#link's sundance boots

[buttercreamdicks]

One leg over the arm of the chair is bisexual representation at its finest

[buttercreamdicks]

Link has one pair of boots he keeps in the archive just for Sundance

Youtube Instagram Story. Rhett and Link at Sundance.

[changingourdestiny]

Forsaken Part 2: High Plains Blues

 Summary:

After receiving a tip off from Ikora, Rae and Adam head off to the Tangled Shore in search of Uldren and his Barons. However, things quickly take a turn for the strange when some strange Fallen appear, a mysterious cloaked figure saves the duo but tells them to leave or else, and the two are introduced to a Fallen called the Spider by Petra.

Previous Part: Here

Next Part: Here

“The Tangled Shore. A lawless frontier of outlaws, scavengers, and pirates. Murderers like Uldren and his Fallen would fit right in.” Ghost began as two jumpships, one of the City and one in the colours of the Reef, flew over the shattered landscape, “We need to search the Shore - from the Fallen camps in Quitter's Well to that ancient Awoken Watchtower on the horizon. Leave no stone unturned. Uldren can't hide from us.” Rae and Adam transmatted onto the Tangled Shore. “Let’s go.” Rae activated her helmet and got her gun at the ready, “But stay alert.”

“You’re the boss.” Adam nods. Rae jumped slightly, “Sorry, I’m still not used to hearing you talk.” Rae gave a small chuckle as they begin to walk across the shore, “So you’re breaking your vow?”

“Might as well.” Adam shrugged, “I had my reasons for keeping myself silent, but I’m done staying quiet. I want to make sure I’m the last things those Barons hear.”

“We better get searching then.” Rae pulled up Ghost, checking her surroundings to make sure nobody was around, “Where to first Ghost?”

“Ikora told us Cayde's killers are skulking about the Tangled Shore. It's not much of a lead, but it's all we've got.” Ghost replied, “I've marked a suspicious energy signature on your display. Might be worth checking out.”

“Alright. Let’s move out.”

 ———————————————————————

 “Ugh! These weird Eliksni are a nightmare!”

Rae patted out some blue flames that had caught onto her cape, “Especially these explodey guys.”

“It’s like a Cursed Thrall was given the speed of a normal Thrall.” Adam groaned in disgust as he kicked away an arm of a Screeb.

“Adam. There is a signal hacking our comms.” Stormbringer alerted his Guardian. “Who out here could be-?” Rae was cut off by a familiar voice ringing through the comms. “You're late. Here I was thinking I'd be hunting Uldren alone.”

“Petra Venj!” Rae exclaimed. “Petra! Man, do I have a lot to tell you.” Adam grinned, “Seriously, I haven’t spoken since my revival, I’ve too much to say.”

“Wait. Adam? You’re speaking?” Petra seemed surprised at hearing Adam’s voice for the first time, “Nice voice.” Rae saw Adam’s face go red as he scratched the back of his neck sheepishly. “Anyway, we need to talk. Face-to-face. I'm on my way to see an old acquaintance. Word is he wants Uldren and his Barons dead as much as we do. Problem is, the feeling is mutual, so my acquaintance is laying low in a hidden bunker. If we want him to open the door, we can't leave any witnesses. Head down to Thieves’ Landing and I’ll send you some backup. Please - don't shoot the backup.”

“Um, alright?” Rae replied before turning off her comm, “Why would we shoot the backup?”

 ———————————————————————

 “So this is why we were told not to shoot the backup.”

Rae and Adam fought alongside two Fallen as they took down the creatures that they now knew were called Scorn. “Rae, watch your six!” Adam called out as a Raider attacked Rae from behind.

*BANG!*

“What the-?!” Before Rae could finish her sentence, she saw multiple Scorn get shot up in quick succession. Her attention was drawn to a figure standing atop a building. The figure’s entire body was covered by a black, hooded cloak except for the feet and face. They wore bluish-grey boots and their face was covered by a black bandanna and goggles. A gloved arm was sticking out of the cloak, holding a handcannon. The figure looked down at the two Guardians and began to speak in what sounded like a digitally distorted voice, “Leave this place. You Guardians don’t belong here. Return to your City.” Rae glared at the figure, “No way! We have a score to settle with Uldren and the Barons. And who do you think you are, bossing us around?”

“If you wish to kill the Barons, be my guest.” The figure replied, “But approach the prince, and there will be consequences.”

The figure darted off without another word, leaving Rae and Adam with the two Fallen. “Well…that happened.” Adam broke the silence. “What was their problem?” Rae muttered. “Hey. Everything alright out there? It’s gone quiet.” Petra called over the comms. “Uh, yeah!” Rae replied, “I’ll explain later, but it’s all clear out here.”

“Great. Now get over here.”

 Rae and Adam followed two of the Fallen soldiers to a large wall which disappeared upon approaching. The Fallen remained outside, guarding the entrance, as the two Guardians walked through the entrance to where Petra was waiting for them, “Shine your shoes, Guardian. You're about to meet… the Spider.”

“The incy-wincy spider?” Rae began, a small smile. “That went up the waterspout?” Adam finished with a chuckle. “Focus, you two.” Petra rolled her eyes as she lead the two inside. Upon entering, Rae and Adam saw a large Fallen residing on what seemed to be a throne with two of his soldiers standing guard either side. “Ah!” The Spider let out a laugh upon seeing the trio enter, “Well, if it isn't Petra Venj, the worst jailer in the solar system! What brings you to my home away from home away from home? On the run, are we?”

“I heard you lost the Shore.” Petra replied. “Gah! YOU lost my Shore.” Spider corrected. “Thought you might want some help getting it back.” Petra shot a glance at Rae and Adam, who stepped forward, “Meet my right hand, Adam Bergfalk, and hero of the Red War, Rae Drakyx.”

“A Guardian!” Spider exclaimed, before holding up a dead Ghost’s shell, “And where oh where, pray tell, are their Ghosts?”

“Oh, that’s disturbing…” Ghost muttered nervously. “What’s with Eliksni and Ghosts? First Variks and now him.” Stormbringer added. “Never mind the Ghosts.” Petra interrupted, “There were three Guardians at the Prison of Elders when it fell: Cayde-6… and these two. The four of us want the same thing, Spider. Uldren and his Barons. Dead.”

