#patricia x joyce

[aemiron-main]

Dr. Brenner Posts

Brenner’s *Interesting* Coat Fold (x)

What The Fuck Is Up With Brenner’s Hair? (x)

You Don’t Wanna Hurt Me: An Analysis of the “Nancy in the Tattoo Chair” Scene (x)

Why Does One Of The Brenners In The NINA Bunker And The One In Kali’s Vision Have A Middle Part/Pushed Back Hair? (x)

It’s Like A Fairytale- A Dream: Henry Creel vs Sleeping Beauty ft Martin Brenner (x)

Why Does Brenner’s Hair Part Change Sides In The NINA Bunker? (x)

Initial Post About Brenner Pushing Henry Towards The Massacre (x)

Martin Brenner and Scott Clarke Being Foils (x)

Bob Talking About White Gloves vs Brenner’s White Gloves (x)

I Had Hoped To Have You By My Side- Now I Just Want You To Watch (Brenner Wanted Henry To Watch) (x)

LSD and Lights: Martin Brenner at The Creel House and Altered Memories (x)

Don’t Be Afraid vs There’s Nothing To Be Afraid Of (x)

“Your Papa Calls It Soteria”: Whose Papa? (x)

Father And Son: TFS, Brenner, Cat Stevens, The Cycles, Cat’s Cradle, 8:15gate, Radiationgate and Cat’s In The Cradle (x)

A Lumberjack: Brenner and Beorn vs Brenner as a Shapeshifter/Doppelganger (x)

A Black-Blooded Brenner? (x)

Richard Brenner

Initial Post About Martin Brenner vs Richard Brenner (x)

Brenner’s Hair and Keycard/ID- Richard Is That You? (x)

Initial Post About Richard Brenner vs Reefer Rick (x)

Brenner’s Dad and The Weird Grey Hair (x)

Reblog Regarding Richard Brenner vs Reefer Rick vs Edward Creel vs Eddie Munson and Rick and Eddie  Being Mistaken For The Same Person (x)

Will Recognized Brenner- But Which Brenner Did He Recognize? (x)

The Most Evil Man In Hawkins: Don Melvald and Brenner Sr (Ft Richard Brenner and Brenner Sr's Punk Era/Axel Delivering Brenner Subtext and Ketamine) (x)

Brecna/Brenner as Vecna/ Combing Himself with 001

The Man Who Did This: Brenner-Vecna Parallels, Edward and Brenner Combining, Chrissy’s Death and The Creel Murders (x)

Old Post About Brenner-Henry (now Edward) Parallels During The Interrogation Scene With Joyce and Brenner and Edward Possibly Being The Same Person Somehow (x)

I Know Who You Are: Brenner/Edward/Vecna and Joyce’s Interrogation Scene (x)

Reblog Regarding Richard Brenner vs Reefer Rick vs Edward Creel vs Eddie Munson and Rick and Eddie Being Mistaken For The Same Person (x)

The Weird Henward Transformation Scene and Brenner and Did Brenner Get Regen Healing from Henward's Cells? (x)

Brief Initial Post About Brenner Combining Himself With Henward (x)

Brief Post About Edward and Brenner Somehow Being Combined and Brenner Talking About 001's Absorption Abilities (x)

The Ones Responsible (x)

“Mother” Edward and The Fly (x)

Brief Post About The Fly and Brenner Combining With Henward (x)

This Little Steel Capsule vs Soteria and the Brenner Henward Merge (x)

The Way Henward Stands Vs The Way Brenner Stands (x)

Maxine, Patricia and Brecna (x)

Captain Brenner/Brenner Sr

The Project Rainbow Poster vs Will Getting Flayed: Why is Will Connected To Brenner Sr AGAIN? (x)

You Have To Be Your Father: Did Brenner Jr Become Brenner Sr? (ft William Brenner) (x)

Father And Son: TFS, Brenner, Cat Stevens, The Cycles, Cat’s Cradle, 8:15gate, Radiationgate and Cat’s In The Cradle (x)

The Most Evil Man In Hawkins: Don Melvald and Brenner Sr (Ft Richard Brenner and Brenner Sr's Punk Era/Axel Delivering Brenner Subtext and Ketamine) (x) 

Captain Will the Wise of Many Colours: Brenner Sr, Will, and Saruman (x) 

You Are Nothing: The Voice Of Saruman, The Wizard Of Oz’s Voice and Henry’s Shadow Voice (Ft The Brenners) (x) 

“He Told Me” “Im Told They Say The Darndest Things” “Say It”: The Eldridge Crew’s Scene and “Saying” Things in TFS (And The Anachronistic Reference During The Eldridge Scene- Why Is The Eldridge Crew Referencing A Show From 1959 In 1943? Also Featuring They/Them Brenner) (x)

A Black-Blooded Brenner? (x)

Captain Spencer vs Captain Brenner: What Are You, Brenner Sr? (x)

Will and the Brenners

Initial Pre-TFS “Joke” Post About Will Being Brenner (x)

The Project Rainbow Poster vs Will Getting Flayed: Why is Will Connected To Brenner Sr AGAIN? (x)

You Have To Be Your Father: Did Brenner Jr Become Brenner Sr? (ft William Brenner) (x)

Captain Will the Wise of Many Colours: Brenner Sr, Will, and Saruman (x) 

You Have To Be Your Dad: Will and TFS Brenner vs In-Show Lonnie (x) 

There’s Something Down Here, Something In The Water: The Demogorgon vs Will’s Fake Body (x)

Will Playing As A Wizard vs Brenner Sr’s Wizard Coding vs A Play Within a Play/Characters Playing Other Characters (x)

[sunflowerliberty]

get to know me meme

tagged by: @frenchiefacciano--thank you!!

last song: "dream is collapsing" by hans zimmer from the inception soundtrack. it's a writing song, to me

currently reading: for fun, i'm alternating between trainspotting by irvine welsh and the dubliners by james joyce. for school, i just finished a small gathering of bones by patricia powell

currently watching: the x-files !! im 10 episodes into season 3 and loving it

tagging: @write-the-stars and @atalantalyndes <3

[docrotten]

MONKEY SHINES (1988) – Episode 235 – Decades Of Horror 1980s

“You killed my Bogie! Not with your hands. You had your little demon do it for you.” Her “Bogie” and his “little demon?” That’s a new one. Never heard them called that before. Join your faithful Grue Crew – Chad Hunt, Bill Mulligan, Crystal Cleveland, and Jeff Mohr – as they go talk-about with Monkey Shines (1988), one of George Romero’s studio efforts.

Decades of Horror 1980s Episode 235 – Monkey Shines (1988)

Join the Crew on the Gruesome Magazine YouTube channel! Subscribe today! And click the alert to get notified of new content! https://youtube.com/gruesomemagazine

A quadriplegic man has a trained monkey help him with his paralysis until the little monkey begins to develop feelings, and rage, against its new master. 

  Director: George A. Romero

Writers: Michael Stewart, George A. Romero

Makeup Department:

Special Makeup Effects: Tom Savini

Special Makeup Effects Assistants: Greg Nicotero, Everett Burrell, Mike Trcic

Special Effects: Steven Kirshoff

Visual Effects: Alexandra Menapace (motion control graphics) (uncredited)

Stunts: David Meeks, Tom Savini, Patricia Tallman, Judy Zazula

Selected Cast:

Jason Beghe as Allan Mann

John Pankow as Geoffrey Fisher

Kate McNeil as Melanie Parker

Joyce Van Patten as Dorothy Mann

Christine Forrest as Maryanne Hodges

Stephen Root as Dean Burbage

Stanley Tucci as Dr. John Wiseman

Boo as Ella

Janine Turner as Linda Aikman

William Newman as Doc Williams

Tudi Wiggins as Esther Fry

Tom Quinn as Charlie Cunningham

Chuck Baker as Ambulance Driver

Patricia Tallman as Party Guest

David Early as Anesthetist

Michael Naft as Young Allan

Tina Romero as Child Playing

Mitchell Baseman as Child Playing

Lia Savini as Child Playing

Anthony Dileo Jr. as Vandal (as Tim DiLeo)

Melanie Verlin as Vandal

Dan Fallon as Allan’s Friend

George A. Romero writes and directs Monkey Shines, an adaptation of Michael Stewart’s 1983 British novel of the same title. Despite the monkey with the clapping cymbals on the poster, this movie has nothing to do with Stephin King. An excellent cast (Jason Beghe, John Pankow, Kate McNeil, Joyce Van Patten, Christine Forrest, Stephen Root, Janine Turner, and Stanley Tucci) and detailed storytelling that crosses all the t’s and almost dots all the i’s, might just make this work. And beware if you have a phobia regarding monkeys with sharp objects! You’ve been warned.

At the time of this writing, Monkey Shines is available to stream from Tubi, Pluto TV, and multiple PPV sources. 

Every two weeks, Gruesome Magazine’s Decades of Horror 1980s podcast will cover another horror film from the 1980s. The next episode’s film, chosen by Chad, will be The Incubus (1981) from the novel by Ray Russell [Mr. Sardonicaus (1961) and X: The Man with the X-Ray Eyes (1963)] and starring John Cassavetes.

Please let them know how they’re doing! They want to hear from you – the coolest, grooviest fans – so leave them a message or comment on the Gruesome Magazine Youtube channel, on the Gruesome Magazine website, or email the Decades of Horror 1980s podcast hosts at feedback@gruesomemagazine.com.

Check out this episode!

[dykelittlemy]

i am so sorry to post them again but i took some liberty with their room decorations. specifically by adding the evanescence poster. 

[hungryfictions]

the concept for this list was: fifty books written by women about women, published within the past five years, (2017-now), that aren’t normal people and whatever else sally rooney just released. i also tried to avoid anything that gave explicitly rooney vibes. (here is why.) i stuck mostly with realism, though some have elements of fantasy or magic or horror. if you have questions about triggers for any particular book feel free to reach out.

Everything Here Is Beautiful by Mira T. Lee

We Play Ourselves by Jen Silverman

Transcendent Kingdom by Yaa Gyasi*

Goodbye, Vitamin by Rachel Khong

Sweet Lamb of Heaven by Lydia Millet*

The Care and Feeding of Ravenously Hungry Girls by Anissa Gray

No One Is Talking About This by Patricia Lockwood*

All’s Well by Mona Awad*

The Vanishing Half by Brit Bennett*

Red at the Bone by Jacqueline Woodson*

Convenience Store Woman by Sayaka Murata*

The Push by Audrey Audrain

Kim Jiyoung, Born 1982 by Cho Nam-Joo

A Certain Hunger by Chelsea G. Summers

Sad Janet by Lucie Britsch

Weather by Jenny Offill

If I Had Your Face by Frances Cha

The Comeback by Ella Berman

The Farm by Joanne Ramos

Breasts and Eggs by Mieko Kawakami

Writers & Lovers by Lily King*

Queenie by Candice Carty-Williams

My Sister, the Serial Killer by Oyinkan Braithwaite

My Dark Vanessa by Kate Elizabeth Russell

Supper Club by Lara Williams

Vacuum in the Dark by Jen Beagin

In the Dream House: A Memoir by Carmen Maria Machado*

Severance by Ling Ma

Nightbitch by Rachel Yoder

Lurkers by Sandi Tan

Girl, Woman, Other by Bernardine Evaristo

Mexican Gothic by Silvia Moreno-Garcia

Crying in H Mart by Michelle Zauner

Edie Richter is Not Alone by Rebecca Handler

Mostly Dead Things by Kristen Arnett

Long Live the Tribe of Fatherless Girls by T Kira Madden

Godshot by Chelsea Bieker

Betty by Tiffany McDaniel*

The Girl with the Louding Voice by Abi Daré

Ordinary Girls: A Memoir by Jaquira Díaz

The Memory Police by Yōko Ogawa

Fake Like Me by Barbara Bourland

Saint X by Alexis Schaitkin

My Life as a Rat by Joyce Carol Oates*

Tell the Machine Goodnight by Katie Williams

The Power by Naomi Alderman

Little Fires Everywhere by Celeste Ng*

Eleanor Oliphant is Completely Fine by Gail Honeyman

Penance by Kanae Minato*

Quicksand by Malin Persson Giolito

a note: this list is obviously limited to books that i have either personally read or know a lot about.

* means the author has other good books that i know of, i just didn’t want to repeat any authors

[papermoonloveslucy]

ZIEGFELD FOLLIES

April 8, 1946

Directors: Lemuel Ayers, Roy Del Ruth. Vincente Minnelli, George Sidney,  Norman Taurog, Charles Walters. Robert Lewis Producer: Arthur Freed for Metro Goldwyn Mayer

The shooting schedule ran between April 10 and August 18, 1944, with retakes plus additional segments filmed on December 22, 1944 and then between January 25 and February 6, 1945. The film was first proposed in 1939. 

Synopsis ~ We meet a grayed, immaculately garbed Florenz Ziegfeld, Jr. in Paradise (his diary entry reads "Another heavenly day"), where he looks down upon the world and muses over the sort of show he'd be putting on were he still alive.

PRINCIPAL CAST

Lucille Ball ('Here's to the Ladies') is appearing in her 64th film since coming to Hollywood in 1933. 

Fred Astaire ('Here's to the Ladies' / Raffles in 'This Heart of Mine' / Tai Long in 'Limehouse Blues’ / Gentleman in 'The Babbit and the Bromide') also appeared with Lucille Ball in Roberta (1935), Top Hat (1935), and Follow the Fleet (1936). His name was mentioned twice on “I Love Lucy.”

Lucille Bremer (Princess in 'This Heart of Mine' / Moy Ling in 'Limehouse Blues') 

Fanny Brice (Norma Edelman in 'A Sweepstakes Ticket') appeared in the original stage version of many editions of The Ziegfeld Follies on Broadway.

Judy Garland (The Star in 'A Great Lady Has An Interview') also starred with Lucille Ball in Thousands Cheer (1943). 

Kathryn Grayson (Kathryn Grayson in 'Beauty') also starred with Lucille Ball in Thousands Cheer (1943).

Lena Horne (Lena Horne in 'Love') also starred with Lucille Ball in Thousands Cheer (1943).

Gene Kelly (Gentleman in 'The Babbit and the Bromide') also starred with Lucille Ball in Thousands Cheer (1943),  Du Barry Was A Lady (1943), and A Guide for the Married Man (1967). He made an appearance on the Lucille Ball special “Lucy Moves to NBC” (1980).  

James Melton (Alfredo in 'La Traviata')

Victor Moore (Lawyer's Client in 'Pay the Two Dollars')

Red Skelton (J. Newton Numbskull in 'When Television Comes') also starred with Lucille Ball in Having Wonderful Time (1938), Thousands Cheer (1943),  Du Barry Was A Lady (1943), and The Fuller Brush Girl (1950).  On TV he appeared on “The Lucy-Desi Comedy Hour” in “Lucy Goes To Alaska” (1958). Ball and Skelton appeared in numerous TV specials together. 

Esther Williams (Esther Williams in 'A Water Ballet') also appeared with Lucille Ball in Easy To Wed (1946). 

William Powell (Florenz Ziegfeld Jr.) also played the same character in The Great Ziegfeld (1936). 

Edward Arnold (Lawyer in 'Pay the Two Dollars') appeared with Lucille Ball in Roman Scandals (1933) and Ellis in Freedomland (1952).

Marion Bell (Violetta in 'La Traviata')

Cyd Charisse (Ballerina in 'Beauty') also starred with Lucille Ball in Thousands Cheer (1943).

Hume Cronyn (Monty in 'A Sweepstakes Ticket') was honored by The Kennedy Center in 1986, at the same ceremony as Lucille Ball. 

William Frawley (Martin in 'A Sweepstakes Ticket') played the role of Fred Mertz on “I Love Lucy” and “The Lucy-Desi Comedy Hour”. He also appeared on “The Lucy Show,” his final screen appearance. 

Robert Lewis (Chinese Gentleman in 'Limehouse Blues' / Telephone Voice in 'Number Please')

Virginia O'Brien (Virginia O'Brien in 'Here's to the Ladies') also starred with Lucille Ball in Thousands Cheer (1943),  Du Barry Was A Lady (1943), and Meet The People (1944). 

Keenan Wynn (Caller in 'Number Please') appeared with Lucille Ball in Easy To Wed (1946), Without Love (1945), and The Long, Long Trailer (1954). 

SUPPORTING CAST

Ziegfeld Girls

Karin Booth  

Lucille Casey  

Aina Constant  

Elizabeth Dailey  

Frances Donelan  

Natalie Draper  

Karen X. Gaylord  

Aileen Haley  

Carol Haney  

Shirlee Howard  

Margaret Laurence  

Helen O'Hara  

Noreen Roth  

Elaine Shepard  

Kay Thompson  

Dorothy Tuttle  

Dorothy Van Nuys  

Eve Whitney - appeared on “I Love Lucy” episode “The Charm School” (ILL S3;E15).

Dancers

Gloria Joy Arden

Jean Ashton  

Irene Austin  

Judi Blacque  

Bonnie Barlowe  

Norman Borine  

Hazel Brooks  

Ed Brown  

Kathleen Cartmill  

Jack Cavan  

Marilyn Christine  

Laura Corbay  

Rita Dunn  

Meredyth Durrell  

Shawn Ferguson  

Jeanne Francis  

Jean French  

Mary Jane French  

David Gray  

Bill Hawley  

Doreen Hayward  

Charlotte Hunter  

Virginia Hunter  

Patricia Jackson

Margaret Kays  

Laura Knight  

Laura Lane  

Dale Lefler  

Melvin Martin  

Diane Meredith  

Lorraine Miller  

Joyce Murray  

Janet Nevis  

Ray Nyles  

Billy O'Shay  

Jane Ray  

Dorothy Raye  

Beth Renner

Melba Snowden  

Walter Stane  

Ivon Starr  

Robert Trout  

Chorus Boys

Rod Alexander

Milton Chisholm  

Dick D'Arcy  

Dante DiPaolo  

Don Hulbert  

Herb Lurie  

Matt Mattox  

Bert May - appeared on “The Lucy Show” in “Lucy and Tennessee Ernie Ford”

Jack Purcell  

Tommy Rall  

Ricky Ricardi (!)

Alex Romero

“LIMEHOUSE BLUES” starring Fred Astaire, Lucille Bremer, and Robert Lewis

Robert Ames (Masked Man)  

James Barron (Couple with Banners)  

Eleanor Bayley (Couple with Branches)  

Mary Jo Ellis (Couple with Banners)  

Sean Francis (Ensemble)  

James King (Rooster)  

Harriet Lee (Bar Singer) 

Eugene Loring (Costermonger)  

Charles Lunard (Masked Man)  

Patricia Lynn (Ensemble)  

Ruth Merman (Ensemble)  

Garry Owen (1st Subway Policeman)  

Ellen Ray (Couple with Parasols)  

Jack Regas (Masked Man)  

Billy Shead (Couple with Parasols)  

Ronald Stanton (Couple with Branches)  

Wanda Stevenson (Ensemble)  

Ray Teal (2nd Subway Policeman)  

“LOVE” starring Lena Horne

Juliette Ball (Club Patron)   

Lennie Bluett (Dancer)   

Suzette Harbin (Flirt)   

Avanelle Harris (Club Patron)  

Maggie Hathaway (Dancer)  

Charles Hawkins (Club Patron)  

Marie Bryant (Woman Getting Her Man Taken)   

Cleo Herndon (Dancer)   

“THIS HEART OF MINE” starring Fred Astaire and Lucille Bremer

Helen Boyce (Countess)   

Feodor Chaliapin Jr. (Lieutenant)

Naomi Childers (Duchess)

Charles Coleman (Majordomo)   

Sam Flint (Majordomo's Assistant)

Sidney Gordon (Masked Man)   

Count Stefenelli (Count)   

Robert Wayne (Dyseptic)   

“PAY THE TWO DOLLARS”  starring Edward Arnold and Victor Moore

William Bailey (Subway Passenger)

Joseph Crehan (1st Judge) - played a Detective on “I Love Lucy” “The Great Train Robbery”

William B. Davidson (2nd Judge)

Eddie Dunn (3rd Subway Policeman)   

Harry Hayden (Warden)   

George Hill (2nd Subway Policeman)   

Wilbur Mack (Subway Passenger)   

Larry Steers (Magistrate)

“NUMBER PLEASE” starring Keenan Wynn

Peter Lawford (Voice of Porky)

Grady Sutton (Texan)

Audrey Totter (Phone Operator Voice)

Kay Williams (Girl)

OTHERS

Bunin's Puppets

Elise Cavanna (Tall Woman)

Jack Deery (Man)

Rex Evans (Butler in "A Great Lady Has An Interview”)

Sam Garrett (Roping / Twirling Act)

Silver (Horse in "Here's to the Ladies') 

Arthur Walsh (Telegraph Boy in "A Sweepstakes Ticket") - appeared on “I Love Lucy” in “Lucy Has Her Eyes Examined” (ILL S3;E11). 

‘FOLLIES’ TRIVIA

Sidney Guilaroff, Lucille Ball’s hair dresser, who takes responsibility for her famous ‘golden red’ for this movie, becoming her trademark color.

Although they appear in different segments, this is the only feature film collaboration between “I Love Lucy co-stars" Lucille Ball and William Frawley. Coincidently, Frawley's character in this film shares a striking similarity with his iconic character of Fred Mertz on “I Love Lucy.” In this film he plays a money-hungry curmudgeon of a landlord, much like the show. In the above photo, he appears with director Minnelli and co-star Brice. 

The horse ridden by Lucille Ball is the Lone Ranger's Silver!

Lucille Ball was actually fired by Ziegfeld from his road company production of Rio Rita in the 1930s.

In February 1956, Lucy and Desi appeared on “MGM Parade” to promote their MGM film Forever Darling. The show also included footage of Lena Horne singing from Ziegfeld Follies. 

