#mel vera icons

[bramblewatchescharmed]

me getting back into listening to Ricky Martin, remembering he's a gay Puerto Rican man & Latin pop music icon, and that the Vera-Vaughns are canonically of Puerto Rican descent:

wait, so you're telling me that not fucking once was any of his music played during Charmed (2018)? Even though Maggie at least would probably be a fan? Or maybe Mel, considering he came out as a gay man in 2010 and is an activist for LGBTQ+ rights + has his own foundation to help victims of human trafficking?

and that Marisol didn't bother teaching her daughters Spanish, even though she would have immigrated to the USA as an adult in at least the early 1980s?

I call major bullshit.

[transmazikeen]

mel and melda + the witch lesbian flag icons because i said so

[nicolasnelson]

CHARMED REBOOT ICONS

includes 16 150x150px icons

please like/reblog if you use or save

credit @sarahsjeffery​ if you use

you can request more icons here

icons are under the cut

[spiderwomanhelps]

Under the cut 518 icons of Melonie Diaz as Mel Vera in Charmed 1x03. Screencaps were made by me. Please like/reblog if you find them useful/are using them.  

[narglesedits]

charmed reboot layouts.

like if you save.

I do not need credits but I appreciate them ( tw acc @dearmarauders )

don’t repost without asking or claim as your own.

[charmedwhitelighter]

Bisexual Flag Icons [1]

All pride icons [here]

[thyla]

six, Charmed CW icons, 500x500

please like/reblog

right click the image to save

do not re-edit or repost

credit isn’t necessary but appreciated :)

you can always find more icons on my /icons page

want a different color? don’t be afraid to message me :) <3

[sarcana]

Best of Charmed (2018) - 20/ ∞ ➸ Mel confronts the Elders

[queermystic]

Mel x Niko // Icons

*like/reblog if you save*

[asexualtuckerfoley]

Left: distinguished lesbian Right: (barely) functional lesbian

(flag by @apersnicketylemon)

[vickiabelson]

TODAY, TUESDAY, same pandemic time, same pandemic place. SPECIAL DAY for a SPECIAL GUEST!

Chicago-born, 6-time Emmy Nominee, George Wendt, is one of nine children, his sister Kathryn is the mother of actor Jason Sudeikis. An alumnus of The Second City, that’s where George met his wife, Bernadette Birkett, who went on to voice Norm’s never-seen wife, Vera, on Cheers. I saw them perform a few sketches at a charity fundraiser in 2013- their chemistry as performers and partners was loving and adorable.

George appeared in My Bodyguard and had small roles in numerous television shows including Taxi, Soap and MASH, before landing his iconic role of Norm on Cheers, where he appeared in all 275 episodes of the series.

Appearing several times on SNL, hosting twice, he was best known as one of the Chicago super fans of The Bears!

George’s diverse career has seen him as Michael Jackson’s father in the music video Black or White, he’s appeared opposite Robert DeNiro in Guilty by Suspicion and Mel Gibson in Forever Young.

Following Cheers, George starred in the George Wendt Show, appeared in Columbo, as himself on Seinfeld, reprised his role as Norm on The Simpsons, The Family Guy, and Frasier. He played a bartender in Becker (role inversion) and starred with Chevy Chase in Man of the House. He appeared in several episodes of Sabrina the Teenage Witch, was a regular on The Naked Truth, Modern Man, Clipped, and has made appearances on innumerable other TV shows.

On the boards, George starred in the London production of Art, starred on Broadway as Edna Turnblad in Hairspray, and played Santa in Elf the Musical, also on Broadway. George has appeared in Twelve Angry Men opposite Richard Thomas, opposite his former Second City co-star Tim Kazurinsky in Funnyman, and more recently as Willy Loman in Death of a Salesman.

I’ve reached out to George numerous times in the last 9 years since we met, in hopes of nailing him… he’s always working. It’s a testament to how much, that the show is moved to Tuesday this week to accommodate George’s filming schedule (he’s working on a movie currently shooting in Utah). It was - be flexible, or perhaps never get him. He’s worth the shift. So look forward to this long-awaited sit down with sweet, crazy talented, funnyman, George Wendt.