“What it is you're…” Spider muttered before speaking up in realisation, “Oh ho ho, I see! Haha. Despite our clear, mutually aligned interests, I'm sorry, but I can't help but feel like it is I who will come up short.” Petra went to reach for her knife but was stopped by Adam putting a reassuring hand on her shoulder as Spider continued, “It's true. I know where Uldren and his "Barons" scheme. You go, scratch your itch. Then we can just say… you owe me. Do we have a deal?” Petra removed her hand from the knife’s hilt as Rae stepped forward, “Deal.” Spider let out a slightly menacing laugh as Rae and Adam turned to leave, but were stopped by Petra pulling them aside, “I just wanted to say…I'm sorry about Cayde. He didn't deserve to...” Petra let out a sigh. “He’s not dead, P.” Adam spoke up. “What?” Petra’s eyes lit up in surprise. Rae, who had removed her mask upon entering the Spider’s domain, motioned to where her mark used to be on her cheek, “Paragonialans can sacrifice their lifeforce to bring back the dead by linking it to the deceased. So I used it to bring back Cayde and Sundance.”

“You’re serious?” Petra asked in disbelief, searching Rae’s face for any sign of deception, “This isn’t some kind of cruel joke.”

“Would I joke about something like this?”

Petra let out a sigh of relief, “Thank you…” Petra cleared her throat as she recomposed herself, “Anyway, my people are in ruins. Those who knelt to Uldren, he slaughtered. The rest have scattered. But it's not too late for revenge. Here.” Petra handed Rae a bow, “This bow is for you, straight from the Vestian armoury. But also…” Petra motioned to the bow. Rae inspected it and her eyes went wide at what she saw. The bow had a small trinket hanging from the bottom.

It was a fire-coloured feather.

“That bow used to be Blaze’s when she served the Royal Guard. After she left for Earth, Uldren kept it safe in the armoury and refused to let anyone touch it, saving it for her.” Petra explained, “I figured that if anyone should have it, it’s you.”

“I…thank you.” Rae smiled, before turning to Spider, “Have anything for target practise?” Spider took out a dead Ghost shell and tossed it into the air. Rae quickly pulled back and launched an arrow at the falling shell.

*WHOOSH!*

*TING!*

The arrow hit the shell dead-on, pinning it to the wall. “Why? Why would you do that?” Ghost muttered uncomfortably. “Sorry, pal.” Rae apologised, before turning to Adam and Petra, “Ready?”

“Always.” Adam nodded as Petra clenched her fist.

“Let’s go set things right.”

 To Be Continued…

[remembertherandler]

So much content from Utah! <3

[style-a-mythicalbeast]

Thanks for the reply to @violetcthulhu's question, @never-mind-that-noise-you-heard! I’m sure you’re right! ♥

Rhett’s boots at Sundance are the Toms Ashland Brown Leather Boots available from Toms, Zumiez, and Zappos, as well as a few other places! (Source for image on the right)

Episodes:

GMM #1170

GMM #1222 (Part 4)

Let us know if we missed any!

[buttercreamdicks]

.........the fuck is this???

Sundance festival 2025

[your-dietician]

History presents 'Fight the Power'; 'Us' on 'Masterpiece' | Arts & Entertainment

New Post has been published on https://tattlepress.com/entertainment/history-presents-fight-the-power-us-on-masterpiece-arts-entertainment/

History presents 'Fight the Power'; 'Us' on 'Masterpiece' | Arts & Entertainment

NBA legend Kareem Abdul-Jabbar hosts and co-produced “Fight the Power: The Movements That Changed America” (7 p.m. Saturday, History, TV-PG). This one-hour survey offers a brisk glance at protest movements, from the Labor Rights struggled between the 1880s and the 1930s; the battle to give women the vote; the modern Civil Rights movement that emerged from the Montgomery, Ala., bus protests and the murder of Emmett Till; the fight for gay recognition and rights in the post-Stonewall era; and the recent uprisings protesting police violence against men and women of color. Each of these historical currents could fill a documentary of its own, if not miniseries treatment.

A fascinating figure who defies category, Jabbar was a perennial All-Star during his playing days with the Milwaukee Bucks and Los Angeles Lakers. At the same time, he studied martial arts with Bruce Lee. In his retirement, he has emerged as what used to be known as a “public intellectual,” a writer and spokesperson unaffiliated with academia who has been vocal in his support of social justice movements. He’s also a widely published author. Similar to many famous people, he has written his memoirs but also has co-written several ruminations on Sherlock Holmes and World War II.

“Fight the Power” is one among many commemorations of Juneteenth, recalling June 19, 1865, when Black residents of Galveston, Texas, were informed of the Emancipation Proclamation of 1863. History will repeat “Tulsa Burning: The 1921 Race Massacre” (8 p.m., Saturday, TV-14). Other notable cable offerings include “12 Years a Slave” (6 p.m. Saturday, Sundance, TV-14) and “Selma” (7 p.m., FXM, TV-14). CBS will air “Selma” (7 p.m., Sunday) as well, its network broadcast debut.

• Nothing quite announces a couple’s comfortable semi-retirement like a European tour. Unless, of course, you’re on the verge of splitting up and have a miserable teenage son tagging along.

That’s the gist of “Us,” a “Masterpiece” (8 p.m., Sunday, PBS, TV-14) presentation based on a novel by David Nicholls.

Douglas (Tom Hollander, “The Night Manager”) awakens one morning to his wife, Connie’s (Saskia Reeve, “Luther”), announcement she wants a change. Not a divorce as much as a separation. With their moody son, Albie (Tom Taylor), about to enter university, she thinks “their work is done” and can’t face the prospect of empty nesting with a man who can’t communicate.

Or so she says. This bombshell coincides with their long-planned grand tour of continental capitals, an expensive one at that. Douglas insists they call it off, but Connie persuades him it might offer one last chance for him to bond with his sullen offspring.

So, don’t go expecting an amusing travelogue similar to “The Trip” franchise with Steve Coogan and Rob Brydon. The spirit here is more akin to “Two for the Road,” the wistful 1967 anti-romance starring Audrey Hepburn and Albert Finney.