Lucy also played a showgirl in pink in “Lucy Gets Into Pictures” (ILL S4;E19) aired on February 21, 1955. The scene was inspired by Ziegfeld’s legendary stage shows featuring beautiful women wearing elaborate costumes navigating long staircases. To solidify the comparison, Ricky says he is going to a meeting with Mr. Minnelli. Vincente Minnelli was one of the directors of Ziegfeld Follies. 

Lucy Ricardo had previously cavorted around in a lampshade in the manner of a Ziegfeld girl in both the unaired pilot and “The Audition” (S1;E6).

Ziegfeld Follies includes a sketch for Red Skelton called “When Television Comes” aka “Guzzler’s Gin” in which a (future) television spokesman gets increasingly sloshed on his product. This sketch was an obvious influence on Lucy’s Vitameatavegamin routine in “Lucy Does a TV Commercial” (ILL S1;E30) aired on May 5, 1952. 

Ziegfeld Girl Eve Whitney appeared on “I Love Lucy” episode “The Charm School” (ILL S3;E15). She used her own name for the character.  

The Telegraph Boy in "A Sweepstakes Ticket" Arthur Walsh - appeared on “I Love Lucy” in “Lucy Has Her Eyes Examined” (ILL S3;E11) as Arthur ‘King Cat’ Walsh. He teaches Lucy how to jitterbug. 

The first Judge in the “Pay the Two Dollars” James Crehan also played the Police Detective on “I Love Lucy in “The Great Train Robbery” (ILL S5;E5) first aired on October 31, 1955.

Porky, a voice on the telephone in “Number Please” Peter Lawford, played “Password” against Lucille Ball on September 24, 1964.  At the time, Lawford was married to President Kennedy’s sister, Patricia. On November 26, 1968, Ball was a guest on “The Tonight Show” when Peter Lawford was sitting in for Johnny Carson.

Chorus Boy Bert May appeared as a solo dancer on “The Lucy Show” in “Lucy and Tennessee Ernie Ford” (TLS S5;E21) in February 1967. 

In the dressing room, Lucy jokes with Fanny Brice, one of the funniest women in showbusiness.  This was the only time Ball and Brice collaborated and was Brice’s last film. 

Ziegfeld’s follies began on Broadway, so it was appropriate that the show featured past and future Broadway musical stars:

Lucille Ball ~ Wildcat (1960)

Carol Haney ~ The Pajama Game (1954)

Tommy Rall ~ Call Me Madame (1950)

Fanny Brice ~ The Ziegfeld Follies 

Marion Bell ~ Brigadoon (1947)

Victor Moore ~ Anything Goes (1934)

There was a lot of material that was not filmed, but written and cast. Some of the original skits would have added “Lucy” performers Mickey Rooney, Ann Sothern, and Van Johnson to the cast.

[dominik528]

What I read in 2020, from worst to best

1. Little Fires Everywhere by Celeste Ng - ★☆☆☆☆ (review)

2. Rules of Civility by Amor Towles - ★☆☆☆☆ (review)

3. Love Traveling by Hitomi- ★☆☆☆☆

4. The Red Queen by Philippa Gregory - ★★☆☆☆ (review)

5. The Poet X by Elizabeth Acevedo - ★★☆☆☆

6. Trinkets by Kirsten Smith - ★★☆☆☆

7. The House on Mango Street by Sandra Cisneros -★★☆☆☆

8. Bridge to Terabithia by Katherine Paterson - ★★☆☆☆

9.The Man in the High Castle by Philip K. Dick - ★★☆☆☆

10. Where'd You Go, Bernadette by Maria Semple - ★★☆☆☆

11.Avenue of Mysteries by John Irvings - ★★☆☆☆

12. The Expatriates by Janice Y.K. Lee - ★★★☆☆ (review)

13. Six of Crows by Leigh Bardugo - ★★★☆☆ (review)

14. The Complete Peanuts, Vol. 10 (1969 - 1970) by Charles Schulz - ★★★☆☆ (review)

15. Memoirs of a Geisha by Arthur Golden - ★★★☆☆ (review)

16. Kill the Boy Band by Goldy Moldavsky - ★★★☆☆ (review)

17. Alphabet of Dreams by Susan Fletcher - ★★★☆☆ (review)

18. Girls on Fire by Robin Wasserman - ★★★☆☆ (review)

19. Archenemy by Frank Beddor - ★★★☆☆

20. Finally & 13 Gifts by Wendy Mass - ★★★☆☆

21. No One to Trust by Melody Carlson - ★★★☆☆

21. Girl in the Train by Paula Hawkins - ★★★☆☆

22. Empress of the World by Sara Ryan - ★★★☆☆

23. On the Come Up by Angie Thomas - ★★★☆☆

24. 13 Little Blue Envelopes by Maureen Johnson - ★★★☆☆

25. Clueless: Senior Year by Amber Benson - ★★★☆☆

26. This Book is Not Yet Rated by Peter Bognanni - ★★★☆☆

27. The Summer of Jordi Perez by Amy Spalding - ★★★☆☆

28. Blue is the Warmest Color by Julie Maroh - ★★★☆☆

29. Breakfast at Tiffany's by Truman Capote- ★★★☆☆

30. Bone Gap by Laura Ruby - ★★★☆☆

31. Lilac Girls by Martha Kelly - ★★★☆☆

32. The DUFF by Kody Keplinger - ★★★☆☆

33. Eggs by Jerry Spinelli - ★★★☆☆

34. Dumplin' & Puddin' by Julie Murphy - ★★★☆☆

35. The Body by Stephen King - ★★★☆☆

36. L: Change the World by M - ★★★☆☆

37. Sadie by Courtney Summers- ★★★☆☆

38. The Graveyard Shift by Neil Gaiman- ★★★☆☆

39. Save the Date by Morgan Matson - ★★★☆☆

40. Do Androids Dream of Electric Sheep? by Philip K. Dick - ★★★☆☆

41. Neil Gaiman's How to Talk to Girls at Parties by Fábio Moon - ★★★☆☆

42. Jughead, Vol. 3 by Ryan North - ★★★☆☆

43. Archie, Vol. 5 by Mark Waid - ★★★☆☆

44. Twilight: The Graphic Novel, Vol. 2 by Young Kim, Stephanie Meyer - ★★★☆☆

45. Sôdôk by Sheri Holman - ★★★☆☆

46. Staying Strong: 365 Days a Year by Demi Lovato - ★★★☆☆

47. The Nightingale by Kristin Hannah- ★★★★☆ (spoiler review)

48. The Secret Life of Bees by Sue Monk Kidd - ★★★★☆ (spoiler review)

49. Marlene by C.W. Gortner - ★★★★☆ (review)

50. Thomas Jefferson Dreams of Sally Hemings by Stephen O'Connor - ★★★★☆ (review)

51. The Siren by Kiera Cass - ★★★★☆ (review)

52. Silver Linings Playbook by Matthew Quick - ★★★★☆ (review)

53. Revolutionary Road by Richard Yates - ★★★★☆ (review)

54. The Beguiled by Thomas Cullinan - ★★★★☆ (review)

55. The Turn of the Key by Ruth Ware - ★★★★☆ (review)

56. Flowers in the Attic by V.C. Andrews - ★★★★☆ (review)

57. Rutta & Kodama, Volumes 1 - 3 by Youko Fujitani - ★★★★☆ (review)

58. Twilight: The Graphic Novel, Vol. 1 by Young Kim, Stephanie Meyer - ★★★★☆ (review)

59. The House of Impossible Beauties by Joseph Cassara- ★★★★☆ (review)

60. Harry Potter 1 - 3 by J.K. Rowling - ★★★★☆

61. Esperanza Rising & Becoming Naomi León by Pam Muñoz Ryan - ★★★★☆

62. Sweetest Spell by Suzanne Selfors - ★★★★☆

63. Teen Titans: Raven by Kami Garcia- ★★★★☆

64. Two Boys Kissing by David Levithan - ★★★★☆

65. Blended by Sharon Draper - ★★★★☆

66. Shanghai Girls & Dreams of Joy by Lisa See - ★★★★☆

67. The Complete Peanuts, Vol. 25 (1999 - 2000) by Charles Schulz - ★★★★☆

68. The Ice Cream Queen of Orchard Street by Susan Jane Gilman - ★★★★☆

69. Jahanara by Kathryn Lasky- ★★★★☆

70. Sharp Objects by Gillian Flynn - ★★★★☆

71. Zombie by Joyce Carol Oates - ★★★★☆

72. Juliet Takes a Breath by Gabby Rivera - ★★★★☆

73. So Far From Home by Barry Denenberg - ★★★★☆

74. Soundless by Richelle Mead - ★★★★☆

75. Mockingbird by Kathryn Erskine - ★★★★☆

76. This One Summer by Mariko & Jillian Tamaki - ★★★★☆

77. Archie, Vol. 6 by Mark Waid - ★★★★☆

78. Cut by Patricia McCormick- ★★★★☆

79. Girl in Pieces by Kathleen Glasgow- ★★★★☆

80. Jughead, Vol. 2 by Chip Zdarsky- ★★★★☆

81. Reggie & Me by Tom DeFalco - ★★★★☆

82. Radio Silence by Alice Oseman- ★★★★☆

83. Number the Stars & The Giver by Lois Lowry - ★★★★☆

84. Attack on Titan, Vol. 2, 3, 6 & 7 by Hajime Isayama - ★★★★☆

85. Call, Silent Night & Ice Dolls by Hitomi - ★★★★☆

86. Princess Ai, vol. 3 by Courtney Love & DJ Milky - ★★★★☆

87. Attack on Titan, Vol. 1, 4 & 5 by Hajime Isayama- ★★★★★ ( review , review )

88. Princess Ai, Vol. 1 & 2 by Courtney Love & DJ Milky - ★★★★★ (review)

89. Flower by Hitomi - ★★★★★ (review)

[its-all-ineffable]

Multifemale appreciation fic - THE END!

I have officially finished my multifemale appreciation fanfiction!!

This has been one wild ride, from having so many people suggest awesome characters, to stressing over chapter titles, to worrying the day before I was supposed to post a chapter because I hadn’t finished it...It’s been an experience. 

Thank you to all the people who helped me make this possible and all the people who’ve supported me as I’ve been writing. You’ve been a huge help, and I love you all so much. Thank you to all the people who’ve liked and reblogged and read my posts about this for the past few months. You are all stars and I would’ve crashed and burned without you. 

Thank you especially to:

@simplyclockwork for recommending Rogue from X-Men, Max Mayfield & Joyce Byers from Stranger Things and Alice Cullen from Twilight

@umbrellaacadnetflix for recommending Vanya Hargreeves from TUA, Beverly Marsh from IT and Harley Quinn from Suicide Squad/Birds Of Prey

@lifeinanotherdimension​ for recommending Isabelle Lightwood from Shadowhunters/Mortal Instruments

@sparklespirit​ for recommending Anathema Device, Madame Tracy, War & God from Good Omens

@esperata​ for recommending Fish Mooney from Gotham, Tia Delma from Pirates Of The Caribbean, Eowyn from LOTR and Christine Chapel from Star Trek TOS

@blubobbi​ for recommending Luna Lovegood from Harry Potter

@coffeekaspbrak​ for recommending Beverly Marsh from IT and Ellie Sattler from Jurassic Park

@meow-moewenherz​ for recommending Nymphodora Tonks from Harry Potter, Fish Mooney from Gotham, Isabelle Lightwood from Shadowhunters/Mortal Instruments and Toshiko Sato from Torchwood

@castiel-saved-me-from-myself​ for recommending Molly Hooper from Sherlock, Barbara Keane & Lee Thompkins from Gotham, Harley Quinn from Suicide Squad/Birds Of Prey, Morgana Pendragon from Merlin, Meg & Rowena MacLeod from SPN, Alyssa Foley from TEOTFW, Amy Pond & River Song & Rose Tyler & Donna Noble & Bill Potts from Doctor Who, Vanya Hargreeves from TUA, Robin Buckley from Stranger Things, Luna Lovegood from Harry Potter, Carol Danvers & Natasha Romanoff & Hope Van Dyne & Nebula from the MCU and Anathema Device from Good Omens

@morganlkae​ for recommending Bedelia Du Maurier from Hannibal

@miraworos​ for recommending Pepper from Good Omens, Erica Sinclair from Stranger Things and Marisa Coulter from HDM

@mishandjen-tellmehow​ for recommending Madame Tracy from Good Omens, Queenie Goldstein from Fantastic Beasts, Eileen Leahy from SPN, Wednesday Addams from The Addams Family, Donna Noble from Doctor Who, Eleven from Stranger Things, Eowyn from LOTR, Caroline Forbes from TVD and Rogue from X-Men

@holisticfansstuff​ for recommending Rowena MacLeod from SPN, Donna Noble from Doctor Who, Lucille Sharpe from Crimson Peak, Elizabeth Swann from Pirates Of The Caribbean, Harley Quinn from Suicide Squad/Birds Of Prey and Gwen from Merlin

@claire-drinks-lovely-lemonade​ for recommending Roxy Morton from Kingsmen, Gwen from Merlin and Abby Maitland from Primeval

@ramblingsofachristiannerd​ for recommending Bridget Pike from Gotham

@doyourtaxes​ for recommending Luna Lovegood from Harry Potter

@tiredpent-upwriter​ for recommending Patricia Uris from IT

@zasteroid​ for recommending Toshiko Sato from Torchwood and Sarah-Jane Smith from Doctor Who

@the-bentley​ for recommending Lyra Belacqua from HDM and Galadriel from LOTR

@the-songs-we-knew​ for recommending the 13th Doctor & Yasmin Khan from Doctor Who, Anathema Device & Pepper from Good Omens, Beverly Marsh from IT, Max Mayfield from Stranger Things and Allison & Vanya Hargreeves from TUA

@panickedconstantly​ for recommending Bill Potts from Doctor Who

And @sherlockeddetective​ for recommending Mary Morstan from Sherlock, Alice Cullen from Twilight, Elizabeth Bennet from Pride & Prejudice & Zombies and Jessica Jones from The Defenders

Thank you to ALL OF THE PEOPLE ABOVE for recommending all those amazing characters - it was genuinely hard to choose which of these ladies to write about! Thank to all the people who gave me quotes/song lyrics for chapter titles as well, you were also a MASSIVE HELP! 

THANK YOU SO MUCH FOR STICKING WITH ME, ALL OF YOU GUYS! I hope that if you read any of it, even just the chapters for the characters you recommended, you enjoyed it. You’ve all been a great support to me and I’m so grateful to all of you.

Thank you, and bless you all. 

Love @its-all-ineffable​. xxxx

(P.S Here’s the link to the full fic: https://archiveofourown.org/works/24791062?view_full_work=true  )

[ron-stepupable]

Reblog with your favorite HHA/DHA/HOA moment (s)

For me it’s:

HHA:

Appie x Amber scenes. Period.

Fabienke feels

When Fabian throws a dictionary at Mick’s head

Fabian calling Patricia a bitch (nice twist from the docile English version)

When Mara left and was actually happy (don’t ask, I really didn’t like Dutch Mara)

When Jeroen deadass leaps from the building in S2

Jason eating his script during the play

Jason deadsprinting from backstage to the bathroom, vomiting then sprinting back in stage and taking a bow.

When Amber and Ellie were shoved awkwardly into a bathroom stall in S1

When Ari asked Ellie to dance in S2 finale and the background music was once apon a dream.

Patricia reuniting with Joyce.

“prutser!”

When Zeno dies—I hate him

Mick getting run over by that scooter (don’t ask I found it really funny)

“Banana banana banana, Mick can do this!”

When Nienke sees Fabian again after the funeral.

Jeroen just striping in the bathroom for his gym teacher as one would.

Whenver Patricia and Robbie hug (even though I staunchly ship patty and Joyce)

When the goat ate Trudie’s flowers and she was not having it.

When Patricia walked in on Fabian and Nienke under the covers (I DIED)

And much more

DHA:

*disclaimer: this will be short because I’m learning German at university and am putting off watching DHA in its entirety till I’m More fluent.

This isn’t really a moment, but when you can clearly hear Daniel singing on the recording of Pfad der seiben Sünden.

Daniel and Nina, though not alway together.

Von Minkmar (self explanatory)

When Magnus apologies to Felix and gets an adorable brotp hug in return.

I really enjoy Luzy being as tall as she is in DHA.

HOA:

Patricia and Eddies conversations

Season 2 Jara scenes

Jerome’s interactions with his family

Whenever eddie called Jerome jerry.

The dance (the bet, the collector, the tunnel, the dejavu, the everything)

A blind Patricia going after Sibuna to warm them

Sibunas reactions when Nina fell

Nina and Fabian blackmailing Jerome for the gem

When Jerome and poppy put the gem back in the sheild

“Inferno—place of fire!”

“English please.”

“Hell...the clue means down in hell.”

Nina having a C1 moment during Alfie’s initiation

Alfie tackling Andrews, believing she’s an alien

Patricia on a date while on a Sibuna task

Jason’s betrayal (somehow it stuck in HOA more than the other two)

Jerome’s S1 arc

KT and Eddies brotp

Walfie

“And that joke isn’t funny anymore”

Sibuna being completely in the dark about Sophia even though she was pretty blatant.

The staff actually helping team evil

Robert being a sassy little shit.

Frombie

“Now you’ve got a funny color too”

“Well I guess you know how it feel cause your dad thought you were a real disappointment too, didn’t he?”

House of yesterday. I live for victor and Sarah interactions/ headcannons about their past.

Fabian lying about having a mark

Senkhara being an awesome villain

Thinking the collector is Vera, only to realize it Rufus, my second fav villain

Rufus panicking and kidnapping people (yes I believe he panicks)

All the jelfie one-liners

Trudy investigating Vera

Jasper struggling to decide what to do

Robert’s riddles

Lots more

[beepbeepbuckaroo]

♡ Tag 9 people you would like to get to know better ♡ 

I was tagged by the absolutely lovely @ayesleigh , thank you!!! ❤️

Top 3 Ships: (I'm gonna be a copycat and state that I have a lot of ships, so these 3 might not necessarily be my favorites, but just hit heavy right now):

1) Rick Grimes and Michonne - The Walking Dead:

I think this was the first time where I fell in love as soon as I saw their first scene. They just have such an amazing chemistry and, though it was painful to wait, I also loved how they slowly worked up to it. It was just loss after loss, but they found a way to keep themselves and their families safe. Also, their first kiss? One of the only things Scotty Boy did right, truly iconic *Chef's Kiss*

2) Stanley and Patricia Uris - IT:

Okay, so I know that they literally have .5 seconds together in the movie, but Patricia's chapter in the book is honestly one of my favorites and is probably one of the most heartbreaking things I've ever read. You truly feel the love that these two dorks (Sedanley) have for each other, despite all of the odds, and that just makes their story that much more heartbreaking.

3) Joyce x Hopper - Stranger Things Season 1 & 2:

One of my favorite moments in the first season is when Hopper is about to leave the Byers after telling them that they have found Will's body and he ends up just staying over there in his car. Yes, they both have problems and hard pasts, but they both are willing to try for one another. It's very sweet when Jim "No Emotion" Hopper goes out of his way to ensure that Joyce and her boys are okay. I'm hoping that they get back to this, because let's be real, as far as this ship goes, season 3 was a slight nightmare.

Lipstick or Chapstick?: Lipstick. I can never keep Chapstick long enough to actually use it.

Last Song: Can't Help Falling in Love by Beck

Last Movie: I'm not sure if this meant in theaters or at home so I'mma just answer both 💁 The last movie I saw was Knives Out in theaters (highly recommend) and the last movie I watched at home was Midsommar (highly recommend)

On Amazon Prime: The only thing I've ever watched on Amazon Prime was the first episode of Good Omens.

On cable: I am a twenty-two year old Master's student and teacher and am not at all ashamed to state that the only thing I think I watch on TV is The Loud House.

Last book: I'm currently very slowly working through Stephen King's IT. As someone who tries to write, I actually like most of his characterization, but the rest of it is.....something?

I tag:

@yall-hail-the-wheezers , @eddiesasspbrak , @femmebergara , @arthoebyers , @freekshow17 , @parallel-motion , @siancore , @astudyinnewtina , @stanleysbirds

[bluewatsons]

Brian Jarvis, Monsters Inc.: Serial killers and consumer culture, 3 Crime Media Cult 326 (2007)

Abstract

Serial killing has become big business. Over the past 15 years, popular culture has been flooded by true-life crime stories, biographies, best-selling fiction, video games and television documentaries devoted to this subject. Cinema is the cultural space in which this phenomenon is perhaps most conspicuous. The Internet Movie Database (imdb.com) lists over 800 films featuring serial killers and most of the contributions to this sub-genre have been made since 1990. This article examines seminal examples of serial killer fiction and film including Thomas Harris’s Hannibal Lecter novels and their cinematic adaptations, Bret Easton Ellis and Mary Harron’s American Psycho (1991 and 2000) and David Fincher’s Se7en (1995). The main contention is that the commodification of violence in popular culture is structurally integrated with the violence of commodification itself. Starting with the rather obvious ways in which violent crime is marketed as a spectacle to be consumed, this article then attempts to uncover less transparent links between the normal desires which circulate within consumer society and monstrous violence. In ‘Monsters Inc.’, the serial killer is unmasked as a gothic double of the serial consumer.

But the notion of the monster is rather difficult to deal with, to get a hold on, to stabilize . . . monstrosity may reveal or make one aware of what normality is. (Derrida, 1995: 386)

In his Theses on the Philosophy of History, Walter Benjamin (1999a) memorably proclaimed that ‘there is no document of civilization which is not at the same time a document of barbarism’ (p. 248). In contemporary US culture Benjamin’s chilling axiom is turned on its head: it seems there is now no act of barbarism which fails to become a document of civilization. Serial killing, to take one important example of this trend, has become big business within the culture industry. In his cult documentary, Collectors (2000), Julian Hobbs both explores and contributes to the explosive proliferation of art and artefacts associated with serial killers. Hobbs investigates the burgeoning market for ‘murderabilia’ and follows enthusiasts in this field who avidly build collections which mirror the serial killer’s own modus operandi of collecting fetish objects.

