattern #1) by J.T. Greathouse ★★★★

Along the Razor's Edge (The War Eternal, #1) by Rob J. Hayes ★★

The Dragon Warrior (The Dragon Warrior #1) by Katie Zhao ★★★★

Dial A for Aunties by Jesse Q. Sutanto ★★★

Black Stone Heart (The Obsidian Path, #1) by Michael R. Fletcher ★★★

The Boy with Fire (The Ravence Trilogy #1) by Aparna Verma ★★★

Empire of the Vampire (Empire of the Vampire, #1) by Jay Kristoff ★★

The Maleficent Seven by Cameron Johnston ★★★

Master Assassins (The Fire Sacraments, #1) by Robert V.S. Redick ★★★★

Wildwood Whispers by Willa Reece ★★★

The Bone Houses by Emily Lloyd-Jones ★★★★

Nice Dragons Finish Last (Heartstrikers, #1) by Rachel Aaron ★★★

Iron Widow (Iron Widow, #1) by Xiran Jay Zhao ★★

Under the Whispering Door by T.J. Klune ★★★

To Break a Covenant by Alison Ames ★★★★

A Clash of Steel: A Treasure Island Remix by C.B. Lee ★★★

A Spindle Splintered (Fractured Fables #1) by Alix E. Harrow ★★★

Persepolis: The Story of a Childhood (Persepolis #1-2)by Marjane Satrapi ★★★★

Vespertine (Vespertine, #1) by Margaret Rogerson ★★★

The Lighthouse Witches by C.J. Cooke ★★

The Keeper of Night (The Keeper of Night, #1) by Kylie Lee Baker ★★★

We Are the Dead (The Last War, #1) by Mike Shackle ★★★

Little Thieves (Little Thieves, #1) by Margaret Owen ★★★

Summer Sons by Lee Mandelo ★★

Dark Rise (Dark Rise, #1) by C.S. Pacat ★★★★

A Marvellous Light (The Last Binding, #1) by Freya Marske ★★★

All of Us Villains (All of Us Villains, #1)b y Amanda Foody ★★★

Our Violent Ends (These Violent Delights, #2) by Chloe Gong ★★★★

Small Favors by Erin A. Craig ★★★

Comfort Me with Apples by Catherynne M. Valente ★★

The Bone Shard Emperor (The Drowning Empire, #2) by Andrea Stewart ★★★★

Jade Legacy (The Green Bone Saga, #3) by Fonda Lee ★★★★

The Library of the Unwritten (Hell's Library #1) by A.J. Hackwith ★★★

Year of the Reaper by Makiia Lucier ★★★★

Daughter of the Deep by Rick Riordan ★★★

City of the Plague God by Sarwat Chadda ★★★★

The Cost of Knowing by Brittney Morris ★★★

Deposing Nathan by Zack Smedley ★★★

[timeless-hollywood-classics]

Hedy Lamarr, born Hedwig Eva Maria Kiesler (November or September 9, 1914 – January 19, 2000), was an Austrian-American actress, inventor, and film producer. She appeared in 30 films over a 28 year career, and co-invented an early version of frequency-hopping spread spectrum communication.

Lamarr was born in Vienna, Austria-Hungary, and acted in a number of Austrian, German, and Czech films in her brief early film career, including the controversial Ecstasy (1933). In 1937, she fled from her husband, a wealthy Austrian ammunition manufacturer, secretly moving to Paris and then on to London. There she met Louis B. Mayer, head of Metro-Goldwyn-Mayer (MGM) studio, who offered her a Hollywood movie contract, where he began promoting her as "the world's most beautiful woman".

She became a star through her performance in Algiers (1938), her first United States film.[5] She starred opposite Clark Gable in Boom Town and Comrade X (both 1940), and James Stewart in Come Live with Me and Ziegfeld Girl (both 1941). Her other MGM films include Lady of the Tropics (1939), H.M. Pulham, Esq. (1941), as well as Crossroads and White Cargo (both 1942); she was also borrowed by Warner Bros. for The Conspirators, and by RKO for Experiment Perilous (both 1944). Dismayed by being typecast, Lamarr co-founded a new production studio and starred in its films: The Strange Woman (1946), and Dishonored Lady (1947). Her greatest success was as Delilah in Cecil B. DeMille's Samson and Delilah (1949). She also acted on television before the release of her final film, The Female Animal (1958). She was honored with a star on the Hollywood Walk of Fame in 1960.

At the beginning of World War II, Lamarr and composer George Antheil developed a radio guidance system using frequency-hopping spread spectrum technology for Allied torpedoes, intended to defeat the threat of jamming by the Axis powers. She also helped improve aircraft aerodynamics for Howard Hughes while they dated during the war. Although the US Navy did not adopt Lamarr and Antheil's invention until 1957, various spread-spectrum techniques are incorporated into Bluetooth technology and are similar to methods used in legacy versions of Wi-Fi. Recognition of the value of their work resulted in the pair being posthumously inducted into the National Inventors Hall of Fame in 2014.

Lamarr was born Hedwig Eva Maria Kiesler in 1914 in Vienna, Austria-Hungary, the only child of Emil Kiesler (1880–1935) and Gertrud "Trude" Kiesler (née Lichtwitz; 1894–1977). Her father was born to a Galician-Jewish family in Lemberg (now Lviv, Ukraine), and was a successful bank manager. Her mother was a pianist, born in Budapest to an upper-class Hungarian-Jewish family. She converted to Catholicism as an adult, at the insistence of her first husband, and raised her daughter Hedy as a Catholic as well, though she was not formally baptized at the time.

As a child, Kiesler showed an interest in acting and was fascinated by theatre and film. At the age of 12, she won a beauty contest in Vienna. She also began to associate invention with her father, who would take her out on walks, explaining how various technologies in society functioned.

After the Anschluss, she helped get her mother out of Austria and to the United States, where Gertrud Kiesler later became an American citizen. She put "Hebrew" as her race on her petition for naturalization, a term that had been frequently used in Europe.