George Wendt on Game Changers with Vicki Abelson

TUESDAY, 1/25/22, 5 pm PT, 8 pm ET

Streaming Live on my Facebook

http://bit.ly/2y47ZCi

Daily by Toni Vincent & @peter_and_paul_ Cartoons

[freeformemotions-rph]

|| HERE IS THE LINK || to #90 (so far) medium sized gifs of MELONIE DIAZ in her role as MEL VERA in CHARMED SEASON 1 EPISODE 1 as requested by anon. All gifs are made by me ( @freeformemotions-rph​ ), please don’t claim as your own or post in any gif hunts. Please do not turn these into gif icons or alter them in any way. Please like or reblog if you use. Thanks!

Edit: More hunts will be added as I continue through the series 

[rolandopujol]

Well, kiss my grits! Fans of the 1976-85 sitcom “Alice” will get a kick out of visiting the real Mel’s Diner in Phoenix, Arizona. On behalf of my employer Antenna TV, where I run social media, I recently had a fun visit with Emmanouil Stivaktakis and his friendly team. Mel, Vera, Alice and Flo had just stepped out — well, we’d like to think they did, anyway! So Mr. Stivaktakis and the gang showed us around. The diner has existed since the 1960s, opening originally as Lester’s Diner. The diner was chosen in the 1970s to represent Mel’s Diner, and a shot of the iconic tilting coffee-cup neon sign briefly appears in the opening credits. By then it was called Chris’ Diner, but the word Mel’s was swapped in when the footage was filmed. Interior scenes, however, were shot in the studio in Burbank. But it wasn’t officially called Mel’s until many years later. When Mr. Stivaktakis took over in the early 2000s, he kept getting calls from people asking for Mel. An immigrant from Greece, he’d never seen ‘Alice,’ but he quickly realized he was sitting on a television-tourism treasure. He renamed the diner Mel’s, changing the sign. There’s plenty of memorabilia on hand, including framed photos of the cast, a ticket stub from a 1980 episode taping, even an old script. I had a great meal there, and a lot of fun examining the memorabilia and photographing the sign. Next time you’re ‘just passing through’ Phoenix, make sure you stop by Mel’s Diner! (at Mel's Diner) https://www.instagram.com/p/BnPHTY3n5HO/?utm_source=ig_tumblr_share&igshid=1ij5i7p4qq0kj

[amostexcellentblog]

Classic Movies for Beginners: Case File #3: The MGM Musicals

The world is a stage, The stage is a world of entertainment!

Director(s): Vincente Minnelli; Stanley Donen; Charles Walters; and Others

Starring: (Deep Breath) Judy Garland; Fred Astaire; Gene Kelly; Cyd Charisse; Debbie Reynolds; Donald O’Connor; Frank Sinatra; Jane Powell; many more.

Watch if You Like: Musicals. Seriously, the MGM musicals still define the genre in the popular imagination. So even if you’ve never seen one (and you have seen one, The Wizard of Oz) you’re probably familiar with the style. Almost every recent hit movie musical--La La Land, Hairspray, The Greatest Showman, High School Musical--was shaped in some way by the bright technicolor sweetness of these movies. So if you’re a fan of any of those films, a theater geek, or just curious about what the movie musical was like at its peak, enjoy.

Since I could talk for days about these movies, I’ve decided to just do a quick list of the 10 most essential titles There are, of course, many other musicals from the studio that are worth a watch, but I’m trying to control myself.

Singin’ in the Rain (1952): Everyone’s favorite musical! In case you’ve been living under a rock: Don Lockwood (Kelly) is a silent movie star famous for his films with shrill-voiced Lina Lamont (Jean Hagen). Talkies seem poised to ruin them until his pal Cosmo (O’Connor) gives him the idea to do a musical with his girlfriend (Reynolds) dubbing Lina’s voice. No summary can ever capture what makes this movie such a complete joy to watch. Every song, every dance, every performance is just flawlessly executed to put a great big smile on your face. It’s one of the few movies that deserves to be called perfect.