Murderabilia ranges from serial killer art (paintings, drawings, sculpture, letters, poetry), to body parts (a lock of hair or nail clippings) from crime scene materials to kitsch merchandising that includes serial killer T-Shirts, calendars, trading cards, board games, Halloween masks and even action figures of ‘superstars’ like Ted Bundy, Jeffrey Dahmer and John Wayne Gacy. Although it might be tempting to dismiss this phenomenon as the sick hobby of a deviant minority, murderabilia is merely the hardcore version of a mainstream obsession with the serial killer. Following negative publicity, trading in murderabilia was banned on eBay in 2001. However, it is still possible to purchase a vast array of legitimate serial killer merchandise online and elsewhere. A keyword search for ‘serial killer’ at Amazon, for example, produces hundreds of links to gruesome biographies, true-life crime stories and best-selling fiction by Thomas Harris, Patricia Cornwall, Caleb Carr and others. A search for ‘Jack the Ripper’ uncovers 248 books, 24 DVDs, 15 links to popular music, a video game and a 10’ action figure. The Jack the Ripper video game invites players to solve the Whitechapel murders, but a large number of its competitors profit by encouraging ‘recreational killing’. In some of the most commercially successful video games, one’s cyber-self may be a detective, a soldier or a Jedi Knight, but the raw materials of fantasy are constant: an endless series of killings.

In Christopher Priest’s novel, The Extremes (1998), FBI agent Teresa Simons becomes dangerously addicted to a Virtual Reality (VR) training programme which recreates infamous serial killings. It might be argued that other elements in Priest’s novel are ‘re- creations’: the focus on a female FBI agent seems indebted to the Silence of the Lambs and the VR game, known as ‘ExEx’ (Extreme Experience), recalls the SID 6.7 software in Virtuosity (1995). In Brett Leonard’s science fiction film, SID 6.7 is a computer pro- gramme which synthesizes the personalities of 183 serial killers and mass murderers including Ted Bundy, Vlad the Impaler, Jeffrey Dahmer, the Marquis de Sade and Adolf Hitler. Somewhat inevitably, SID (short for Sadistic, Intelligent and Dangerous) escapes virtuality and is hunted down by a detective played by Denzel Washington. Shortly after he starred in Virtuosity, Washington appeared in a supernatural serial killer film (Fallen, 1998) and a forensic serial killer film (The Bone Collector, 1999). Three serial killer films in four years is less a signature of Washington’s star persona than a symptom of the recent growth spurt experienced by this sub-genre. The Internet Movie Database (imdb.com) lists over 800 films featuring serial killers and most of them have been made in the past 15 years. Serial killer cinema has many faces: there are serial killer crime dramas (Manhunter, 1986; Se7en, 1995; Hannibal, 2001; Saw, 2004), supernatural serial killers (Halloween, 1978; Friday the 13th, 1980; Nightmare on Elm Street, 1984), serial killer science fiction (Virtuosity, 1995; Jason X, 2001), serial killer road movies (Kalifornia, 1993; Natural Born Killers, 1994), true-life crime dramas (Ted Bundy, 2002; Monster, 2003), documentaries (John Wayne Gacy: Buried Secrets (1996) and Aileen Wuornos: The Selling of a Serial Killer (1994)), post-modern pastiche (Scream, 1996; I Know What You Did Last Summer, 1997) and even serial killer comedies (So I Married an Axe Murderer, 1993; Serial Mom, 1994; Scary Movie, 2000). The expansion of this diverse sub-genre is facilitated by the fact that films about serial killing often appear as part of a series (Saw 1, Saw 2, Saw 3). The serial killer has also become a staple ingredient in TV cop shows (like CSI and Law and Order) and cult series (for example, Twin Peaks, The X-Files and Millennium).

According to Robert Conrath (1996: 156), ‘when Jeffrey Dahmer’s house of carnage was discovered in Milwaukee in 1991, television rights to his story were being negotiated within the hour’. Over the next few years, Dahmer was the subject of numerous documentaries (including An American Nightmare (1993) and The Monster Within (1996)), films (The Secret Life (1993) and Dahmer (2002)), several biographies and Joyce Carol Oates’s fictionalized Zombie (1996), a comic strip (by Derf, a cartoonist and coincidentally Dahmer’s childhood acquaintance) and a concept album by a heavy metal band called Macabre. The extensive media coverage of Dahmer’s exploits in 1991 coincided with the release of Jonathan Demme’s Silence of the Lambs (which won the Best Picture Oscar and grossed US$272,700,000 in worldwide box-office) as well as the controversial and commercially successful Bret Easton Ellis novel, American Psycho (1991). Since the early 1990s, the translation of serial killer shock value into surplus value has become an increasingly profitable venture. This market both reflects and produces an apparently insatiable desire for images and stories of serial killing in a gothic hall of mirrors. According to case histories and psychological profiles, serial killers themselves are often avid consumers of films and books about serial killing. At the same time, the fictional monstrous murderers in popular culture, from Norman Bates to Hannibal Lecter, are often modelled on historical figures. In this context, Philip Jenkins (1994) proposes that, at least in the popular imaginary, the distinction between historical serial killers and their cinematic counterparts is dis- solving. In fact, even the label of ‘serial killer’ indirectly belongs to cinema. This term was coined by Robert Ressler, an FBI agent who named the killers he pursued after the ‘serial adventures’ he watched as a child in US cinemas. In his study of serial killers, Mark Seltzer (1998: 129) has offered a compelling critique of the virtualization of violence: ‘fascination with scenes of a spectacularized bodily violence is inseparable from the binding of violence to scene, spectacle, and representation’. The engine which drives this process is primarily economic. The commodification of violence is inseparable from the violence of commodification. In this article I wish to build on the rather obvious ways in which violent crime is marketed as a spectacle to be consumed towards the less transparent links that exist between consumerism itself and violence. A range of serial killer texts will be examined with the aim of uncovering unexpected intimacies between monstrous violence and the normal desires that circulate within consumer society. The serial killer will be unmasked as a gothic double of the serial consumer.

JUST DO IT: Killers, Consumers and Violence

Most people could confidently identify a serial killer, but definitions are more elusive. How many murders does it take to make a serial killer? Do these homicides need to involve a specific MO, in particular locations and within a prescribed time frame? Do serial killers have a characteristic relationship to their victim? Do they have to be motivated by sexual fantasy rather than material gain? And how exactly do serial killers differ from mass murderers and spree killers? There are competing definitions of the serial killer inside and outside the academic world. I have neither the space nor the skill to offer an authoritative classification, and so for the purpose of this article my working definition will of necessity be expansive. My focal point here will be fictional representations of the serial killer in film and fiction, but I will include reference to historical counterparts and supernatural metaphors (specifically, the vampire and zombie as figurative practitioners of serial homicide). The number of murders committed, the individual MOs, the timing and setting of the crimes, the connection to the victim and the motivation will be wildly divergent, but, in each instance, I hope to reveal covert affinities between the ‘monstrous’ serial killer and the ‘normal’ consumer.

While precise defintions prove elusive, the clichés are unavoidable. One of the most conspicuous commonplaces in the popular discourses of serial killing concerns the terrifying normality of the murderer. Rather than appearing monstrously different, the serial killer displays a likeness that disturbs the dominant culture. The violence of consumerism is similarly hidden beneath a façade of healthy normality. The glossy phantasmagoria of youth and beauty, freedom and pleasure, obscures widespread devastation and suffering. Etymology is instructive in this regard: to ‘consume’ is to devour and destroy, to waste and obliterate. With this definition in mind, Baudrillard (1998: 43) has traced a provocative genealogy between contemporary capitalism and tribal potlatch: ‘consumerism may go so far as consumation, pure and simple destruction’. The consumation of contemporary consumer capitalism assumes multiple forms: pollution, waste and the ravaging of non-renewable resources, bio-diversity and endangered species; the slaughter of animals for food, clothing and medicine; countless acts of violence against the consumer’s body that range from spectacular accidents to slow tortures and poisonings. At the national level the consumer economy produces radical inequalities that encourage violent crime. At the international level, consumer capitalism depends heavily on a ‘new slavery’ for millions in the developing world who are incarcerated in dangerous factories and sweatshops and subjected to the repetitive violence of Fordist production. In his autobiography, My Life and Work, Henry Ford calculated that the manufacture of a Model T required 7882 distinct operations but only 949 of these required ‘able-bodied’ workers: ‘670 could be filled by legless men, 2,637 by one-legged men, two by armless men, 715 by one-armed and ten by blind men’ (cited in Seltzer, 1998: 69). Third-world workers trapped in this Fordist fantasy to serve the needs of first-world consumers undergo dismemberments (figurative and sometimes literal) which echo the violent tortures practised by serial killers in post-Fordist cinema. And the violence of consumerism is not restricted to the factories and sweatshops. In The Anatomy of Resource Wars, Michael Renner (2002) explores links between first-world shopping malls and third-world war zones. Insatiable consumer demand fuels conflicts over resources in the developing world – from tropical forests to diamonds and coltan deposits (a mineral used in the manufacture of mobile phones and other electronic devices). Renner estimates that these conflicts have displaced over 20 million people and raised at least US$12 billion per year for rebels, warlords and totalitarian governments: ‘most consumers don’t know that a number of common purchases bear the invisible imprint of violence’ (p. 53). Recent conflicts in the Gulf are fuelled by the needs of western car cultures. In the 20th century the development of a consumer economy was twice kick-started by global war and the roots of 19th-century consumerism were terminally entangled in colonialism and slavery.

The violence of consumerism is structural and universal rather than being an incidental and localized side effect of the system. For many in the over-developed world this violence remains largely unseen, or, when visible, apparently unconnected to consumerism. In cultural representations of the serial killer, however, consumerism and violence are often extravagantly integrated. In fact, the leading ‘brand names’ in the genre are typically depicted as über-consumers. In Bret Easton Ellis’s American Psycho (1991), the eponymous Patrick Bateman embodies a merger between ultra- violence and compulsive consumerism. A catalogue of obscene and barbaric atrocities (serial murder, rape and torture) is interwoven with endless shopping lists of designer clothes and fashionable furniture, beauty products and audiovisual equipment, videos and CDs alongside multiple purchases at restaurants, gyms, health spas, concerts and clubs. As James Annesley (1998: 16) notes, ‘In American Psycho the word “consume” is used in all of its possible meanings: purchasing, eating and destroying’. Each brand of consumption is described in the same flat, affectless tone to underscore Bateman’s perception of everything in the world as a series of consumables arranged for his delectation.

Patrick Bateman thus represents a gothic projection of consumer pathology. In this respect, although his name echoes Norman Bates from Hitchcock’s Psycho, Bateman can be seen as a Yuppie analogue to the aristocratic Hannibal Lecter. Both killers coolly collect and consume body parts and can boast an intimate familiarity with fashionable commodities. In Silence of the Lambs, Red Dragon and Hannibal, Lecter offers a connoisseur’s commentary on designer suits and Gucci shoes (a present for Clarice), handbags, perfume and aftershave. Lecter himself has become a voguish icon in millennial popular culture although his name alludes to mid-19th-century French verse. Baudelaire’s ‘Au Lecteur’ (1998 : 5) concludes with the following apostrophe:

Tu le connais, lecteur, ce monstre délicat, Hypocrite lecteur, – mon semblable, – mon frère!

[You know him, reader, that fastidious monster, You hypocritical reader, – my double, – my brother!]

If we follow Harris’s allusion, Lecter can be read, like Bateman, as the dark double of the monstrous consumer. The serial killer’s perverse charisma might be attributed in part to their function as allegorical embodiments of consumer drives and desires. According to this reading, the serial killer’s cannibalism is less a barbaric transgression of the norm and more a Neitzschean distillation of reification (in its simplest terms the tendency, central to consumerism, to treat people as objects and objects as people).

In Silence of the Lambs, the casting of serial killer as predatory über-consumer is underscored by animal and insect imagery. Clarice Starling is haunted by traumatic childhood memories of witnessing the hidden violence of animal slaughter. Dr Lecter diagnoses her devotion to the law as an attempt to silence the ‘screaming of the lambs’. Perhaps Lecter’s cannibalism might be diagnosed as an alternate response to that ‘screaming’, one which reverses power relations by putting consumers on the menu. Alongside the lambs, moths are a second key symbol that hint at the widespread though often invisible violence of consumerism:

Some [moths] are [destructive], a lot are, but they live in all kinds of ways. Just like we do . . . The old definition of moth was ‘anything that gradually, silently eats, consumes, or wastes any other thing.’ It was a verb for destruction too . . . Is this what you do all the time – hunt Buffalo Bill? . . . Do you ever go out for cheeseburgers and beer or the amusing house wine? (Harris, 1990: 102)

The second serial killer in Silence of the Lambs is similarly doubled with the consumer and associated with animal imagery. While Lecter hunts for food, the predatory Buffalo Bill hunts for clothing. After the chase, Buffalo Bill deprives his prey of subjectivity and treats them like livestock: victims are penned, fed and then flayed for their skins. The nickname given to Jame Gumb by the media is suggestive. As a professional hunter, Buffalo Bill Cody was one of those responsible for reducing the bison population in North America from approximately 60 million to around 300 by 1893. After the near extinction of his prey, Buffalo Bill moved from animal slaughter to entertainment with his travelling ‘Wild West’ show. Thomas Harris’s ‘Buffalo Bill’, with his own serial killer trade marks, combines an identical mixture of hunting, slaughter and flaying with spectacle and entertainment. Buffalo Bill, alongside Francis Dolarhyde (the name of the killer in Harris’s Red Dragon again links money, skins and a doppelganger monster, Stevenson’s Mr Hyde) and above all the iconic Hannibal Lecter, have established Harris as a brand market leader in the commodification of serial killing.

The roots of the brand – the repeated logo or symbol that identifies a product – lie in cattle ranching. At the first crime scene in David Fincher’s Se7en, a morbidly obese murder victim is discovered after being forced to eat himself to death. (This MO is repeated in Brett Leonard’s Feed (2005) when a serial killer force-feeds obese women and broadcasts their demise on the Internet). When the detectives in Se7en investigate the crime scene they discover the word ‘Gluttony’ scrawled in grease behind the victim’s refrigerator beside a neat pile of cans with the ‘Campbell’s Soup’ brand clearly visible. The repetition of the Campbell’s brand of course alludes to Warhol’s series of paintings on the subject of consumer seriality. If, like the detectives in Se7en, we are prepared to ‘look behind’ objects in serial killer texts we may discover further clues to the hidden violence of serial consumerism.

Discover A New You: Killers, Consumers, and the Dream of ‘Becoming’

His product should already have changed its skin and stripped off its original form . . . a capitalist in larval form . . . His emergence as a butterfly must, and yet must not, take place in the sphere of circulation, (Marx, 1990: 204, 269)

Although the serial killer in David Fincher’s Se7en justifies his murders with pseudo-religious rhetoric, the victims he chooses also exemplify some of the capital vices and anxieties exploited by consumerism: the ‘Gluttony’ victim is guilty of over-eating; the ‘Pride’ victim is a fashion model guilty of acute narcissism; the ‘Sloth’ victim, according to Richard Dyer (1999: 40), is a case study in the dangers of under-exercising; the ‘Lust’ victim embodies a hardcore version of mainstream desires and fetishes. By foregrounding ‘sins’ that are central to consumerism and by naming the murderer ‘John Doe’, Se7en hints at the hyper-normality of serial killer pathology. Key aspects of consumer sensibility intersect with the trademark features of serial killer psychology: anxious and aggressive narcissism, the compulsive collection of fetish objects and fantasies of self-transformation.

In Silence of the Lambs, the epiphanic moment in Starling’s search for Jame Gumb comes in the bedroom of the killer’s first victim: Frederika Bimmel. As a Point Of View (POV) shot surveys the dead woman’s possessions the spectator sees the following: a romantic novel (entitled Silken Threads) beside a diet book, wallpaper with a butterfly motif, a tailor’s dummy and paper diamonds in the closet. Starling intuitively connects the paper diamonds to the cuts made by Gumb in the bodies of his victims. The spect- ator, however, might make additional connections. Demme’s mise-en-scene offers a symbolic suturing of the normal girl’s bedroom and the serial killer’s lair. Both spaces house dreams of romantic metamorphosis driven by self-dissatisfaction: the moths in Gumb’s basement are linked to the Silken Threads and butterflies in Bimmel’s bedroom while the diet book suggests the young woman shared the serial killer’s anxiety about body image. Clarice Starling, the young woman figuratively donning the traditional male garb of law enforcement (a woman trying to make it in a man’s world) is perhaps too preoccupied with tracking down a man who wants to wear a ‘woman suit’ to pursue these leads. Silence of the Lambs extravagantly foregrounds the importance of gender to subject formation. At the start of the film we are introduced to Clarice Starling in androgynous sweaty sportswear while training on an obstacle course. When the spectator subsequently arrives at the serial killer’s house, we see Jame Gumb sewing, pampering his poodle and parading before the camera like a catwalk model.

Jame may be symbolically feminized, but in Demme’s film, as in Harris’ novels, Se7en, American Psycho and the vast majority of serial killer texts, the murderer is biologically male. There are variations in the statistics (roughly between 88–95%), but the vast majority of serial killers are male (Vronsky, 2004). From a feminist perspective it could be argued that serial killing is not so much a radical departure from normal codes of civilized behaviour as it is an intensification of hegemonic masculine ideals. For the serial killer the murder is a means to an end and that end intersects in places with socially sanctioned definitions of masculine identity in institutions such as the military, many working places and the sports industry. The serial killer is driven by the desire to achieve mastery, virility and control: his objective is to dominate and possess the body and the mind of his victims. According to the binary logic of patriarchy, the killer/victim dyad produces a polarization of gender norms: the killer embodies an über-masculinity while the victim who is dominated, opened and entered personifies a hyper-femininity (irrespective of biology). The gendered power relations of serial homicide climax but do not end with the act of murder. Post-mortem the murderer will often take fetish objects from his victim. These totems function as testimony to his continuing domination of a dead body which exhibits an extreme form of the passivity which patriarchy seeks to assign to the feminine.

While serial killing is both literally and symbolically a male affair, the paradigmatic consumer is of course female. According to patriarchal folklore men are the primary producers and unenthusiastic shoppers while most women are devoted consumers and typically figure in the family as the person with overall responsibility for decision making with regard to most domestic purchases. Brett Leonard’s Feed (2005) might be mentioned here as a particularly pure example of this stereotypical dichotomy between the male serial murderer and the female consumer (the victims in the film are ‘Gainers’ who are fed to death). However, since the 1980s and throughout the period which has seen a dramatic rise in serial killer art, the consumer sphere has witnessed a withering of gender polarities. From the late 19th and for much of the 20thcentury, women were the primary target of advertising, particularly in the fields of beauty and fashion. The female consumer was relentlessly bombarded by images and messages in magazines, on billboards, and then through radio, cinema and TV, that encouraged physical self-obsession. Beneath the patina of positivity, this bomb- ardment aimed to promote an anxious policing of the female body – how the body looked and felt, what went over, into and came out of it. The covert imperative of this advertising was to manufacture that sense of inadequacy and self-dissatisfaction which is the essential psychological prerequisite for luxury purchases. Since the 1980s, the beauty and fashion industries, recognizing the potential of a relatively untapped market, began to target the male consumer in a similar manner. Subsequently, there has been a massive worldwide increase in sales of male fashion accessories, cosmetics and related products.

In the context of this erosion of gender polarities within consumer culture, it is noticeable that representations of the serial killer often involve androgyny and gender crisis. The killer is typically feminized by association with consumer subjectivity. He is obsessed with different forms of consumption and collecting and driven by dreams of ‘becoming’ (the key phrase in Harris’ Red Dragon), of radically refiguring his appear- ance and thus his identity. The killer’s violence might be read both as complicity with and rebellion against feminization through a reassertion of primitive masculinity. According to Baudrillard (1996: 69), in consumer culture there is a ‘general tendency to feminize objects . . . All objects . . . become women in order to be bought’. The feminization of the commodity is structurally integrated with the commodification of the feminine and the serial killer aims to assert mastery over both spheres. The violence of serial homicide might even be diagnosed as a nostalgic mode of production (of corpses and fetish objects) for the anxious male subject.

In Silence of the Lambs, Lecter offers the following diagnosis of Gumb’s pathology: ‘He’s tried to be a lot of things . . . [But] he’s not anything, really, just a sort of total lack that he wants to fill’ (Harris, 1990: 159, 165). The killer is driven by a profound sense of lack to ‘covet’ (Lecter’s term) what he sees everyday and then to hunt for the new skin that would enable a radical self-transformation. In this respect Gumb constitutes a psychotic off-shoot of normal consumer psychology: his violent response to lack is deviant, but the desires which move him are mainstream. Gumb succumbs to mass media fantasy and advertising which have trained him to feel incomplete and anxious while promising magical metamorphoses on consumption of the ideal (feminized) commodity. The dreams of the serial killer and the serial consumer converge: reinvent- ing the self through bodily transformation and transcendence. Buffalo Bill, we might say, is merely fleshing out the advertising fantasy of a ‘new you’. This is the same dream of ‘becoming’ pursued by Francis Dollarhyde in Red Dragon/Manhunter. It is also the dream of Patrick Bateman, known by his acquaintances as ‘total GQ’ (Ellis, 1991: 90) but who, like Jame Gumb, experiences himself as ‘total lack’: ‘There is an idea of a Patrick Bateman; some kind of abstraction. But there is no real me: only an entity, something illusory . . . I simply am not there’ (pp. 376–7). Bateman attempts to fill the void with an endless procession of commodities and logos: designer clothes and cuisine, male grooming products and technological gadgets, Versace, Manolo Blahnik, Giorgio Armani. Bateman is a cut-up (like his victims) of commodity signs. He talks in the language of advertising and incessantly imagines himself in commercials, sit-coms, chat shows, action movies and porn films. Bateman’s ultra-violence gives physical expression to the acute feelings of anxiety and incompletion which accompany the consumer society’s unachievable fantasy of perfect bodies living perfect lives.