Still using her maiden name of Hedy Kiesler, she took acting classes in Vienna. One day, she forged a permission note from her mother and went to Sascha-Film, where she was hired at the age of 16 as a script girl. She gained a role as an extra in Money on the Street (1930), and then a small speaking part in Storm in a Water Glass (1931). Producer Max Reinhardt cast her in a play entitled The Weaker Sex, which was performed at the Theater in der Josefstadt. Reinhardt was so impressed with her that he arranged for her to return with him to Berlin, where he was based.

Kiesler never trained with Reinhardt nor appeared in any of his Berlin productions. After meeting Russian theatre producer Alexis Granowsky, she was cast in his film directorial debut, The Trunks of Mr. O.F. (1931), starring Walter Abel and Peter Lorre. Granowsky soon moved to Paris, but Kiesler stayed in Berlin to work. She was given the lead role in No Money Needed (1932), a comedy directed by Carl Boese. Her next film brought her international fame.

In early 1933, at age 18, Hedy Kiesler, still working under her maiden name, was given the lead in Gustav Machatý's film Ecstasy (Ekstase in German, Extase in Czech). She played the neglected young wife of an indifferent older man.

The film became both celebrated and notorious for showing the actress's face in the throes of an orgasm. According to Marie Benedict's book The Only Woman In The Room, Kiesler's expression resulted from someone sticking her with a pin. She was also shown in closeups and brief nude scenes, the latter reportedly a result of the actress being "duped" by the director and producer, who used high-power telephoto lenses.

Although Kiesler was dismayed and now disillusioned about taking other roles, Ecstasy gained world recognition after winning an award in Rome. Throughout Europe, the film was regarded as an artistic work. However, in the United States, it was banned, considered overly sexual, and made the target of negative publicity, especially among women's groups. It was also banned in Germany due to Kiesler's Jewish heritage. Her husband, Fritz Mandl, reportedly spent over $300,000 buying up and destroying copies of the film.

Kiesler also played a number of stage roles, including a starring one in Sissy, a play about Empress Elisabeth of Austria produced in Vienna in early 1933, just as Ecstasy premiered. It won accolades from critics.

Admirers sent roses to her dressing room and tried to get backstage to meet Kiesler. She sent most of them away, including an insistent Friedrich Mandl. He became obsessed with getting to know her. Mandl was a Viennese arms merchant and munitions manufacturer who was reputedly the third-richest man in Austria. She fell for his charming and fascinating personality, partly due to his immense wealth. Her parents, both of Jewish descent, did not approve, as Mandl had ties to Italian fascist leader Benito Mussolini, and later, German Führer Adolf Hitler, but they could not stop their headstrong daughter.

On August 10, 1933, at the age of 18, Kiesler married Mandl, then 33. The son of a Jewish father and a Catholic mother, Mandl insisted that she convert to Catholicism before their wedding in Vienna Karlskirche. In her autobiography Ecstasy and Me, Mandl is described as an extremely controlling husband. He strongly objected to her having been filmed in the simulated orgasm scene in Ecstasy and prevented her from pursuing her acting career. She claimed she was kept a virtual prisoner in their castle home, Castle Schwarzenau in the remote Waldviertel near the Czech border.

Mandl had close social and business ties to the Italian government, selling munitions to the country, and, despite his own part-Jewish descent, had ties to the Nazi regime of Germany. Kiesler accompanied Mandl to business meetings, where he conferred with scientists and other professionals involved in military technology. These conferences were her introduction to the field of applied science and she became interested in nurturing her latent talent in science.

Finding her marriage to Mandl eventually unbearable, Kiesler decided to flee her husband as well as her country. According to her autobiography, she disguised herself as her maid and fled to Paris. Friedrich Otto's account says that she persuaded Mandl to let her wear all of her jewelry for a dinner party where the influential austrofascist Ernst Stahremberg attended, then disappeared afterward. She writes about her marriage:

I knew very soon that I could never be an actress while I was his wife. ... He was the absolute monarch in his marriage. ... I was like a doll. I was like a thing, some object of art which had to be guarded—and imprisoned—having no mind, no life of its own.

After arriving in London in 1937, she met Louis B. Mayer, head of MGM, who was scouting for talent in Europe. She initially turned down the offer he made her (of $125 a week), but booked herself onto the same New York-bound liner as he. During the trip, she impressed him enough to secure a $500 a week contract. Mayer persuaded her to change her name from Hedwig Kiesler (to distance herself from "the Ecstasy lady" reputation associated with it). She chose the surname "Lamarr" in homage to the beautiful silent film star, Barbara La Marr, on the suggestion of Mayer's wife, Margaret Shenberg.

When Mayer brought Lamarr to Hollywood in 1938, he began promoting her as the "world's most beautiful woman". He introduced her to producer Walter Wanger, who was making Algiers (1938), an American version of the noted French film, Pépé le Moko (1937).

Lamarr was cast in the lead opposite Charles Boyer. The film created a "national sensation", says Shearer. Lamarr was billed as an unknown but well-publicized Austrian actress, which created anticipation in audiences. Mayer hoped she would become another Greta Garbo or Marlene Dietrich. According to one viewer, when her face first appeared on the screen, "everyone gasped ... Lamarr's beauty literally took one's breath away."

In future Hollywood films, Lamarr was often typecast as the archetypal glamorous seductress of exotic origin. Her second American film was I Take This Woman (1940), co-starring with Spencer Tracy under the direction of regular Dietrich collaborator, Josef von Sternberg. Von Sternberg was fired during the shoot, and replaced by Frank Borzage. The film was put on hold, and Lamarr was put into Lady of the Tropics (1939), where she played a mixed-race seductress in Saigon opposite Robert Taylor. She returned to I Take This Woman, re-shot by W. S. Van Dyke. The resulting film was a flop.

Far more popular was Boom Town (1940) with Clark Gable, Claudette Colbert and Spencer Tracy; it made $5 million MGM promptly reteamed Lamarr and Gable in Comrade X (1940), a comedy film in the vein of Ninotchka (1939), which was another hit.