Happily, it’s about this time “Us” offers prolonged flashbacks to the first encounters of young Douglas and Connie (Iain De Caestecker and Gina Bramhill), when he was a socially awkward biochemist and she a budding artist surrounded by a gaggle of pretentious friends.

Both the grand tour and the misty reminiscences unfold with a great deal of walking and talking, not unlike the charming and highly chatty 1995 Richard Linklater romance “Before Sunrise,” starring Ethan Hawke and Julie Delpy. At its best, and perhaps its most obvious, “Us,” suggests this long wander is about to enter a new juncture.

It’s a bit of a shame “Masterpiece” should offer this series during two Sundays in two-hour dollops. Sixty minutes of this talky and often heartbreaking story is more than enough in one sitting. Who tunes in to British TV to listen to characters talk about their feelings?

SATURDAY’S HIGHLIGHTS

• 2021 U.S. Open golf championship (6 p.m., NBC).

• Auto racing (7 p.m., CBS).

• A pregnant woman vanishes in the 2021 shocker “Secrets of a Marine’s Wife” (7 p.m., Lifetime, TV-14).

• Both clans face peril as “Meerkat Manor: Rise of the Dynasty” (7 p.m., BBC America, TV-PG) continues.

• Scheduled in the U.S. Olympic trials: swimming (8 p.m.); track and field (9 p.m.).

• When circumstances keep an event planner from attending her friend’s destination wedding, she turns to an old correspondent in the 2021 romance “Her Pen Pal” (8 p.m., Hallmark, TV-G).

SUNDAY’S HIGHLIGHTS

• Scheduled on “60 Minutes” (6 p.m., CBS): A profile of the Minnesota prosecutors in the George Floyd case; the Oath Keepers’ role in the Jan. 6 terrorist attack on the Capitol; Japan’s baseball phenom Shohei Ohtani.

• The Braves host the Cardinals in Major League Baseball (6 p.m., ESPN).

• U.S. Olympic trials (NBC) include swimming (7 p.m.) and track and field (8 p.m.).

• “Kevin Can FK Himself” (8 p.m., AMC, TV-MA) migrates to cable.

• Sessions continue on “In Treatment” (8 p.m. through 8:30 p.m., HBO, TV-MA).

• Kiesha enters labor on “The Chi” (8 p.m., Showtime, TV-MA).

• Unfinished business on “Little Birds” (8:30 p.m., Starz, TV-MA).

• Dan wants to coach on “Flatbush Misdemeanors” (9:30 p.m., Showtime, TV-MA).

— OK, that was weird. The least expected story of the week was the scandal involving Felicity Huffman (“Desperate Housewives”) and Lori Loughlin, star of “When Calls the Heart” (7 p.m. Sunday, Hallmark, TV-G), in a bribery/cheating plot to get their respective daughters into elite universities.

This is obviously an ongoing case, and all sides must have their say, or day, in court. But the motivation at the center of this story is worth discussing. It involves some overwhelming need to do anything to get children into elite schools. As if anything “lesser” were unthinkable.

Television plays no small role in this insecurity. I can’t remember how many times I’ve had to describe an ABC legal drama where every single character hails from only the most exclusive Ivy and spends most of the pilot bragging about it.

There was a time, not that long ago, when John Grisham wrote best-selling books about young, barely accredited lawyers from no-name institutions who took on impossible cases against massive corporations and eventually won. And got the girl, to boot.

So, our current era’s neurotic obsession with elitism and inequality is hardly hard-wired.

If anything comes of this sordid affair, it’s an appreciation that shoddy efforts at snobbery are always essentially pathetic. Or on classic TV, comedic. Watching “Gilligan’s Island,” we identified with Mary Ann and the Skipper, and pitied the millionaire and his wife.

— CNN launches the four-hour documentary “Tricky Dick” (8 p.m., Sunday), profiling the life and times of Richard Nixon’s public career, which spanned the decades from the dawn of the Cold War to the Clinton years.

SATURDAY’S HIGHLIGHTS

— An anxious new mother joins a group for solidarity and support, only to discover that it has darker plans on its agenda in the 2019 shocker “Mommy Group Murder” (7 p.m., Lifetime, TV-14).

— The Thunder and Warriors meet in NBA action (7:30 p.m., ABC).

— An old kidnapper returns to form on “Ransom” (8 p.m., CBS, TV-14).

SUNDAY’S HIGHLIGHTS

— Scheduled on “60 Minutes” (6 p.m., CBS): Embassy workers in China and Cuba complain of mysterious ailments; AOL founder Steve Case and his plans to invest in the future of overlooked American small towns and cities; a visit to Monaco.

— The duels begin on “World of Dance” (7 p.m., NBC, TV-PG).

— Auditions continue on “American Idol” (7 p.m., ABC, TV-PG).

— Lex Luthor is on the loose on “Supergirl” (7 p.m., CW, TV-PG).

— Mr. Wednesday prepares for battle on “American Gods” (7 p.m., Starz, TV-MA).

— After learning about her royal lineage, an adopted 10-year-old becomes a little tyrant in the 2019 shocker “Mommy’s Little Princess” (7 p.m., Lifetime, TV-14).

— A secret room holds dangers on “Charmed” (8 p.m., CW, TV-14).

— Hidden secrets revealed on “The Walking Dead” (8 p.m., AMC, TV-MA).

— A new trial is pursued on “The Case Against Adnan Syed” (8 p.m., HBO, TV-14).

— Axe is determined to destroy Taylor on the fourth season premiere of “Billions” (8 p.m., Showtime, TV-MA).

— Ulysses pursues a conspiracy theory on “Now Apocalypse” (8 p.m., Starz, TV-MA).

— “Unsung” (8 p.m., TVONE) profiles the Jets.

— Pacific overtures on “Madam Secretary” (9 p.m., CBS, TV-PG).

— Tensions rise on “Good Girls” (9 p.m., NBC, TV-14).

— Mo’s past is revealed on “Black Monday” (9 p.m., Showtime, TV-MA).

CULT CHOICE

— St. Patrick’s Day inspires many traditions. Syfy offers a marathon of “Leprechaun” movies, from “Leprechaun 5: In the Hood” (4 p.m. Saturday, TV-14) to “Leprechaun 2” (8 p.m.). TCM takes the traditional approach, ladling out the Technicolor blarney of director John Ford’s 1952 romance “The Quiet Man” (7 p.m. Sunday, TV-PG).