Silence of the Lambs similarly articulates the complex integration of violence, fantasy, gender identity and consumer subjectivity. The first clue that Lecter gives to Starling is the cryptic, ‘Look deep within yourself’. Subsequently, Starling discovers that ‘Your Self’ is in fact a storage facility in downtown Baltimore. Closer investigation uncovers a dead body in a car crammed alongside hoarded possessions. Forcing her way into ‘Your Self’, Starling discovers a decapitated man’s head placed on top of a mannequin wearing a dress. This tableau captures the dark underside of consumer psychology: erotics, fetishism, fantasy and death. The victim’s cross-dressing signifies the same yearning for self-transformation witnessed in Buffalo Bill and Frederika Bimmel. For the killer, the victim and the consumer, fantasy is the exoskeleton of the commodity. The murder, the dressing-up, the purchase; each is driven by dreams of metamorphosis. Consumption, Baudrillard (1998: 31) reminds us, ‘is governed by a form of magical thinking’. Numerous case studies have concluded that serial killers are prone to hyperactive fantasy lives (see Seltzer, 1998; Vronsky, 2004). It would be a mistake to dismiss these fantasies as merely the overture to violence; rather, the violence is a means of sustaining the fantasy. By the same token, the practice and pathology of serial consumerism are driven by fantasies that cannot be fulfilled and so are compulsively repeated. We consume not products, but dream-images from a collective phantasmagoria.

These fantasies are fuelled by capitalism’s official art form: advertising. Perhaps in part the serial killer’s crime is taking the promises of advertising too literally – acting out the fantasy of a world ready-made for our consumption. The serial killer is both a millennial vogue and perhaps the ultimate fashion victim. Every aspect of Patrick Bateman’s lifestyle – clothing, diet, gadgetry, interior design and leisure time – is dictated by fashion. In his basement, Jame Gumb adopts glamour poses before a camera and struts like a catwalk model. The Death’s Head moths in his garment sweatshop symbolically suture the fashion industry with fetishism, hidden suffering and death. In his critique of the French arcades, the first cathedrals of consumer capital and forerunners of the department store and mall, Benjamin (1999b: 62–3) argued that fashion stands in opposition to the organic. It couples the living body to the inorganic world. To the living, it defends the rights of the corpse . . . fashion has opened the business of dialectical exchange between women and ware – between carnal pleasure and corpse . . . For fashion was never anything other than the parody of the motley cadaver, provocation of death through the woman.

EXQUISITE CORPSE: Killers, Consumers, and Mannequins

The sexual impulse-excitations are exceptionally plastic. (Freud, 1981: 389)

According to Benjamin (1999b), a key fetish object in the phantasmagorical arcades was the mannequin:

the fashion mannequin is a token from the realm of the dead . . . the model for imitation . . . Just as the much-admired mannequin has detachable parts, so fashion encourages the fetishist fragmentation of the living body . . . the woman mimics the mannequin and enters history as a dead object. (p. 78)

One of Benjamin’s German contemporaries, Hans Bellmer, explored the deathly sensuality of the mannequin through the lens of surrealist photography. Eroticized dolls were dressed in veils and underwear or covered in flowers. The mannequin was shot both as whole and dismembered, sometimes posed coyly and at other times torturously convoluted and bound in a perverse meeting of the shop window and the S&M dungeon.

In the 80s and 90s, the photographer Cindy Sherman developed a more explicit and grisly mode of mannequin pornography. In her ‘Disaster’, ‘Fairy Tale’ and ‘Sex’ series, Sherman deploys dolls and prosthetic body parts in tableau that combine eroticism, violence and abjection. Sherman’s photographs recall Lacan’s (1989) work on ‘imagos of the fragmented body’:

These are the images of castration, mutilation, dismemberment, dislocation, evisceration, devouring, bursting open of the body . . . One has only to listen to children aged between two and five playing, alone or together, to know that the pulling off of the head and the ripping open of the belly are themes that occur spontaneously to their imagination, and that this is corroborated by the experience of the doll torn to pieces. (p. 179)

Imagos of the deconstructed body are everywhere in the infantile fantasies of consumer culture: perfect legs, perfect breasts, perfect hair, perfect teeth, bodies endlessly dismembered in the ceaseless strafing of advertising imagery. Sherman’s photography foregrounds the rhetoric of advertising: the dissection of the body by fashion, fitness and beauty industries into fragmentary fetishes. At the same time these images stage a spectacular return of the repressed for those anxieties (about filth, aging, illness and death) covertly fuelled by consumerism’s representational regime.

In 1997, Sherman attempted to import her ‘imagos of the fragmented body’ into the mainstream in the film Office Killer. Dorine Douglas, a female serial killer, murders her co-workers at Constant Consumer magazine and takes the corpses home to her cellar where she plays with them as life-size dolls. Douglas’s hobby echoes Jeffrey Dahmer’s confession that his ‘experimentation’ with the human form began with the theft of a mannequin from a store: ‘I just went through various sexual fantasies with it, pretending it was a real person, pretending that I was having sex with it, masturbating, and undressing it’ (cited in Tithecott, 1999: 46). The mannequin enjoys a peculiar prominence in serial killer texts. In Maniac (1980), Frank Zito scalps his victims and places his trophies on the fashion mannequins that decorate his apartment. In Demme’s Silence of the Lambs, Benjamin Raspail’s decapitated head is placed on a shop dummy and mannequins are conspicuous in Jame Gumb’s garment sweatshop. Similarly, in Ed Gein (2000), the eponymous killer’s ‘woman suit’ is draped over a mannequin in his workshop. The climactic scenes in the serial killer road movie Kalifornia (1993) take place in mock suburban dwellings (part of a nuclear test site) occupied exclusively by mannequins. In House of Wax (2005) the serial killer trans- forms his victims into living dolls by encasing them in wax and a similar MO is evident in The Cell where the killer bleaches his female victim’s bodies in imitation of the dolls he played with as a child.

Although mannequins are less conspicuous in Ellis’s American Psycho (1991) than in Glamorama (in which they function as a key motif signifying the millennial merger of fashion with terrorism), they still perform a crucial symbolic function. Mannequins epitomize the ideal of 80s body fascism: tall, youthful, slim, impervious to wrinkles, scars and blemishes, untouched by illness and aging. Bateman’s obsession with the designer clothing worn by others in his social circle underlines their status (and his own) as mobile mannequins. Bateman’s fetishistic fascination with ‘hard bodies’ – both the muscular torso built in the gym and the stiff and frozen body parts he collects – similarly attests to the prevalence of a mannequin ideal in contemporary consumer culture. In ironic affirmation of this aesthetic, the film adaptation of Ellis’s novel was accompanied by the marketing of an ‘American Psycho Action Figure’ – an 18’ inch mini-mannequin equipped with fake Armani suit and knife.

In pursuit of the hegemonic fantasy of the hard body, in the gym and in his daily fitness regime, Bateman remorselessly punishes himself. The über-consumer is narcissistically fixated on his abdominal muscles, his face, his skin tone, how his body is adorned, what goes into it (dietary obsessions) and comes out (especially blood). The violence that Bateman inflicts on his victims appears as an extension of his own masochistic self-objectification:

Shirtless, I scrutinize my image in the mirror above the sinks in the locker room at Xclusive. My arm muscles burn, my stomach is as taut as possible, my chest steel, pectorals granite hard, my eyes white as ice. In my locker in the locker room at Xclusive lie three vaginas I recently sliced out of various women I’ve attacked in the past week. Two are washed off, one isn’t. There’s a barrette clipped to one of them, a blue ribbon from Hermès tied around my favourite. (Ellis, 1991: 370)

In Bateman’s locker we witness the gender confusion of the male killer and the latent violence of consumer body culture writ large. Bateman’s attempt to transform himself into an anthropomorphosized phallus is partly offset by the accessories (a hair clasp and ribbon) and pathologies gendered ‘feminine’ by patriarchy (vanity and masochism). According to Baudrillard (1998: 129), the consumer is ultimately encouraged to consume themselves: ‘in the consumer package, there is one object finer, more precious and more dazzling than any other . . . That object is the BODY’. For Patrick Bateman, serial killing is a mode of extreme make-over: a refashioning of bodies, including his own, into trophies. In Demme’s Se7en, John Doe’s body terrorism (force-feeding a fat man, cutting off a female model’s nose) mirrors, albeit in grotesque distortions, the mania of millennial consumer society. Similarly, the serial killers in Thomas Harris are fixated on bodily transformation: Buffalo Bill attempts to put him- self inside a new body while Lecter puts others’ bodies inside himself. The horrific practices of these fictional killers find their everyday analogue in the slow serial torture of the consumer’s body by capital: the injections and invasions of cosmetic surgery, the poisonings, pollutions and detoxifications, the over-consumption and dieting, the leisure rituals and compulsive exercise.

In an early scene from Mary Harron’s adaptation of American Psycho we witness Patrick Bateman’s morning exercise and beauty regime: crunches and push-ups are followed by ‘deep-pore cleanser lotion . . . water-activated gel cleanser . . . honey- almond body scrub’. As Bateman admires himself in the bathroom mirror his face is sheathed in a ‘herbal mint facial masque’ that lends the skin a mannequin sheen. When Bateman peels off his synthetic second skin the gesture echoes the gothic facials practised in Silence of the Lambs. Lecter, who, at their first meeting, identifies Clarice by her skin cream, escapes his captors by performing an improvised plastic surgery – he removes a guard’s face and places it over his own. This act is the prelude to a subsequent ‘official’ plastic surgery performed to disguise his identity. Jame Gumb’s needlepoint with human flesh might be traced back to Norman Bates’s taxidermy. Robert Bloch’s Psycho (1959) (the inspiration for Hitchcock’s movie) was loosely based on Ed Gein’s flaying and preserving of human flesh. Gein’s ghost also haunts the exploits of the Sawyer family in the series of Texas Chainsaw films: throughout the original (1973), the sequels (1986, 1990), the Next Generation (1994), the remake (2003), and the Beginning (2006) flesh is flayed, cut, tanned, sewed, worn, displayed and consumed. Mark Seltzer (1998) has noted the prevalence of ‘skin games’ in serial killer cinema and fiction. Beneath these ‘games’ we might catch glimpses of a profound skin disease promoted by the mannequin aesthetics of the beauty industry. As Judith Halberstam (1995: 163) has commented, ‘We wear modern monsters like skin, they are us, they are on us and in us’.

OBEY YOUR THIRST: Compulsive Seriality

The circulation of money is the constant and monotonous repetition of the same process . . . the endless series . . . the series of its [the commodity’s] representations never comes to an end. (Marx, 1990: 156, 210–11)

The structure of repetition which is the economy of death. (Blau, 1987: 70)

Baudrillard (1998) proposes that the models and mannequins conspicuous in consumer culture are ‘simultaneously [a] negation of the flesh and the exaltation of fashion’ (p. 141). Conversely, it might be argued that contemporary consumerism entails a massive extension and eroticisation of epidermises. The bioeconomics of consumerism involves ceaseless and intimate miscegenation between capital, commodity and the corporeal. This results in both an objectification of the body and a somatization of the commodity. In his Critique of Commodity Aesthetics, Haug (1986) explores ‘the generalized sexualization of commodities . . . the commodity’s skin and body’ as it penetrates the ‘pores of human sensuality’ (pp. 42, 76). The passion for commodities, their pursuit and possession by consumers might be diagnosed as a socially-sanctioned fetishism. The collection of shoes and the collection of human feet of course involve radically different fetishistic (not to mention ethical) intensities, but these activities share psychodynamic similarities.

For Baudrillard (1996: 87) there is a ‘manifest connection between collecting and sexuality . . . it constitutes a regression to the anal stage, which is characterised by accumulation, orderliness, aggressive retention’. Case studies suggest that serial killers are often devoted collectors (see Vronsky, 2004). Their histories typically begin with killing and collecting dead animals and when they progress to human prey the murder is accompanied by the taking of a trophy. In Collectors, Julian Hobbs offers an uncomfortable analogy between this trophy-taking, the hoarding practised by the cult followers of serial killers and the collection of images by the documentary film-maker. This practice is similarly conspicuous in fictional representations of the serial killer from Norman Bates’s collection of stuffed birds, to his namesake, Patrick Bateman, who compulsively collects (and seemingly without distinction) clothes, gadgets, music CDs, body parts and serial killer biographies: ‘Bateman reads these biographies all the time: Ted Bundy and Son of Sam and Fatal Vision and Charlie Manson. All of them’ (Ellis, 1991: 92). In Silence of the Lambs, Gumb collects flayed flesh while the more refined (at least while incarcerated) Lecter ‘collect[s] church collapses, recreationally’ alongside fine art prints (Harris, 1990: 21). The killer in Kiss the Girls (1997), like Jame Gumb, collects his victims and hordes them underground. Similarly, in The Cell, the killer locks his victims in underground storage before using them to build a collection of human dolls. Although the killer in The Bone Collector is only interested in accumulating skeletal fragments, his activities similarly require subterranean investigations. Digging beneath the psychological surface of the collector and his system of ‘sequestered objects’, Baudrillard (1996) detects a ‘powerful anal-sadistic impulse’:

The system may even enter a destructive phase, implying the self-destruction of the subject. Maurice Rheims evokes the ritualised ‘execution’ of objects – a kind of suicide based on the impossibility of ever circumscribing death. It is not rare . . . for the subject eventually to destroy the sequestered object or being out of a feeling that he can never completely rid himself of the adversity of the world, and of his own sexuality. (pp. 98–9)

Irrespective of the object, ‘what you really collect is always yourself’ (Baudrillard, 1996: 91). Serial killing, like consumerism, is driven by a sense of lack. Psychological profiles of serial killers typically diagnose the cause of the subject’s compulsive behaviour as a profound sense of incompletion (see Seltzer, 1998). Although of a different order, comparable dynamics are evident in what Haug (1986) calls the ‘commodity-craving’ of consumer sensibility. Estimates vary (from 1 to 25%) but an increasing number of studies agree that compulsive shopping is a recognizable and burgeoning problem (Hartson and Koran, 2002). American Psycho offers an extended parallelism between compulsive consumerism and compulsive violence. Attempting to describe the sensations he experiences after his first documented attack Bateman relies on consumerist tropes: ‘I feel ravenous, pumped up, as if I’d just worked out . . . or just embraced the first line of cocaine, inhaled the first puff of a fine cigar, sipped the first glass of Cristal. I’m starving and need something to eat’ (Ellis, 1991: 132).

Ellis juxtaposes exhaustive catalogues of commodities with exhaustive catalogues of sexual violence and proposes that the frenzy of consumer desire climaxes, for Bateman, not with fulfillment, but increasing boredom and acute anxiety.

In Serial Killers, Mark Seltzer (1998: 64) proposes that

The question of serial killing cannot be separated from the general forms of seriality, collection and counting conspicuous in consumer society . . . and the forms of fetishism – the collecting of things and representations, persons and person-things like bodies – that traverse it.

Every aspect of Bateman’s existence is structured by the compulsively circular logics of capitalist reproduction. Bateman (Norman Bates’s yuppie double) has seen the film Body Double 37 times. When he is not watching Body Double over and over, Bateman compulsively consumes other examples of serialized mass culture: daily episodes and reruns of The Patty Winters Show (a parodic double of the Oprah Winfrey Show); restaurant reviews and fashion tips in weekly magazines; crime stories in the newspapers and on TV, endlessly repeated video footage of plane crashes. On a shopping expedition, Bateman finds himself mesmerized while ‘looking at the rows, the endless rows of ties’ (Ellis, 1991: 296). On the run from the police he is similarly paralysed by rows of luxury cars (BMW 3, 5, 7 series, Jaguar, Lexus) and thus unable to choose a getaway vehicle. Bateman collects clothes in series (matching suits, shirts, shoes), beauty products, music CDs, varieties of mineral water, recipes and menus. Despite the advertising promises of unique purchases that offer instant fulfilment, there are no singular only serial objects in consumer society and ‘each commodity fills one gap while opening up another: each commodity and sale entails a further one’ (Haug, 1986: 91).

The pullulation of serial objects is accompanied by the expansion of serialized spaces. Throughout American Psycho, Bateman is continually lost and unable to distinguish between identical office buildings, restaurants, nightclubs and apartment buildings. This confusing interchangeability extends to people. Although clothing is instantly recognizable (everyone identifies everyone else by labels) people repeatedly misidentify each other. Thus, American Psycho underscores Jeffrey Nealon’s (1998: 112) disturbing contention that, in contemporary consumer society, ‘identity, for both commodity and human, is an effect rather than a cause of serial iteration’. The killer in Se7en, the anonymously named John Doe, attempts to build a distinctive identity by performing a series of grisly murders. At the first crime scene, as noted earlier, Doe’s arrangement of Campbell’s soup cans clearly alludes to Warhol’s work on the seriality and compulsive repetition of consumerism. Manhunter (1986), the first of the Hannibal Lecter films, makes a similar point in more comic fashion. A shot-reverse-shot sequence in a supermarket is littered with glaring continuity errors as father and son remain motionless while the products lined up in neat rows on the shelves behind them change (and the sequence ends with the detective framed by the cereals aisle). In Manhunter, Dollarhyde’s repetitive violence is partly inspired by Hannibal Lecter. This repetition is repeated in Red Dragon, the remake of Manhunter. Serial killers are often copycats and serial killer cinema repeats this trait: in Copycat the killer repeats famous murders and in Virtuosity a virtual criminal is manufactured from a serial killer database. Serial killer films themselves become series, spawning sequel after sequel. Although these narratives typically conclude with the murder of the killer, the audience is reassured that he will return in a vicious circle that begs the question: can seriality itself be killed?

DARK SATANIC MALLS: Killers, Consumers, and the Living Dead

We suffer not only from the living, but the dead. (Marx, 1990: 91)

[Bateman] moved like a zombie towards Bloomingdale’s. (Ellis, 1991: 179)

Serial representations of serial killers are often haunted by suggestions of the supernatural. In Silence of the Lambs, for example, one of Lecter’s guards nervously inquires whether he is ‘some kind of vampire’. This question echoes the nicknames given to serial killer Richard Trenton Chase (‘Dracula’ and the ‘Vampire Killer of Sacramento’). In Psycho Paths, Philip Simpson (2000) tracks the ways in which ‘fictional representations of contemporary serial killers obviously plunder the vampire narratives of the past century and a half’ (p. 4). Simpson also proposes that many of the supernatural monsters that have evolved from folklore (vampires, werewolves, zombies etc.) may have been inspired by historical serial killers avant la lettre. Historical and fictional serial killers are often traced through a supernatural stencil and in this concluding section, I shall consider the supernatural monsters of contemporary popular culture as metaphorical serial killers/consumers.

Since the 80s, cinema and video audiences have consumed a succession of successful horror franchises founded on supernatural serial killers: for example, Freddie in Nightmare on Elm Street (parts 1–8), Jason in Friday the 13th (parts 1–13) and Michael Myers in Halloween (parts 1–8). The popularity of this sub-genre has grown alongside the increased media coverage of serial killing and might be interpreted as a form of displaced engagement with the urgent reality of violent crime. Within this gallery of celebrity monsters the vampire continues to be a conspicuous presence. Dracula, for example, continues to appear in fiction and film, comics and cartoons, children’s culture (Count Quackula) and breakfast cereals (‘Count Chocula’). The publication of Anne Rice’s Interview with a Vampire in 1976 was the prelude to a renaissance in vampire film and fiction: Rice’s own highly successful Vampire Chronicles (including Tale of the Body Thief in which an angst-ridden vampire assuages his conscience by preying on serial killers) have been augmented by Blade and Buffy, the Vampire Slayer, Underworld and Van Helsing. These gothic incarnations of the predatory serial killer have never been so legion. In criticism of this oeuvre it has become almost compulsory to read vampirism as a metaphor for capitalism. This trend can be traced to Marx’s (1990) own penchant for vampiric tropes: ‘Capital is dead labour which, vampire-like, lives by sucking living labour, and lives the more, the more labour it sucks’ (p. 342). Perhaps Marx, an avid reader of horror fiction, was inspired here by the serialization, in 1847, of James Malcolm Ryner’s Varney the Vampire. Despite his aspirations to scientific objectivity, a gothic lexicon is employed repeatedly in Marx’s work: Capital is crowded with references to vampires, the Wallachian Boyar (a.k.a Vlad Tepes, the historical inspiration for Stoker’s Dracula), werewolves, witchcraft, spells, magic and the occult and Marx claimed repeatedly to have detected ‘necromancy’ at the heart of the commodity form. In the work of Walter Benjamin, similarly packed with gothic tropes, ‘necromancy’ elides with necrophilia. For Benjamin, the sensual engagement between consumers and the products of dead labour blurs the lines between lust (appetites) and leiche (the corpse). Precisely this disturbing entangle- ment of death and eroticism is at the core of the predatory vampire’s charisma. The vampire has fascinated consumers and Marxist critics alike – the latter as an allegorical embodiment of the monstrous and mesmerising energies of capital.

