#nora kelly

[raye-sim]

Nora Kelly for @acuar-io's simblr outlaws (very late) - grew up in chestnut ridge, left for college, and just moved back home - took over the care of her father's ranch after he passed away - majored in environmental science and is passionate about climate issues - wanted for damaging pipeline build sites going up in the surrounding area

[mydearaloysius]

Laaadiiiies…

[uwlmvac]

Bill Gresens’ Archaeology Book Review for February 2024

Diablo Mesa by Douglas Preston & Lincoln Child (4/4)

Archaeologist Nora Kelly and FBI agent Corrie Swanson face grave danger in the wilderness associated with Area 51, Roswell, New Mexico and alien abductions! Read the entire review at:   https://www.uwlax.edu/mvac/book-reviews/?review=285037

[billsmithbackjr]

revisiting Thunderhead and the first chapter is so funny. The witches come looking for the letter from Nora's father, and then Nora accidentally finds it. In the *mailbox.* dumbass witches didnt even check the mailbox.

[imaginependergast]

Hi, hope you r doing well🧡. Are you excited for the new Corrie and Nora novel? I love Corrie but Nora ...............,i don't know, just ok i guess. I miss Aloysius Pendergast like nobody's business 😭. And i wish someday the writers will consider writing a Pendergast and Corrie novel again . Stay well dear 💜💜. Green hair AP 😂.

I'm doing well, thanks! I hope you are, too :)

I kind of am in that it's something Pendergast adjacent. Granted, I say that but I've liked the other Corrie/Nora novels alright. As much as I love Corrie I don't really care about Nora. She's not a bad character, she just isn't very memorable to me. I also deeply disliked her brother and wasn't a fan of Smithback so that probably doesn't do her any favors.

I think a Pendergast/Corrie novel could be interesting! I think I remembering liking White Fire. I have a feeling though that Coldmoon is now Pendergast's FBI buddy- which is also good because Coldmoon is great.

Cheers~

[thefemalepope]

You've Got Mail ( 1998 ) dir. Nora Ephron

[livelovecaliforniadreams]

[queer-book-character-tournament]

Characters, book, and author names under the cut

Tommy Flowers/David Pearson - Flower of Iowa by Lance Ringel

Kelly Bennett/Robbie Fontaine - Green Creek series by T J Klune

Arden Canamorra/Mil/Mattin - A Suitable Consort (For the King and His Husband) by R. Cooper

Stevie/Nora - Forget Me Not by Alyson Derrick 

[arrow-v-flash-polls]

Best wedding? Off the top of my head there’s Iris and Barry round one, combined barryiris and oliverfelicity, Alex and Kelly, Sara and Ava

There turned out to be quite a few weddings that happen in the Arrowverse Anon and I'm sure I may have missed one or two. But which wedding was the best?

This was a cute question Anon, I enjoyed going back and finding all the weddings I could and highly recomend it if anyone needs a quick 'pick me up'. Sorry for the time it took to get posted tho, but please do continue to send in your suggestions.

[asoftepiloguemylove]

Can u pls pls pls do web weaving on the struggle to be alive everyday,trying, failing,losing ur mind but still going on with the pain

pinterest / Mitski A Burning Hill / Donika Kelly Dear-; The Reunciations / Nora Sakavic The Foxhole Court / pinterest / pinterest / Fariha Róisín How to Cure a Ghost / pinterest / Gabrielle Bates & Jennifer S. Cheng So We Must Meet Apart

[rabbitfaced]

basically they're all my best friends

[craziechwiv]

I looked up the lyrics to the song, here's a longer version with characters I think fit the lines best.

Based off this post.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Coco: Do I attract you~?

Oscar: Do I repulse you~?

Jaune: With my queasy smile~.

Bleiss: Am I too dirty~?

Nora: Am I too flirty~?

Ruby: Do I like what you like~?

Penny: Gotta be wholesome~!

Ironwood: Gotta be loathesome~.