She was teamed with James Stewart in Come Live with Me (1941), playing a Viennese refugee. Stewart was also featured in Ziegfeld Girl (1941), in which Lamarr, Judy Garland, and Lana Turner played aspiring showgirls; it was a big success.

Lamarr was top-billed in H. M. Pulham, Esq. (1941), although the film's protagonist was the title role played by Robert Young. She made a third film with Tracy, Tortilla Flat (1942). It was successful at the box office, as was Crossroads (1942) with William Powell.

She played the seductive native girl Tondelayo in White Cargo (1942), top-billed over Walter Pidgeon. It was a huge hit. White Cargo contains arguably her most memorable film quote, delivered with provocative invitation: "I am Tondelayo. I make tiffin for you?" This line typifies many of Lamarr's roles, which emphasized her beauty and sensuality while giving her relatively few lines. The lack of acting challenges bored Lamarr, and she reportedly took up inventing to relieve her boredom. In a 1970 interview, Lamarr also remarked that she was paid less because she would not sleep with Mayer.

Lamarr was reunited with Powell in a comedy, The Heavenly Body (1944). She was then borrowed by Warner Bros. for The Conspirators (1944), reuniting several of the actors of Casablanca (1942), which had been inspired in part by Algiers and written with Lamarr in mind as its female lead, though MGM would not lend her out. RKO later borrowed her for a melodrama, Experiment Perilous (1944), directed by Jacques Tourneur.

Back at MGM, Lamarr was teamed with Robert Walker in the romantic comedy Her Highness and the Bellboy (1945), playing a princess who falls in love with a New Yorker. It was very popular, but would be the last film she made under her MGM contract.

Her off-screen life and personality during those years was quite different from her screen image. She spent much of her time feeling lonely and homesick. She might swim at her agent's pool, but shunned the beaches and staring crowds. When asked for an autograph, she wondered why anyone would want it. Writer Howard Sharpe interviewed her and gave his impression:

Hedy has the most incredible personal sophistication. She knows the peculiarly European art of being womanly; she knows what men want in a beautiful woman, what attracts them, and she forces herself to be these things. She has magnetism with warmth, something that neither Dietrich nor Garbo has managed to achieve.

Author Richard Rhodes describes her assimilation into American culture:

Of all the European émigrés who escaped Nazi Germany and Nazi Austria, she was one of the very few who succeeded in moving to another culture and becoming a full-fledged star herself. There were so very few who could make the transition linguistically or culturally. She really was a resourceful human being–I think because of her father's strong influence on her as a child.

Lamarr also had a penchant for speaking about herself in the third person.

Lamarr wanted to join the National Inventors Council, but was reportedly told by NIC member Charles F. Kettering and others that she could better help the war effort by using her celebrity status to sell war bonds.

She participated in a war bond-selling campaign with a sailor named Eddie Rhodes. Rhodes was in the crowd at each Lamarr appearance, and she would call him up on stage. She would briefly flirt with him before asking the audience if she should give him a kiss. The crowd would say yes, to which Hedy would reply that she would if enough people bought war bonds. After enough bonds were purchased, she would kiss Rhodes and he would head back into the audience. Then they would head off to the next war bond rally. In total, Lamarr sold approximately $25 million (over $350 million when adjusted for inflation in 2020) worth of war bonds during a period of 10 days.

After leaving MGM in 1945, Lamarr formed production company Mars Film Corporation with Jack Chertok and Hunt Stromberg, producing two film noir motion pictures which she also starred in: The Strange Woman (1946) as a manipulative seductress leading a son to murder his father, and Dishonored Lady (1947) as a formerly suicidal fashion designer[verification needed] trying to start a new life but gets accused of murder. Her initiative was unwelcomed by the Hollywood establishment, as they were against actors (especially female actors) producing their films independently. Both films grossed over their budgets, but were not large commercial successes.

In 1948, she tried a comedy with Robert Cummings, called Let's Live a Little.

Lamarr enjoyed her greatest success playing Delilah opposite Victor Mature as the biblical strongman in Cecil B. DeMille's Samson and Delilah (1949). A massive critical and commercial success, the film became the highest-grossing picture of 1950 and won two Academy Awards (Best Art Direction and Best Costume Design) of its five nominations. She won critical acclaim for her portrayal of Delilah. Showmen's Trade Review previewed the film before its release and commended Lamarr's performance: "Miss Lamarr is just about everyone's conception of the fair-skinned, dark-haired, beauteous Delilah, a role tailor-made for her, and her best acting chore to date."[48] Photoplay wrote, "As Delilah, Hedy Lamarr is treacherous and tantalizing, her charms enhanced by Technicolor."[49]

Lamarr returned to MGM for a film noir with John Hodiak, A Lady Without Passport (1950), which flopped. More popular were two pictures she made at Paramount, a Western with Ray Milland, Copper Canyon (1950), and a Bob Hope spy spoof, My Favorite Spy (1951).

Her career went into decline. She went to Italy to play multiple roles in Loves of Three Queens (1954), which she also produced. However she lacked the experience necessary to make a success of such an epic production, and lost millions of dollars when she was unable to secure distribution of the picture.

She was Joan of Arc in Irwin Allen's critically panned epic, The Story of Mankind (1957) and did episodes of Zane Grey Theatre ("Proud Woman") and Shower of Stars ("Cloak and Dagger"). Her last film was a thriller The Female Animal (1958).

Lamarr was signed to act in the 1966 film Picture Mommy Dead, but was let go when she collapsed during filming from nervous exhaustion. She was replaced in the role of Jessica Flagmore Shelley by Zsa Zsa Gabor.

Although Lamarr had no formal training and was primarily self-taught, she worked in her spare time on various hobbies and inventions, which included an improved traffic stoplight and a tablet that would dissolve in water to create a carbonated drink. The beverage was unsuccessful; Lamarr herself said it tasted like Alka-Seltzer.

