#i did this as an homage to her voice actress

[scarewulf]

Blade of Miquella

Alt. Version under the cut

[crushpunky]

actress!reader attends the golden globes (with a special accessory)

masterlist | actress!reader masterlist

based off of this ask + tom/zendaya’s engagement :)

With a final deep breath, y/n stepped out onto the red carpet of the Golden Globes. Bulbs flashed and fans screamed as she walked out, grinning and waving to onlookers, her golden gown popping against the floral backdrop. It wasn’t her first time attending, however, it was her first time attending an event with a certain accessory donning her finger… her ring finger.

Y/n posed, flaunting her perfectly practiced smile along with a toss of her hair before resting her hands on the front of her gown. Her fingers splayed out, flashing the glittering diamond Drew had given her nearly a month ago. Initially she’d been hesitant to wear it on the carpet, unsure if she should come out so soon with it or without Drew, who was unable to attend due to prior scheduling obligations. As she floated along the red carpet, she could hear litters of whispers and pointing from fans, which caused a mischievous smirk to spread across her perfectly lined lips.

“Y/n, looking stunning today!” An interviewer waved her over, an excited grin on their face. 

“Thank you so much! You’re looking beautiful as well.” Y/n smiled.

“So, would you mind giving us some more info about your outfit? It’s absolutely gorgeous!” The interviewer said, gesturing to her dress and array of diamond accessories.

“Thank you, thank you.” Y/n chuckled, smoothing down the front of her satin gown. “Well, it is the Golden Globes, so why not gold, right? But in all seriousness, my stylists did an amazing job and I cannot thank them enough for all their help.”

“Of course, nothing but love for all the stylists tonight.” The interviewer laughed. “Y/n, I do have to ask you a question because everyone has been talking about it since you stepped out here on the carpet today.”

“Oh no, now I’m scared.” Y/n bit her bottom lip, already having an idea of what the question might be.

“Your ring… is this an announcement?” The interviewer asked with a quirk of her brow. Y/n laughed, subtly looking down at the large ring on her finger.

“Hmm, I guess I don’t know what you’re referring to.” Y/n shrugged, a cheeky grin on her face.

“Are you and Drew engaged?” The interviewer asked, gesturing to y/n’s ring.

“That’s a good question.” Y/n said simply, a wide smile remaining on her face as she stood in silence for a moment, the interviewer waiting for an answer before the two of them started to laugh.

“Oh, I think my publicist is calling me!” Y/n said, pointing back towards the entrance to the venue, her publicist nowhere to be seen. “It was great to chat, have a good night!”

The show went on smoothly, y/n watching each of the segments from her seat, mindful of the various phones she saw focused in her direction each commercial break. Her table was filled with fellow actors, including Drew’s nominated “Queer” castmates she’d gotten quite familiar with during her multiple visits to the set.

“Y/n, oh my goodness!” A voice greeted her as they cut for commercial. Y/n turned to see Ayo Edebiri waving excitedly, her usual wide smile on her face. The two of them had met at multiple Loewe events in the past, usually spending the entire event laughing and chatting.

“Oh my goodness, hello!” Y/n smiled, the two of them hugging briefly before pulling away to admire each other's outfits. Ayo wore an oversized, gray Loewe suit paired with a golden tie, an homage to Julia Roberts iconic look.

“It’s so good to see you, you look so good, girl.” Ayo said, gesturing to y/n’s gown before her eyes caught onto y/n’s glittering ring. Ayo quickly grabbed her hand, examining y/n’s finger with a quirk of her brow. Y/n said nothing, giggling at Ayo’s expression.

“Y/n…” Ayo sang quietly, an excited smile spreading across her face as y/n nodded in silent confirmation. With a squeal, Ayo pulled her into a tight hug, the two of them laughing.

“Oh my goodness, congrats!” Ayo whispered before pulling away, the lights flashing to signal the end of the commercial break.

“Thank you, it was so good to see you!” Y/n said, waving to her before finding her way back to her seat, the show continuing. Little did she know, her and Ayo’s interaction, including their admiration of her ring and their excited squeals, was caught on camera by an especially observant attendee. Like a wildfire, the video spread across the internet, only further fanning the flames of the engagement rumors.

It wasn’t until she got home to Drew, the two of them giggling as they scrolled through the internet’s reaction, did they finally decide to respond to the rumors…

tag: @anothertimegirl

[sgiandubh]

Is that it? Is this the end of OL? The cast, crew, and showrunners seem to have moved on (except for the promo). And if it is the end, CB not acknowledging it is strange.

Dear The End Anon,

Well, it really depends on what you actually mean by 'the end of OL', isn't it?

Last week brought just the end of the shooting of the final season. Nothing less, but also nothing more. Call me an idiot if you will, but I can't, for the life of me, understand the Wailing Circus about 'OMG, it's over, I'm not crying, you're crying', etc. It's been a year everyone knows Season 8 will be the last one and also that things could have very well ended with Season 7B, were it not for S's insistence that the show needed 'a proper ending'. Seeing grown-up women getting all shellshocked for literally nothing was, I have to admit, a most unwelcome surprise to me. I mean, seriously now, how old are they and why all this artificial drama?

I have also noticed the more nervous side was just across the street. The flurry of half mental Anons sent to shippers' inboxes by what apparently is the same Lame Troll tells me that there is some serious kerfuffle among them. And how could it be otherwise, since the habitual points of talk (Tait, papers, lovelovelove - seriously LOL- and shippers are pathetic imbeciles) start to wear off. I mean, how many times can you parrot those same ten lines, before realizing your own voice starts to sound very, very unconvincing, after all?

As for the cast, crew and showrunners moving on, I beg to differ. Saying good-bye to ten years of someone's life is never a mechanical process. And the protracted promo calendar will certainly fuel the embers of illusion for a while. There are still dedicated cons being organized by fans, such as the French Landcon coming full circle in Edinburgh, next September. And we just know some of the side players will always be interested in being involved in any OL-related event which could bring the cashola in. Duncan Lacroix, who seems to be a fixture, comes to mind (zero work since Murtagh died for good). Or the very foolish McTavish Danube luxury cruise, OL cat ladies and Gabaldon bigots only need to apply. As far as I know, clinging on to something is just the opposite of moving on, don't you think?