SATURDAY SERIES

“Dateline” (7 p.m., NBC, TV-PG) … “NBA Countdown” (7 p.m., ABC) … The kids are all right on “MasterChef” (8 p.m., Fox, r, TV-PG) … “48 Hours” (9 p.m., CBS) … A vintage helping of “Saturday Night Live” (9 p.m., NBC, r, TV-14).

SUNDAY SERIES

A visit from an old friend inspires Miles on “God Friended Me” (7 p.m., CBS, TV-PG) … Homer can’t leave Bart’s virtual realm on “The Simpsons” (7 p.m., Fox, TV-14) … Empathy for all things on “Bob’s Burgers” (7:30 p.m., Fox, TV-14).

A walk down the aisle on “NCIS: Los Angeles” (8 p.m., CBS, TV-14) … On two episodes of “Family Guy” (Fox, TV-14), Meg’s winter Olympics (8 p.m.), fighting over a dowager (8:30 p.m., r) … Aches and pains on “Shark Tank” (9 p.m., ABC, TV-PG).

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[rhonda-with-a-book]

By Source (WP:NFCC#4), Fair use, https://en.wikipedia.org/w/index.php?curid=60529000

If you know me well, you know that Autumn is my favorite time of year. Come mid September, I am trash for all things pumpkin spice, my boot collection makes its way out of my closet, and I find myself wanting to get cozy at home with a cup of cocoa and a spooky read, or, occasionally, a spooky adaptation.

Here are a few movies and series I recommend watching while snuggled under a blanket during a thunderstorm, preferably while a pie bakes in the oven:

  Movies

  We Have Always Lived in the Castle

Based on the Shirley Jackson novel of the same name, this 2018 film strikes a perfect balance of creepiness and mystery. You know from the beginning that all is not right with the Blackwood sisters, but you don’t know until the end (unless you’ve read the book) the full extent of the secrets they’re keeping in their isolated, crumbling mansion. Extra points for beautiful 1960s costuming.

Where to watch: Netflix

  Sleepy Hollow

I don’t know if this was what Washington Irving had in mind when he wrote his short story “The Legend of Sleepy Hollow,” but this 1999 Tim Burton flick is a lot of pure, campy fun. Cristina Ricci’s black-and-white striped dressed is a highlight, even if it’s not historically accurate.

Where to Watch: Amazon

  Practical Magic

Reviews were mixed for this 1998 adaptation of Alice Hoffman’s novel about two sisters raised in a family of witches, where the women have secrets and a curse. The film has achieved cult classic status at this point, though, and of course Nicole Kidman and Sandra Bullock are always perfect.

Fun fact: this movie was shot in Coupeville, a town in the San Juan Islands in my home state of Washington. Last Fall, the town celebrated the 20th anniversary of the film.

Where to Watch: Amazon

  The Girl With All the Gifts

M. R. Carey’s unique take on the zombie novel was translated pretty flawlessly to this 2017 film. Our protagonist and guide through the world of the story is Melanie, a 10-year-old girl who is not everything she seems at first–she is much more. Seriously, this is just so, so good.

Where to Watch: YouTube

  Series

  A Discovery of Witches

I’ve written about this series before, but if you don’t feel like clicking the link, this series pretty faithfully adapts that first book of Deborah Harkness’ All Souls Trilogy, also titled A Discovery of Witches. It’s the story of a witch who has been suppressing her magic for decades in order to pursue her career as a historian, but one fateful discovery (of witches, hey-o!) sets her down a path toward growing into her full power in order to save the world.

Where to Watch: AMC (if you have a TV provider sign-in) or Sundance Now (7-day free trial available)

  The Haunting of Hill House

I actually have not watched this series yet, but I’ve heard good things and it’s one I’ll be watching this Fall. The first season is based on another Shirley Jackson novel, of the same name, premiered on Netflix last year and follows a family as they relive memories of the frightening occurrences in their childhood home. I’m nervous…

Where to Watch: Netflix

  Chilling Adventures of Sabrina

I finally finished Part Two last week, as Pop DNA will be discussing this show in October. It’s based on Roberto Aguirre-Sacasa and Robert Hack’s darker take on the classic Sabrina the Teenage Witch comics series, and follows Sabrina Spellman through her first year at The Academy of the Unseen Arts, a school for young witches.

Where to Watch: Netflix

  Frankenstein, M.D.

Given the success of The Lizzie Bennet Diaries, it’s no surprise that the period between 2012 and 2016 saw dozens of literary webseries adaptations. One of the more unique of these was 2014’s Frankenstein, M.D. by PBS Studios (that’s right, PBS got in on the action). Victor Frankenstein is now Victoria Frankenstein, a med student researching “electrophysiology,” or the effects of electricity on the human brain and heart, along with her faithful assistant Iggy.

Where to Watch: YouTube

Spooky Book Adaptations to Watch this Autumn If you know me well, you know that Autumn is my favorite time of year. Come mid September, I am trash for all things pumpkin spice, my boot collection makes its way out of my closet, and I find myself wanting to get cozy at home with a cup of cocoa and a spooky read, or, occasionally, a spooky adaptation.

[wp-yahoo-style-1042-yahoopa-blog]

Uggs just got a major makeover at one of Fashion Week's buzziest shows

Models walking in the Ugg x Eckhaus Latta footwear collaboration. (Photo: Nathan Perkel)

There are no limits to Ugg‘s high-fashion appeal. Eckhaus Latta, one of the buzziest designer duos, dropped a brand-new collab with Ugg at New York Fashion Week.

Six new Ugg shoe styles were launched on the runway, with each shoe featuring a prominent square toe and revitalized in fresh new colors and textures. There were high-heel mules, clogs, boots and slippers in chestnut brown, sky gray, mandarin orange and absinthe green. They featured slim wood heels, whipstitch detailing, lamb suede and sheepskin lining.

All the shoes were styled with Eckhaus Latta’s artful series of Mondrian-inspired dresses, cold shoulder LBDs, blazers, shearling coats and trousers. At first glance, you don’t immediately notice the stylish set of shoes each model wears on the runway are, in fact, by Ugg. Each outfit looked plucked from a fashionista’s closet in Brooklyn, where the show was fittingly set in the ultra-hip Bushwick neighborhood.