Among the few who knew of Lamarr's inventiveness was aviation tycoon Howard Hughes. She suggested he change the rather square design of his aeroplanes (which she thought looked too slow) to a more streamlined shape, based on pictures of the fastest birds and fish she could find. Lamarr discussed her relationship with Hughes during an interview, saying that while they dated, he actively supported her inventive "tinkering" hobbies. He put his team of scientists and engineers at her disposal, saying they would do or make anything she asked for.

During World War II, Lamarr learned that radio-controlled torpedoes, an emerging technology in naval war, could easily be jammed and set off course.[53] She thought of creating a frequency-hopping signal that could not be tracked or jammed. She conceived an idea and contacted her friend, composer and pianist George Antheil, to help her implement it.[54] Together they developed a device for doing that, when he succeeded by synchronizing a miniaturized player-piano mechanism with radio signals.[40] They drafted designs for the frequency-hopping system, which they patented.[55][56] Antheil recalled:

We began talking about the war, which, in the late summer of 1940, was looking most extremely black. Hedy said that she did not feel very comfortable, sitting there in Hollywood and making lots of money when things were in such a state. She said that she knew a good deal about munitions and various secret weapons ... and that she was thinking seriously of quitting MGM and going to Washington, D.C., to offer her services to the newly established National Inventors Council.

As quoted from a 1945 Stars and Stripes interview, "Hedy modestly admitted she did only 'creative work on the invention', while the composer and author George Antheil, 'did the really important chemical part'. Hedy was not too clear about how the device worked, but she remembered that she and Antheil sat down on her living room rug and were using a silver match box with the matches simulating the wiring of the invented 'thing'. She said that at the start of the war 'British fliers were over hostile territory as soon as they crossed the channel, but German aviators were over friendly territory most of the way to England... I got the idea for my invention when I tried to think of some way to even the balance for the British. A radio controlled torpedo, I thought would do it.'"

Their invention was granted a patent under U.S. Patent 2,292,387 on August 11, 1942 (filed using her married name Hedy Kiesler Markey).[58] However, it was technologically difficult to implement, and at the time the US Navy was not receptive to considering inventions coming from outside the military.[35] Nevertheless, it was classified in the "red hot" category.[59] It was first adapted in 1957 to develop a sonobuoy before the expiration of the patent, although this was denied by the Navy. At the time of the Cuban Missile Crisis in 1962, an updated version of their design was installed on Navy ships.[60] Today, various spread-spectrum techniques are incorporated into Bluetooth technology and are similar to methods used in legacy versions of Wi-Fi. Lamarr and Antheil's contributions were formally recognized in the late twentieth and early twenty-first centuries.

Lamarr was married and divorced six times and had three children:

Friedrich Mandl (married 1933–37), chairman of the Hirtenberger Patronen-Fabrik

Gene Markey (married 1939–41), screenwriter and producer. She adopted a boy, James Lamarr Markey (born January 9, 1939) during her marriage with Markey. In 2001, James found out he was the out-of-wedlock son of Lamarr and actor John Loder, whom she later married as her third husband.

John Loder (married 1943–47), actor. James Lamarr Markey was adopted by Loder as James Lamarr Loder. During the marriage, Lamarr and Loder also had two further children: Denise Loder (born January 19, 1945), married Larry Colton, a writer and former baseball player; and Anthony Loder (born February 1, 1947), married Roxanne who worked for illustrator James McMullan. They both appeared in the documentary films Calling Hedy Lamarr (2004), and Bombshell: The Hedy Lamarr Story (2017).

Ernest "Ted" Stauffer (married 1951–52), nightclub owner, restaurateur, and former bandleader

W. Howard Lee (married 1953–60), a Texas oilman (he later married film actress Gene Tierney)

Lewis J. Boies (married 1963–65), Lamarr's divorce lawyer

Following her sixth and final divorce in 1965, Lamarr remained unmarried for the last 35 years of her life.

Lamarr became a naturalized citizen of the United States at age 38 on April 10, 1953. Her autobiography, Ecstasy and Me, was published in 1966. In a 1969 interview on The Merv Griffin Show, she said that she did not write it and claimed that much was fictional. Lamarr sued the publisher in 1966 to halt publication, saying that many details were fabricated by its ghost writer, Leo Guild. She lost the suit. In 1967, Lamarr was sued by Gene Ringgold, who asserted that the book plagiarized material from an article he had written in 1965 for Screen Facts magazine.

In the late 1950s, Lamarr designed and, with husband W. Howard Lee, developed the Villa LaMarr ski resort in Aspen, Colorado. After their divorce, her husband gained this resort

In 1966, Lamarr was arrested in Los Angeles for shoplifting. The charges were eventually dropped. In 1991, she was arrested on the same charge in Florida, this time for stealing $21.48 worth of laxatives and eye drops. She pleaded no contest to avoid a court appearance, and the charges were dropped in return for her promise to refrain from breaking any laws for a year.

During the 1970s, Lamarr lived in increasing seclusion. She was offered several scripts, television commercials, and stage projects, but none piqued her interest. In 1974, she filed a $10 million lawsuit against Warner Bros., claiming that the running parody of her name ("Hedley Lamarr") featured in the Mel Brooks comedy Blazing Saddles infringed her right to privacy. Brooks said he was flattered; the studio settled out of court for an undisclosed nominal sum and an apology to Lamarr for "almost using her name". Brooks said that Lamarr "never got the joke". With her eyesight failing, Lamarr retreated from public life and settled in Miami Beach, Florida, in 1981.

In 1996, a large Corel-drawn image of Lamarr won the annual cover design contest for the CorelDRAW's yearly software suite. For several years, beginning in 1997, it was featured on boxes of the software suite. Lamarr sued the company for using her image without her permission. Corel countered that she did not own rights to the image. The parties reached an undisclosed settlement in 1998.