But have no fear, Anon. Promo time for 7B is near and along with it, the same old, same old speculation, carefully choreographed slippage and skirmishes. This dynamic is likely to linger on, for a good while still, albeit with less and less juicy bones thrown in for consumption. But you know what, in the great scheme of things, where all the corners of this fandom seem firmly set on their positions, it doesn't really matter. The only diversions are brought in by The Mourners, always at the ready.

As for C not acknowledging the end of shooting, I'd venture telling you this is her PR problem, not mine/yours, for what it's worth. Is it something proper to do? Probably not and it always amazes me how her Stans are still not realizing she doesn't (really, really) give a flying fuck about their OTT, kitschy and immature homage.

But here is another thing that made me go hmmm, Anon:

When and where did the rest of her bio go? I am unable to tell you, but why doesn't she introduce herself as an 'actress' anymore?

Could be nothing. But then, again, it could be something to take note of. Dots always end up connecting, in here, anyways.

[maxwellatoms]

hey maxwell, got some time to ask some question, have always liked grim and evil since it came on cartoon network in early 2000s. what was the inspiration of evil con carne? besides grim adventure of billy and mandy. and how does it feels to work with voice actress legends grey delisle, who did the voice acting of princess azula from avatar the last airbender and miranda from w.i.t.c.h.? two of my childhood villain i grew up with in early 2000s.

Speaking of...

I always felt like B&M was a homage to the Saturday Morning Cartoons I binged in my youth, but mostly the overt comedies like Looney Tunes or Hanna-Barbera. Evil Con Carne was meant to be a homage to the other half of Saturday Morning and the occasional Weekday Afternoon-- action shows! S.P.O.R.K. is meant to be G.I. Joe in the way that Evil Con Carne is meant to be Cobra. Estroy is a pretty overt parody of Destro. I tried to get a lot of robots and ray guns and radioactive mutagens in there. Basically anything I couldn't easily do on Billy & Mandy.

In the end, we had to move to an eleven minute format, so either B&M or ECC had to go. For only being 13 half-hours, Evil was a lot of fun and I'm thankful we got to close out a full season.

As for Grey, I was lucky to get in on the ground floor. It's been incredible to watch her grow as a talent and collect so many memorable roles along the way. I'm proud to have thrown her inaugural curve-ball.

[grumphare]

also Lady had a 2th project (or a sequel anime) for the 15th anniversary of the anime series as one of three anime OVAs/animes created, and it was based off of Momona’s rival/sister-in-law, Lillian and titled: Lillian.exe, and was a homage to the 1998 anime, Serial Experiments Lain, just like with the Sunshine OVA and the other Lady OVA which also aired on TV, Lillian.exe aired on TV as well, unlike the other two which aired at 11:00/11:30, Lillian.exe aired at late-at-night, but at different times and dates on different channels, the main ones, it aired on were Jewelpet’s normal broadcast homes, TV Tokyo and TV Osaka, unlike the Sunshine and the other Lady OVA, which aired on TV as cross-promotion, Lillian.exe aired on solely on TV, but appeared later on home video.

This was also the only Jewelpet type of media or type of animation from a season’s universe to not feature an appearance of Ruby and her human partner, Lady’s human partner for Ruby being Momona instead, it focused on Lillian, this also did feature Luea, but she was only mentioned or an cameo, or speaking off-screen until the final episode where she made a full appearance, though not appearing, there were mentions of Ruby and Momona, and also cameos of characters from Lady and other shows in a non-canon sense. Here’s the recreated poster I made from the dream of the actual poster i saw in that dream. Genres: Cyberpunk, Psychological Horror, Techno Horror, Science Horror, Neon. TV Networks: TV Tokyo, TV Osaka, TV Aichi, Family Gekijo, Star Channel. Opening:「DUVET」 by Jasmine Rogers and Bôa, song lyrics by Jasmine Rogers, Airdate: October 23th 2025 - September 2th 2026 (TV Tokyo), Lillian - Voice Actress: Risa Taneda, Animation Studios: Studio DEEN, Studio Ghibil/ZEXCS (additional help), Sponsors/Creators: Sega Fave, Sanrio, Bandai, Bushiroad, Yume Creations. Licensing: TMS Entertainment

[anghraine]

I haven't actually watched any of the live-action Disney films, but YouTube did recommend the "Under the Sea" musical number and I enjoyed it!

For context, I was alive (if very small) when the original The Little Mermaid came out and blew my little mind. I lived and breathed TLM for years. Genuine photo of your blogger:

(I think this was about midway through my TLM phase.)

"Under the Sea" was not and is not my favorite of the original musical numbers (I got my hair dyed red at age 6 so I could be in a ballet production of "Poor Unfortunate Souls", just saying), but it's still great, and it was interesting to see it re-imagined in such a vivid way while still paying homage to the original.

A lot of homage to the original, yes.

I'm not sure anything could supplant the original scenes in my heart, but I get the ... enchantment, I guess? of seeing it play out in a more realistic format that still has real artistry to it. Ariel's tail alone! The dolphins! The jellyfish sequence! Her hair in the water!

On the one hand, I think the inescapability of the original is only reinforced by how similar they are, while occurring in a roughly similar medium (animation and live-action are different, of course, but it's still a feature film musical number of a basically similar type). At the same time, this does make the changes that are there stand out more in an interesting way.

In particular, I thought it was intriguing to have Ariel so present in the number, where she's simply absent for a lot of the visuals of the original, and I feel like it takes 2023 Ariel longer to leave as well. And she actually is part of the music here and seems more endeared by what's happening around her, while 1989 Ariel strikes me as more exasperated (though she's also endeared at points, too).

I think it makes sense to integrate her more, both to give her human actress something to do, and maybe (given that I haven't seen the film) to give more of a sense of her ties to the undersea world as well as her longing for land. I was surprised that she actually joins the number and starts singing with the rest, but I did like it. Her actress has a lovely voice and her performance is very charming.

[kingbryancroidragon]

Opinion on "Velma"

Good idea to diversify the cast, just needed to be in a better incarnation. That said, considering Casey Kasem himself was Arab-American, I feel like a race lifted Shaggy being made Arab-American as a homage to his original voice actor would be the right way to go.

As for Daphne, the creators clearly did no research whatsoever since there are Asian ethnic groups that red hair appears naturally in. What did they do because they did no research? Made a joke about her biological mother smoking during pregnancy. An Asian Daphne with naturally red hair is great, she just needs to be an ethnic group that it appears naturally in.