May: Guess I'm a little bit shy~...

Adam: Why don't you like me~?

Cardin: Why don't you like me~?

A + C: Without making me try~.

~Cue the chorus here cuz I'm too lazy to write it~

Velvet: I can be brown~.

Neptune: I can be blue~.

Blake: I can be vi-o-let skies~.

Weiss: I can be hurtful~.

Ilia: I can be p u r p l e~.

Neo, holding up a sign and switching between different characters: I can anything you'd like~.

Ren: Gotta be green~.

Cinder: Gotta be mean~.

Pyrrha: Gotta be EVERYTHING MORE~! Jaune: Gotta be EVERYTHING MORE~!

Adam: Why don't you like me~?

Cardin: Why don't you like me~?

Yang: Why don't you walk out the door~.

[larahorse253]

SVTFOE next generation

Updated

[victoriadallonfan]

AND SECOND PLACE GOES TO AVERY AND NORA!

[cinemagooey]

FEMME FILM

In Celebration of Women Filmmakers

Greta Gerwig as Francis Ha!

Remember when that thing happened called the pandemic?

HAHA! Jk...of course we do. We're still living in a mad, disjointed post-pandemic world, four years later. The pandemic pummeled humanity and just about everything else - Hollywood included.

Covid re-wrote the Hollywood playbook. Theater attendance stopped cold. At-home streaming became standard entertainment practice. The last movie I went to see at the theater before the virus invaded was a little-known 2019 horror flick called The Lodge. I don't remember much about the movie, but, looking back, I feel bittersweet about the experience. How was I to know that would be my last, innocent foray before society unraveled in a such way that going to the movies would never be the same?

So what's the connection between the pandemic and female filmmakers, you might ask? Well, just when the Hollywood studios were on their covid-masked knees begging for something to save the theater experience (and their financial lives), along came:

BARBENHEIMER!

Some say it was Top Gun Maverick/Tom Cruse that saved Hollywood after the virus, but I'm sticking to my pink atomic guns that it was the daring duo of Barbie/Oppenheimer.

WHAT A SUMMER! Those two films energized the movie-going experience like no other and Hollywood was as pumped as tween on Twizzlers and RedBulls.

Nolan's Oppenheimer is epic. It is historical. It is emotional. It is long. It is a history lesson about the annihilating evil that man created and that the world can (literally) be relegated to stardust with the push of a button. Applause, applause! Kudos, Christopher Nolan! Your Academy Awards and other trophies were well deserved!

But Barbie? Greta Gerwig's Barbie is communal. It brought people together for a joyous theatrical excursion. Groups gathered at theaters all over the world, dressed in pink, creating bubble-gum colored watch parties, drunk on the female power the film reminded us we have, and sobered at the admonition that the patriarchy is very real. It was also the highest grossing film of 2023, gracing Hollywood with a 1.4 billion box office gift. Applause, applause! Kudos, Greta Gerwig! Your Academy Awar...

Oh. Wait.

The Academy Awards didn't happen for Barbie, other than best song, which is nice, but...

And them's the brakes (and I do mean brakes as well as breaks) for women in Hollywood. The good old boy network rules in LALA land just like it does everywhere else (click here to see the factual, if not depressing, data).

In this post Cinemagooey raises it's fist in solidarity to women filmmakers everywhere, those heroes of feminine empowerment who buck patriarchal odds to bring their creative vision to life and share it with the world, come hell or highwater.

Highlighted below are just some of the women filmmakers who serve as shining stars and beacons of hope for other film warriors who are following in their path:

ELAINE MAY

Elaine May and Walter Matthau in A New Leaf (1971)

Elaine May is a gift to humanity. A true genius, she's been a Broadway star, film star, playwright, screenwriter and director in her long, illustrious career. If you want to introduce yourself to her prodigious talent, I recommend starting with A New Leaf, in which she performed the Hollywood trifecta: writing, directing and starring in this hilarious black comedy. Other writing/directing credits include: The Heartbreak Kid, Mike and Nickey, Heaven Can Wait, Reds, Tootsie, The Birdcage and, famously Ishtar, the film that effectively ended her movie career (here's a little link to that fascinating story). May boasts even more directorial and writing credits, but there's too many to list here. Look her up and prepare to be amazed.