In 1997, Canadian company WiLAN signed an agreement with Lamarr to acquire 49% of the marketing rights of her patent, and a right of first refusal for the remaining 51% for ten quarterly payments. This was the only financial compensation she received for her frequency-hopping spread spectrum invention. A friendship ensued between her and the company's CEO, Hatim Zaghloul.

Lamarr became estranged from her son, James Lamarr Loder (who believed he was adopted until 2001), when he was 12 years old. Their relationship ended abruptly, and he moved in with another family. They did not speak again for almost 50 years. Lamarr left James Loder out of her will, and he sued for control of the US$3.3 million estate left by Lamarr in 2000. He eventually settled for US$50,000. James Loder was the Omaha, Nebraska police officer who was charged but then acquitted of the killing of 14 year old Vivian Strong in 1969.

In the last decades of her life, Lamarr communicated only by telephone with the outside world, even with her children and close friends. She often talked up to six or seven hours a day on the phone, but she spent hardly any time with anyone in person in her final years. A documentary film, Calling Hedy Lamarr, was released in 2004 and features her children Anthony Loder and Denise Loder-DeLuca.

Lamarr died in Casselberry, Florida, on January 19, 2000, of heart disease, aged 85. According to her wishes, she was cremated and her son Anthony Loder spread her ashes in Austria's Vienna Woods.

In 1939, Lamarr was voted the "most promising new actress" of 1938 in a poll of area voters conducted by a Philadelphia Record film critic.[95]

In 1951, British moviegoers voted Lamarr the tenth best actress of 1950,[96] for her performance in Samson and Delilah.

In 1960, Lamarr was honored with a star on the Hollywood Walk of Fame for her contribution to the motion picture industry, at 6247 Hollywood Blvd adjacent to Vine Street where the walk is centered.

In 1997, Lamarr and George Antheil were jointly honored with the Electronic Frontier Foundation's Pioneer Award.

Also in 1997, Lamarr was the first woman to receive the Invention Convention's BULBIE Gnass Spirit of Achievement Award, known as the "Oscars of inventing".

In 2014, Lamarr and Antheil were posthumously inducted into the National Inventors Hall of Fame for frequency-hopping spread spectrum technology.

Also in 2014, Lamarr was given an honorary grave in Vienna's Central Cemetery, where the remaining portion of her ashes were buried in November, shortly before her 100th birthday.

Asteroid 32730 Lamarr, discovered by Karl Reinmuth at Heidelberg Observatory in 1951, was named in her memory. The official naming citation was published by the Minor Planet Center on August 27, 2019 (M.P.C. 115894).

On 6 November 2020, a satellite named after her (ÑuSat 14 or "Hedy", COSPAR 2020-079F) was launched into space.

The 2004 documentary film Calling Hedy Lamarr features her children, Anthony Loder and Denise Loder-DeLuca.

In 2010, Lamarr was selected out of 150 IT people to be featured in a short film launched by the British Computer Society on May 20.

Also during 2010, the New York Public Library exhibit Thirty Years of Photography at the New York Public Library included a photo of a topless Lamarr (c. 1930) by Austrian-born American photographer Trude Fleischmann.

The 2017 documentary film Bombshell: The Hedy Lamarr Story, written and directed by Alexandra Dean and produced by Susan Sarandon,[108] about Lamarr's life and career as an actress and inventor, also featuring her children Anthony and Denise, among others, premiered at the 2017 Tribeca Film Festival.[40] It was released in theaters on November 24, 2017, and aired on the PBS series American Masters in May 2018. As of April 2020, it is also available on Netflix.

During World War II, the Office of Strategic Services invented a pyrotechnic device meant to help agents operating behind enemy lines to escape if capture seemed imminent. When the pin was pulled, it made the whistle of a falling bomb followed by a loud explosion and a large cloud of smoke, enabling the agent to make his escape. It saved the life of at least one agent. The device was codenamed the Hedy Lamarr.[109]

The Mel Brooks 1974 western parody Blazing Saddles features a male villain named "Hedley Lamarr". As a running gag, various characters mistakenly refer to him as "Hedy Lamarr" prompting him to testily reply "That's Hedley."

In the 1982 off-Broadway musical Little Shop of Horrors and subsequent film adaptation (1986), Audrey II says to Seymour in the song "Feed Me" that he can get Seymour anything he wants, including "A date with Hedy Lamarr."

On the Nickelodeon show Hey Arnold!, there is a running gag in which whenever something unfortunate happens to Arnold's grandfather, Phil, he constantly states how things would have been different if he had "married Hedy Lamarr instead!". In one episode, it is revealed that he carries a photo of her in his wallet.

In the 2003 video game Half-Life 2, Dr. Kleiner's pet headcrab, Lamarr, is named after Hedy Lamarr.

In 2008, an off-Broadway play, Frequency Hopping, features the lives of Lamarr and Antheil. The play was written and staged by Elyse Singer, and the script won a prize for best new play about science and technology from STAGE.

In 2011, the story of Lamarr's frequency-hopping spread spectrum invention was explored in an episode of the Science Channel show Dark Matters: Twisted But True, a series that explores the darker side of scientific discovery and experimentation, which premiered on September 7.

Batman co-creator Bob Kane was a great movie fan and his love for film provided the impetus for several Batman characters, among them, Catwoman. Among Kane's inspiration for Catwoman were Lamarr and actress Jean Harlow. Also in 2011, Anne Hathaway revealed that she had learned that the original Catwoman was based on Lamarr, so she studied all of Lamarr's films and incorporated some of her breathing techniques into her portrayal of Catwoman in the 2012 film The Dark Knight Rises.

In 2013, her work in improving wireless security was part of the premiere episode of the Discovery Channel show How We Invented the World.

In 2015, on November 9, the 101st anniversary of Lamarr's birth, Google paid tribute to Lamarr's work in film and her contributions to scientific advancement with an animated Google Doodle.

In 2016, Lamarr was depicted in an off-Broadway play, HEDY! The Life and Inventions of Hedy Lamarr, a one-woman show written and performed by Heather Massie.