Is the show great? No, not by a long shot, but it was a start at diversifying these characters both ethnically and sexuality wise. If I were to try and sell my own version of Scooby Doo to Warner Bros., something that is doomed from the start because why would they ever accept it, I would so have Shaggy be Arabic, have Daphne be Mongolian, Mongolian being an Asian ethnic group in which red hair is reported to occur naturally, and Velma would be Canadian, much like her original voice actress Nicole Jaffe.

[kylesvariouslistsandstuff]

Chickens/Spirit of Blue Sky

Well look at that, a full trailer for CHICKEN RUN: DAWN OF THE NUGGET is finally here.

CHICKEN RUN is a long-time favorite of mine. I caught it in theaters back in the summer of 2000, at the age of 7. I must've watched the VHS copy I had multiple times. I even had, of all things, a CHICKEN RUN lunchbox depicting Rocky the rooster in the sky on his tricycle. To say I loved this movie is understatement, and to this day? It still *slaps*...

When I learned that CHICKEN RUN was getting a sequel way back in... I want to say late 2017? Early 2018? I was definitely curious and cautious. I was later dismayed to hear that Ginger's voice actress Julia Sawalha wasn't returning because apparently she was told that she was too old. She's going to be 55 in a few days... But her replacement, Thandiwe Newton, is 50. Soon to be 51... That's some nonsense that I'll never understand to this day.

That being said, a new CHICKEN RUN was cause for celebration anyhow. After some character posters and small clips and reveals, we finally have an idea of what this movie is going to be like. I'm definitely surprised that Mrs. Tweedy is back, instead of putting the chooks up against a new menace, and it appears to be retreading similar factory-farming perils and escaping a dinner plate fate stuff. This time, as the trailer and poster emphasize, with the mechanics reversed: A break-in movie rather than an escape, we went from THE GREAT ESCAPE and STALAG 17 homages to James Bond and MISSION: IMPOSSIBLE. "Chicken: Impossible"?

It actually makes a lot of sense. CHICKEN RUN is clearly set in middle-postwar England, a dreary midcentury setting that many peg at the late 1950s judging by the old tech and such, but it's actually set in - at the earliest - November 1961. How's that? Well, I am nerdy about certain things, and I know that the song Rocky is listening to in that scene where he pedals by the Mrs. Tweedy's Chicken Pies billboard came out in November 1961. That song, Dion's 'The Wanderer', was a #10 hit in the UK. So, CHICKEN RUN is set either in late 1961 or sometime in 1962. I'd imagine it doesn't go farther than that, at least not to the days The Beatles had finally made a splash. (Their first official single, 'Love Me Do', released in October 1962.) It's a small detail, I get it. I'm sure the filmmakers behind the original didn't think about it as much as I do, they probably thought "Oh, a '50s song, let's have him be listening to that!" Or maybe they did overthink it, too!

So... CHICKEN RUN 2 going for a mid-1960s James Bond spy movie vibe, completely with a very '60s spy movie-looking evil lair-like place, checks out. Either way, I'm game to see it. It'll hit different seeing it on a small screen, but that's just how it all goes, doesn't it? Aardman's previous feature, FARMAGEDDON: A SHAUN THE SHEEP MOVIE (which was very similar to CHICKEN RUN), played theatrically in the UK a few months before COVID hit. Here in the states, it hit Netflix on Valentine's Day 2020, just a little before the outbreak. Even in a world where COVID never happened, it probably still wouldn't have had a chance at hitting theaters. (Though the weirdest thing is, Lionsgate at one point was going to release it theatrically, like they had done w/ the first SHAUN THE SHEEP movie. If you saw EARLY MAN in theaters in February 2018, like I did, you saw a FARMAGEDDON teaser before it. It had no release date, but still...)

Anyways, heck yeah CHICKEN RUN 2!

Other cool news this week, Annapurna Animation has upped their game. Big time. After saving the scrapped Blue Sky Studios swan song NIMONA, with much of the same crew back to complete it, they have expanded and not only kept some key people from NIMONA (like director Nick Bruno and producer Julie Zackary), but also some former Blue Sky veterans... Like none other than Chris Wedge himself! Director BUNNY, ICE AGE, ROBOTS, ICE AGE: THE MELTDOWN, EPIC! The last thing he directed was a live-action movie with some VFX creatures for Paramount, called MONSTER TRUCKS... He'll be back to direct a new animated feature called FOO. It's been ten years since he directed/finished an all-animated movie, so I'm very pumped about this.

Nick Bruno has an original movie in the works there, along with more projects, so that's great. I wonder what his NIMONA and SPIES IN DISGUISE directing partner Troy Quane will be up to, then. Annapurna is also making an animated feature out of a game they released, STRAY, a tale of a stray (what else?) cat in a techy future. And that game came out rather recently, too, so it's cool to see the movie taking off this quickly. Coincidentally, Blue Sky at one point was considering adapting the creature creator game SPORE into a movie... I've never played the game, but I'm a sucker for weirdo futuristic stories and settings. NIMONA's take on a futuristic world was really cool, so Annapurna has this game down pat.

So let's see... Wedge, Bruno, Zackary... In addition to more Blue Sky alumni like Erica Pulcini, Robert Baird, and Andrew Millstein... Yeah, the spirit of Blue Sky Studios lives on at Annapurna Animation, and I think that's very nice. Annapurna took over and completed what was to be a Blue Sky feature film, and they have now landed some of the studio's key people. There's something kind of sweet about that, honestly... I wonder if this means certain canceled Blue Sky projects, such as the musical FOSTER, could live to see another day... Disney heads, namely Bob Chapek, made such an obtuse decision shuttering Blue Sky, so it's fantastic to see that NIMONA was saved by Annapurna and some of their existence as well...

[vicky82gargoylesfan]

My Thoughts on Gargoyles Issue 9 and Dark Ages issue 3

Spoilers

Gargoyles issue 9: Your Witness

Goliaths hearing has started to determine if he has Sentience and if they deserve same rights as humans ect.

We find out Matt's middle name is Menachem.

interesting to see Owen and Antoinette Dracon sitting in the courtroom. I wonder what Antoinette's role is here.

Lexington is sort of narrating, he's talking to Amp about Goliath's Hearing.

The whole clan is watching the hearing on tv.

Awww

It is revealed that Renard did provide funds and resources to the Gargoyles task force. His health is also getting worse, I have a feeling he won't live beyond issue 12.

Margot Yale has had to change tactics as she now knows Goliath is competent and now is trying to prove Goliath is a very dangerous creature.

