#jackie crawford

[classicfilmblr]

JOAN CRAWFORD as "MYRA HUDSON" in SUDDEN FEAR — 1952, dir. David Miller

[httpiastri]

sweethearts <3

[pintsofguinnesmakeyoustrong]

which isnt a lot but it's weird it happened twice

[allis-tblr-i-guess]

Jack: Alright, gang. It's time to have a little chat about office PDA...

Clarice: Oh no... (Throws glance at Hannibal)

Hannibal: (wink) Sure, and afterwards we can have a chat about Bella's little "lunch" visits - 2 HOUR visits?

Everyone else: °~°

Hannibal: >:]

Jack: ... Aaaand that concludes our meeting. Thank you, everybody - back to work!

Later...

Receptionist: *knock* Mr. Crawford, your wife is here to see you?

Jack: *blush*

Hannibal: Hehe.

[gameofthunder66]

Chris Peterson (Chris Elliott) getting beat up in Get A Life

Get a Life (1990-1992) tv sitcom

-(started) rewatchin’ Season 1- 8/10/2024- on DVD

I decided to rewatch this Tv Sitcom next because I loved it, and thought it was so funny, many years ago! Don’t know if I will feel the same about it this time around, but I shall see.

77% Rotten Tomatoes

[citizenscreen]

Joan Crawford joins Jackie Cooper at an event celebrating the launch of the sitcom, “The People’s Choice” in which Cooper starred. (1955)

[historicalreusedcostumes]

This blue/pink Cape is worn in 1983 by Jackie Smith-Wood as Mary Crawford in Mansfield Park and many years later seen by an Lady in Lost in Austen (2008)

[austenreusedcostumes]

This Dark Red Spencer is worn on Nicola Pagett as Elizabeth Fanschawe in Frankenstein: The True Story (1973) and worn on Jackie Smith-Wood as Mary Crawford in Mansfield Park 1983 and worn again on Amira Casar as Catherine in Sharpe's Siege (1997)

Credit: iphpbb

[austtvclassic]

Jacki Weaver

Jacki Weaver in Homicide, Episode 372 "The Pursuit" (1973), filmed 1972, colourised from original black and white episode.

[carriessotos]

tag dump! nana's version - 04.

[steveyockey]

While some of both Davis and Crawford’s work could arguably be described as camp (for the former, King Vidor’s Beyond the Forest; for the latter, later-era films such as Strait-Jacket and aspects of the wondrous Nicholas Ray film Johnny Guitar), that their entire careers and places within film history are defined as such does a disservice to their artistry. But they aren’t alone in representing what has become a troubling trend when it comes to women’s work. As camp entered the mainstream lexicon, especially after Susan Sontag’s landmark 1964 essay, “Notes on ‘Camp,’” the term has been increasingly tied to work featuring women who disregard societal norms. Camp is often improperly and broadly applied to pop culture that features highly emotional, bold, complex, cold, and so-called “unlikable” female characters. I’ve seen films and TV shows such as the witty masterwork All About Eve; the beguiling Mulholland Drive; the stylized yet heartwarming Jane the Virgin; Todd Haynes’s Patricia Highsmith adaptation Carol; the blistering biopic Jackie; the deliciously malevolent horror film Black Swan; Joss Whedon’s exploration of girlhood and horror, Buffy the Vampire Slayer; the landmark documentary Grey Gardens (which inspired the 2009 HBO film starring Jessica Lange and Drew Barrymore); and even icons such as Beyoncé and Rihanna be described as camp. Look at any list of the best camp films and you’ll see an overwhelming number of works that feature women and don’t actually fit the label. Usually, What Ever Happened to Baby Jane?, the film whose behind-the-scenes story provides Murphy’s launching pad for Feud, will be at the top of the list.

While camp need not be a pejorative, that hasn’t stopped it from being widely used as such. In effect, being labeled as camp can turn the boldest works about the interior lives of complex women into a curiosity, a joke, a punch line. The ease with which camp is applied to female-led films and shows of this ilk demonstrates that for all the (still-paltry) gains Hollywood has made for women in the decades since Davis and Crawford worked, our culture is still uncomfortable respecting women’s stories.