Also in 2016, the off-Broadway, one-actor show Stand Still and Look Stupid: The Life Story of Hedy Lamarr starring Emily Ebertz and written by Mike Broemmel went into production.

Also in 2016, Whitney Frost, a character in the TV show Agent Carter, was inspired by Lamarr and Lauren Bacall.

In 2017, actress Celia Massingham portrayed Lamarr on The CW television series Legends of Tomorrow in the sixth episode of the third season, titled "Helen Hunt". The episode is set in 1937 "Hollywoodland" and references Lamarr's reputation as an inventor. The episode aired on November 14, 2017.

In 2018, actress Alyssa Sutherland portrayed Lamarr on the NBC television series Timeless in the third episode of the second season, titled "Hollywoodland". The episode aired March 25, 2018.

Gal Gadot is set to portray Lamarr in an Apple TV+ limited series based on her life story.

A novelization of her life, The Only Woman in the Room by Marie Benedict, was published in 2019.

[svltzmans]

Hello can I request anything with hope where she's reader's secret admirer (also friends with her and lizzie) but when they're around reader they act like they don't know who the admirer is, like acting all clueless and intrigued lol! Thank you <3

i can see you (h.m.)

a/n: hi anon!! i LOVE this request it's such a cute idea!! i'm sick rn so i'm happy i get to write this while i'm under the weather to make me feel better :) i'm also listening to a ton of taylor swift of course and this story kinda reminded me of i can see you!!! i hope you like it and thanks again for requesting <3

warnings: none just fluffy and gay <3

y/n had never been more confused.

staring intently at the note she had found in her bag, she tried to think of any reasonable explanation.

were the werewolves playing a cruel prank or something? maybe someone put it in the wrong bag?

what she did know, however, was that it was a love note. written in cursive, neat, unfamiliar handwriting.

"you look so beautiful today," it begins. whoever this individual was, they had already made y/n turn a deep shade of red.

folding up the note and stowing it in her jeans' back pocket, she ventured to her next class, where she continued to ponder who the note could be from.

y/n's walk to her room after class quickly led her to make a pit stop at lizzie's.

upon hearing the knock on her door, lizzie sprung up from her desk to open it.

"if it isn't y/n y/l/n, looking cute as ever. come in!"

plopping down on lizzie's bed, y/n pulls the note out of her pocket.

"a love note? for me? i didn't know you felt this way, y/n," lizzie laughs, opening the letter.

"liz! this is serious! i have no idea who this could have been from."

"where did you even find it?"

"in my bag."

"huh. what class?"

"introductory spells."

"how many people are in that class?"

"it's a lecture hall liz... a lot of people."

"shit. that doesn't help at all. do you have any ideas?"

"none at all. nobody has been showing any kind of obvious interest in me."

"it's girly handwriting."

"i hope so. if it was a man it would just be creepy."

they both chuckle at that before texting hope.

"she'll probably know how to help us," lizzie insists.

mere minutes later, there's another knock at the door.

"hope andrea mikaelson in my room, to what do i owe the pleasure?" lizzie quips.

"your text, saltzman." hope responds with a sarcastic edge in her voice.

"okay whatever, we have a y/n crisis happening and your attitude is not helping."

"crisis is kind of a strong word," y/n adds, earning a glare from lizzie.

"y/n! it's a big deal! your first secret admirer!"

"secret admirer?" hope interrupts, a quizzical expression on her face.

"miss y/n y/l/n got a love note in her bag from an anonymous person."

"what? let me see!" hope perks up excitedly. "woah, y/n, this person really likes you."

"i know! and it's killing me! i can't figure out who wrote it. it could be anyone in introductory spells with me."

"i'm in that class with you." hope pauses, before adding "i can help you figure it out!"

"you'd do that for me?"

"of course. i'd do anything for you, y/n... we're friends, aren't we?"

y/n's heart stings a bit hearing hope call her a friend, but she immediately lights up again remembering the first part of hope's sentence.

"in that case, mikaelson, let's do this."

"uh, hellooo. guys, did you forget i'm in that class too?" lizzie adds, clearly feeling left out of the conversation.

the next day, lizzie and hope run into each other in the hallway. quickly checking to make sure y/n isn't in earshot, lizzie pulls hope aside.

"are you gonna tell her it's you?"

"i kinda want to lead her in the right direction and let her figure it out herself."

"hope! you've already hinted at it so many times! you gotta just tell her."

"i'll think about it."

y/n walks up to the blonde and brunette, smiling.

"are we gonna figure out this secret admirer or what?"

the trio walk into the massive classroom, finding three seats in the back row that would allow them to easily scan the room.

"this is going to be impossible. where do we even start?" y/n asks, already exasperated.

"well, we can rule out everyone that's already in a relationship. at least i hope we can," lizzie responds.

"that's like, at least half the people in here," hope adds.

"any ideas, y/n?" lizzie questions.

"not yet. they gotta be right in front of me, i'm just not seeing it."

hope and lizzie both have to stifle their reactions to that comment, trying hard not to confirm that y/n is right.

when class begins, hope pulls out her notebook to document the lecture. she sneaks a glance at y/n, who seems to be deep in thought.

"i love when you get super focused on something. you look so cute," hope writes, quickly abandoning her class notes.

"i dream about you looking at me that way."

before y/n can notice, hope folds the piece of paper and slips it into her bag.

"i can't believe i didn't notice! they were right next to me at one point and i didn't see them put it in my bag!" y/n sighs, ranting to lizzie.

"i didn't notice it either, professor was extra immersive today," lizzie responds, trying to hide her amusement at y/n's exasperation.

"next class i'm gonna pay more attention to my bag. maybe i'll be able to catch them in the act."

"whatever you say, y/l/n. have you ever thought that maybe you're looking too far into it?"

"what do you mean?"