Awww, looks like the hearing getting a bit hard for Angela, Broadway seems to be comforting her. Looks like his tail is on her leg.

New Character Dr Vaughn, he apparently examined Goliath while he was unconscious.

So Coldstone decided to not watch the 2nd night hearing, as he was still pissed off from watching 1st night trial, probably would have blew up the tv if he stayed.

So Castaway aka Jon Canmore revealed he's descended from Angus Canmore. so even though he's changed his identity, he's still connected to the Canmore family.

Tobe Crest brings in Elisa, even though Goliath is against it.

We find out Elisa's middle name is Nichelle which is a nice homage to the deceased actress Nichelle Nichols who voiced Diane Maza.

I wonder how much Elisa is going to reveal in the next issue and could it put her career in Jeopardy.

The next issue is actually the Halloween special on October 18th, Issue 10 got pushed back to October 25th (seen the dates on Previews world). Obviously Goliath will be free but I wonder if there will be other spoilers that could be revealed in the Halloween issue.

Gargoyles Dark Ages Issue 3: The Oath

So Lefty goes to find out where they are keeping Angel and Mentor goes to save her.

Pretty strange to see Mentor and Archmage working together as we know that Archmage becomes a villain later.

So only Mentor and Goliath go to save Angel. Mentor is really annoyed at Hyppolyta for disobeying him.

It was revealed that Culen and all his men all died but they weren't killed in the fire. Yikes!

Mentor does save Culen's son, Constantine and even though he's just a baby, we all know what he does in 24 years.

Robbie's daughter Alesand makes her first appearance, hmm I wonder if she's still alive by 994. They skip the Coronation to pay their respects and witness the Wind Ceremony.

This is the first time we see a Wind Ceremony happen, it was very moving, Verity and 2 other Gargoyles has sadly died. Sacrifice performs the ceremony.

Mentor and Prince Malcolm discuss building the castle, at the same time Archmage asks Angel to become his apprentice.

We also see something has awakened.

Great story, can't wait for the next issue.

[docgold13]

The Classics toyline did give a bit more deeper lore for Scorpia. Like being apart of a Matriarchy race of Scorpion women who surrendered her kingdom to Hordak since it was better to keep him as an ally than an enemy. Also her real name is Lynda D'ream (a sweet homage to her voice actress).

Neat!

I must admit to being very much partial to the most recent iteration of She-Ra (the Princesses of Power series that ran on Netflix). Total respect to fans who prefer the older version or those who like the broader Masters of The Universe continuity, but Princesses of Power was far and away my favorite.

[finalgirlminamurray]

catching up on 2024 horror, continued: in a violent nature was also quite good. i really loved the concept of this and the way it was executed was pretty great. haters will say it's "boring" and "too slow" but real ambivalent slasher fans such as myself know that the movie happening just off screen of this one would be way more boring. in a sense this is giving slasher audiences exactly what they want - just a string of violent deaths connected by the vaguest thread of a story. bad slashers, imo, will make it very obvious that the filmmakers did not actually care about having "characters" and a "plot" aside from the kills while also seriously underestimating how much time we'll have to spend pretending to care about everything else. good slashers, meanwhile, will actually put effort into making the parts of the film where no one is getting killed actually interesting to watch. if a new slasher comes out and the best it seems anyone can say about it is "there are some really good kills in this" that's not a good sign.

(or i could just be not the target audience for this subgenre. i'll be reviewing a slasher like "well first of all there were way too many characters and it was obvious most of them were only there to die" yeah that's the point.)

anyway - i did really like this. the concept of a slasher that's composed entirely of the killer's pov and the events of the film that must be happening offscreen but we normally wouldn't see. a lot of beautiful nature cinematography, very relaxing to walk around in. i especially loved the ending because - okay, you know how analyses of slashers and horror in general will talk about the phenomenon of audiences "rooting for" the killer for most of the movie because they're only here to see people die spectacularly, not be invested in them as characters? carol clover talks about how by the time the final girl is the only one left, audiences' loyalty tends to shift to her and they'll spend the last part of the film cheering her on instead. and that's how this film's pov shift works, i think. when we're with johnny (the killer) it's the part of the movie when we want to see him kill. when we're with kris (the final girl) it's the part of the movie when we want to see her escape. and the whole ending just being her in the car with the woman who rescues her, which is normally where the movie would end?? without a cheap "or is it?" ending scare but the clear expectation of one standing in for how she's going to be haunted forever by this? yeah that's the good stuff. they get it.

one last note is that yet again this is another case of the most gruesome and memorable death always going to a female character. like it's almost an expectation in slashers, just like there's also an expectation that the survivor will be a girl. (could also talk about the significance of her being saved at the end by another woman, though, and one played by an actress from a friday the 13th, who was not the final girl in her movie. and also that - don't know if this was just how casting shook out or not, but the only poc in the victim group being the only survivor. there's something).

however i'm getting sick of this thing in modern movies and tv shows where we'll have a teenage girl/college-aged young woman character (always a girl, usually white) using online social justice language always in the exact same tone of voice so we know we're supposed to dislike her. if you're not going to actually examine how people in privileged social positions themselves use progressive language in a performative manner without actually doing anything, then it's just betraying your real thoughts of "aren't people who use words like 'toxic masculinity' and call people out for being ableist soooo annoying lol". i'm just saying, how come the guy trying to goad his friend into saying the r-word doesn't get the standout death scene

anyway, good movie overall though. lots of homages to various fridays the 13ths of course, but i think there was just enough texas chain saw massacre in there for me to notice (the final chase scene felt very reminiscent of sally running through the woods, which is an excellent sequences, although this was less high-intensity due to the killer not actually being in pursuit.) and also a fair amount of influence from my bloody valentine, from the mask design to the backstory and the openly canadian setting, which was a pleasant surprise. i love the choice of end credits song but i was kind of hoping we'd get a "ballad of harry warden" homage to finish it off. maybe next time

[newmusicradionetwork]