A far less seductive version of the living dead, one who has received relatively little critical attention alongside the aristocratic vampire, is the zombie. The MO of the zombie – cannibalism – is also practised by many historical and fictional serial killers. In fact, the consumption of human flesh, blood and organs is the most transgressive taboo performed by historical and fictional serial killers from Jeffry Dahmner (subject of Joyce Carol Oates’s Zombie) to Hannibal Lecter, from Armin Meiwes to Patrick Bateman and Leatherface. Cannibal studies has become a burgeoning field in contemporary critical theory and one of its most contentious assertions is that modern consumerism constitutes a mode of neocannibalism. For example, Crystal Bartolovich (1998) proposes that consumerism embodies the cultural logic of ‘late cannibalism’, Deborah Root (1996) detects a ‘cannibal culture’ in contemporary consumerism, art, popular culture and tourism while Dean MacCannell (1992) has similarly called for a reinterpretation of western tourism and other aspects of consumerism in terms of cannibalism. In a variety of fields, from ecology and tourism to sexuality and organ transplants, from business take-overs to pop culture intertextuality, critics in various disciplines have uncovered intricate intersections between cannibalist and consumerist modes of incorporation. Although contemporary capitalism is of course founded on a figurative rather than literal practice, with its relentless consumption of land and labour, resources and spectacles, cannibalism without necrophagy still mirrors the modes of desire and domination, the obsessive violence, wastefulness and irrational excesses that under- pinned classical cannibal practices. According to Deborah Root (1996: 3), one might detect in the endless hunger of late capitalism a ‘pervasive cannibal unconscious’.

The past few years have seen a dramatic upsurge in films that focus on flesh-eaters: Land of the Dead (2005) and Return of the Living Dead 5 (2005), Resident Evil (2002) and Resident Evil: Apocalypse (2004) (based on a hugely successful survival horror video game franchise), 28 Days Later (2002), Children of the Living Dead (2001) and Shaun of the Dead (2004). US popular culture began its colonization of Haitian folklore in 1932 with Bela Lugosi starring in White Zombie. The setting of Victor Halperin’s film on a Caribbean sugar plantation offered a suggestive analogy between zombification and slavery. Although most see the zombie as sheer superstition others have read it, like vampirism, as political metaphor. In his preface to Frantz Fanon’s The Wretched of the Earth, Jean-Paul Sartre used the metaphor of colonial subjects as zombies. On occasion zombification could be more than mere metaphor. In 1918, in Haiti, newspapers reported that most of the employees of the American sugar corporation who worked on the cane plantations were zombies. Conspiracy theorists proposed that US chemists had finally caught up with voodoo medicine and had started poisoning the workforce to produce docile and submissive labourers.

George Romero’s seminal zombie film, Dawn of the Dead (1978), overturned the tradition of offering zombies as symbols of oppressed colonial labour and instead offered a gothic caricature of consumers as the living dead. Dawn of the Dead is set largely in Monroeville, a shopping mall in Cleveland, some time after a zombie epidemic has swept the nation. Four human survivors seek refuge at the mall but their respite is interrupted by the arrival of hordes of zombies. One of the characters explains their presence thus: ‘some kind of instinct. Memory . . . of what they used to do. This was an important place in their lives . . . It’s not us they’re after, it’s the place. They remember that they want to be here’. The zombies seem like slapstick shoppers: they are hypnotized by the mannequins, they fall over on the escalators or into fountains while looking at glistening coins. Initially, the humans have no trouble in trapping and killing the zombie-shoppers using muzak, PA announcements and by posing in shop windows as consumable bait. Gradually, however, the threat increases and Romero progressively collapses the distance and differences between the human characters and the zombie mob.

How pertinent is Romero’s carnivalesque parody of mindless consumerism? In The Malling of America, William Kowinski (2002) describes the psychology of shopping in malls as a ‘zombie effect’. The architectural design of malls induces consumers to wander for hours in an endless pursuit of goods and services. In ‘Islands of the Living Dead: the Social Geography of McDonaldisation’, George Ritzer (2003) focuses on the devivifying influence of commodification. In accordance with a socioeconomic and psychological design perfected by McDonalds, the landscapes of consumerism are so structured, standardized and disciplined that the subjects moving through them are, he contests, simultaneously alive and dead. Ritzer borrows a phrase from Baudrillard to describe this as a world that resembles ‘the smile of a corpse in a funeral home’ (p. 127). Sometimes shoppers shuffle numbly by instinct between aisles and shops (like Romero zombies), but sometimes they can get nasty (like Romero zombies). Rhonda Lieberman (1993) and other analysts of shopping disorders have commented on increases in violence in consumer spaces: mall hysteria, sales frenzy and even full- blown riots. For example, when IKEA opened a new store in Edmonton, North London, in 2005, a riot involving 7000 people and multiple stabbings ensued (Oliver, 2005). The zombie desires to consume all the time and when it is prevented from consuming it becomes violent. An emergency broadcast in Romero’s Dawn of the Dead explains why the zombie plague has spread so quickly across the country. The living dead only consume around 5 per cent of their victims before moving on in search of the next meal. The violence, wastefulness and instinctive serial consumption of the zombie makes it, like the serial killer, a gothic projection of the commodifying fury of late capitalism. Monsters Inc. is a booming business. The spectacular increase in images and narratives of serial killing in millennial western culture, from the media coverage of historical homicide to the proliferation of fictional and supernatural fantasies of serial homicide, ultimately embodies the consumption of consumption in a necrocapitalist order.

References

Annesley, James (1998) Blank Fictions: Consumerism, Culture and the Contemporary American Novel. London: Pluto.

Bartolovich, Crystal (1998) ‘Consumerism, or the Cultural Logic of Late Cannibalism’, in Barker, Hulme and Iversen (eds) Cannibalism and the Colonial World, 204–37. Cambridge: Cambridge University Press.

Baudelaire, Charles (1998) The Flowers of Evil. Oxford: Oxford World’s Classics. Baudrillard, Jean (1996) The System of Objects. London: Verso.

Baudrillard, Jean (1998) The Consumer Society: Myths and Structures. London: SAGE Publications.

Benjamin, Walter (1999a) Illuminations. London: Pimlico.

Benjamin, Walter (1999b) The Arcades Project. Cambridge, MA: Harvard University Press.

Blau, Herbert (1987) The Eye of the Prey: Subversions of the Postmodern. Bloomington, IN: Indiana University Press.

Burroughs, William (1965) ‘The Art of Fiction’, Paris Review 35: 1–37.

Conrath, Robert (1996) ‘Serial Heroes: A Sociocultural Probing into Excessive Consumption’, in John Dean and Jean-Paul Gabilliet (eds) European Readings of American Popular Culture, pp. 147–58. Westport, CT: Greenwood Press.

Derrida, Jacques (1995) Points . . .: Interviews, 1979–1994. Stanford, CT: Stanford University Press.

Dyer, Richard (1999) Se7en. London: BFI.

Easton Ellis, Bret (1991) American Psycho. London: Picador.

Fanon, Frantz (1963) The Wretched of the Earth. New York: Grove.

Freud, Sigmund (1981) Introductory Lectures on Psychoanalysis. Harmondsworth: Penguin.

Halberstam, Judith (1995) Skin Shows: Gothic Horror and the Technology of Monsters. Durham, NC: Duke University Press.

Harris, Thomas (1990) Silence of the Lambs. London: Mandarin.

Hartson, H. J. and Koran, L. M (2002) ‘Impulsive Behaviour in a Consumer Culture’, International Journal of Psychiatry in Clinical Practice 6(2): 65–8.

Haug, W. F. (1986) Critique of Commodity Aesthetics: Appearance, Advertising and Sexuality in Capitalist Society. Cambridge: Polity.

Jenkins, Philip (1994) Using Murder: The Social Construction of Serial Homicide. New York: Aldine de Gruyter.

Kowinski, William (2002) The Malling of America. Philadelphia, PA: Xlibris.

Lacan, Jacques (1989) Ecrits: A Selection. London: Routledge.

Lieberman, Rhonda (1993) ‘Shopping Disorders’, in B. Massumi (ed.) The Politics of Everyday Fear, pp. 245–68. Minneapolis, MN: University of Minnesota Press.

MacCannell, Dean (1992) Empty Meeting Grounds: Tourist Papers Vol. 1. London: Routledge.

Marx, Karl (1990) Capital: Volume 1. London: Penguin.

Nealon, Jeffrey T. (1998) Alterity Politics: Ethics and Performative Subjectivity. Durham, NC: Duke University Press.

Oliver, Mark (2005) ‘Slowly but Steadily, Madness Descended’, Guardian, 10 February.

Priest, Christopher (1998) The Extremes. New York: Simon & Schuster.

Renner, Michael (2002) The Anatomy of Resource Wars. Washington, DC: Worldwatch Institute.

Ritzer, George (2003) ‘Islands of the Living Dead: The Social Geography of McDonaldization’, American Behavioral Scientist 47(2): 119–36.

Root, Deborah (1996) Cannibal Culture: Art, Appropriation and the Commodification of Difference. Boulder, CO: Westview.

Seltzer, Mark (1998) Serial Killers: Death and Life in America’s Wound Culture. London: Routledge.

Simpson, Philip (2000) Psycho Paths: Tracking the Serial Killer through Contemporary American Film and Fiction. Carbondale, IL: Southern Illinois University Press.

Tithecott, Richard (1999) Of Men and Monsters: Jeffrey Dahmer and the Construction of the Serial Killer. Madison, WI: University of Wisconsin Press.

Vronsky, Peter (2004) Serial Killers: The Methods and Madness of Monsters. New York: Berkley Books.

[djbcadventures]

19th Annual Bryan Awards - Acting Nominees

Writing and Directing, plus Technical Prizes can be found on @thebryanandsilvergarbage Page.

Lead Actress in a Drama Series: GAME OF THRONES (HBO) - Emilia Clarke as Daenerys Targaryen HOUSE OF CARDS (Netflix) - Robin Wright as President Claire Underwood KILLING EVE (BBC America) - Jodie Comer as Villanelle KILLING EVE (BBC America) - Sandra Oh as Eve Polastri OZARK (Netflix) - Laura Linney as Wendy Byrde THIS IS US (NBC) - Mandy Moore as Rebecca Pearson

Lead Actor in a Drama Series: BETTER CALL SAUL - Bob Odenkirk as Jimmy McGill (AMC) GAME OF THRONES - Kit Harington as Jon Snow (HBO) OZARK - Jason Bateman as Marty Byrde (Netflix) POSE - Billy Porter as Pray Tell (F/X) THIS IS US - Sterling K. Brown as Randall Pearson (NBC) THIS IS US - Milo Ventimiglia as Jack Pearson (NBC) Supporting Actress in a Drama Series: THE AFFAIR - Maura Tierney as Helen Solloway (Showtime) BETTER CALL SAUL - Rhea Seehorn as Kim Wexler (AMC) GAME OF THRONES - Gwendoline Christie as Brienne of Tarth (HBO) GAME OF THRONES - Lena Headey as Cersei Lannister (HBO) THIS IS US - Susan Kelechi Watson as Beth Pearson (NBC) THIS IS US - Chrissy Metz as Kate Pearson (NBC) Supporting Actor in a Drama Series: BETTER CALL SAUL - Jonathan Banks as Mike Ehrmantraut (AMC) GAME OF THRONES - Nikolaj Coster-Waldau as Jamie Lannister (HBO) GAME OF THRONES - Peter Dinklage as Tyrion Lannister (HBO) HOMECOMING - Bobby Cannavale as Colin Belfast (Amazon Prime) HOUSE OF CARDS - Michael Kelly as Doug Stamper (Netflix)  SUCCESSION - Kieran Culkin as Roman Roy (HBO) THIS IS US - Justin Hartley as Kevin Pearson (NBC) THIS IS US - Chris Sullivan as Toby Damon (NBC) Younger Actress in a Drama Series or Limited Series: THE ACT - Joey King as Gypsy Rose Blanchard (Hulu) THE CHILLING ADVENTURES OF SABRINA - Kiernan Shipka as Sabrina Spellman (Netflix) GAME OF THRONES - Sophie Turner as Sansa Stark (HBO) GAME OF THRONES - Maisie Williams as Arya Stark (HBO) OZARK - Julia Garner as Ruth Langmore (Netflix) SHARP OBJECTS - Eliza Scanlan as Amma Crellin (HBO) Younger Actor in a Drama Series or Limited Series: THE CHI - Alex Hibbert as Kevin Williams (Showtime) THE CHI - Jacob Latimore as Emmett Washington (Showtime) GOTHAM - David Mazouz as Young Bruce Wayne (Fox) WHEN THEY SEE US - Asante Black as Young Kevin Richardson (Netflix) WHEN THEY SEE US - Caleel Harris as Young Anton McCray (Netflix) WHEN THEY SEE US - Jharrell Jerome as Korey Wise (Netflix)

Guest Actress in a Drama Series: AMERICAN HORROR STORY: APOCALYPSE - Connie Britton as Vivien Harmon (F/X) AMERICAN HORROR STORY: APOCALYPSE - Jessica Lange as Constance Langdon (F/X) GAME OF THRONES - Carice Van Houten as Melisandre (HBO) THE HANDMAID’S TALE - Cherry Jones as Holly (Hulu) HOW TO GET AWAY WITH MURDER - Cicely Tyson as Ophelia Harkness (ABC) THIS IS US - Phylicia Rashad  as Carol Clarke (NBC) Guest Actor in a Drama Series: AMERICAN HORROR STORY: APOCALYPSE - Dylan McDermott as Ben Harmon (F/X) BETTER CALL SAUL - Michael McKean as Chuck McGill (AMC) THE HANDMAID’S TALE - Bradley Whitford as Commander Joseph Lawrence (Hulu) HOW TO GET AWAY WITH MURDER - Glynn Turman as Nate Lahey Sr. (ABC) POSE - Christopher Meloni as Dick Ford (F/X) THIS IS US - Michael Angarano as Nick Pearson (NBC) THIS IS US - Ron Cephas Jones as William (NBC)

Performance by a Cast in a Drama Series: Better Call Saul (AMC) Game of Thrones (HBO) Ozark (Netflix) Pose (F/X) Succession (HBO) This is Us (NBC) Lead Actress in a Comedy Series: BLACK-ISH - Tracee Ellis Ross as Dr. Rainbow Johnson (ABC) THE GOOD PLACE - Kristen Bell as Veronica Van Der Hooven (NBC) THE MARVELOUS MRS. MAISEL - Rachel Brosnahan as Miriam Maisel (Amazon) MOM - Allison Janney as Bonnie Plunkett (CBS) RUSSIAN DOLL - Natasha Lyonne as Nadia (Amazon) VEEP - Julia Louis-Dreyfus as Selina Meyer (HBO) Lead Actor in a Comedy Series: BARRY - Bill Hader as Barry (HBO) THE BIG BANG THEORY - Jim Parsons as Sheldon Cooper (CBS) BLACK-ISH - Anthony Anderson as Dre Johnson (ABC) BLACK MONDAY - Don Cheadle as Mo Monroe (Showtime) THE GOOD PLACE - Ted Danson as Michael (NBC) THE KOMINSKY METHOD - Michael Douglas as Sandy Kominsky (Netflix) Supporting Actress in a Comedy Series: FLEABAG - Olivia Colman as Godmother (Amazon Prime) GLOW - Betty Gilpin as Debbie Eagan (Netflix) THE MARVELOUS MRS. MAISEL - Marin Hinkle as Rose Weissman (Amazon Prime) THE MARVELOUS MRS. MAISEL - Alex Borstein as Susie (Amazon Prime) SATURDAY NIGHT LIVE - Kate McKinnon as Various Characters (NBC) VEEP - Anna Chlumsky as Amy Brookheimer (HBO) Supporting Actor in a Comedy Series: BARRY - Stephen Root as Monroe Fuches (HBO) BARRY - Henry Winkler as Gene Cousineau (HBO) THE MARVELOUS MRS. MAISEL - Tony Shalhoub as Abe Weissman (Amazon) SATURDAY NIGHT LIVE - Kenan Thompson as Various Characters (NBC) UNBREAKABLE KIMMY SCHMIDT - Tituss Burgess as Titus Andromedon (Netflix) VEEP - Tony Hale as Gary Walsh (HBO) VEEP - Nathan Simons as Jonah Ryan (HBO) Younger Actress in a Comedy Series: ATYPICAL - Jenna Boyd as Paige Hardaway (Netflix) ATYPICAL - Bridgette Lundy-Paine as Casey Gardner (Netflix) BLACK-ISH - Marsai Martin as Diane Johnson (ABC) CASUAL - Tara Lynne Barr as Laura Meyers (Hulu) MODERN FAMILY - Aubrey Anderson-Emmons as Lily Tucker-Pritchett (ABC) MODERN FAMILY - Ariel Winter as Alex Dunphy (ABC) Younger Actor in a Comedy Series: ATYPICAL - Keir Gilchrist as Sam Gardner (Netflix) BLACK-ISH - Marcus Scribner as Andre Johnson Jr. (ABC) MODERN FAMILY - Rico Rodriguez as Manny Delgado (ABC) SATURDAY NIGHT LIVE - Pete Davidson as Various Characters (NBC) SHAMELESS - Cameron Monaghan as Ian Gallagher (Showtime) YOUNG SHELDON - Iain Armitage as Sheldon Cooper (CBS) Guest Actress in a Comedy Series: THE BIG BANG THEORY - Christine Baranski as Beverly Hofstadter (CBS) THE KOMINSKY METHOD - Ann-Margret as Diane (Netflix) THE MARVELOUS MRS. MAISEL - Jane Lynch as Sophie Lennon (Amazon Prime) SATURDAY NIGHT LIVE - Rachel Brosnahan as Host/Various Characters (NBC) SATURDAY NIGHT LIVE - Sandra Oh as Host/Various Characters (NBC) SATURDAY NIGHT LIVE - Emma Thompson as Host/Various Characters (NBC)

Guest Actor in a Comedy Series: BROOKLYN NINE-NINE - Lin-Manuel Miranda as David Santiago (NBC) THE KOMINSKY METHOD - Danny DeVito as Dr. Wexler (Netflix) THE MARVELOUS MRS. MAISEL - Luke Kirby as Lenny Bruce (Netflix) MOM - Bradley Whitford as Mitch (CBS) SATURDAY NIGHT LIVE - Matt Damon as Host/Various Characters (NBC) SATURDAY NIGHT LIVE - Robert DeNiro as Robert Mueller (NBC) SATURDAY NIGHT LIVE - Adam Sandler as Host/Various Characters (NBC)

Performance by a Cast in a Comedy Series: Barry (HBO) The Big Bang Theory (CBS) black-ish (ABC) The Marvelous Mrs. Maisel (Amazon Prime) Saturday Night Live (NBC) Veep (HBO)  

Lead Actress in a Limited Series/Movie: DEADWOOD THE MOVIE - Paula Malcomson as Trixie (HBO) DIRTY JOHN - Connie Britton as Debra Newell (Bravo) ESCAPE FROM DANNEMORA - Patricia Arquette as Joyce “Tilly” Mitchell (Showtime) FOSSE/VERDON - Michelle Williams as Gwen Verdon (F/X) MANIAC - Emma Stone as Annie Landsberg (Netflix) SHARP OBJECTS - Amy Adams as Camille Preaker (HBO) Lead Actor in a Limited Series/Movie: CHERNOBYL - Jared Harris as Valery Legasov (HBO) DEADWOOD THE MOVIE - Ian McShane as Al Swearengen (HBO) ESCAPE FROM DANNEMORA - Benicio Del Toro as Richard Matt (Showtime) FOSSE/VERDON - Sam Rockwell as Bob Fosse (F/X) TRUE DETECTIVE - Mahershala Ali as Wayne Hays (HBO) A VERY ENGLISH SCANDAL - Hugh Grant as Jeremy Thorpe (BBC) Supporting Actress in a Limited Series/Movie: THE ACT - Patricia Arquette as Dee Dee Blanchard (Hulu) CHERNOBYL - Emily Watson as Ulana Khomyuk (HBO) FOSSE/VERDON - Margaret Qualley as Ann Reinking (F/X) KING LEAR - Emma Thompson as Goneril (Amazon Prime) MANIAC - Sally Field as Dr. Greta Mantleray (Netflix) SHARP OBJECTS - Patricia Clarkson as Adora Crellin (HBO) TRUE DETECTIVE - Carmen Egojo as Amelia Reardon (HBO) WHEN THEY SEE US - Vera Farmiga as Elizabeth Lederer (Netflix) Supporting Actor in a Limited Series/Movie: CATCH-22 - Kyle Chandler as Cathcart (Hulu) CATCH-22 - George Clooney as Scheisskopf (Hulu) ESCAPE FROM DANNEMORA - Paul Dano as David Sweat (Showtime) ESCAPE FROM DANNEMORA - Eric Lange as Lyle Mitchell (Showtime) FOSSE/VERDON - Norbert Leo Butz as Paddy Chayefsky (F/X) A VERY ENGLISH SCANDAL - Ben Whishaw as Norman Scott (BBC)