"nothing. just thinking out loud." lizzie realizes she might have said too much. y/n dismisses the conversation and moves onto a new topic, although still wondering what the blonde meant.

the next introductory spells class was quite intense for y/n, who was carefully trying to watch the lecture while simultaneously keeping an eye on her bag.

eventually, her attention lands on hope, delicately taking notes.

glancing down at hope's paper in hopes of seeing some notes to copy, y/n can't help but notice hope's handwriting.

it's beautiful. undeniably feminine, swoopy...

holy shit.

y/n immediately calls an "emergency meeting" between her, hope and lizzie after class. hope and lizzie shuffle to her room close behind her.

"i think i might have figured out who the admirer is."

"it's about time, y/l/n," lizzie says, anticipating y/n's elaboation.

"it has to be josie."

"what?" hope and lizzie say in unison, staring at each other in disbelief.

"y/n... it's not josie," hope nervously mutters.

"what? how do you know?"

"because it's me. y/n my feelings for you have gotten so strong that i couldn't help but write them down. i just like you so much i had to express it somehow. i was hoping you would realize eventually but i just want you to know."

"hope, i know. i noticed your handwriting matched in class today. i just wanted to hear it from you. i have always felt the same."

"finally!" lizzie sighs in relief, once again interrupting the tender moment between the two women in front of her.

"wait... you knew it was hope?" y/n cracks a smile.

"maybe..."

[elcinelateleymickyandonie]

HEDY LAMARR.

Filmography

• Geld auf der Straße (Dinero en la calle, 1930), dirigida por Georg Jacoby.

• Die Blumenfrau von Lindenau (La mujer de Lindenau, 1931), dirigida por Georg Jacoby.

• Die Koffer der Herrn O.F. (Las maletas del señor O.F., 1931), dirigida por Alexis Granowsky.

• Man braucht kein Geld (No necesitamos dinero, 1932), dirigida por Carl Boese.

• Ekstase / Symphonie der Liebe (Éxtasis, 1933), película checoeslovaca dirigida por Gustav Machaty (con Hedwig Eva Maria Kiesler y Aribert Mog); es una de las primeras películas que habló de la infidelidad cometida por una mujer, fue condenada por la Liga de la Decencia y por el papa Pío XI sobre todo porque mostraba directamente su rostro durante el orgasmo.

• Hollywood Goes to Town (1938) (breve aparición)

• Algiers (Argel, 1938), dirigida por John Cromwell.

• Screen Snapshots: Stars at a Charity Ball (1939) (breve aparición)

• Lady of the Tropics (1939), dirigida por Jack Conway y protagonizada con Robert Taylor.

• I Take This Woman (Esta mujer es mía, 1940), dirigida por W. S. Van Dyke y protagonizada con Spencer Tracy.

• Boom Town (Fruto dorado, 1940), dirigida por Jack Conway y protagonizada además por Clark Gable, Spencer Tracy y Claudette Colbert.

• Camarada X (Comrade X) (1940), dirigida por King Vidor y protagonizada con Clark Gable.

• Come Live With Me (No puedo vivir sin ti, 1941), dirigida por Clarence Brown.

• Ziegfeld Girl (Las chicas de Ziegfeld, 1941) dirigida por Robert Z. Leonard.

• H.M. Pulham, Esq. (Cenizas de amor, 1941), dirigida por King Vidor.

• Tortilla Flat (La vida es así, 1942), dirigida por Victor Fleming.

• Crossroads (1942), dirigida por Jack Conway.

• White Cargo (1942), dirigida por Richard Thorpe.

• Show Business at War (1943) (breve)

• The Heavenly Body (Mundo celestial, 1944)

• The Conspirators (1944), dirigida por Jean Negulesco y protagonizada con Paul Henreid, Sydney Greenstreet y Peter Lorre.

• Experiment Perilous (Noche en el alma, 1944), dirigida por Jacques Tourneur.

• Her Highness and the Bellboy (1945), dirigida por Richard Thorpe.

• The Strange Woman (La extraña mujer, 1946), dirigida por Edgar G. Ulmer.

• Dishonored Lady (Pasión que redime, 1947), dirigida por Robert S

[un-for-seen-blog]

Yet, I find myself watching the clock change from 1:00 AM to 1:01 AM and only those in love or heartbroken wish feeling fade as quick as zeroes in time.

H.M. Taylor

[verydesperatehousewife]

Check out this listing I just added to my Poshmark closet: Vintage 1953 Taylor Kent Bone China Queen Elizabeth II Coronation Tea Cup Saucer.

[detroitlib]

View of exterior and interior of Valpey Shoe Company. Four-story brick building with storefront; sign on building: "Valpey Shoe Co." Monroe Ave. and Farmer St. indicated on image. Interior view of store shows shelves, fitting area and shoes displayed on countertops. "Interior view Valpey Shoe Company" printed on image. Printed on front: "Souvenir, Michigan State Fair, Detroit, September 3rd to 11th, 1908." Printed on back: "Pub. by H.M. Taylor, Detroit, Michigan. After tramping all over the round looking at the balloons, air ships, side shows, races, horses, cattle, sheep, hogs, chickens, etc. we started for the main building and here find the Valpey Shoe Company exhibit. The most interesting at the Fair! The many new Fall styles in footwear the Valpey Shoe Company of Detroit is showing is marvelous and the lady changing her shoes every two minutes is an artist. Be sure you see this exhibit when you come to the fair. It is worth the admission of the whole show. Yours." Handwritten on back in upper right corner: "9/5/08."

Courtesy of the Burton Historical Collection, Detroit Public Library

[sjecblogarchive]

LEARNING STARTS EARLY UPDATES

03/02/2021

BY SJECWARRENTON

LEARNING STARTS EARLY UPDATES

LSE, a 501(c)(3) nonprofit corporation is committed to preparing every preschool child in Fauquier County to meet challenges in kindergarten and beyond.