Models walk the runway at the Eckhaus Latta ready-to-wear fall/winter 2019 fashion show during New York Fashion Week on Feb. 9, 2019, in New York City. (Photo: Victor Virgile/Gamma-Rapho/Getty Images)

Mike Eckhaus and Zoe Latta are not trained fashion designers, but that didn’t get in the way of their success. They first met while studying at the Rhode Island School of Design in 2011. Eckhaus studied sculpting, while Latta focused on textiles. The fashion label originally began as an art project, but has since grown into a subversive cult-favorite label that has caught the attention of LVMH and even Kylie Jenner.

The duo is unafraid to challenge fashion norms by casting nontraditional models for both their runway shows and their infamous “NSFW” ad campaign (which featured real couples having sex). This year, the collection’s silhouettes and styles have matured from seasons past, with more structured shapes, tailoring and graphic art prints.

Models walking in the Ugg x Eckhaus Latta footwear collaboration. (Photo: Nathan Perkel)

Models walking in the Ugg x Eckhaus Latta footwear collaboration. (Photo: Nathan Perkel)

Models walking in the Ugg x Eckhaus Latta footwear collaboration. (Photo: Nathan Perkel)

At first, the partnership between Eckhaus Latta and Ugg may have seemed strange. But upon closer look, it makes complete sense. Ugg has a long history of partnering with high-fashion labels — Y/Project, Sacai, Heron Preston, Jeremy Scott and Kith, to name a few. These new Ugg x Eckhaus Latta styles still possess the Ugg DNA, but have been reworked for a high-fashion context. For the Eckhaus Latta’s consumer, the laid-back style fits in with Ugg’s Californian roots. “We love the fact that Ugg products embody an easygoing lifestyle and have crossed from being a more casual product to being iconic in a fashion sense,” said Eckhaus and Latta in a press release. “Being able to add to this foundation has been an exciting honor.” 

However, this all comes at a premium price point, which Ugg consumers might not be accustomed to. The new styles range in price from $295 to $525, and will launch this fall.

Models walking in the Ugg x Eckhaus Latta footwear collaboration. (Photo: Nathan Perkel)

Until then, keep scrolling to shop 10 different Ugg shoe styles you can wear right now.

Ugg Lane

Ugg Lane (Photo: Zappos)

Who needs Gucci fur loafers when you can have these plush (under $100) beauties instead?

Shop it: $90, zappos.com

Ugg Hailey 

Ugg Hailey (Photo: Zappos)

An easy, slip-on-and-go kind of loafer that is just as stylish as it is comfy.

Shop it: $100, zappos.com

Ugg Bandara Ankle Boot

Ugg Bandara Ankle Boot (Photo: Zappos)

These stylish ankle booties have a Western flair you can wear all year long. Style them with skinny jeans for an ultra-chic weekend look.

Shop it: $150, zappos.com

Ugg Lynwood Clog

Ugg Lynwood Clog (Photo: Zappos)

Have you heard? Clogs are more popular than ever, especially with hip Brooklyn moms.

Shop it: $70 (was $120), zappos.com

Ugg Marte Boot

Ugg Marte Boot (Photo: Zappos)

Switch up your favorite Uggs for a feminine wedge. With these, you’ll no longer feel guilty for wearing Uggs every day of the week.

Shop it: $120 (was $180), zappos.com

Ugg Aya Waterproof

Ugg Aya Waterproof (Photo: Zappos)

Finally, a pair of winter boots that are functional and gorgeous. These boots are made from waterproof leather and Vibram’s innovational Arctic grip to give you better traction on ice. The perfect dose of flair for dreary winter months.

Shop it: $160 (was $350), zappos.com

Ugg Dalla

Ugg Dalla (Photo: Zappos)

You’ll feel like you’re walking on clouds in these fluffy sheepskin slippers.

Shop it: $60 (was $90), zappos.com

Ugg Sundance Waterproof

Ugg Sundance Waterproof (Photo: Zappos)

Kick up your feet in these toasty boots on your next winter road trip.

Shop it: $167 (was $250), zappos.com

Ugg Dakota

Ugg Dakota (Photo: Zappos)

These are the kind of plush moccasins that you’ll never want to take off. They’re made of a luxurious suede and sheepskin lining.

Shop it: $100, zappos.com

Ugg Classic Short II

Ugg Classic Short II (Photo: Zappos)

Is it finally time to upgrade your classic Ugg boots? Order now and get free shipping!

Shop it: $160, zappos.com

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[buttercreamdicks]

[themythicalsecret]

By Link wearing that snow boot I could guess that they could have recorded that before going to Sundance because they've said that they like to wear their shoes a little before going on a trip to get accustomed wearing it.. but by the level of Rhett's fluffiness it seems like it could have been recorded recently, so maybe Link is planning a trip soon..

[jula483]

<3

[wallpaperpaintings]

Eliminate Your Fears And Doubts About Easy And Beautiful Paintings | Easy And Beautiful Paintings

A moment from The Book of Distance.

I booted up my gaming laptop and untangled the affairs from the VR headset. Linked up the pieces, austere abroad attic amplitude to airing in. Confused the kids’ alien acquirements stuff. Then, afterwards downloading a multi-GB app on Steam as my laptop admirers whirr, I was uredly ready. I put on the headset, absolved into a basic building and cried about ceaseless for bisected an hour.

Attending an art anniversary around isn’t the aforementioned as my adventures from antecedent years, aback I’d airing through blocked-off concrete spaces artfully choreographed to alloy absolute altar and basic worlds in agrarian experiences. I never abounding Sundance, but at Tribeca’s annual Immersive advertise there would consistently be a scattering of moments that acquainted like immersive amphitheater for VR.