Meet Me in St. Louis (1944): A year in the life of the Smith family in 1903 St. Louis, the year the world’s fair came to town. There are four daughters, second-eldest Esther (Garland) is on the cusp of adulthood, starry-eyed, and filled with young love for the boy next door (Tom Drake). Youngest is Tootie (Margaret O’Brien), mischievous and morbidly fascinated by death in a way only an innocent child can be. Father (Leon Ames) gets a job in New York, a move that threatens the family’s fragile innocence. Will they go? 

Minimalist plot doesn’t sound like much, but it’s actually a great coming-of-age movie. Beneath its nostalgic sheen there are some darker moments that deal frankly with the loss of innocence that comes with growing up. Garland debuts “The Trolley Song” and the holiday standard “Have Yourself a Merry Little Christmas,” which she sings with a more heartbreaking style than you’re likely to hear now. “Have yourself a merry little Christmas, now...” she sings, as if you might never have another chance to. Appreciate innocence while you have it, the movie says, it can be taken away so easily.

The Band Wagon (1953): Washed up movie star Tony Hunter, (Astaire) heads to Broadway to star in a musical comedy written by his friends (Oscar Levant and Nanette Fabray), but they make the mistake of hiring a snooty director of dramas who promptly turns it into a heavy handed Faust adaptation. Tony is unsure of this, as well as the much younger ballerina (Cyd Charisse) hired to be his leading lady. The official favorite musical of people who think it’s too mainstream to pick Singin’ in the Rain. The satire of high art and low art can get heavy handed, and the movie’s ultimate assertion that Broadway musicals are meant to be light comedy is hopelessly dated in the era of Next to Normal and Spring Awakening. It’s real charms lie in the dances, from the joyful hoofing of "Shine on Your Shoes" to the simple romance of "Dancing in the Dark."

On the Town (1949): Three sailors (Kelly, Sinatra, Jules Munshin) on 24 hour leave in New York, New York (I hear it’s a wonderful town) find love and hijinks as they pursue a beauty contest winner (Vera-Ellen) across the city after one of them falls in love at first sight. Along for the ride are Betty Garret as their cab driver, and Ann Miller as a boy crazy anthropologist. Adapted from a Broadway hit, much of Leonard Bernstein’s score was replaced with original music for some reason (censors also required the lyric “New York, New York it’s a helluva town” be changed to “it’s a wonderful town.”) Fortunately, that doesn’t make it any less of a delight, with a perfect cast and great choreography celebrating the limitless possibilities of the city.

Easter Parade (1948): When his dance partner (Ann Miller) leaves him, Don Hewes (Astaire) plucks a girl out of the chorus (Garland) and sets out to make her a star. Shades of George Bernard Shaw’s Pygmalion (nobody tell Lerner and Loewe), with Peter Lawford in the Freddy role and a slew of Irving Berlin tunes along for the ride. The only movie Astaire and Garland made together, and it’s a fascinating pairing of the most carefree (onscreen anyway) musical star and the least. Astaire was rarely paired with singing stars (as opposed to dancers), and Garland was a bigger star than he was when this movie shot. As a result her character gets more solo numbers and feels more independent of Astaire’s than usual. On the flip side, Astaire does a better job at holding his own opposite Garland than most of her leading men. It’s a shame they never made another movie together as their chemistry makes the film.

Seven Brides for Seven Brothers (1954): Mountain man Howard Keel ventures into an old west town one day looking for a wife to play housekeeper. He finds one (Powell), who falls in love at first sight and marries him dreaming of a romantic life in the wilderness. He didn’t mention they’d be living with his unruly brothers. Fortunately she manages to tame them enough to go to town for a barn raising. That’s when the trouble starts, each brother meets and falls for a girl from town. After an iconic dance-off with their fiances, the brothers end up kidnapping the women for the winter, which does not go over well. 