Thanks to the efforts of Chris Bonner and other LSE board members, LSE now has its own website.  Take a look at www.learningstartsearly.org  

In celebration of Dr. Seuss’s Birthday on March 2, Learning Starts Early will be partnering with Fauquier FRESH, Books on the Bus (BOB), and Cammie Fuller of The Open Book to provide books and puzzles to children at H.M. Pearson Elementary School in Calverton. Darcy Owens, Reading Specialist at Pearson, has organized the event which will include a drive-through character parade in the bus loop from 5:30pm-6:00pm. Children will receive age-appropriate materials supplied by the donors. LSE will be providing books and puzzles for preschoolers.

Parishioners who wish to donate new or gently used children’s books to BOB for future events may drop them off at the Central Complex Building A on Shirley Avenue (next to Taylor Middle School).  A donation bin outside room A1 is available any day Fauquier County Public Schools system is open between the hours of 8:00am and 4:00pm or you may email Kristen McAuliffe at kmcauliffe@fcps1.org.    

Once again, Learning Starts Early will be participating in the annual Give Local Piedmont online campaign.  This year’s event will be held on Tuesday, May 4, 2021.  The event, sponsored by the Northern Piedmont Community Foundation, is one of two major fund-raisers for LSE.  Any donation, large or small, will help LSE in our mission to provide quality preschool experiences for children in need throughout Fauquier County.  More information about the campaign can be found at www.givelocalpiedmont.org.

[californiaprelawland]

Why Protestors Should Not Be Associated With ‘Opportunistic’ Looters

By Paulina Cano, Loyola Marymount University Class of 2021

June 13, 2020

People across the world are mourning the murder of George Floyd. George Floyd, 46, died after his arrest in Minneapolis, Minnesota. A white police officer, Derek Chauvin pinned his knee on Floyd’s neck which led to the event of his death. Video footage reveals Floyd gasping for air and saying the words ‘I can’t breathe’ and ‘Mamma Mamma’. His words have become a beacon of hope in the Black Lives Matter Movement.

People of color suffer under the weight of violence, discrimination and injustice. The Black Lives Matter Movement has begun to peacefully protest the tragic loss of George Floyd, Breonna Taylor, Ahmaud Arbery, and all the other lives that were unlawfully taken from us too soon.

In southern California, specifically, in the city Los Angeles, protesting has caught the attention of ‘opportunistic’ looters. Cities across the country have dozens of looters that have taken convenience in the encasing of this movement. People who loot use the movement as an opportunity to make their voices heard. However, protestors do not condone looters because it delegitimizes the movement for their own monetary gain.

On May 31st, 2020, beach city Santa Monica was hit hard by looters. On the morning of this event, peaceful protestors gathered on Ocean Avenue to support the Black Lives Matter Movement and protest against police brutality. A few blocks away from this peaceful protest looters were destroying the shops in Santa Monica.

“This was a tactical failure on the part of the SMPD,” says Eric Preven, a local activist and interviewee for The Los Angeles Magazine article What I Saw from the Midst of the Looting in Santa Monica. The reason this day was a disappointment for the Santa Monica Police Department is because officers chose to monitor peaceful protestors instead of looters, which was a mistake. SMPD has encountered criticism from business owners who were affected by looters. “They took everything from us, and no one stopped them. It was so violating,” said Lana Negrate, 40, The Santa Monica Music Center owner and interviewee for Fox News 11.

Lana amongst many business owners, do not have the means to repair the damages done by looters. On June 2nd Mayor Garcetti of Los Angeles went live and urged looters to stop looting businesses because this is not how we attain change. He continued and reminded viewers that our nation maintains to be economically affected by the coronavirus pandemic. Therefore, those who loot are further harming businesses who are affected by this economic crisis.

“Peaceful protesting is great. But rioting and looting and vandalizing? No. Burning businesses down? That’s not the answer,” said interviewee to Maya, Alejandra and Matt of the Los Angeles Times.

Looters do no liberate the purpose of the Black Lives Matter Movement. A rally for justice to the full extent acknowledges what’s wrong but does not advocate violence. This movement is about letting us stand for what is right. We cannot use the George Floyd justice movement as a prop for those who have different agendas.

“It’s rare for peaceful protestors to start stealing and setting fires at random,” and “I’ve never seen somebody come in who’s peaceful and then it’s like, Hey, they just broke that window over there. I’m going to now start looting,” says Dana Fisher, a sociologist at the University of Maryland to reporter Olga of The Atlantic.

For Los Angeles, we have begun to see a decrease in looting since it was announced that looters would face jail time upon arrest. “We must stand in solidarity against the deaths of unarmed Black men at the hands of law enforcement,” and “but please don’t destroy our beloved Los Angeles. This is not a protest anymore,” says Los Angeles county supervisor Janice Hahn to reporters Stefanie and Daisy of NBC.

I support peaceful protestors and I hope they continue to raise awareness and educate us all on the injustice, police brutality, systemic racism and the unfairness the Black communities endure in America. People who organize gatherings to damage buildings or businesses hurt the cause of the Black Lives Matter Movement.

________________________________________________________________

Dazio, Nguyen, S.D & D.N, (May 31, 2020), Arrests Continue Overnight in LA After Looting, Vandalism, Retrieved from https://www.nbclosangeles.com/news/local/national-guard-called-in-as-violence-continues-in-la/2371403/

Jellinek, J.J, (June 4, 2020),What I Saw from the Midst of the Looting in Santa MonicaRetrieved from https://www.lamag.com/citythinkblog/santa-monica-looting-essay/

Khazan, O.K, (June 2, 2020), Why People Loot, Retrieved fromhttps://www.theatlantic.com/health/archive/2020/06/why-people-loot/612577/

Lau, Reyes-Velarde, Hamilton, M.L, A.R.V., M.T, (June 5, 2020), Looters who hit L.A. stores explain what they did, Retrieved from https://www.latimes.com/california/story/2020-06-05/looting-protests-george-floyd

Mckay, H.M, (June 4, 2020),Violent, armed looters overrun Santa Monica Music Center: ‘They took everything from us, and no one stopped them’, Retrieved from https://www.foxnews.com/us/santa-monica-music-center-looters-armed

Photo Credit: Hungryogrephotos