That major Hollywood icons such as Marlene Dietrich, Bette Davis, Joan Crawford (and, more recently, Natalie Portman, thanks to Jackie) have been roped into this lineage isn’t surprising. Society doesn’t know what to do with women of this ilk without discrediting their very womanhood. Take artist and filmmaker Bruce LaBruce’s offensive description of Mae West in an essay on camp: “[She] played with androgyny to the degree that her final performance — her autopsy — was necessary to prove her biological femaleness.” In his 2013 essay “Why Is Camp So Obsessed with Women?”, J. Bryan Lowder expands on Sontag’s most well-known line: “It’s not a lamp, but a ‘lamp’; not a woman, but a ‘woman.’ To perceive Camp in objects and persons is to understand Being-as-Playing-a-Role.” Lowder writes, “‘Woman,’ the concept within the quotation marks, is not the same thing, at all, as a real woman; the former is a mythology, a style, a set of conventions, taboos, and references, while the latter is a shifting, changeable, and ultimately indefinable living being. Of course, there may be some overlap.” But if all gender is a performance, where does the “real” woman begin? And why does the presence of camp hold more importance than the actual work and voices of actresses such as Crawford, who have come to be defined by it?

At times, camp can feel like a suffocating label. Its proponents often misconstrue the fact that recreating oneself as a character is not merely an aesthetic for women, but rather, for many, a matter of survival. Living in a culture that profoundly scorns ambition, autonomy, and independence in women, girls learn quickly the narrow parameters of femininity available to them. When they transcend these parameters, life can get even more difficult. Women often pick up and drop various forms of presentation in order to move through the world more easily. Performance as a woman — in terms of how one speaks, walks, talks, acts — can be a means of controlling one’s own narrative. Camp often limits this part of the discussion, focusing instead on the sheer thrill of watching larger-than-life female characters cut and snark their way across the screen. How these works speak to women, past and present, becomes a tertiary concern at best, and the work loses a bit of its importance in the process; it either comes to be regarded as niche or, if it still has mainstream prominence, as abject spectacle. In turn, the conversations around these works become less about the women at their centers and more about how those women are presented.

Much of Baby Jane’s camp legacy comes down to how more recent audiences have interpreted Davis’s performance. She’s ferocious, frightening, and grotesque. But framing Davis’s performance as camp, as Murphy does, doesn’t take into account how dramatically acting has shifted over the course of film history. In some ways, camp has become a label used when modern audiences don’t quite understand older styles of acting. Modern actors privilege the remote, the cold, the detached. The more scenery-chewing performances that make the labor of acting visible — such as the transformative work that Jake Gyllenhaal did in Nightcrawler, or most of Christian Bale’s career — is typically the domain of men. (Or, at least, it’s only men who can get away with it without being called campy.) As Shonni Enelow writes in a marvelous piece for Film Comment, “[Jennifer] Lawrence’s characters in Winter’s Bone and The Hunger Games don’t arrive at emotional release or revelation; rather than fight to express themselves, her characters fight not to. We can see the same kind of emotional retrenchment and wariness in a number of performances by the most popular young actors of the last several years.” Davis’s work as an actor was the antithesis of that; she painted in bold colors. Even her quietest moments brim with an intensity that cannot be denied.

[gatabella]

"It's hard to describe what I consider beauty in woman consists of. None of the women I consider beautiful have perfect features. If there's one thing that moves me, it's when something unexpected happens in the face or the proportions. I do not think Grace Kelly is beautiful. I do think Audrey Hepburn is beautiful. The most beautiful woman I have ever photographed is Signora Gianni Agnelli. Long necks are always beautiful. Jackie Kennedy - very beautiful. The unexpected thing is the eyes - almost too far apart. Sophia Loren is one of the most beautiful women in the world today. Marilyn Monroe? Not the usual beautiful - merely ravishing, exciting, touching. But not really beautiful. She's a strawberry sundae… Ingrid! (among older women). Joan Crawford? She makes it difficult to see her beauty, but she has the most beautiful nose in the world. Marlene Dietrich? Beautiful, but in a dull way. Ditto Ginger Rogers. Among conventional beauties, I'd select Suzy Parker."