Look, this is not as sexist as its sounds. This is not a Stockholm Syndrome thing, the narrative does not condone the kidnapping, the men are banished to the barn by Powell so nobody’s pressured to do anything, and if you look at the end of the barn raising dance you see that the women do initially to choose the brothers on their own free will, before their parents intervene. The movie ultimately comes down on the side of equal power dynamics in relationships. Anyway, the dancing in this movie is incredible. Watch it for that if nothing else.

The Harvey Girls (1946): Desperate to get out of her small town, Susan Bradley (Garland) moves west to marry her lonely-hearts pen pal. That falls through, so she gets a job as a waitress at the Harvey House, a (real) restaurant chain catering to train passengers. A lot of the town’s men don’t want the ladies there, because the chain’s strict moral standards has a reputation for civilizing wild west towns. Nevertheless, they persisted. The town is cleaned up, and the waitresses find true love. Great showcase for Garland’s comedic and dramatic skills. The movie’s slyly feminist defense of a woman’s right to see the world beyond her back yard and the boy next door, as well as its emphasis on female friendships, make up for a bland male lead and awkward third act. (A proper big final number was shot, but deleted for time so the whole thing kinda peters out.)

Lili (1953): Barely a musical, but it has one song and two dance sequences that are key to developing the characters and plot, so it counts. Recently orphaned Lili (Leslie Caron) is all alone and naïve about the ways of the world. She is charmed by a womanizing magician in a traveling carnival. After he rebuffs her affections she attempts suicide, but is stopped at the last minute by the carnival’s puppeteer, Paul (Mel Ferrer), who strikes up a conversation through his puppets. Lili’s natural interaction with the puppets attracts a crowd and she is made part of the act. Paul was once a great dancer whose career was ended by a war injury, lonely and embittered he is drawn to Lili’s soft heart but is unable to express his affection for her without his puppets. Touching story about the walls we build to protect ourselves from hurt, and the necessity of letting them down. Caron’s performance is incredible, it’s like she walked out of a fairy tale.

The Pirate (1948): Manuela (Garland) lives in a small Caribbean village and spends her days fantasizing of adventure and romance with the legendary pirate Macoco, so she’s heartbroken to learn she’s to marry the town’s boring mayor, Don Pedro. On a trip to the port to pick up her wedding dress she is spotted by traveling actor Serafin (Kelly), who falls instantly in love. She is unimpressed with his charms so he pretends to be Macoco in disguise to win her over. Mistaken identity hijinks ensue when he shows up in her hometown and realizes her boring fiance is actually the retired Macoco. This never takes off the way it should. Between the stars, the director (Minnelli), and original Cole Porter songs this should be a home run. Frustratingly, the story never comes together as well as it should, Manuela starts to feel like a supporting player in the second half which throws the whole movie off balance. Still, there are some great songs and dances, and the movie does manage to say a few interesting things about who we are versus who we pretend to be in life.

Royal Wedding (1951): Sibling song-and-dance team (Astaire and Powell) heads to England to perform in a new show against the backdrop of the upcoming wedding of Princess Elizabeth and Philip Mountbatten, Duke of Edinburgh (what ever happened to those two?) While there both of them find themselves falling in love. Her with a penniless Lord (Peter Lawford), him with a newly engaged dancer (Sarah Churchill, daughter of Winston). This is primarily for Astaire fans who get to see two of his most famous dances. One with a hat rack, proving he could dance with anything, the other where he dances on the wall and ceiling of his room thanks to some clever practical effects.

[spiderwomanhelps]

Under the cut 572 icons of Melonie Diaz as Mel Vera in Charmed 1x02. Screencaps were made by me. Please like/reblog if you find them useful/are using them. 

[narglesedits]

charmed reboot matching icons.

like if you save.

I do not need credits but I appreciate them ( tw acc @dearmarauders )

don’t repost without asking or claim as your own.