 Performance by a Cast in a Limited Series/Movie/Special: Deadwood the Movie (HBO) Escape from Dannemora (Showtime) Fosse/Verdon (F/X) Live in Front of a Studio Audience: All in the Family and The Jeffersons (ABC) Maniac (Netflix) Sharp Objects (HBO) When They See Us (Netflix) Lead Actress in Daytime: THE BOLD AND THE BEAUTIFUL - Jacqueline McInnes-Wood as Steffy Forrester-Spencer (CBS) DAYS OF OUR LIVES - Kassie DePaiva as Eve Donovan (NBC) DAYS OF OUR LIVES - Marci Miller as Abigail Deveraux (NBC) GENERAL HOSPITAL - Maura West as Ava Jerome (ABC) GENERAL HOSPITAL - Laura Wright as Carly Corinthos (ABC) THE YOUNG AND THE RESTLESS - Eileen Davidson as Ashley Abbott (CBS) Lead Actor in Daytime: DAYS OF OUR LIVES - Tyler Christopher as Stefan DiMera (NBC) DAYS OF OUR LIVES - Billy Flynn as Chad DiMera (NBC) DAYS OF OUR LIVES - Drake Hogestyn as John Black (NBC) GENERAL HOSPITAL - Maurice Benard as Sonny Corinthos (ABC) GENERAL HOSPITAL - Jon Lindstrom as Dr. Kevin Collins & Ryan Chamberlain (ABC) THE YOUNG AND THE RESTLESS - Peter Bergman as Jack Abbott (CBS) Supporting Actress in Daytime: THE BOLD AND THE BEAUTIFUL - Annika Noelle as Hope Logan (CBS) DAYS OF OUR LIVES - Linsey Godfrey as Sarah Horton (NBC) DAYS OF OUR LIVES - Martha Madison as Belle Black (NBC) GENERAL HOSPITAL - Tamara Braun as Dr. Kim Nero (ABC) GENERAL HOSPITAL - Vernee Watson as Stella Henry (ABC) THE YOUNG AND THE RESTLESS - Beth Maitland as Traci Abbott (CBS) THE YOUNG AND THE RESTLESS - Mishael Morgan as Hilary Curtis (CBS) Supporting Actor in Daytime: THE BOLD AND THE BEAUTIFUL - Wayne Brady as Dr. Reese Buckingham (CBS) DAYS OF OUR LIVES - Eric Martsolf as Brady Black (NBC) DAYS OF OUR LIVES - Greg Rikaart as Leo Stark (NBC) DAYS OF OUR LIVES - Greg Vaughan as Eric Brady (NBC) GENERAL HOSPITAL - Max Gail as Mike Corbin (ABC) THE YOUNG AND THE RESTLESS - Bryton James as Devon Hamilton (CBS) Younger Actress in Daytime: DAYS OF OUR LIVES - Olivia Rose Keegan as Claire Brady (NBC) DAYS OF OUR LIVES - Victoria Konefal as Ciara Brady (NBC) GENERAL HOSPITAL - Hayley Erin as Kiki Jerome (ABC) GENERAL HOSPITAL - Chloe Lanier as Nelle Benson (ABC) GENERAL HOSPITAL - Eden McCoy as Josslyn Jacks (ABC) THE YOUNG AND THE RESTLESS - Hunter King as Summer Newman (CBS) Younger Actor in Daytime: DAYS OF OUR LIVES - Lucas Adams as Tripp Dalton (NBC) DAYS OF OUR LIVES - Casey Moss as J.J. Deveraux (NBC) GENERAL HOSPITAL - William Lipton as Cameron Webber (ABC) GENERAL HOSPITAL - Garren Stitt as Oscar Nero-Quartermaine (ABC) THE YOUNG AND THE RESTLESS - Zach Tinker as Fenmore Baldwin (CBS)

Guest Performer in Daytime: GENERAL HOSPITAL - Patricia Bethune as Nurse Mary Pat (ABC) GENERAL HOSPITAL - James Read as Gregory Chase (ABC) GENERAL HOSPITAL - Chandra Wilson as Dr. Linda Massey and Sydney Val Jean (ABC) GENERAL HOSPITAL - Dominic Zamprogna as Dante Falconeri (ABC) THE YOUNG AND THE RESTLESS - Thad Luckinbill as J.T. Hellstrom (CBS) THE YOUNG AND THE RESTLESS - Shemar Moore as Malcolm Winters (CBS)

Performance By A Cast in a Daytime Soap: The Bold and the Beautiful (CBS) Days of Our Lives (NBC) General Hospital (ABC) The Young and the Restless (CBS)

Lead Actress in a New Series: BLACK MONDAY - Regina Hall as Dawn Towner (Showtime) GENTLEMAN JACK - Suranne Jones as Anne Lister (HBO) HOMECOMING - Julia Roberts as Heidi Bergman (Amazon) RUSSIAN DOLL - Natasha Lyonne as Nadia (Netflix) SALLY4EVER - Julia Davis as Emma (HBO) SALLY4EVER - Catherine Wheeler as Sally (HBO) Lead Actor in a New Series: BLACK MONDAY - Don Cheadle as Mo Monroe (Showtime) KIDDING - Jim Carrey as Jeff Pickles (Showtime) THE KOMINSKY METHOD - Michael Douglas as Sandy Kominsky (Netflix) POSE - Billy Porter as Pray Tell (F/X) SUCCESSION - Brian Cox as Logan Roy (HBO) SUCCESSION - Jeremy Strong as Kendall Roy (HBO) Supporting Actress in a New Series: GENTLEMAN JACK - Gemma Jones as Aunt Anne Lister (HBO) HOMECOMING - Sissy Spacek as Ellen Bergman (Amazon) KIDDING - Judy Greer as Jill (Showtime) KIDDING - Catherine Keener as Deirdre (Showtime) THE KOMINSKY METHOD - Susan Sullivan as Eileen (Netflix) POSE - Kate Mara as Patty Bowes (F/X)    Supporting Actor in a New Series: BLACK MONDAY - Andrew Rannells as Blair Pfaff (Showtime) GENTLEMAN JACK - Timothy West as Jeremy Lister (HBO) HOMECOMING - Bobby Cannavale as Colin Belfast (Amazon) THE KOMINSKY METHOD - Alan Arkin as Norman Newlander (Netflix) A MILLION LITTLE THINGS - Romany Malco as Rome Howard (ABC) SUCCESSION - Kieran Culkin as Roman Roy (HBO) Guest Performer in a New Series: THE KOMINSKY METHOD - Danny DeVito as Dr. Wexler (Netflix) THE KOMINSKY METHOD - Ann-Margret as Diane (Netflix) POSE - Sandra Bernhard as Judy Kubrak (F/X) POSE - Clark Jackson as Mr. Richards (F/X) POSE - Christopher Meloni as Dick Ford (F/X) RUSSIAN DOLL - Chloe Sevigny as Lenora Vulkovov (Netflix) Performance By a Cast in a New Series: The Cast of Black Monday (Showtime) The Cast of Gentleman Jack (HBO) The Cast of Kidding (Showtime) The Cast of A Million Little Things (ABC) The Cast of Pose (F/X) The Cast of Succession (Showtime)

[poeta-ismael-ferreira]

GRUPO A

FLUMINENSE 8 a 0 BRASILEIRINHO

21/09 - nas Laranjeiras - 10 hs

Gols: Gabriela 10' e 38'; Natasha. 43"; (2T) Rivena 49'; Natasha 56' e 57'; Rayane 73"; Thayná. 97'

Cartões: Nicole, Izadora, Agatha e Cristiane (Bra)

Árbitro: Rejane, auxiliares Fabiana e Rachel

FLUMINENSE

1 Luana; 2 Andressa (16 Patricia, 85'); 3 Thayná; 4 Roberta (11 Daniele, 82'); 18 Andresa (7 Rayane Arruda, 72'); 6 Fernanda; 5 Gabriela; 10 Kelly (13 Mirian. 85'); 8 Rivena (15 Tarciane, 81'); 9 Ariel; 14 Natasha (17 Marcelly, 72')

Suplentes: 5 Gabriela; 16 Patricia; 7 Rayane Arruda; 13 Mirian; 12 Stephany; 17 Marcelly; 11 Daniele; 15 Tarciane; 19 Rayane Soares; 20 Nubia

Tec. Thaissan

BRASILEIRINHO

1 Raquelle; 20 Leticia; 9 Cristiane; 14 Izadora (27 Giulia, 81'); 5 Rayane; 2 Larissa; 6 Eliana; 8 Thaissa; 15 Paola; 10 Nicole; 11 Agatha (17 Lohanna, 81')

Suplentes: 19 Helen; 27 Giulia; 3 Thalia; 17 Lohanna

Tec. Carlos

PISCINÃO DE RAMOS W.O ROGI MIRIM (3 a 0)

21/09 - no Realengo FC - 13 hs

Árbitro: Fabio, auxiliares Matheus e Micaele

PISCINAO DE RAMOS

16 Julia 13 Erica 18 Nayara 17 Luana; 1 Dayane; 5 Raízes; 7 Thamires; 4 Dayana; 2 Naiara; 10 Andreza; 14 Melissa; 6 Fabiane; 11 Raquel; 8 Lorena; 15 Débora; 20 Beatriz; 3 Thayná; 9 Paula

Tec. Paulo

ROGI MIRIM não compareceu

GRUPO B

PORTUGUESA 6 a 1 C.E ARRAIAL DO CABO

22/09 - no Luso Brasileiro - 15 hs

Gols: Carolzinha 10'; 29' e 38' (2 T) Rayane Costa. 57', Bia 62'; Thamires (ECAC) 72'; Duda 76'

Cartão: Isabel (Port)

Árbitro: Quintes, auxiliares João e Jessica

PORTUGUESA

1 Jô; 2 Sarah; 3 Cintia; 4 Carol; 5 Joyce (13 Agatha, 79'); 6 Isabel (16 Suzana, 59'); 7 Carolzinha (20 Luiza, 65'); 8 Shai (19 Thaisa. 65'); 9 Bia (15 Lavinia, 79'); 10 Roniere; 11 Rayane Costa (18 Duda, 59')

Suplentes: 12 Keyla; 13 Agatha; 14 Tainá; 15 Lavinia; 16 Suzana; 17 Drica; 18 Duda; 19 Thaisa; 20 Luiza

Tec. Renan

C.E ARRAIAL DO CABO

1 Angelica; 2 Paulinha; 3 Rafaella; 17 Carol; 5 Perereca (10 Lívia Olga. 23' e 4 Suelen, 65'); 6 Roberta; 7 Mariana; 8 Gabi; 20 Sara; 21 Julia (11 Lívia Chagas, 54'); 18 Patricia (9 Thamires, 54')

Suplentes: 12 Raylana; 4. Suelen; 19 Bia; 11 Lívia Chagas; 13 Thaynara; 10 Lívia O.; 9 Thamires

Tec. Milton

CARA VIRADA 0 x 3 LDRO/Seven

22/09 - no São Basílio - 17 hs

Gols: Natali. 66'; Dani 71' e Amanda 79'

Cartão: Dani (Sev)

Árbitro: Thiago, auxiliado Paola e Elaine

CARA VIRADA

1 Laiane; 2 Milena; 3 Alyne; 4 Brenda; 5 Isma; 13 Nayara; 10 Anna Clara; 11 Ingrid (7 Luana, 78'); 9 Ana Júlia dos Santos; 18 Ana Julia da Silva (8 Letícia, int) 16 Joyce

Suplentes:: 8 Letícia; 7 Luana

LDRO/SEVEN

1 Thamires; 2 Tais (16 Priscila, int); 3 Rebeca (14 Adriana, 85'); 4 Bruna; 5 Thais Thays Santos; 7 Dani; 8 Pamela; 9 Amanda; 10 Letícia; 11 Natali; 17 Grazi (18 Beatriz, 27' e Raiza, 85')

Suplentes - 13 Rafaela; 6 Lily; 14 Adriana; 15 Ketley; 16 Priscila; 18 Beatriz; 19 Raiza; 20 Tamires

Tec. Maxinny

GRUPO C

BOTAFOGO 12 x 0 ACCEL/LGAC

22/09 - no CEFAT - 15 hs

Gols: Bia Santos 2';; Paloma 18'; Bia Santos 30'; Mariana 36', Paloma 42'; Mylena 44' (2T) Bia Santos. 52'; Marcela 62'. .Isa 66'; Bruna 71'; Juliana 82'; Vivian 88'

Cartões; Dayse (Arr) Paloma (Bota)

Árbitro: Wagner auxiliares Maysa e Nayra

BOTAFOGO

1 Jessica; 2 Mylena; 3 Amanda; 4 Sandra; 5 Thaisa (16 Amanda Condê, 58'); 6 Laura (18 Vivian, 58'); 7 Bia Santos (19 Veronica, 75'); 8 Bruna (17 Lais, 75'); 9 Paloma (20 Marcela, 58); 10 Isa (23 Juliana, 75'); 11 Mariana

Suplentes: 12 Aquino; 13 Andressa; 14 Dani; 15 Thamiris; 16 Amanda Condê; 17 Lais; 18 Vivian; 19 Veronica; 20 Marcela; 21 Fabi; 23 Juliana

Tec. Gláucio

ACCEL/LGAC

1 Tayná; 2 Pyetra; 3 Fernanda (19 Julia, 55'); 4 Juliane; 5 Ana Beatriz; 6 Ivana; 7 Dayse (14 Paloma, 55'); 8 Rayane; 9 Raina; 10 Maria Eduarda (15 Beatriz, 60'); 11 Luana (17 Gabrielle, 60')

Suplentes: 13 Aline 14 Paloma; 15 Beatriz Freitas; 16 Danielle; 17 Gabrielle; 19 Julia

Tec. Mara

TUPY 1 a 1 KARANBA (2 a 4)

22/09 - no Tupy SC - 15 hs

Gols: Lorena 8' (Tupy), Suelen 57'

Árbitro: Thiago, auxiliares Paola e Elaine

TUPY

1 Ciborg; 2 Speedy; 4 Katinha; 13 Paty; 5 Angel; 8 Mabi; 7 Drica; 15 Tity (17 Biazinha); 10 Daiana; 9 Eva (14 Gabriela, 70:); 11 Lorena

Suplentes: 12. Ana: 16 Cely; 26 Jessica; 6. Feijão; 3. Ruivah; 22 Doida; 21 Rô; 14 Gabriela; 18 Day; 19 Modelo

Tec. Adriana

KARANBA

1 Karine; 2 Thatiana; 3 Katlyn; 4 Kamila; 5 Agatha; 6 Thainara (18 Rayane, 70'); 7 Yamara; 8 Layza; 9 Bianca (16 Sara, 65'); 10 Amanda; 11 Suelen

Suplentes: 12 Sthefany; 13 Raquel; 14 Jenniffer; 15 Rafaela; 16 Sara; 17 Thayna; 18 Rayane; 19 Maryele; 20 Ana Flávia

Tec. Natane

GRUPO D

VASCO DA GAMA 13 a 0 RIO SÃO PAULO

22/09 - no Nivaldo Pereira, 10 hs

Gols: Estefani. 3'; Rhaizza. 4' e. 11'; Anna Beatriz.14' e 20'; Rhaizza 32'; Anna Beatriz 37'; Camilli. 44' (2T) Tatiana. 6'; Kaylane. 15'; Kaylla. 20'; Juliana de Almeida. 36'; e Mayara 38'

Árbitro: Beatriz auxiliares Andréa e Geraldini

VASCO DA GAMA

1 Graziele; 2 Laina (13 Suziane, 61'); 3 Gabrielle (17 Juliana Almeida, 75'); 4 Kaylla; 5 Juliana (15 Mayara, 61'); 6 Thais (14 Iandra, int); 7 Rhaizza; 8 Estefani; 9 Tatiana (16 Amanda, 75'); 10 Anna Beatriz; 11 Camilli (18 Kaylane, int)

Tec. Antony

RIO SAO PAULO

1 Gaby; 2 Rafaela (19 Carol, int); 13 Quezia (21 Jessy, 21'); 14 Fabíola; 5 Luana; 6 Camila; 15 Novena (22 Radyja, 21' e 18 Ciane, 65); 8 India; 9 Mirela (20 Larissa, 21'); 10 Bel; 11 Daiane

Suplentes: 18 Ciane; 19 Carol; 20 Larissa; 21 Jessy; 22 Radyja;

Tec. Ediel

MAGEENSE 3 a 0 BELA VISTA

22/09 - no Cesar Paim - 15 hs

Gols: Thalia 13' e 38 (2T) Ana 51"

Cartões: Elilde e Carolaine (Mag) - Ellen

Árbitro: Marlon auxiliares Yago e Karen

MAGEENSE

1 Gabi; 2 Rafa (16 Dekache, 66'); 3 Pri; 4 Rai (Raíssa); 5 Ely (14 Aline, 78'); 6 Josi; 7 Milani (20 Sasa, 66'); 8 Rai Januário; 9 Thalia (19 Carol, 78'); 10 Rai Fagundes (22 Bia 73'); 11 Ana (21 Ket, 73')

Suplentes: 12 Dani; 13 Lele; 14 Aline; 15 Gi; 16 Dekache; 17 Loren; 18 Lary; 19 Carol; 20 Sasa; 21 Ket; 22 Bia

Tec. Osmar

BELA VISTA

1 Amanda; 2 Victoria; 5 Mécia (19 Haycha, int); 3 Gabrielle; 8 Andrielli; 6 Stephane (22 Marcelle) 17 Andressa; 9 Daiana; 7 Laiza; 11 Ellen; 14 Marcelly

Suplentes: 22 Marcelle; 19 Haycha

Tec. Mascarenhas

GRUPO E

FLAMENGO 13 a 0 PORTO REAL

21/09 - no CEFAN - 15 hs

Gols: Flavia 2'; Raiza 16'; Aryane 18'; Samhia 19:; Raiza 31'; Samhia 34"; Flavia 38' (2T) Samhia 58'; Aryane 59:; Samhia 66'; Patricia 70'; Lu Meireles 77'; Samhia 84"

Cartões:: Brozato e Samara (P. R)

Árbitro: Barbosa; auxiliares Lilian e Millena

FLAMENGO

30 Gabrielli; 35 Camila; 33 Renata; 19 Karen; 27 Debora; 15 Patricia; 26 Aryane; 40 Bruna; 15 Raiza; 25 Flávia (4 Lu Meireles, 75'); 8 Samhia

Suplentes: 22 Kaka; 34 Andressa; 6 Ana; 21 Daiana; 28 Ju; 9 Larissa; 2 Raquel; 7 Gaby; 23 Bia; 4 Lu Meireles

Tec. Ricardo

PORTO REAL

12 Carol (1 Larissa, 74'); 2 Bruna (18 Duda, 30"); 3 Brozato; 4 Samara; 6 Luana 8 Mari (Marielly) 5 Dielle; 10 Benin (Michelle); 19 Paola (9 Fernanda, 53'); 7 Lavínia (17 Tamires, 54"); 11 Dani

Suplentes: 22 Agatha; 13 Monize; 14 Bia; 1 Larissa; 16 Raíssa; 17 Tamires; 18 Duda; 9 Fernanda

Tec. Edimara

GREMINHO 0 a 12 CAMPO GRANDE

21/09 - às 12 hs, no Kosmos AC

Gols: Robertha 4'; Isabelle 5'; Piara 10'; Pamela 12'; Piara. 21' (2T) Isadora. 49'; Camila 51"; Pamela. 52'; Nathalia 53'; Larissa 64"; Robertha 80'; Larissa. 87'

Árbitros: Pedro auxiliares Mota e Alessilha.

GREMINHO

12 Thayane; 2 Jessica; 18 Letícia (4 Rafaela, 55'); 10 Maria; 5 Mariany (17 Thais, 70'); 8 Michele (16 Samara, int); 20 Michelly Christiane; 07 Milene; 14 Monique 13 Patricia Bianca; 11 Irlana

Suplentes: 16 Samara; 17 Thais; 4 Rafaela

Tec. Hamilton

CAMPO GRANDE

1 Darlene; 2 Jessica; 3 Huck; 4 Grande; 5 Falcão (13 Robertha, 60'); 6 Camila; 7 Tuti (17 Larissa, 60'); 8 Isabelle (20 Modelo, 80'); 9 Greice (22 Isadora, int); 10 Piara (21 Nathalia, int); 11 Pamela

Suplentes: 12 Williams; 13 Robertha; 14 Ninha; 15 Camila Rodrigues; 16 Emilly; 17 Larissa; 18 Gabriela; 19 Lorrany; 20 Modelo; 21 Nathalia; 22 Isadora

Tec. Jorge

GRUPO F

DUQUE DE CAXIAS 13 a 0 EL SHADDAI

21/09. no CEPE-Caxias. - 13 hs

Gols: Lene.1'; Caneca. 10'; Flávia 19' e 25'; Caneca 28; Leticia 31 (2T) Dani Lima 46'; Caneca 60' e 65'; India. 80'; Dani Lima 81'; Rebeca 83' e 87'

Cartões: Suellen (Duque), Samantha e Andressa (El)

Árbitro: Dias; auxiliares Ivete e Gabriela

DUQUE DE CAXIAS

12 Claudice; 7 Isabelle "Mistica" (8 Larissa M, 70'); 15 Thaisa (6 Raiane. 70'); 19 India; 10 Lene; 9 Caneca; 11 Dani Lima; 13 Letícia (16 Rebeca, 69'); 18 Milena (3 Milena Fernandes, 57'); 22 Suelen (4 China,70'); 5 Flávia (21 Beatriz, 57')

Suplentes: 6 Raiane; 1 Raquel; 8 Larissa Michaeli; 4 China 17 Gabi 21 Beatriz; 3 Milena Fernandes; 14 Karen; 16 Rebeca

Tec. Galdino

EL SHADDAI

99 Ingrid; 3 Laiza (9 Caren. 61'); 4 Samara; 30 Samantha; 6 Marys (10 Mayara, int); 7 Elisa; 8 Lorena (19 Nayara, 32'); 11 Andressa; 13 Marcela (16 Suelen, 61'); 14 Letícia (18 Alessandra, 61'); 20 Camilly

Suplentes: 9 Caren; 10 Mayara; 16. Suelen; 18 Ale; 19 Nayara

Tec. Vicente

COLÔNIA 2 a 1 LND/FLUMINENSE

22/09;- no Oscar Pupo - 15 hs

Gols Thais 18' e 25' (2T) Jhulye 53

Cartões: Camille (Colônia)

Árbitro: Rodrigo auxiliares Ian e Bruno

COLÔNIA

12 Taynara; 5 Cleydiane; 8 Sabrina; 17 Taiany; 4 Thaiana; 10 Thais; 7 Kathleen (20 Daiane, 81'); 3 Camile; 6 Beatriz; 22 Mariana; 11 Milena;

Suplentes: 20 Daiane; 1 Allana

Tec. Juliano

LND/FLUMINENSE AC

1 Jessyca; 2 Pamela (9 Rosinete, 38'); 3 Alexandra; 4.Karine; 5. Beatriz; 6.Thuany; 7 Daniele; 8. Andressa (14 Nathalia int); 10 Jhulye (16 Andreza,58'); 11 Milena (19 Amanda int); 15. Aline

Suplentes: 9 Rosinete; 14 Nathalia; 16 Andreza; 17 Liliane; 18 Rayane; 19 Amanda; 20 Mariana

Tec. Davoson

[smallblanketfort]

Do you (or your followers) have any recs for "classic" poets? I'm really into modern poetry but I also love used bookstores, and they don't exactly sell button poetry books. I'd love to know who too look for next time!

ooh this is such a good question for so many reasons! we spend a lot of time talking about destroying the canon, but sometimes canon and older or obscure writers are the only ones we have access to!

i love used bookstores, and sometimes it’s overwhelming to just set aside an hour to sit on the floor and browse. but you should totally do it sometimes, coffee recommended! it’s also a cute date. just pick a book, flip to a random page, and see if you like or hate it. rinse and repeat. i find that used bookstores often have a ton of poets i’ve never heard of, and they’re sometimes local to the location. super weird and alienating for my anxious self, but it’s super fun esp if you’re traveling and want poetic souvenirs :)

Audre! Lorde! Omg! Yes! Maya Angelou. Omg. See also bell hooks (also a brilliant essayist.) Feminist women who wrote about living and being. So much love. So powerful.

in high school i had a thing for John Keats of the early 1800′s. he’s quite traditional, but very emo nature boy, and accessible. he’s who got me into poetry.Robert Frost is another canon poet who deserves it. he’s surprising, but so grounded in the real world. i found that i related to a lot of his work, such as the hill wife.