-photographer Richard Avedon

[blahblahblees]

ヽ｀、☁ヽ｀─── READ YOUR MIND

aka who i write for & masterlist

shows

my life with the walter boys

cole walter

alex walter

danny walter

jackie howard

lab rats (elite force)

adam davenport

bree davenport

chase davenport

mighty med

kaz

oliver

skylar storm

wizards of waverly place

justin russo

alex russo

max russo

good luck charlie

pj duncan

teddy duncan

gabe duncan

girl meets world

riley matthews

maya hart

lucas frair

farkle minkus

zay babineaux

suite life on deck

zack martin

cody martin

austin and ally

austin moon

kickin’ it

jack brewer

kim crawford

jerry martinez

high school musical: the musical: the series

ricky bowen

nini salazar-roberts

gina porter

ej caswell

mack alana

jet

maddox

cobra kai

miguel diaz

eli “hawk” moskowitz

robby keene

tory nichols

samantha “sam” larusso

anthony larusso

demetri alexopoulos

victorious

tori vega

andre harris

beck oliver

jade west

robby shapiro

cat valentine

trina vega

henry danger

henry hart

the summer i turned pretty

isabel “belly” conklin

conrad fisher

jeremiah fisher

steven conklin

taylor jewel

cam cameron

gen v

marie moreau

jordan li

emma meyer

sam riordan

luke riodan

cate dunlap

school spirits

maddie nears

wally clark

simon elroy

xavier baxter

that 90s show

jay kelso

nate runck

movies

diary of a wimpy kid

rodrick heffley

descendants

mal bertha

evie

jay

carlos de vil

ben florian

z-o-m-b-i-e-s

zed necrodopolis

wyatt lykensen

teen beach movie

brady

mack

high school musical

troy bolton

gabriella montez

chad danforth

sharpay evans

miscellaneous

masterlist yipyip!

wattpad fanfics!

[bad268]

Jak crawford x reader to celebrate his win 🙏

Props to You (Jak Crawford X Reader)

Fandom: RPF/F2/F3

Requested: Clearly (it's kinda short but I wanted it out by eod)

Warnings: none

POV: Second Person (You/your)

W.C.: 644

Summary: Jak Crawford wins in Barcelona!

As always, my requests are OPEN

MASTERLIST // HITLIST

~~(^@/Formula2’s instagram from June 23, 2024)

Honestly, standing beneath the podium without your boyfriend was something you missed. Usually, you would be standing beside Jak as you both cheered on your friends, but today, you stood with just your friends as Jak was up on the podium. This was what you missed.

Looking up at Jak as his national anthem played brought the biggest smile to your face. You knew there was a chance for the race win, but it was just surreal having it come to fruition. It’s been a difficult year so far for Dams, but you never gave up hope. Plus, Jak loved this track. You knew too never bet against Jak in times like this.

You cheered the loudest of the crowd when the American national anthem ended, and Jak looked out to the crowd. It didn’t take long for his eyes to fall on you as you stood in the same general area every time. He smiled and spaced out, looking down at you and his friends, until he was handed the trophy. He lifted it above his head before pointing in your general direction. You blew him a kiss and he got lost in your gaze again.  

Jak chuckled sheepishly as JM patted him on the back as he picked up their champagnes. He didn’t even remember JM or Franco getting their trophies or hearing the announcement to start the celebrations.

You laughed at his surprised face when he got sprayed in the face by Franco. It didn’t take him too long to be snapped back into the moment as he grabbed his champagne, swirled it around, and smacked it on the ground before spraying it at JM.

After draining their champagnes, they stood on the top step together for the photo-op they were always subjected to.  You pulled out your phone to get your own pictures before running over to the staircase they would walk down in a few minutes. You knew you would only have a few minutes with him before he had his post-race panel and debrief, so you wanted to make the most of the time you had.