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This year, Cannes XR and Tribeca accept launched a chargeless advertise of basic works online, via Steam and an app alleged The Building of Added Realities. The acquaintance runs for chargeless until June 26 (but the works can be accomplished through July 3 afterwards that if you buy the $20 app). You charge a VR-ready PC and PC VR angle (an Oculus Quest will ignment with the appropriate USB-C cable) to booty it all in, which agency added phone-based, bold animate and standalone accessories like Oculus Quest (without a PC)  and PlayStation VR are excluded. But I took a quick dive

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[recentnews18-blog]

New Post has been published on https://shovelnews.com/the-weird-science-of-lakeith-stanfield-sorry-to-bother-you-and-the-batman-villain-hes-determined-to-play-deadline/

The Weird Science Of Lakeith Stanfield: ‘Sorry To Bother You’ And The ‘Batman’ Villain He’s Determined To Play - Deadline

Dan Doperalski

Lakeith Stanfield is headed home. That is, if he can remember where he lives. “I forgot my street,” he chuckles to the driver. He snaps his fingers once, twice, three times, and like magic, summons his address to mind.

To be fair, he hasn’t been living there long. Since his career started to click, the 27-year-old actor hasn’t been rooted anywhere for long. Yesterday, he was in Boston filming Rian Johnson’s all-star murder mystery Knives Out, alongside Daniel Craig, Michael Shannon, Chris Evans and Jamie Lee Curtis. Then a red-eye flight to Los Angeles, a day of photo shoots, and finally, the back of this car on the way to his new house in the Valley, not far from the crowded apartment he used to share with a bunch of dudes just three years ago when he was still that bit player who would pop up in a movie and make it sparkle, but vanish before audiences remembered to Google his name. Selma, Straight Outta Compton, Short Term 12, Miles Ahead, Dope. Finally, he got two supporting roles that carved him into the public consciousness: as the stoner sage Darius in FX’s Atlanta, and the mind-zapped kidnap victim in Get Out who made a straw boater hat look diabolical. And then, the capper on what feels like an inevitable climb to stardom: the lead in Boots Riley’s Sorry to Bother You, a bizarre and breathtakingly ambitious film that feels like a roadmap to the future of Hollywood, a place where creative talent like his isn’t just a detour, but a destination. 

Annapurna Pictures

Stanfield adjusts the brim of his pink Captain’s cap and smiles. He owns the same hat in a half-dozen colors—pink, white, red, blue, teal—to match, or clash, with his outfit of the day. “Always sailors, because I like that idea: Riding the waves of life.” He’s ridden them from Base Line Street in the Inland Empire, where he navigated addicts and needles on his way to school, all the way to this one-story wooden house with a backyard stuffed with trees and bushes and rustling critters where he can sit outside and feel “kinda Snow White”. 

The outdoor noises creep out his guests. Maybe his home is haunted, he muses. “There very well could be ghosts because it was built in the ’30s,” says Stanfield. “It was an actor before me. I wonder if he’s still alive, though, or if he’s haunting me through my walls, giving me actor juice.” 

Sure, his new neighbors have cluelessly asked if he’s a rapper. “Lemme make these people some cakes or something just to introduce myself and quell all those worries about my tattoos,” Stanfield jokes. “But yeah, I love it. I’m here, I worked hard to get here.”

Sometimes his compass is off. When he first read the script for Sorry to Bother You, Stanfield didn’t like it. “It was a weird, twisted, crazy thing,” he says of Riley’s furious and funny anti-capitalist screed. A telemarketer named Cassius falls through ceilings, adopts a white voice to boost sales, catches the eye of a smarmy techbro (Armie Hammer), becomes the fulcrum of an office strike, gets turned into a meme, and then gets transformed into a half-man, half-horse—all to learn not to sell your soul to corporations. The misadventures of Cassius Green were like Pinocchio on peyote. “It turned me off initially,” Stanfield admits. “Then I picked it up later, and after the second time, I was like, ‘OK, we have to do this.’” 

Annapurna Pictures

His hesitation is surprising because Sorry to Bother You feels like a tailor-made showcase for Stanfield’s specific kind of strange. His Cassius is vulnerable yet manipulative, a straight man in his world and an emotional dervish in ours. He’s a victim and a villain, a money-grubber with a noodle for a backbone, which embarrasses his activist girlfriend Detroit (Tessa Thompson). Clashing with Hammer’s Silicon Valley tycoon Steve Lift, Stanfield would get so riled up that, “when they said cut, I almost forgot we were doing a movie.” In the film’s most uncomfortable scene, Lift pressures him to entertain his fancy party with a rap. Cassius reluctantly grabs the mic—and what comes out is so offensive, we can’t tell if the shocking joke is on him or the crowd. 

“You don’t want to feel safe,” Stanfield explains. Not only did Sorry to Bother You take huge risks, its low budget set definitely teetered on the edge of disaster. “It was ghetto fabulous,” he laughs. When Cassius’ desk drops into people’s apartments, Stanfield really fell nine feet, steadying his phone and computer monitor and continuing the scene. On the day his character discovers a monstrous equisapien in an underground bathroom, the stunt man in the homemade horse suit fell to the floor and started flailing as planned. “I’m just like, ‘Oh he’s a good actor,’” says Stanfield. But then he started to smell something burning, and when a plume of smoke streamed out of the horse mask, he realized the internal mechanics were on fire. “They take him out and he’s like, ‘Let’s do it again, let’s go!’ I’m like, ‘Dude, you’re a G, man.’ If I almost burnt to death, I would definitely not just do it again.”

At the film’s Sundance premiere, Stanfield was sanguine. “If it’s a mess, it’s a bleeding mess of authenticity. And if it’s a great piece of artwork,” his voice arching into posh frippery, “then whatever. This is the world’s now and I’m going to let them have it.”

The timing was perfect. The current news cycle, notes Stanfield, strikes the same tone as the film. “It’s been kind of like its own horror-tragedy-drama-comedy,” he says. The night of the election, Stanfield was on another plane as the results came in. Passengers sobbed in the aisles. “Although at that moment they were scared, they felt something, they felt engaged,” says Stanfield. “Hopefully this drives us to realize that we’re all stuck in this together, black, white, blue, purple, man, woman or anything else.”

Annapurna Pictures

Increasingly, progressive voters seem clued-in to Sorry to Bother You’s impassioned politics. Writer-director Riley, a former community organizer from Oakland, hasn’t held back from linking the ideas in his film to a larger crusade to wrest control back from the 1%. 

“Yeah man, let’s burn this b*tch down,” says Stanfield. “I’m optimistic in a sense that I still have hope. I get up every day and I’m like, ‘OK, it’s going to be a nice day. I don’t think everything’s going to self-destruct.’” He pauses. “But I kinda do.”