I could go on and on about Elaine May, but I'll save it for a post dedicated exclusively to her and her shining accomplishments. She was one of the early greats who painstakingly forged a path for others in the field.

Today's women filmmakers stand on May's shoulders and owe her a debt of gratitude. Cinemagooey salutes this original, one of a kind bad ass.

With Charles Grodin, directing The Heartbreak Kid

Directing A New Leaf

Schmoozing with the big boys, circa 1980s

NANCY MEYERS

Nancy Meyers is the queen of the cozy romcom. When it comes to LOL-witty love stories that make us swoon, she slays. Meyers is renowned for directing comfy, side-splitting hits such as The Parent Trap (1998), Something's Gotta Give (2003), The Holiday (2006) and It's Complicated (2009), to name a few. She also wrote or co-wrote a number of smash hit screenplays, starting with my favorite, Private Benjamin (1980) but also crafting Irreconcilable Differences (1984), Baby Boom (1987) and the Father of the Bride franchise (1991, 1995 and 2020), just to name a few.

Directing Something's Gotta Give

Meyers is not only famous for her filmmaking acumen, her loyal Instagram fans are obsessed with the houses in her movies, homes that imbue a rich, intimate, put-your-feet-up-by-the-fire-and-let's-have-some-wine kind of coastal vibe. Follow her on Insta. You won't regret it. And watch her movies. You're welcome.

Above: Father of the Bride, starring this house

And the stunning beach home in Something's Gotta Give

PENNY MARSHALL

Penny Marshall Directing Big (1989)

Penny Marshall was a staple in my household in 1976 when she starred as Laverne DeFazio on the television sitcom Laverne and Shirley, about two working class gals sharing an apartment and comedic hijinks in Milwaukee. I loved that show. My sixth grade BFF and I conspired to live just such a life after high school (but with better jobs in a warmer climate). Life can upend the best of plans, howeve - that BFF and I never became Laverne and Shirley and when the show ended, Penny Marshall moved from comedic acting to cinematic directing - lucky for us.

Marshall directed a slew of hits in the 80's and 90s: Jumpin' Jack Flash, Big, Awakenings and The Preacher's Wife. But my all-time favorite is A League of Their Own, starring Geena Davis, Rosie O'Donnell, Madonna and Tom Hanks.

A League of Their Own (1992) (turn up the volume and watch this buddy moment between Madonna and Rosie O'Donnell)

The film is a Rosie-the-Riveter-meets-the-MLB story of the The All American Girls Professional Baseball League, an organization started during WWII when it was feared that men's baseball would die off as a casualty of war. The movie recounts an age when men marched off to the trenches and women were suddenly valued for more than their domestic talents, challenging patriarchal traditions and set-in-stone cultural beliefs. It's all heart and Madonna's moving "This Used To Be My Playground" theme song, as well as the reunion of the real life women who were in the league at the end of the film, poignantly encapsulate a brief, shining moment for women in sports.

Penny Marshall died in 2018. But her cinematic legacy and comedic versatility lives on in her extraordinary films, as well as the dozens of comedic roles she inhabited on t.v. (The Odd Couple, The Mary Tyler Moore Show, Frasier, Portlandia and Hocus Pocus, to name but a few). It's well worth your time to dig into her films to appreciate this one of a kind female director.