Sylvia Plath for your in-your-feelings confessional poetry.

Lawrence Ferlinghetti is a Beat poet you might encounter and like. he founded city lights book store, and he’s a poet-activist-painter. if you ever find Poetry as Insurgent Art, you need to Get It.Gingsberg too, I guesssss. Tho I agree with Ocean Vuong in “Notebook Fragments” that if a guy says his favorite poet is Ginsberg, he is probably a douche bag. Ginsberg is like the tumbr/twitter eboi of Beat poetry. Aesthetically tm concerned.

Mary Ruefle is also so lovely. i actually have her book “madness, rack, and honey” in my bag right now. i am so smitten by this woman’s brain. see also, Anne Carson and Mary Oliver.

Wendell Berry is another brilliant mind and writer all around. He writes a lot of nonfiction about spirituality, but his poetry is full of wonder and appreciation for nature and the world. I love.

William Blake wrote these poetry and art chapbooks in the 1700′s. So beautiful and interesting to study in relation to his included art and the way these works play off one another.

See also: Rumi.

T. S. Eliot wrote this book called  Old Possum’s Book of Practical Cats, and i wish i had kept it. it’s this absurd illustrated poem book about cats. straight up. it inspired the musical cats, which may or may not put a damper to things, but it’s an amusing, weird book you should try out.

Langston Hughes and James Baldwin. Study them. Ugh.And I can’t escape this post without mentioning e.e. cummings and Rainer Maria Rilke. People love them. Give their works a whirl.

Other women you should know incude Joyce Carol Oates, Gwendolyn Brooks, and Patricia Smith.

if you come across an anthology, you’ve struck gold. anthologies are really lovely ways to access many poets at once, and get a feel for a theme or identity. i esp suggest anthologies for poets of color. omg they’re so good.

i also suggest subscribing to poem-a-day. it’s an email that contains a poem and an audio recording, every single day! even tho it’s hit or miss, as each month has a different curator, i often discover my favorite poems through here. and it’s free ^.^

let me know if anyone else has recommendations, or if you have opinions on the above writers x

ps. check your local library and inquire if they use interibrary loan to get books your library system might not have. 

[thebryanandsilvergarbage]

The 19th Annual Bryan Awards - Acting Nominees

Lead Actress in a Drama Series: GAME OF THRONES (HBO) - Emilia Clarke as Daenerys Targaryen HOUSE OF CARDS (Netflix) - Robin Wright as President Claire Underwood KILLING EVE (BBC America) - Jodie Comer as Villanelle KILLING EVE (BBC America) - Sandra Oh as Eve Polastri OZARK (Netflix) - Laura Linney as Wendy Byrde THIS IS US (NBC) - Mandy Moore as Rebecca Pearson

Lead Actor in a Drama Series: BETTER CALL SAUL - Bob Odenkirk as Jimmy McGill (AMC) GAME OF THRONES - Kit Harington as Jon Snow (HBO) OZARK - Jason Bateman as Marty Byrde (Netflix) POSE - Billy Porter as Pray Tell (F/X) THIS IS US - Sterling K. Brown as Randall Pearson (NBC) THIS IS US - Milo Ventimiglia as Jack Pearson (NBC) Supporting Actress in a Drama Series: THE AFFAIR - Maura Tierney as Helen Solloway (Showtime) BETTER CALL SAUL - Rhea Seehorn as Kim Wexler (AMC) GAME OF THRONES - Gwendoline Christie as Brienne of Tarth (HBO) GAME OF THRONES - Lena Headey as Cersei Lannister (HBO) THIS IS US - Susan Kelechi Watson as Beth Pearson (NBC) THIS IS US - Chrissy Metz as Kate Pearson (NBC) Supporting Actor in a Drama Series: BETTER CALL SAUL - Jonathan Banks as Mike Ehrmantraut (AMC) GAME OF THRONES - Nikolaj Coster-Waldau as Jamie Lannister (HBO) GAME OF THRONES - Peter Dinklage as Tyrion Lannister (HBO) HOMECOMING - Bobby Cannavale as Colin Belfast (Amazon Prime) HOUSE OF CARDS - Michael Kelly as Doug Stamper (Netflix)    SUCCESSION - Kieran Culkin as Roman Roy (HBO) THIS IS US - Justin Hartley as Kevin Pearson (NBC) THIS IS US - Chris Sullivan as Toby Damon (NBC) Younger Actress in a Drama Series or Limited Series: THE ACT - Joey King as Gypsy Rose Blanchard (Hulu) THE CHILLING ADVENTURES OF SABRINA - Kiernan Shipka as Sabrina Spellman (Netflix) GAME OF THRONES - Sophie Turner as Sansa Stark (HBO) GAME OF THRONES - Maisie Williams as Arya Stark (HBO) OZARK - Julia Garner as Ruth Langmore (Netflix) SHARP OBJECTS - Eliza Scanlan as Amma Crellin (HBO) Younger Actor in a Drama Series or Limited Series: THE CHI - Alex Hibbert as Kevin Williams (Showtime) THE CHI - Jacob Latimore as Emmett Washington (Showtime) GOTHAM - David Mazouz as Young Bruce Wayne (Fox) WHEN THEY SEE US - Asante Black as Young Kevin Richardson (Netflix) WHEN THEY SEE US - Caleel Harris as Young Anton McCray (Netflix) WHEN THEY SEE US - Jharrell Jerome as Korey Wise (Netflix)

Guest Actress in a Drama Series: AMERICAN HORROR STORY: APOCALYPSE - Connie Britton as Vivien Harmon (F/X) AMERICAN HORROR STORY: APOCALYPSE - Jessica Lange as Constance Langdon (F/X) GAME OF THRONES - Carice Van Houten as Melisandre (HBO) THE HANDMAID’S TALE - Cherry Jones as Holly (Hulu) HOW TO GET AWAY WITH MURDER - Cicely Tyson as Ophelia Harkness (ABC) THIS IS US - Phylicia Rashad  as Carol Clarke (NBC) Guest Actor in a Drama Series: AMERICAN HORROR STORY: APOCALYPSE - Dylan McDermott as Ben Harmon (F/X) BETTER CALL SAUL - Michael McKean as Chuck McGill (AMC) THE HANDMAID’S TALE - Bradley Whitford as Commander Joseph Lawrence (Hulu) HOW TO GET AWAY WITH MURDER - Glynn Turman as Nate Lahey Sr. (ABC) POSE - Christopher Meloni as Dick Ford (F/X) THIS IS US - Michael Angarano as Nick Pearson (NBC) THIS IS US - Ron Cephas Jones as William (NBC)

Performance by a Cast in a Drama Series: Better Call Saul (AMC) Game of Thrones (HBO) Ozark (Netflix) Pose (F/X) Succession (HBO) This is Us (NBC) Lead Actress in a Comedy Series: BLACK-ISH - Tracee Ellis Ross as Dr. Rainbow Johnson (ABC) THE GOOD PLACE - Kristen Bell as Veronica Van Der Hooven (NBC) THE MARVELOUS MRS. MAISEL - Rachel Brosnahan as Miriam Maisel (Amazon) MOM - Allison Janney as Bonnie Plunkett (CBS) RUSSIAN DOLL - Natasha Lyonne as Nadia (Amazon) VEEP - Julia Louis-Dreyfus as Selina Meyer (HBO) Lead Actor in a Comedy Series: BARRY - Bill Hader as Barry (HBO) THE BIG BANG THEORY - Jim Parsons as Sheldon Cooper (CBS) BLACK-ISH - Anthony Anderson as Dre Johnson (ABC) BLACK MONDAY - Don Cheadle as Mo Monroe (Showtime) THE GOOD PLACE - Ted Danson as Michael (NBC) THE KOMINSKY METHOD - Michael Douglas as Sandy Kominsky (Netflix) Supporting Actress in a Comedy Series: FLEABAG - Olivia Colman as Godmother (Amazon Prime) GLOW - Betty Gilpin as Debbie Eagan (Netflix) THE MARVELOUS MRS. MAISEL - Marin Hinkle as Rose Weissman (Amazon Prime) THE MARVELOUS MRS. MAISEL - Alex Borstein as Susie (Amazon Prime) SATURDAY NIGHT LIVE - Kate McKinnon as Various Characters (NBC) VEEP - Anna Chlumsky as Amy Brookheimer (HBO) Supporting Actor in a Comedy Series: BARRY - Stephen Root as Monroe Fuches (HBO) BARRY - Henry Winkler as Gene Cousineau (HBO) THE MARVELOUS MRS. MAISEL - Tony Shalhoub as Abe Weissman (Amazon) SATURDAY NIGHT LIVE - Kenan Thompson as Various Characters (NBC) UNBREAKABLE KIMMY SCHMIDT - Tituss Burgess as Titus Andromedon (Netflix) VEEP - Tony Hale as Gary Walsh (HBO) VEEP - Nathan Simons as Jonah Ryan (HBO) Younger Actress in a Comedy Series: ATYPICAL - Jenna Boyd as Paige Hardaway (Netflix) ATYPICAL - Bridgette Lundy-Paine as Casey Gardner (Netflix) BLACK-ISH - Marsai Martin as Diane Johnson (ABC) CASUAL - Tara Lynne Barr as Laura Meyers (Hulu) MODERN FAMILY - Aubrey Anderson-Emmons as Lily Tucker-Pritchett (ABC) MODERN FAMILY - Ariel Winter as Alex Dunphy (ABC) Younger Actor in a Comedy Series: ATYPICAL - Keir Gilchrist as Sam Gardner (Netflix) BLACK-ISH - Marcus Scribner as Andre Johnson Jr. (ABC) MODERN FAMILY - Rico Rodriguez as Manny Delgado (ABC) SATURDAY NIGHT LIVE - Pete Davidson as Various Characters (NBC) SHAMELESS - Cameron Monaghan as Ian Gallagher (Showtime) YOUNG SHELDON - Iain Armitage as Sheldon Cooper (CBS) Guest Actress in a Comedy Series: THE BIG BANG THEORY - Christine Baranski as Beverly Hofstadter (CBS) THE KOMINSKY METHOD - Ann-Margret as Diane (Netflix) THE MARVELOUS MRS. MAISEL - Jane Lynch as Sophie Lennon (Amazon Prime) SATURDAY NIGHT LIVE - Rachel Brosnahan as Host/Various Characters (NBC) SATURDAY NIGHT LIVE - Sandra Oh as Host/Various Characters (NBC) SATURDAY NIGHT LIVE - Emma Thompson as Host/Various Characters (NBC)

Guest Actor in a Comedy Series: BROOKLYN NINE-NINE - Lin-Manuel Miranda as David Santiago (NBC) THE KOMINSKY METHOD - Danny DeVito as Dr. Wexler (Netflix) THE MARVELOUS MRS. MAISEL - Luke Kirby as Lenny Bruce (Netflix) MOM - Bradley Whitford as Mitch (CBS) SATURDAY NIGHT LIVE - Matt Damon as Host/Various Characters (NBC) SATURDAY NIGHT LIVE - Robert DeNiro as Robert Mueller (NBC) SATURDAY NIGHT LIVE - Adam Sandler as Host/Various Characters (NBC)

Performance by a Cast in a Comedy Series: Barry (HBO) The Big Bang Theory (CBS) black-ish (ABC) The Marvelous Mrs. Maisel (Amazon Prime) Saturday Night Live (NBC) Veep (HBO)  

Lead Actress in a Limited Series/Movie: DEADWOOD THE MOVIE - Paula Malcomson as Trixie (HBO) DIRTY JOHN - Connie Britton as Debra Newell (Bravo) ESCAPE FROM DANNEMORA - Patricia Arquette as Joyce “Tilly” Mitchell (Showtime) FOSSE/VERDON - Michelle Williams as Gwen Verdon (F/X) MANIAC - Emma Stone as Annie Landsberg (Netflix) SHARP OBJECTS - Amy Adams as Camille Preaker (HBO) Lead Actor in a Limited Series/Movie: CHERNOBYL - Jared Harris as Valery Legasov (HBO) DEADWOOD THE MOVIE - Ian McShane as Al Swearengen (HBO) ESCAPE FROM DANNEMORA - Benicio Del Toro as Richard Matt (Showtime) FOSSE/VERDON - Sam Rockwell as Bob Fosse (F/X) TRUE DETECTIVE - Mahershala Ali as Wayne Hays (HBO) A VERY ENGLISH SCANDAL - Hugh Grant as Jeremy Thorpe (BBC) Supporting Actress in a Limited Series/Movie: THE ACT - Patricia Arquette as Dee Dee Blanchard (Hulu) CHERNOBYL - Emily Watson as Ulana Khomyuk (HBO) FOSSE/VERDON - Margaret Qualley as Ann Reinking (F/X) KING LEAR - Emma Thompson as Goneril (Amazon Prime) MANIAC - Sally Field as Dr. Greta Mantleray (Netflix) SHARP OBJECTS - Patricia Clarkson as Adora Crellin (HBO) TRUE DETECTIVE - Carmen Egojo as Amelia Reardon (HBO) WHEN THEY SEE US - Vera Farmiga as Elizabeth Lederer (Netflix) Supporting Actor in a Limited Series/Movie: CATCH-22 - Kyle Chandler as Cathcart (Hulu) CATCH-22 - George Clooney as Scheisskopf (Hulu) ESCAPE FROM DANNEMORA - Paul Dano as David Sweat (Showtime) ESCAPE FROM DANNEMORA - Eric Lange as Lyle Mitchell (Showtime) FOSSE/VERDON - Norbert Leo Butz as Paddy Chayefsky (F/X) A VERY ENGLISH SCANDAL - Ben Whishaw as Norman Scott (BBC)

 Performance by a Cast in a Limited Series/Movie/Special: Deadwood the Movie (HBO) Escape from Dannemora (Showtime) Fosse/Verdon (F/X) Live in Front of a Studio Audience: All in the Family and The Jeffersons (ABC) Maniac (Netflix) Sharp Objects (HBO) When They See Us (Netflix) Lead Actress in Daytime: THE BOLD AND THE BEAUTIFUL - Jacqueline McInnes-Wood as Steffy Forrester-Spencer (CBS) DAYS OF OUR LIVES - Kassie DePaiva as Eve Donovan (NBC) DAYS OF OUR LIVES - Marci Miller as Abigail Deveraux (NBC) GENERAL HOSPITAL - Maura West as Ava Jerome (ABC) GENERAL HOSPITAL - Laura Wright as Carly Corinthos (ABC) THE YOUNG AND THE RESTLESS - Eileen Davidson as Ashley Abbott (CBS) Lead Actor in Daytime: DAYS OF OUR LIVES - Tyler Christopher as Stefan DiMera (NBC) DAYS OF OUR LIVES - Billy Flynn as Chad DiMera (NBC) DAYS OF OUR LIVES - Drake Hogestyn as John Black (NBC) GENERAL HOSPITAL - Maurice Benard as Sonny Corinthos (ABC) GENERAL HOSPITAL - Jon Lindstrom as Dr. Kevin Collins & Ryan Chamberlain (ABC) THE YOUNG AND THE RESTLESS - Peter Bergman as Jack Abbott (CBS) Supporting Actress in Daytime: THE BOLD AND THE BEAUTIFUL - Annika Noelle as Hope Logan (CBS) DAYS OF OUR LIVES - Linsey Godfrey as Sarah Horton (NBC) DAYS OF OUR LIVES - Martha Madison as Belle Black (NBC) GENERAL HOSPITAL - Tamara Braun as Dr. Kim Nero (ABC) GENERAL HOSPITAL - Vernee Watson as Stella Henry (ABC) THE YOUNG AND THE RESTLESS - Beth Maitland as Traci Abbott (CBS) THE YOUNG AND THE RESTLESS - Mishael Morgan as Hilary Curtis (CBS) Supporting Actor in Daytime: THE BOLD AND THE BEAUTIFUL - Wayne Brady as Dr. Reese Buckingham (CBS) DAYS OF OUR LIVES - Eric Martsolf as Brady Black (NBC) DAYS OF OUR LIVES - Greg Rikaart as Leo Stark (NBC) DAYS OF OUR LIVES - Greg Vaughan as Eric Brady (NBC) GENERAL HOSPITAL - Max Gail as Mike Corbin (ABC) THE YOUNG AND THE RESTLESS - Bryton James as Devon Hamilton (CBS) Younger Actress in Daytime: DAYS OF OUR LIVES - Olivia Rose Keegan as Claire Brady (NBC) DAYS OF OUR LIVES - Victoria Konefal as Ciara Brady (NBC) GENERAL HOSPITAL - Hayley Erin as Kiki Jerome (ABC) GENERAL HOSPITAL - Chloe Lanier as Nelle Benson (ABC) GENERAL HOSPITAL - Eden McCoy as Josslyn Jacks (ABC) THE YOUNG AND THE RESTLESS - Hunter King as Summer Newman (CBS) Younger Actor in Daytime: DAYS OF OUR LIVES - Lucas Adams as Tripp Dalton (NBC) DAYS OF OUR LIVES - Casey Moss as J.J. Deveraux (NBC) GENERAL HOSPITAL - William Lipton as Cameron Webber (ABC) GENERAL HOSPITAL - Garren Stitt as Oscar Nero-Quartermaine (ABC) THE YOUNG AND THE RESTLESS - Zach Tinker as Fenmore Baldwin (CBS)

Guest Performer in Daytime: GENERAL HOSPITAL - Patricia Bethune as Nurse Mary Pat (ABC) GENERAL HOSPITAL - James Read as Gregory Chase (ABC) GENERAL HOSPITAL - Chandra Wilson as Dr. Linda Massey and Sydney Val Jean (ABC) GENERAL HOSPITAL - Dominic Zamprogna as Dante Falconeri (ABC) THE YOUNG AND THE RESTLESS - Thad Luckinbill as J.T. Hellstrom (CBS) THE YOUNG AND THE RESTLESS - Shemar Moore as Malcolm Winters (CBS)

Performance By A Cast in a Daytime Soap: The Bold and the Beautiful (CBS) Days of Our Lives (NBC) General Hospital (ABC) The Young and the Restless (CBS)

Lead Actress in a New Series: BLACK MONDAY - Regina Hall as Dawn Towner (Showtime) GENTLEMAN JACK - Suranne Jones as Anne Lister (HBO) HOMECOMING - Julia Roberts as Heidi Bergman (Amazon) RUSSIAN DOLL - Natasha Lyonne as Nadia (Netflix) SALLY4EVER - Julia Davis as Emma (HBO) SALLY4EVER - Catherine Wheeler as Sally (HBO) Lead Actor in a New Series: BLACK MONDAY - Don Cheadle as Mo Monroe (Showtime) KIDDING - Jim Carrey as Jeff Pickles (Showtime) THE KOMINSKY METHOD - Michael Douglas as Sandy Kominsky (Netflix) POSE - Billy Porter as Pray Tell (F/X) SUCCESSION - Brian Cox as Logan Roy (HBO) SUCCESSION - Jeremy Strong as Kendall Roy (HBO) Supporting Actress in a New Series: GENTLEMAN JACK - Gemma Jones as Aunt Anne Lister (HBO) HOMECOMING - Sissy Spacek as Ellen Bergman (Amazon) KIDDING - Judy Greer as Jill (Showtime) KIDDING - Catherine Keener as Deirdre (Showtime) THE KOMINSKY METHOD - Susan Sullivan as Eileen (Netflix) POSE - Kate Mara as Patty Bowes (F/X)  Supporting Actor in a New Series: BLACK MONDAY - Andrew Rannells as Blair Pfaff (Showtime) GENTLEMAN JACK - Timothy West as Jeremy Lister (HBO) HOMECOMING - Bobby Cannavale as Colin Belfast (Amazon) THE KOMINSKY METHOD - Alan Arkin as Norman Newlander (Netflix) A MILLION LITTLE THINGS - Romany Malco as Rome Howard (ABC) SUCCESSION - Kieran Culkin as Roman Roy (HBO) Guest Performer in a New Series: THE KOMINSKY METHOD - Danny DeVito as Dr. Wexler (Netflix) THE KOMINSKY METHOD - Ann-Margret as Diane (Netflix) POSE - Sandra Bernhard as Judy Kubrak (F/X) POSE - Clark Jackson as Mr. Richards (F/X) POSE - Christopher Meloni as Dick Ford (F/X) RUSSIAN DOLL - Chloe Sevigny as Lenora Vulkovov (Netflix) Performance By a Cast in a New Series: The Cast of Black Monday (Showtime) The Cast of Gentleman Jack (HBO) The Cast of Kidding (Showtime) The Cast of A Million Little Things (ABC) The Cast of Pose (F/X) The Cast of Succession (Showtime)