The numbers are on his side. So far, Sorry to Bother You has made back its budget six times over. That’s fantastic, but what most excites Stanfield is the people who dressed up like Cassius on Halloween—the true sign of a character that connects. He even saw a few photos of folks who’d turned themselves into equisapiens.

“I want people to dress up as me as black Joker, when that inevitably happens,” says Stanfield. He’s not kidding. Earlier generations wanted to play Hamlet. Today’s true artistic coup is landing the part of Batman’s lead villain. “I just think there are so many things that haven’t been touched yet in terms of how the performance can be delivered,” he says, adding, “When I make the movie myself.” 

He wants to direct. “All directors are so different, they all have their own approach,” says Stanfield. “They all wear hats.” But really, he wants to do everything, even, “like, a really bad movie, that’s just horrible.” Boom-mics-in-the-shot-horrible, something totally unselfconscious—which, in a way, is its own kind of impossible mission. “Bad transitions, weird stuff going on. Just like an unfolding mess of balls being dropped everywhere,” Stanfield beams. “I’d love to be in one of those.”

Wherever he’s headed next, Sorry to Bother You has put wind in his sails. “The sci-fi world meets black people—I think that’s a beautiful juxtaposition. To be fully realized, interesting characters, not always having to be, ‘Hey man! I just come home from choich!’” he says, adding a rasp to his throat. “Now, we can play a little bit, too.”

But for today, it’s finally time to relax. Stanfield’s car has found its way home. There’s only one problem: he doesn’t have a key. “It’s all good!” he shrugs, making himself comfortable on the porch. “I’ll figure it out!” No doubt he will.

Source: https://deadline.com/2018/12/sorry-to-bother-you-lakeith-stanfield-boots-riley-interview-1202518973/

[rachelbrosnahanweb]

New Update has been published on Rachel Brosnahan Web

New Post has been published on http://rachel-brosnahan.org/2018/07/23/press-rachel-brosnahan-aubrey-plaza-evan-peters-and-more-stars-who-prove-television-is-better-than-ever/

Press: Rachel Brosnahan, Aubrey Plaza, Evan Peters and More Stars Who Prove Television Is Better Than Ever

In the television show Pose, which is about the transgender community in New York during the 1980s, Ryan Murphy has created a world full of glory, heartbreak, and sky-high heels that does not—and, seemingly, cannot—exist in feature films. Nowadays, movies must attract a superhero-hungry global audience with mass taste, so television is where directors and actors turn to express their personal interests. Shows like Pose used to be made as independent films—in fact, Pose was inspired by the groundbreaking indie documentary Paris Is Burning, which was released in 1990. For the past three years, we have put together this portfolio to spotlight actors and actresses who shine on TV, and every year there are even more interesting projects, especially for women, on the small screen. Dakota Fanning, for example, was attracted to the strength of her character in The Alienist, which is based on the 1994 best-selling book by Caleb Carr. Originally meant to become a feature film, this potboiler detective story set at the turn of the 20th century was too layered and complex to fit into the traditional two-hour movie format; the TV series, on the other hand, preserves the novel’s dense narratives. Homeland, another complex show, was created with Claire Danes in mind for the role of Carrie Mathison, a bipolar CIA agent. Danes was one of the first actresses to recognize the shifting TV landscape and smoothed the path for women like Rachel Brosnahan, who is wonderful as the frustrated housewife who becomes a stand-up comedian in The Marvelous Mrs. Maisel; Katherine Langford, whose sensitive portrayal of a suicidal teenage girl made her an instant star in 13 Reasons Why; and the brilliant Maggie Gyllenhaal, who is harrowing and powerful as a sex worker turned porn director in The Deuce. TV’s allure is not just about interesting parts but also about creative control. Murphy, for instance, could easily segue to film but has just signed a generous deal with Netflix, where he is free to create unique and multifaceted characters—just ask the actor Evan Peters, who has costarred in eight Murphy projects, playing everything from a cult leader in American Horror Story to, most recently, a besotted yuppie in Pose. Taylor Sheridan, who was nominated for an Academy Award for best original screenplay for the film Hell or High Water, created Yellowstone, writing and directing every episode, and personally casting Luke Grimes, who is riveting as a rebellious son working on his family’s ranch. Frankie Shaw developed SMILF, her semi-autobiographical story about a single mom–actress–basketball player. After her short film received a prize at the Sundance Film Festival, the project found a perfect home on premium cable. There is also less typecasting on TV. When Daveed Diggs was cast on Black-ish as the coolest family member, he had just won the Tony Award for his performances as Thomas Jefferson and the Marquis de Lafayette in Hamilton, and had not been offered any compelling film roles. Likewise, Tahar Rahim had routinely been considered for film parts as a stereotypical villain. Instead, The Looming Tower, which details the events prior to 9/11, gave him a chance to create a nuanced hero. Conversely, Aubrey Plaza, who is widely known for her quirky dream-girl charm, longed to play more intense roles, and Legion lets her embrace her darker tendencies. Dominic Cooper is also best known for sunny characters in films like Mamma Mia!, and yet, in Preacher, he gets the opportunity to be malevolent and antisocial. Best of all, working for television no longer precludes a film career, as it once did: Take it from our two cover stars. Millie Bobby Brown rose to stardom as Eleven, a girl with supernatural powers on the hit series Stranger Things, and will soon star in Godzilla: King of the Monsters. Letitia Wright cut her teeth on British TV, starring in Holby City, Top Boy, and Humans before being cast as Shuri in the block-buster Black Panther. That’s not to say that they are leaving their TV days behind. Quite the opposite, in fact: Brown reportedly just signed a $3 million deal for the new season of Stranger Things; and what did Wright take on, straight after filming for Black Panther wrapped up? A suitably unexpected, challenging role on the Netflix hit Black Mirror.

9/15 Rachel Brosnahan, The Marvelous Mrs. Maisel

When I auditioned for The Marvelous Mrs. Maisel, I wore this yellow shirt that I thought was adorable, but they asked me to change my clothes for my second audition, so I guess it wasn’t as adorable as I thought! The costumes are a huge part of Midge, my character. Her outer appearance is something she takes an enormous amount of pride in. Between the corset, the petticoats, the tights and the beautiful dresses, hair and makeup, I feel completely transformed when I walk out of my trailer. That’s my favorite part about being an actor. It always has been.