Leah Jane, the soulful voice emerging from Toronto, shares her highly anticipated EP, Nottingham Drive. The final track, “The Fury,” stands out as the only song not released ahead of time as a pre-release single, offering fans a raw and infatuating listening experience. Known for her passionate lyrics and dreamy alt-pop sound, Leah Jane’s EP is now available to stream on all major platforms. “The Fury” delves deep into Leah Jane’s personal struggles with societal expectations. “This song is less about a man and more about what it means to be a ‘man.’ I was always told I wasn’t assertive or strong enough to succeed. It made me sad to think that I needed to change my softness to get what I wanted. I love this song because it has helped me work through my anger and resentment towards people and industries that make me feel that way,” she reveals. The track’s classic piano and guitar slides provide a timeless backdrop to her overall message, making it a standout piece that listeners will resonate with on an emotional level. The track was written by Leah Jane, produced by Selfish Things’ members Alex Biro and Mike Tompa, mixed by Josh Bowman, and mastered by Joao Carvalho. Nottingham Drive, named after the street where Leah Jane grew up in St. John’s, Newfoundland, is a heartfelt homage to her roots and childhood memories. She talks about the nostalgia she gets from this name, saying “Nottingham Drive was the street where I grew up in St. John’s, and I have nothing but fond memories of that place. I’m grateful for that. I had the chance to write these songs in comforting spaces, surrounded by some of my closest friends, and delve into the stories behind them, creating even more cherished moments.” The EP is flourishing with that sentimental vibe, capturing her childhood years while inviting listeners to reflect on their treasured moments. Leah Jane hopes that her music will resonate with people from all walks of life, much like it did with her younger self. Leah Jane is a talented musician from St. John’s, Newfoundland, currently based in Toronto, Ontario. Getting her start in entertainment as an actress in roles such as in Lifetime’s House of Deadly Lies, she has received recognition for her talents with a nomination for Best Actress at the “Short Stop Film Fest” and the RBC Emerging Musician/Canadian Walk of Fame scholarship in 2019. Her music journey began at a young age with piano lessons, vocal training, and eventually guitar, influenced by her father who gifted her first guitar at 12. Her music is a unique blend of dreamy alt-pop and indie-pop, influenced by artists like Taylor Swift, Maggie Rogers, and Kacey Musgraves, as well as from her world as a stage actor in the greater Toronto area. Leah Jane has received acclaim for her empowering messages and soulful music from numerous esteemed outlets, including Ones to Watch, Exclaim! Magazine, GRRRL Music, and CBC’s St. John’s Morning Show. Leah Jane’s EP Nottingham Drive and the single “The Fury” are now available on all streaming platforms. This EP, a reflection of her personal growth and artistic evolution, promises to hook listeners with its emotional depth and relatable themes. In support of her debut EP release, she will be performing a hometown release show at The Cave in Toronto on September 24th, with Ethansroom & Misty Blue opening. Connect with Leah Jane and stay updated on her latest projects through her Instagram @lemckk and her TikTok @lemckk. Read the full article

[project1939]

100+ Films of 1952

Film number 112: I Dream of Jeanie 

Release date: June 15th, 1952 

Studio: Republic Pictures 

Genre: musical 

Director: Allan Dwan 

Producer: Herbert J. Yates 

Actors: Bill Shirley, Muriel Lawrence, Ray Middleton, Lynn Bari 

Plot Summary: An almost entirely fictional account of American composer Steven Foster’s life. As his music career takes off, he tries to marry a society girl named Inez... but is it her little sister Jeanie that truly loves him? 

My Rating (out of five stars): **¾ (with a warning- see below) 

When I saw this was a full color musical by Republic Pictures, I was very intrigued. Republic was one of the cheapest B movie studios in Hollywood, known mostly for westerns and serials on shoestring budgets. Why did they do a musical in color? Because Steven Foster’s music was in the Public Domain, and they didn’t have to pay a cent for it! Maybe because my expectations were very low, I thought the movie overall wasn’t too bad. It had tons of music, and the actors were all pretty good. However, there’s a huge caveat- Foster's early music was associated with pre-Civil War minstrel shows, so there is a long segment in the film of white entertainers performing in blackface. It was extremely difficult to watch, and most people today probably wouldn’t want to. Because of that, I would NOT recommend watching it. (I markered over the blackface characters on the poster above, considering this will be semi-publicly posted.)

The Good: 

The cast was quite good for a low budget film. I liked Eileen Christy as Jeanie- she was a fine actress with a nice voice and a cute look. Bill Shirley as Foster was also pretty charming and likeable.  

Lots and Lots of music! I wouldn't be surprised if more than 50% of the film was musical performances. Foster’s music is antiquated now but generally enjoyable, and it’s a big part of the early American cultural zeitgeist. The singers were all talented and easy to listen to, even if the performances were more pleasant than remarkable. 

The character of Edwin P. Christy, the famous minstrel leader. Ray Middleton’s portrayal brought life and humor to the film as a vain celebrity. His singing voice was especially good. 

The color looked nicer than I expected. It was something called Trucolor, which certainly wasn’t Technicolor, but it was decent. 

The film tried, emphasis tried, to have Foster pay homage to the debt he owed African American music. Most people today would shout “cultural appropriation” about much of his music, which is valid, and I appreciated that the film didn’t totally sweep that under the rug. 

The Bad: 

Blackface. It’s a terrible shameful part of American entertainment history that we can’t deny, but I never want to actually see it on screen. It was horrifying. 

There was definitely racism in other places, even when the filmmakers seemed to have good intentions. As an example, Foster was friendly with a little black boy, even giving up his savings to pay his hospital bill, but... the kid’s nickname was Chitlin for god’s sake. 

The story had almost no relation to the real Foster. The movie inexplicably took place in Cincinnati, where Foster never even lived. His life was portrayed as simple and relatively easy, when in real life he died at 37 of possible suicide. 

Some of the sets looked comically cheap. At one point there was a river with water that was freaking identical to the chocolate river in 1971’s Willy Wonka and the Chocolate Factory! 

The actress who played Inez was the weakest in the cast. Not only was her acting sub-par, her character was so awful she made me want to scream. 

When the movie is called I Dream of Jeanie and a main character is named Jeanie, there’s not exactly any suspense about whether or not she will end up with Steven Foster! 

[grumphare]

Also I realized that Lady had a 2th project (or a sequel anime) for the 15th anniversary of the anime series and it was based off of Momona’s rival/sister-in-law, Lillian and titled: Lillian.exe, and was a homage to the 1998 anime, Serial Experiments Lain, just like with the Sunshine OVA and the other Lady OVA which also aired on TV, Lillian.exe aired on TV as well, unlike the other two which aired at 11:00/11:30, Lillian.exe aired at late-at-night, but at different times and dates on different channels, the main ones, it aired on were Jewelpet’s normal broadcast homes, TV Tokyo and TV Osaka, unlike the Sunshine and the other Lady OVA, which aired on TV as cross-promotion, Lillian.exe aired on solely on TV, but appeared later on home video.