Directing Tom Hanks in Big (1988)

Awakenings, starring Robin Williams (1990). Pass the kleenex

GRETA GERWIG

With Ben Stiller in Greenburg (2010)

Before Barbie and Lady Bird - two films that placed Greta Gerwig squarely on the Hollywood writing and directing map, she was the darling of a lesser known indie-film movement called Mumblecore. This cinematic genre peaked in the mid-aughts and is best described as movies with impromptu dialogue, realistic settings and low-budget markings. This is where Gerwig got her start in movies as an actress/sometimes screenwriter.

After mumbling her way through a myriad of films, Gerwig teamed up with her (now) real-life partner, Noah Baumbaugh and co-wrote and starred in a sweet little movie called Francis Ha!.

Gerwig, dancing through the streets of Manhattan in Francis Ha!

I fell, and am still, in love with Francis Ha!, a comedy about a dreamer living in NYC whose life is derailed when she loses her roommate and best friend, as well as her position in a dance company, rendering her an unemployed, aimless nomad. Francis Ha! became an indie smash, nominated for several awards (Golden Globe, Independent Spirit, London Film Critics Circle Film Awards, to name a few), and cementing Gerwig as a force in film.

Bouyed by this success, Gerwig wrote and directed Lady Bird (2017), Little Women (2019, an adaptation from the Louise May Alcott novel) and of course Barbie (2023). I can't wait to see what Hollywood's new femme-fab director brings to the table next. If it's an original movie that resonates with millions and draws in big crowds and big bucks, like Barbie did, maybe the Academy will finally give this remarkable talent the recognition she more than deserves.

Gerwig, directing Ryan Gosling in Barbie

And there are more, but not enough...

Despite the fierce odds against them, women have been fighting to share their celluloid visions with audiences since the advent of film (the first: Alice Guy-Blanché made her first movie in 1896). Hats off to the past pioneers and present day warriors who continue to fight the good fight and inspire future femme filmmakers everywhere. I wish I could write a tribute to them all, but here are a few of the greats and one film that I recommend from each, in no particular order:

Jane Campion The Piano (1993), Sophia Coppola, Lost In Translation (2003), Kathryn Bigelow, The Hurt Locker (2008), Ava DuVernay, Selma (2014), Nora Ephron, Julie and Julia (2009), Kelly Reichardt, Certain Women (2016), Debra Granik, Winter's Bone (2010), Lana Wachowski and Lilli Wachowski, The Matrix (1999), Jennifer Kent, The Babadook (2014), Charlotte Wells, Aftersun (2022).

Kathryn Bigelow, making history as the first woman to receive the Oscar for Best Director for The Hurt Locker.

[imaginependergast]

New Pendergast newsletter

You heard it probably not here first, folks. We got a new newsletter and it’s a very special letter from Pendergast.

I don’t know if it was disclosed elsewhere sooner but we have a title for the next book: Angel of Vengeance.

Also apparently the next book is the end to the trilogy? I thought Cabinet of Curiosities was more of a prequel and we’d get three new books but I guess we get two and that’s the lot. But I’m not too upset. I’ve honestly never been super big on the trilogies. I loved Fever Dream as part of the Helen Trilogy, and I loved Book of the Dead as part of the Diogenes Trilogy but the rest I remember not being super stoked on. 

But let’s get to it- Pendergast wants to write his own novel. Apparently he’s on a new mission and is querying to us, the fans, if the authors should write it of it he should. There’s a link to a Facebook page where you can contribute your two cents. Personally, I think I’d prefer if the authors stick to writing. I love this goofy framing where they fanboy over Pendergast and write about his endeavors. I don’t know if a Pendergast novel, ‘written by the man’, would have the same appeal. 

Also I love how Pendergast’s signature at the bottom is comic sans. Stay classy, Alolysius.

And apparently there’s a new Nora Kelly/ Corrie Swanson novel called Dead Mountain coming at the end of August. It sounds interesting, in 2008 a bunch of mountain climbers so missing, only some corpses are found- until now!- and the duo need to figure out what and why. I’ll probably end up getting it and doing a hot take.

So whatcha think of the newsletter and the idea of Pendergast writing a book?