Mrs. Maisel does stand-up comedy. Were you nervous about being funny in front of an audience?

Comedy is terrifying. It’s probably the worst thing i could imagine anyone doing to themselves–and also the most exhilarating. But I would absolutely not attempt stand-up as myself. Nope. No. No. No. Never. Even as Midge, I do a lot of power posing in my dressing room to gain confidence.

Brosnahan wears a Saint Laurent by Anthony Vaccarello dress and boots.

Source: W Magazine

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New Post has been published on http://vintagedesignerhandbagsonline.com/spur-of-the-moment-why-cowboy-boots-are-back-in-fashion-fashion/

Spur of the moment: why cowboy boots are back in fashion | Fashion

It’s not just their cuban heels that are heavy: cowboy boots are freighted with associations. They are James Dean in Giant, reclining under a hazy Texan sky, Robert Redford haloed by a cloud of dust in Butch Cassidy and the Sundance Kid, and Patricia Arquette in the highway phone booth in True Romance. They are a presage to violence in No Country for Old Men. In western showdowns, the camera zooms in on them. They epitomise the wild wild west, a dangerous place of sharpshooters and outlaws.

They can be kitsch – Dolly Parton’s are pastel-hued and decorated with flowers – or political, worn by Ronald Reagan on the campaign trail and are collected by Arnold Schwarzenegger as a symbol of his allegiance to the US. They represent American pride, the horrors of US history, and the worst of the US present: in October, a pair of cowboy boots decorated with stars and stripes, which had been abandoned by survivor Stephen Vicelja, became a symbol of the Las Vegas massacre.

Patricia Arquette and Christian Slater in True Romance. Photograph: Allstar/Warner Bros

They are a potent – and complicated – emblem of America, resonating just as the meaning of “the United States” is more complex than ever. There is a chance that you will be wearing a pair in 2018 – yes, even you, style lone ranger. Because I have seen the future of fashion – on the spring/summer catwalks, on the feet of early adopters – and it has spurs on its heels.

The return of cowboy boots started, strangely, at Hood by Air last September, when the streetwear brand sent some surreal iterations down its catwalk. These appeared to face the back and the front simultaneously and they didn’t take off, even in the age of doublethink. They did spawn a thousand memes, however, and a seed was planted. Two of the fashion industry’s most influential designers – Raf Simons at Calvin Klein and Phoebe Philo at Céline – saddled up to the trend.

James Dean in Giant. Photograph: Allstar/Warner Bros

Raf Simons’ cowboy boots are part of an exploration of the dark side of Americana. As Alistair O’Neill, professor of fashion history and theory at Central Saint Martins, points out, Simons’ work references Richard Prince’s art, which reworks the Marlboro Man advertisements, and is no wholesome stars-and-stripes celebration. “It is a representation of the American man that was about individuality and a sense of adventure, a dream which is hollow, essentially,” he says. Simons’ spring/summer 2018 collection was genuinely scary – inspired by horror films – and the boots’ points peeked out from beneath satin trousers or were covered in blood-like splatters.

At Maison Margiela, they were deconstructed, as though the boot’s shaft had been torn off, and accessorised with delicate diamante spurs. Givenchy’s new designer, Clare Waight Keller, put them on models and wore a black shiny pair herself. Even when designers didn’t show cowboy boots exactly, they showed cowboy-ish boots: stompers with decorative wing tips and gleaming toe caps at Marques Almeida; cutout versions comprising different coloured sections of leather at Acne Studios; sparkly and metallic interpretations at Coach; sturdy versions with buckles and straps at Chloé. All had a cuban heel, upturned sole and an elongated yee-haw toe.

Givenchy’s new designer Clare Waight Keller on the catwalk at Paris fashion week in October 2017. Photograph: Pascal Le Segretain/Getty Images

The cowboy boot is the ultimate marriage of functionality and dandification, says Tony Glenville, creative director of the school of media and communication at the London College of Fashion. “They became longer up the leg to protect rider’s ankles; they had that funny angled heel for riding a horse or striding on uneven terrain,” he says. “But they became pretty quite early on. Even in the 1900s, you see them becoming decorative, more of a trophy item, with embroidery and the use of complicated skins.”

City slickers have worn them for decades, with their popularity often surging at times when they have featured on the silver screen, according to O’Neill. They were part of “the post-hippy aesthetic” of London in the 70s, when influential Hollywood films referencing 50s Americana – American Graffiti and Badlands – were released.

Calvin Klein, autumn/winter 2017, at New York fashion week. Photograph: Rex/Shutterstock

In womenswear, the look has often been more upbeat, even camp. A key reference, says O’Neill, is Thierry Mugler’s western-themed spring/summer 1992 collection, in which Ivanka Trump appeared on the catwalk – proving that you are never more than two fashion references away from the Donald – resplendent in cow print. At around the same time, Patricia Arquette’s Alabama Whitman wore bright blue cowboy boots with a turquoise bra in True Romance. In the late 90s, Miuccia Prada did cowboy boots at Miu Miu. By 2000, the look was still going strong – Madonna was in her Stetson period and the ladettes were on board. Cowboy boots suggested “being a free wheeler, an idea that you are someone who is thinking about the prairie when actually pounding the pavement – positioning yourself elsewhere,” says O’Neill. “A look that came before festival chic.”

Kylie Minogue on the January 2002 cover of The Face.

Anyone who came of age in the 90s or the 00s may remember cowboy boots as a counterpoint to female nudity – a sort of sexy wild west aesthetic seen on Britney Spears, who wore hers with a bikini, or Victoria Beckham, who wore them with hair extensions and hotpants, or Kylie Minogue, in pink patterned knickers with a tan pair on a cover of the Face.

This time the approach is a lot more covered-up – think of street-style star Veronika Heilbrunner, who pairs black cowboy-style ankle boots with flowing skirts, or the vintage photograph of Julia Roberts in black cowboy boots, ripped blue jeans and a polo neck.

In the post-Stan Smiths era, their practical appeal is pretty simple: you can walk in them without wobbling, and they ground a frilly dress like a full stop. Conceptually, however, things are a lot more complicated. But isn’t everything these days?

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