This was also the only Jewelpet type of media or type of animation from a season’s universe to not feature an appearance of Ruby and her human partner, Lady’s human partner for Ruby being Momona instead, it focused on Lillian, this also did feature Luea, but she was only mentioned or an cameo, or speaking off-screen until the final episode where she made a full appearance, though not appearing, there were mentions of Ruby and Momona, and also cameos of characters from Lady and other shows in a non-canon sense. Here’s the recreated poster I made from the dream of the actual poster i saw in that dream. Genres: Cyberpunk, Psychological Horror, Techno Horror, Science Horror, Neon. TV Networks: TV Tokyo, TV Osaka, TV Aichi, Family Gekijo, Star Channel. Opening: 「DUVET」 by Jasmine Rogers and Bôa, song lyrics by Jasmine Rogers, Airdate: October 23th 2025 - September 2th 2026 (TV Tokyo), Lillian - Voice Actress: Risa Taneda, Animation Studios: Studio Comet, Studio Ghibil/ZEXCS (additional help), Sponsors/Creators: Sega Fave, Sanrio.

Guys, I had a dream that Jewelpet Sunshine had an OVA, and the theme song for the OVA is 「BREAK THE CHAIN」 from Nami Tamaki, the song was originally from Battle Spirits: Garrett’s Revolution, but Studio Comet was allowed to use it under the permission of BN Pictures and Bandai, as then I went in Google, the new OVA series basically reused mature themes from Jewelpet Twinkle, like issues of parental abandonment and neglect as one of its most recurring themes. People have problems with their families. The villain was someone who's fated to die an early death due to her powers, and who's been forcefully separated from her family, along with Sunshine having incest, zoophilia as plotlines along with the final episodes have God becoming corrupt and nearly killing the entire earth. and for the Sunshine OVA, it explores deeper and expands into some of those themes like: issues of parental abandonment and neglect, problems with family members.  The generals of the main antagonist, who are aliens are fated to die an early death due to their powers, and who's been forcefully separated from their families, after being brainwashed, and literally murdered, and then being brought back from the dead via torture to turn into mindless human slaves, including more mature themes in Jewelpet like: war, politics, racism, and more - so this is basically what went down in the show or the show’s storyline: Kanon is now 23 years old as it had been five years since the events of the final episode of Sunshine (Season 1): Graduation Ceremony! Yay!, Kanon is a tough-as-nails teacher and carries Teacher Iruka around with her, Iruka marries Jill, Garnet hits it big as an actress along with Masago as a director, Sapphie and Nejikawa are renowned astronauts, Shouko and Angela win the Moto GP, Hinata is a firefighter, Peridot is a famous ice-skater, Labra works for Jewelina and last but not least, Ruby finds Mikage, who is now Granite, again and they become lovers, in her class that she becomes in charge of, Kanon is both a bit traumatized and reminded of dead ringers of her own class from many years back, the reason why Kanon is so strict with her students, is because she doesn’t want them to end up the same way her class did many years ago, during one evening, a meteorite appears in the skies from outer space, a mysterious caped figure appears from the meteorite, which is actually a UFO - as NASA investigators wonder what the caped figure’s plans are, they end up being killed by him, the caped figure named Lord Darkness, has came from outer space along with his generals, the Orcs, who are human-turned alien slaves fated to die an early death due to their powers, and who's been forcefully separated from their families, after being brainwashed, and literally murdered, and then being brought back from the dead via torture to turn into mindless slaves, as they declare war on both the Earth and JewelLand, the students all notice the Orcs heading for Sunshine Academy, as then an evacuation is underway, as the academy gets destroyed - then Ruby, along with all of the Jewelpets, notice Lord Darkness arriving walking towards them, as then Kanon stops Lord Darkness, Lord Darkness fatally stabs her, as Ruby tries to hit Lord Darkness, but he injures her - forcing her into a coma, as then Kanon tries to get up, as Granite appears as he tries to helps Kanon, as Kanon realizes it’s her brother who is Granite, as she slaps him for falling in love with Ruby, calling him “sick and perverted” and for putting Ruby in a coma, then Ruby realizes that Lord Darkness’ plan is to receive the Primus Seed, a remarkable and enigmatic artifact with transformative properties. It is a multipurpose seed that holds immense power and potential. the Primus Seed is capable of altering physical forms, enhancing abilities, and connecting different universes within the multiverse, however without it: the universe can’t be connected, as JewelLand and the Earth are both under war, whatever side wins, they both lose, that’s some crazy stakes, even a children’s franchise like Jewelpet.

Kanon notices JewelLand along with the Earth getting destroyed, buildings are crumbling, people are dying, as the weeks pass by, more and more destruction happens, until one night, when a giant explosion hits London as then a massive casualty happens, in which 28484 people were killed, and there were 19295 people injured, and along with landmarks almost being destroyed, like the London Bridge and Big Ben, as then Kanon is horrified at the amount of events going on, as then Ruby awakens from her coma, as Ruby notices the terror around her, she is worried about Kanon and Granite, Ruby asks: What is going on? Kanon, where is Granite?, Kanon says in a angry tone: MY BROTHER, HE WANTED TO BE WITH YOU FOREVER, THAT’S DISGUSTING!, the Orcs are about to kill Kanon and Ruby until Kanon shouts: “I-, I-, I WANNA TO PROTECT RUBY!” as then Ruby turns into a young girl, who has fair skin and cherry red eyes. She has cherry red medium length hair and wears a thin fuchsia magenta pink headband with her signature cherry blossom flower ornament with a powder white large kerchief attached to it. She also wears a light pastel fuchsia magenta pink unbuttoned seifuku jacket with side pockets and a powder white shirt with a pastel fuchsia magenta pink folded collar. She wears a pleated pastel fuchsia magenta pink skirt, powder white long socks, and pastel fuchsia magenta pink shoes. Her shoelaces resemble Ruby's signature cherry necklace, as then Kanon is shocked at what happened - Kanon and Ruby defeat the Orcs, the war or “fight” against Lord Darkness vs. Kanon and Ruby is not over, as Kanon faces her past and demons, and Ruby faces her dread, what will they fight or discover together in this dreaded sick horrifying world? after reading that whole synopsis, I was like: that’s fucking dope, Jewelpet for Adults? Sanrio is already high then they once was when they made Aggretsuko, I better watch it when it comes out, but then I woke up, and search on Google: Jewelpet for adults, and this is what came up.