[amtopmthoughts]

OSCARS

Legenda:

Legenda  -  Winners I have watched

Legenda  -  Winners I don’t know of

Legenda  - Winners I know of

Legenda  -  Nominees I have watched

Legenda  -  Nominees I don’t know of

Legenda  -  Nominees I know of

1927/28

BEST MOVIE

Wings

The Racket

7th Heaven

= 0

BEST ACTRESS

Janet Gaynor:

for her role as Diane Angela, The Wife in 7th Heaven and Street Angel Sunrise: A Song of Two Humans

Louise Dresser:

for her role as Mrs. Pleznik in A Ship Comes In

Gloria Swanson:

for her role as Sadie Thompson in Sadie Thompson

1928/29

BEST MOVIE

The Broadway Melody

Alibi

Hollywood Revue

In Old Arizona

The Patriot

= 0

Mary Pickford:

for her role as Norma Besant in Coquette

Ruth Chatterton: 

for her role as Jacqueline Floriot in Madame X

Betty Compson:

for her role as Carrie in The Barker

Jeanne Eagels:

for her role as Leslie Crosbie in The Letter

Corinne Griffith:

for her role as Emma Hamilton in The Divine Lady

Bessie Love:

for her role as Hank Mahoney in The Broadway Melody

1929/30

BEST MOVIE

All Quiet on the Western Front

The Big House

Disraeli

The Divorcee

The Love Parade

= 0

Norma Shearer:

for her role as Jerry Bernard Martin in The Divorcee

Nancy Carroll:

for her role as Hallie Hobart in The Devil’s Holiday

Ruth Chatterton:

for her role as Sarah Storm in Sarah and Son

Greta Garbo:

for her role as Anna Christie/Madame Rita Cavallini in Anna Christie Romance

Norma Shearer:

for her role as Lucia Marlett in Their Own Desire

Gloria Swanson:

for her role as Marion Donnell in The Trespasser

1930/31

BEST MOVIE

Cimarron

East Lynne

The Front Page

Skippy

Trader Horn

= 0

Marie Dressler:

for her role as Min Divot in Min and Bill

Marlene Dietrich:

for her role as Mademoiselle Amy Jolly in Morocco

Irene Dunne:

for her role as Sabra Cravat in Cimarron

Ann Harding:

for her role as Linda Seton in Holiday

Norma Shearer:

for her role as Jan Ashe in A Free Soul

1931/32

BEST MOVIE

Grand Hotel

Arrowsmith

Bad Girl

The Champ

Five Star Final

One Hour with You

Shanghai Express

The Smiling Lieutenant

= 0

Helen Hayes:

for her role as Madelon Claudet in The Sin of Madelon Claudet

Marie Dressler:

for her role as Emma Thatcher Smith in Emma

Lynn Fontanne:

for her role as The Actress in The Guardsman

1932/33

BEST MOVIE

Cavalcade

42nd Street

A Farewell to Arms

I Am a Fugitive from a Chain Gang

Lady for a Day

Little Women

The Private Life of Henry VIII

She Done Him Wrong

Smilin’ Through

State Fair

= 0

BEST ACTRESS

Katharine Hepburn:

for her role as Eva Lovelace in Morning Glory

May Robson:

for her role as Apple Annie in Lady for a Day

Diana Wynyard:

for her role as Jane Marryot in Cavalcade

1934

BEST MOVIE

It Happened One Night

The Barretts of Wimpole Street

Cleopatra

Flirtation Walk

The Gay Divorcee

Here Comes the Navy

The House of Rothschild

Imitation of Life

One Night of Life

The Thin Man

Viva Villa!

The White Parade

= 0

BEST ACTRESS

Claudette Colbert:

for her role as Ellie Andrews in It Happened One Night

Grace Moore:

for her role as Mary Barrett in One Night of Love

Norma Shearer:

for her role as Elizabeth Barrett in The Barrett of Wimpole Street

Bette Davis:

for her role as Mildred Rogers in Of Human Bondage

1935

BEST MOVIE

Munity on the Bounty

Alice Adams

Broadway Melody of 1936

Captain Blood

David Copperfield

The Informer

The Lives of a Bengal Lancer

A Midsummer Night’s Dream

Les Misérables

Naughty Marietta

Rugs of Red Gap

Top Hat

= 0

BEST ACTRESS

Bette Davis:

for her role as Joyce Heath in Dangerous

Elisabeth Bergner:

for her role as Gemma Jones in Escape Me Never

Claudette Colbert:

for her role as Jane Everest in Private Words

Katharine Hepburn:

for her role as Alice Adams in Alice Adams

Miriam Hopkins:

for her role as Becky Sharp in Becky Sharp

Merle Oberon:

for her role as Kitty Vane in The Dark Angel

1936

BEST MOVIE

The Great Ziegfeld

Anthony Adverse

Dodsworth

Libeled Lady

Mr. Deeds Goes to Town

Romeo and Juliet

San Francisco

The Story of Louis Pasteur

A Tale of Two Cities

Three Smart Girls

= 0

BEST ACTRESS

Luise Rainer:

for her role as Anna Held in The Great Ziegfeld

Irene Dunne:

for her role as Theodora Lynn in Theodora Goes Wild

Gladys George:

for her role as Carrie Snyder in Valiant is the Word for Carrie

Carole Lombard:

for her role as Irene Bullock in My Man Godfey

Norma Shearer:

for her role as Juliet Capulet in Romeo and Juliet

1937

BEST MOVIE

The Life of Emile Zola

The Awful Truth

Captain Courageous

Dead End

The Good Earth

In Old Chicago

Lost Horizon

One Hundred Men and a Girl

Stage Door

= 0

BEST ACTRESS

Luise Rainer:

for her role as O-Lan in The Good Earth

Irene Dunne:

for her role as Lucy Warriner in The Awful Truth

Greta Garbo:

for her role as Marguerite Gautier in Camille

Janet Gaynor:

for her role as Esther Victoria Blodgett/Vicki Lester in A Star is Born

Barbara Stanwyck:

for her role as Stella Martin Dallas in Stella Dallas

1938

BEST MOVIE

You Can’t Take It With You

The Adventures of Robin Hood

Alexander’s Ragtime Band

Boys Town

The Citadel

Four Daughters

Grand Illusion

Jezebel

Pygmalion

Test Pilot

= 0

BEST ACTRESS

Bette Davis:

for her role as Julie Marsden in Jezebel

Fay Bainter:

for her role as Hannah Parmalee in White Banners

Wendy Hiller:

for her role as Eliza Doolittle in Pygmalion

Norma Shearer:

for her role as Marie Antoinette in Marie Antoinette

Margaret Sullavan:

for her role as Patricia “Pat” Hollmann in Three Comrades

1939

BEST MOVIE

Gone With The Wind

Dark Victory

Goodbye, Mr. Chips

Love Affair

Mr. Smith Goes to Washington

Ninotchka

Of Mice and Men

Stagecoach

The Wizard of Oz

Wuthering Heights

= 0

BEST ACTRESS

Vivien Leigh:

for her role as Scarlett O’Hara in Gone with the Wind

Bette Davis:

for her role as Judith Traherne in Dark Victory

Irene Dunne:

for her role as Terry McKay in Love Affair

Greta Garbo:

for her role as Nina Yakushnova “Ninotchka” Ivanoff” in Ninotchka

Greer Garson:

for her role as Katherine Bridges in Goodbye, Mr. Chips

1940

BEST MOVIE

Rebecca

All This, and Heaven Too

Foreign Correspondent

The Grapes of Wrath

The Great Dictator

Kitty Foyle

The Letter

The Long Voyage Home

Our Town

The Philadelphia Story

= 0

BEST ACTRESS:

Ginger Rogers:

for her role as Kitty Foyle in Kitty Foyle

Bette Davis:

for her role as Leslie Crosbie in The Letter

Joan Fontaine:

for her role as The Second Mrs. de Winter in Rebecca

Katharine Hepburn:

for her role as Tracy Lord in The Philadelphia Story

Martha Scott:

for her role as Emily Webb in Our Town

1941

BEST MOVIE

How Green Was My Valley

Blossoms in the Dust

Citizen Kane

Here Comes Mr. Jordan

Hold Back the Dawn

The Little Foxes

The Maltese Falcon

One Foot in Heaven

Sargeant York

Suspicion

= 0

BEST ACTRESS:

Joan Fontaine:

for her role as Lina McLaidlaw Aysgarth in Suspicion

Bette Davis:

for her role as Regina Giddens, The Little Foxes

Olivia de Havilland:

Emmy Brown, Hold Back the Dawn

Greer Garson, Blossoms in the Dust

Barbara Stanwyck, Ball of Fire

1942

BEST MOVIE

Mrs. Miniver

The Invaders

Kings Row

The Magnificent Ambersons

The Pied Piper

The Pride of the Yankees

Random Harvest

The Talk of the Town

Wake Island

Yankee Doodle Dandy

= 0

BEST ACTRESS:

Greer Garson, Mrs. Miniver

Bette Davis, Now, Voyager

Katharine Hepburn, Woman of the Year

Rosalind Russel, My Sister Eileen

Teresa Wright, The Pride of the Yankees

1943

BEST MOVIE

Casablanca

For Whom the Bell Tolls

Heaven Can Wait

The Human Comedy

In Which We Serve

Madame Curie

The More the Merrier

The Ox-Bow Incident

The Song of Bernadette

Watch on the Rhine

= 0

BEST ACTRESS:

Jennifer Jones, The Song of Bernadette

Jean Arthur, The More the Merrier

Ingrid Bergman, For Whom the Bell Tolls

Joan Fontaine, The Constant Nymph

Greer Garson, Madame Curie

1944

BEST MOVIE

Going My Way

Double Indemnity

Gaslight

Since You Went Away

Wilson

= 0

BEST ACTRESS:

Ingrid Bergman, Gaslight

Claudette Colbert, Since You Went Away

1945

BEST MOVIE

The Lost Weekend

Anchors Aweigh

The Bells of St. Mary’s

Mildred Pierce

Spellbound

= 0

1946

BEST MOVIE

The Best Years of Our Lives

Henry V

= 0

1947

BEST MOVIE

Gentleman’s Agreement

The Bishop’s Wife

Crossfire

Great Expectations

Miracle on 34th Street

= 0

1948

BEST MOVIE

Hamlet

Johnny Belinda

The Red Shoes

The Snake Pit

The Treasure of the Sierra Madre

= 0

1949

BEST MOVIE

All the King’s Men

Battleground

The Heiress

A Letter to Three Wives

Twelve O’Clock High

= 0

1950

BEST MOVIE

All About Eve

Born Yesterday

Father of the Bride

King Solomon’s Mines

Sunset Boulevard

= 0

1951

BEST MOVIE

An American In Paris

Decision Before Dawn

A Place in the Sun

Quo Vadis

A Streetcar Named Desire

= 0

1952

BEST MOVIE

The Greatest Show on Earth

High Noon

Ivanhoe

Moulin Rouge

The Quiet Man

= 0

1953

BEST MOVIE

From Here to Eternity

Julius Caesar

The Robe

Roman Holiday

Shane

= 1

1954

BEST MOVIE

On The Waterfront

The Caine Mutiny

The Country Girl

Seven Brides for Seven Brothers

Three Coins in the Fountain

= 0

1955

BEST MOVIE

Marty

Love is a Many-Splendored Thing

Mister Roberts

Picnic

The Rose Tattoo

= 0

1956

BEST MOVIE

Around the World in 80 Days

Friendly Persuasion

Giant

The King and I

The Ten Commandments

= 0

1957

BEST MOVIE

The Bridge On The River Kwai

12 Angry Men

Peyton Place

Sayonara

Witness for the Prosecution

= 0

1958

BEST MOVIE

Gigi

Auntie Mame

Cat on a Hot Tin Roof

The Defiant Ones

Separate Tables

= 0

1959

BEST MOVIE

Ben-Hur

Anatomy of a Murder

The Diary of Anne Frank

The Nun’s Story

Room at the Top

= 0

1960

BEST MOVIE

The Apartment

The Alamo

Elmer Gantry

Sons and Lovers

The Sundowners

= 0

1961

BEST MOVIE

West Side Story

Fanny

The Guns of Navarone

The Hustler

Judgment at Nuremberg

= 1

1962

BEST MOVIE

Lawrence of Arabia

The Longest Day

The Music Man

Mutiny on the Bounty

To Kill a Mockingbird

= 0

1963

BEST MOVIE

Tom Jones

America America

Cleopatra

How the West Was Won

Lilies of the Field

= 0

1964

BEST MOVIE

My Fair Lady

Becket

Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb

Mary Poppins

Zorba the Greek

= 1

1965

BEST MOVIE

The Sound of Music

Darling

Doctor Zhivago

Ship of Fools

A Thousand Clowns

= 1

1966

BEST MOVIE

A Man for All Seasons

Alfie

The Russians Are Coming, the Russians Are Coming

The Sand Pebbles

Who’s Afraid of Virginia Wolf

= 0

1967

BEST MOVIE

In the Heat of the Night

Bonnie and Clyde

Doctor Dolittle

The Graduate

Guess Who’s Coming to Dinner

= 0

1968

Oliver!

Funny Girl

The Lion in Winter

Rachel, Rachel

Romeo and Juliet

= 1

1969

BEST MOVIE

Midnight Cowboy

Anne of the Thousand Days

Butch Cassidy and the Sundance Kid

Hello, Dolly!

Z

= 0

1970

BEST MOVIE

Patton

Airport

Five Easy Pieces

Love Story

M*A*S*H

= 0

1971

BEST MOVIE

The French Connection

A Clockwork Orange

Fiddler on the Roof

The Last Picture

Nicholas and Alexandra

= 0

1972

BEST MOVIE

The Godfather

Cabaret

Deliverance

The Emigrants

Sounder

= 0

1973

BEST MOVIE

The Sting

American Graffitti

Cries and Whispers

The Exorcist

A Touch of Class

= 0

1974

 BEST MOVIE

The Godfather Part II

Chinatown

The Conversation

Lenny

The Towering Inferno

= 0

1975

BEST MOVIE

One Flew Over The Cuckoo’s Nest

Barry Lyndon

Dog Day Afternoon

Jaws

Nashville

= 0

1976

BEST MOVIE

Rocky

All the President’s Men

Bound for Glory

Network

Taxi Driver

= 0

1977

BEST MOVIE

Annie Hall

The Goodbye Girl

Julia

Star Wars

The Turning Point

= 0

1978

BEST MOVIE

The Deer Hunter

Coming Home

Heaven Can Wait

Midnight Express

An Unmarried Woman

= 0

1979

BEST MOVIE

Kraver vs. Kramer

All That Jazz

Apocalypse Now

Breaking Away

Norma Rae

= 1

1980

BEST MOVIE

Ordinary People

Coal Miner’s Daughter

The Elephant Man

Raging Bull

Tess

= 0

1981

BEST MOVIE

Chariots of Fire

Atlantic City

On Golden Pond

Raiders of the Lost Ark

Reds

= 0

1982

BEST MOVIE

Ghandi

E.T. the Extra-Terrestrial

Missing

Tootsie

The Verdict

= 1

1983

BEST MOVIE

Terms of Endearment

The Big Chill

The Dresser

The Right Stuff

Tender Mercies

= 0

1984

BEST MOVIE

Amadeus

The Killing Fields

A Passage to India

Places in the Heart

A Soldier’s Story

= 0

1985

BEST MOVIE

Out of Africa

The Color Purple

Kiss of the Spider Woman

Prizzi’s Honor

Witness

= 0

1986

BEST MOVIE

Platoon

Children of a Lesser God

Hannah and Her Sisters

The Mission

A Room with a View

= 0

1987

BEST MOVIE

The Last Emperor

Broadcast News

Fatal Attraction

Hope and Glory

Moonstruck

= 2

1988

BEST MOVIE

Rain Man

The Accidental Tourist

Dangerous Liaisons

Mississipi Burning

Working Girl

= 0

1989

BEST MOVIE

Driving Miss Daisy

Born on the Fourth of July

Dead Poets Society

Field of Dreams

My Left Foot

= 1

1990

BEST MOVIE

Dances with Wolves

Awakenings

Ghost

The Godfather III

Goodfellas

= 1

1991

BEST MOVIE

The Silence of the Lambs

Beauty and the Beast

Bugsy

JFK

The Prince of Tides

= 1

1992

BEST MOVIE

Unforgiven

The Crying Game

A Few Good Men

Howards End

Scent of a Woman

= 0

1993

BEST MOVIE

Schindler’s List

The Fugitive

In the Name of the Father

The Piano

The Remains of the Day

= 1

1994

BEST MOVIE

Forrest Gump

Four Weddings and a Funeral

Pulp Fiction

Quiz Show

The Shawshank Redemption

= 3

1995

BEST MOVIE

Braveheart

Apollo 13

Babe

The Postman (Il Postino)

Sense and Sensibility

= 4

1996

BEST MOVIE

The English Patient

Fargo

Jerry McGuire

Secrets & Lies

Shine

= 0

1997

BEST MOVIE

Titanic

As Good as it Gets

The Full Monty

Good Will Hunting

L.A. Confidential

= 3

1998

BEST MOVIE

Shakespeare in Love

Elizabeth

Life is Beautiful

Saving Private Ryan

The Thin Red Line

= 3

1999

BEST MOVIE

American Beauty

The Cider House Rules

The Green Mile

The Insider

The Sixth Sense

= 1

2000

BEST MOVIE

Gladiator

Chocolat

Crouching Tiger, Hidden Dragon

Erin Brokovich

Traffic

= 3

2001

BEST MOVIE

A Beautiful Mind

Gosfrod Park

In the Bedroom

The Lord of the Rings: The Fellowship of the Ring

Moulin Rouge!

= 1

2002

BEST MOVIE

Chicago

Gangs of New York

The Hours

The Lord of the Rings: The Two Towers

The Pianist

= 1

2003

BEST MOVIE

The Lord of the Rings: The Return of the King

Lost in Translation

Master and Commander: The Far Side of the World

Mystic River

Seabiscuit

= 0

2004

BEST MOVIE

Million Dollar Baby

The Aviator

Finding Neverland

Ray

Sideways

= 1

2005

BEST MOVIE

Crash

Brokeback Mountain

Capote

Good Night, and Good Luck

Munich

= 0

2006

BEST MOVIE

The Departed

Babel

Letters from Iwo Jima

Little Miss Sunshine

The Queen

= 2

2007

BEST MOVIE

No Country for Old Men

Atonement

Juno

Michael Clayton

There Will Be Blood

= 1

2008

BEST MOVIE

Slumdog Millionaire

The Curious Case of Benjamin Button

Frost/Nixon

Milk

The Reader

= 1

2009

BEST MOVIE

The Hurt Locker

Avatar

The Blind Side

District 9

An Education

Inglorious Basterds

Precious: Based on the Novel “Push” by Saphire

A Serious Man

Up

Up in the Air

= 4

2010

BEST MOVIE

The King’s Speech

127 Hours

Black Swan

The Fighter

Inception

The Kids Are All Right

The Social Network

Toy Story 3

True Grit

Winter’s Bone

= 5

2011

BEST MOVIE

The Artist

The Descendants

Extremely Loud & Incredibly Close

The Help

Hugo

Midnight in Paris

Moneyball

The Tree of Life

War Horse

= 3

2012

BEST MOVIE

Argo

Amour

Beasts of the Southern Wild

Django Unchained

Les Miserábles

Life of Pi

Lincoln

Silver Linings Playbook

Zero Dark Thirty

= 4

2013

BEST MOVIE

12 Years a Slave

American Hustle

Captain Philips

Dallas Buyers Club

Gravity

Her

Nebraska

Philomena

The Wolf of Wall Street

= 4

2014

BEST MOVIE

Birdman

American Sniper

Boyhood

The Grand Budapest Hotel

The Imitation Game

Selma

The Theory of Everything

Whiplash

= 2

2015

BEST MOVIE

Spotlight

The Big Short

Bridge of Spies

Brooklyn

Mad Max: Fury Road

The Martian

The Revenant

Room

= 3

BEST ACTRESS:

Brie Larson, Room

Cate Blanchett, Carol

Jennifer Lawrence, Joy

Charlotte Rampling, 45 Years

Saoirse, Brooklyn

2016

BEST MOIVE

Moonlight

La La Land

Arrival

Fences

Hacksaw Ridge

Hell or High Water

Hidden Figures

Lion

Manchester by the Sea

= 5

BEST ACTRESS:

Emma Stone, La La Land

Isabelle Huppert, Elle

Ruth Negga, Loving

Natalie Portman, Jackie

Meryl Streep, Florence Foster Jenkins

2017

BEST MOVIE

The Shape of Water

Lady Bird

Call Me by Your Name

Get Out

Darkest Hour

Dunkirk

Phantom Thread

The Post

Three Billboards Outside Ebbig, Missouri

= 4

BEST ACTRESS:

Frances McDormand, Three Billboards Outside Ebbing, Missouri

Sally Hawkins, The Shape of Water

Margot Robbie, I, Tonya

Saoirse Ronan, Lady Bird

Meryl Streep, The Post

TOTAL = 71/