As expected, it didn’t take long for them to come down, Jak running and almost falling down the last steps, straight into your arms. You wrapped your arms tightly around him as one of your hands moved up to run through his soaked hair. It was a little difficult, but it was part of the post-race ritual.

“You did it, baby,” You praised, not pulling away in the slightest. Jak tightened his hold on you if that was possible. “I’m so proud of you. I knew you could do it.”

“I couldn’t have done it without you,” Jak replied quietly as he leaned into your neck. “I always try to make you proud.”

“You’ll always make me proud, Jackie Moon,” You comforted as you pulled back a little and used your hands to pull his face out of your neck. You leaned forward, making him look in your eyes, “I am always so unbelievably proud of you Jak. You are doing your dream and you’re doing it well. I don’t think I could be any more proud of you.”

“God, what did I do to deserve you?” Jak teased as he leaned in to place a small kiss on your lips. 

“Hey, give yourself some credit here,” You said once you two pulled away. “I could never be in Formula 2.”

“You don’t even like driving a normal car,” Jak laughed as he turned to just have an arm wrapped around your shoulder as you two walked toward the Dams hospitality. He gently took his first-place Pirrelli hat off and placed it on your head. You laughed as it covered your eyes before adjusting it and looking over at Jak.

“Well that, but I also need power steering, so props to you.”

~~~~~

© BAD268 2024. DO NOT REPOST WITHOUT PERMISSION.

[gameofthunder66]

Get A Life (1990-1992) tv sitcom

-(finished) watchin' Season 1- 12/17/2024- 2 [1/2] stars- on DVD

77% Rotten Tomatoes

I bought this DVD at Amazon which says it the complete series, but the last 2 episodes of Season 1 are not on these DVDs.

[glennk56]

Tom Bosley before Happy Days (2 of 2) (1959-1972)

Tom Bosley's next movie in 1968 was as a family doctor in Yours, Mine and Ours starring Lucille Ball and Henry Fonda.

In Dec. 1968 Tom Bosley teamed up with Alice Ghostley as KAOS agents in an episode of Get Smart.

Tom Bosley guest-starred in an episode of The Virginian in 1969.

In 1969 Tom Bosley started as a regular on The Debbie Reynolds Show. He played her brother-in-law in 20 of the 26 episodes of the one season it was on.

Tom Bosley also guest-starred in 2 episodes of Bonanza, 1 in 1968 and 1 in 1969. He is shown here with, of course, Dan Blocker.

Tom Bosley was in the pilot episode of Night Gallery which aired in Nov. 1969. He was in the segment entitled 'Eyes' which is one of the more memorable offerings of the Night Gallery series. It starred Joan Crawford, screenplay by Rod Serling himself and directed by a young Steven Spielberg.

Tom Bosley played Esmeralda's old boyfriend in an episode of Bewitched in 1971, again teaming up with Alice Ghostley.

Also in 1971, Tom Bosley appeared in an episode of Mission: Impossible. Pictured with Harold J. Stone.

In the fall of 1972 Tom Bosley was cast in The Sandy Duncan Show. This was a reformulation of the show Funny Face from the previous year. The only thing that remained from Funny Face was Sandy Duncan's character. The new cast also included M. Emmet Walsh. Bosley played Sandy's boss at an Advertising Company. The show lasted 13 episodes, which is how many episodes Funny Face lasted.

Also in the fall of 1972 Tom Bosley started in the animated Wait Til Your Father Gets Home voicing the father Harry Boyle. This show lasted 3 seasons and 48 episodes.

In 1973, Tom Bosley guest-starred in an episode of another 13-episode seres, A Touch of Grace starring Shirley Booth. Pictured here with comic Jackie Vernon.

During these years Tom Bosley also guest-starred in episodes Mod Squad, The Sixth Sense, Marcus Welby, MD, Medical Center, Love, American Style, Maude, McMillan & Wife and others. He also did many TV movies and was a regular on The Dean Martin Show.