And also in my dream, the reason why this Sunshine OVA anime was made, was not only to capitalize on the success of Aggretsuko, but also the Jewelpet anime/animation’s 15th anniversary, along with wanting to market Jewelpet to an adult audience, and give another series the OVA treatment, and Sunshine was not the only show that got the OVA treatment, but also Lady Jewelpet had an OVA treatment, where Momona and Cayenne had a daughter, though the dream was not real, luckily somewhere in a AU, the OVAs were real, and were airing on TOKYO MX?! instead of TV TOKYO?!, and apparently the OVAs were released in 4 volumes each (Episodes 1 - 11: Vol 1, Episodes 12 - 16: Vol 2, Episodes 17 - 20: Vol 3, Episodes 21 - 52: Vol 4 + Extra Episode: Episode 53), also the OVAs were being talked about on websites like: Twitter, Reddit and YouTube, with the sites speaking of the OVAs along with the controversy of Sunshine’s OVA, where there were responds ranging from: “This OVA isn’t nothing like Jewelpet” to “What the hell is this?!” to “Studio Comet shall burn in hell!”, anyway enough yapping, see you guys later!

[fearsmagazine]

#FLOAT - Review

DISTRIBUTOR: XYZ Films

SYNOPSIS:  Vlogger Kali and her friends are heading to the river for their annual float, it's the first time since their friend overdosed and drowned the previous year. Having been worn, their plans turn deadly when a sinister paranormal force plunges them into a life and death struggle. The group is separated and they are forced to face their own fears. As their arguing turns violent they proceed to die one by one.

REVIEW: When I begin to watch a film and that voice in my head thinks that the director/writer is trying to reinvent the “Friday the 13th” franchise, or pay homage to them, I’m a bit turned off. That’s not to say it's just the concept, there are other elements in the story that feel like they are drawn on as source material.

There are no surprises here, you are presented with the premise and you know what you are going to get. I didn’t like any of these characters and was rooting for some to die sooner than others. It’s a horror movie, so you know they are going to make some bad choices. However, they make a lot of them. Okay, I did feel sorry for the little girl. She didn’t deserve to be placed in this situation. The idiots who conceived her did, but not her. I kept hoping Kali, the vlogger, would die next, but you can’t have anymore streaming images or posts if you kill her off. My only option was to pause the film and take a break in order to continue. The reason for their journey is to spread their friend’s ashes along the river. It kind of had me wondering if the dead guy had any family as I can’t see any self respecting adults surrendering their child’s ashes to this motley crew.

I’m not sure if the performances are shaped by the screenplay, the director, or what might have been improvised. For the most part they feel cliched and forced. The young actress who plays, I believe, Thea seems like the only adult on duty. The gang from “Mystery Inc.” would have come across this crew, shook their heads and walked away.

I’m sure that most of the budget on this film went to shooting on and in the water, and some of the special effects. The cinematography is fine, the editing is okay. The director handles the action and the river sequences well. I thought there was an issue with the sound in a couple of places. I get the feeling that the costumes were provided by the talent.

The music felt like they were using the film to showcase performers. My thought was validated by the music video that is intercut with the closing credits. In fact, it looks like they put more thought and effort into that music video than the rest of the film.

#FLOAT might have been a supernatural “Deliverance,” but comes off as a disjointed wreck trying to ape themes from the “Friday the 13th” film franchise, minus a guy in a hockey mask. Clearly this film is aimed at a twenty-something tech savvy audience with limited genre exposure. Not your typical day out on the river, older viewers might need a few beers to try and get through this one.

CAST: Kaya Coleman, Scarlett Sperduto, Grant Morningstar, Kate Mayhew, Matt Wise, Christina Nguyen, Ophelia Lichtenstein, & Miguel Muñoz. CREW: Director/Screenplay/Producer - Zac Locke; Producers - Justin Anderson, Jensine Carr, Rebecca Rufer, & Mikey Bill Taylor; Cinematographer - Alex Simon; Score - Benjamin Wright; Editor - Cureha Mitchell; Production Designer - Alice-Kate Lamb; Special Effects Supervisor - Justin Anderson; Special Makeup Effects Artists - Kayla McKeon & Alyssa Wise; Visual Effects Supervisor - James Fox. OFFICIAL: n.a. FACEBOOK: n.a. TWITTER: n.a. TRAILER: https://youtu.be/hIN_vppaXKQ RELEASE DATE: VOD & Digital Platforms December 9th, 2022

**Until we can all head back into the theaters our “COVID Reel Value” will be similar to how you rate a film on digital platforms - 👍 (Like), 👌 (It’s just okay),  or 👎 (Dislike)

Reviewed by Joseph B Mauceri

[bewitching-elizabeth-olsen]

Press/Gallery: How Elizabeth Olsen Brought Marvel From Mainstream to Prestige

“The thing I love about being an actor is to fully work with someone and try so hard to be at every level with them, chasing whatever it is you need or want from them.”

  GALLERY LINKS

Studio Photoshoots > 2021 > Session 008 Magazine Scans > 2021 > Backstage (August 19)

Backstage: Elizabeth Olsen grins widely over video chat when recalling many such moments on set with her co-stars. Yet, she can’t bring herself to divorce such a lofty vision of film acting from the technical multitasking it requires. The camera sees all.

“But then you move your hair, and you’re in your brain, like: OK, remember that! Because I don’t want to edit myself out of a shot. I know some actors are like, ‘Continuity, shmontinuity!’ But the good thing about continuity is, if you remember it, you’re actually providing yourself with more options for the edit.”

That need to balance being both inside the scene and outside of it, fully living it and yet constantly visualizing it on a screen, feels particularly apt in light of Olsen’s most recent project, “WandaVision.”

The mysteries at the heart of the show grow with every episode, each fast-forwarding to a different decade: Could this 1950s, black-and-white, “filmed in front of a studio audience” newlyweds bit be a grief-stricken dream? Might this ’70s spoof be a powerful spell gone awry? Could this meta take on mockumentary comedies be proof that the multiverse is finally coming to the Marvel Cinematic Universe?

The series’ structure, which branches out to include government agents intent on finding out why Westview has seemingly disappeared, calls for the entire cast to play with a mix of genres, balancing a shape-shifting tone that culminates in an epic, MCU-style conclusion. What’s key—and why the show struck a chord with audiences during its nine-episode run—is the miniseries’ commitment to grounding its initial kooky setups and its later special effects-driven spectacle in heartbreaking emotional truths. It’s no small feat, though it’s one that can often be taken for granted.

“I was thinking how hard it would have been to have shot the first ‘Lord of the Rings,’ ” Olsen muses. “Like, you’re putting all these actors [into the frame] later and at all these different levels. All the eyelines are completely unnatural. And yet the performances are fantastic! And technically, they are so hard. People forget sometimes that these things are really technically hard to shoot. And if you are moved by their performance, that took a lot of multitasking.”

As someone who has learned plenty about harnesses, wirework, fight choreography, and green screens (she’s starred in four Marvel movies, including the box office megahit “Avengers: Endgame,” after all), Olsen knows how hard it can be to wrap one’s brain around the work needed to pull off those big, splashy scenes.

“​​If you think about it, it’s, like, the biggest stakes in the entire world—every time. And that feels silly to act over and over again, especially when people are in silly costumes and the love of your life is purple and sparkly, and every time you kiss them, you have to worry about getting it on your hands. Those things are ridiculous. You feel ridiculous. So there is a part of your brain that has to shovel that away and just look into someone’s eyeballs—and sometimes, they don’t even have eyeballs!”

The ability to spend so much time with Wanda, albeit in the guise of sitcom parodies, was a welcome opportunity for Olsen. Not only did it allow the actor to really wrestle with the traumatic backstory that has long defined the character in the MCU, but having the chance to calibrate a performance that functions on so many different levels was a thrilling challenge.

“It was such an amazing work experience,” she says. “Kathryn [Hahn] uses the word ‘profound’—which is so sweet, because it is Marvel, and people, you know, don’t think of those experiences as profound when they watch them. But it really was such a special crew that [director] Matt Shakman and [creator] Jac Schaeffer created. It was a really healthy working environment.”

Related‘WandaVision’ Star Kathryn Hahn’s Secret to Building a Scene-Stealing Performance ‘WandaVision’ Star Kathryn Hahn’s Secret to Building a Scene-Stealing Performance Considering that the miniseries spans several sitcom iterations, various layers of televisual reality, and a number of character reveals that needed to feel truthful and impactful in equal measure, Shakman’s decision to work closely with his actors ahead of shooting was key.

“We truly had a gorgeous amount of time together before we started filming,” Olsen remembers. “Our goal was—which is controversial in TV land—that if you wanted to change [anything], like dialogue in a scene, you had to give those notes a week before we even got there. Because sometimes you get to set, and someone had a brilliant idea while they were sleeping, and you’re like, ‘We don’t have an hour to talk about this. We have seven pages to shoot.’ And so, we were all on the same page with one another, knowing what we were shooting ahead of time.

“Matt just treated us like a troupe of actors who were about to do some regional theater shit,” she adds with a smile.

That spirit of camaraderie was, not coincidentally, at the heart of Olsen’s breakout project, Sean Durkin’s 2011 indie sensation “Martha Marcy May Marlene.” As an introduction to the process of filmmaking to a young stage-trained actor, Durkin’s quietly devastating drama was a dream—and an invaluable learning opportunity.

“It was truly just a bunch of people who loved the script, who just were doing the work. I didn’t understand lenses, so I just did the same thing all the time. I never knew if the camera would be on me or not. There was just so much purity in that experience, and you only have that once.”

The film announced Olsen as a talent to watch: a keen-eyed performer capable of deploying a stilted physicality and clipped delivery, which she used to conjure up a wounded girl learning how to shake off her time spent in a cult in upstate New York. But Olsen admits that it took her a while to figure out how to navigate her career choices afterward. In the years following “Martha,” she felt compelled to try on everything: a horror flick here, a high-profile remake there, a period piece here, an action movie there. It wasn’t until she starred in neo-Western thriller “Wind River” (alongside fellow Marvel regular Jeremy Renner) and the dark comedy “Ingrid Goes West” (opposite a deliciously deranged Aubrey Plaza) that Olsen found her groove.

“It was at that point, when I was five years into working, where I was like, Ah, I know how I want it. I know what I need from these people—from who’s involved, from producers, from directors, from the character, from the script—in order to trust that it’s going to be a fruitful experience.”

As Olsen looks back on her first decade as a working actor, she points out how far removed she is from that young girl who broke out in “Martha Marcy May Marlene.”

“I feel like a totally different person. I don’t know if everyone who’s in their early 30s feels like their early 20s self is a totally different human. But when I think about that version of myself, it feels like a long time ago; there’s a lot learned in a decade.”

Those early years were marked by a self-effacing humility that often led Olsen to defer to others when it came to key decisions about the characters she was playing. But she now feels emboldened to not only stand up for herself and her choices but for others on her sets as well.

“[Facebook Watch series] ‘Sorry for Your Loss’ I got to produce, and I really found my voice in a collaborative leadership way. And with ‘WandaVision,’ Paul [Bettany] and I really took on that feeling, as well—especially since we were introducing new characters to Marvel and wanted [those actors] to feel protected and helped,” she says. “They could ask questions and make sure they felt like they had all the things they needed because sometimes you don’t even know what you need to ask.”

It’s a lesson she learned working with filmmaker Marc Abraham on the Hank Williams biopic “I Saw the Light,” and she’s carried it with her ever since. “I really want it to feel like we’re all in this together, as a team,” Olsen says. “That was part of ‘Sorry for Your Loss’ and it was part of ‘WandaVision,’ and I hope to continue that kind of energy because those have been some of the healthiest work experiences I’ve had.”

If Olsen sounds particularly zealous about the importance of a comfortable, working set, it is because she’s well aware that therein lies an integral part of the work and the process. As an actor, she wants to feel protected and nurtured by those around her, whether she’s reacting to a telling, quiet line of dialogue about grief or donning her iconic Scarlet Witch outfit during a magic-filled mid-air action sequence.

“Sometimes you’re going to be foolish, you know? And [you need to] feel brave to be foolish. Sometimes people feel embarrassed on set and snap. But if you’re in a place where people feel like they’re allowed to be an idiot,” she says, “you’re going to feel better about being an idiot.”

This story originally appeared in the Aug. 19 issue of Backstage Magazine. Subscribe here.

Press/Gallery: How Elizabeth Olsen Brought Marvel From Mainstream to Prestige was originally published on Elizabeth Olsen Source • Your source for everything Elizabeth Olsen