#peoples choice awards 2016

[shefaniquotes]

“And to my children, to my family, to Blake Shelton for kissing me back to life, thank you so much. I am blown away!”

Glamour's Women of the Year Awards, November 2016

“Oh my god, I'm so excited to be with Blake Shelton!”

People's Choice Awards, November 2018

“Blake Shelton, look! Icon!”

“I love you, Blake Shelton, you're a babe.”

People's Choice Awards, November 2019

“Obviously, my favorite award ever, Blake Shelton, for marrying me. Wow, this is surreal — weird Blake talking about me like that. Thank you so much, you're such a babe, and you're so awesome.”

New York Women in Communications' Matrix Awards, October 2022

Gwen thanking Blake in her acceptance speeches, (see also)

[stylestream]

Dakota Johnson | Armani Privé Spring 2014 Couture ensemble | People’s Choice Awards | 2016

[courseyoulovemeyoudontknowme]

Me Before You (2016, Thea Sharrock)

01/01/2024

Me Before You is a 2016 film directed by Thea Sharrock.

After discovering that Will has made a deal with his parents, in which he will give himself six more months and then go to the Dignitas assisted suicide clinic in Switzerland to end his life, Lou sets out to prove to Will that his life is still worth living, while Will will push Lou to "broaden her horizons" and believe in herself and the opportunities that life can offer her.

At the end of the film Lou is in Paris, reading a letter from Will who tells her that he has engraved her in his heart and that he thought of giving her a push to live her life as she deserves, happy and economically fulfilled, leaving her access to a current account.

In 2016 it had its Italian premiere at the Giffoni Film Festival on 21 July and there was a national premiere on 17 August.

[havithreatendub4]

Johnny thanking fans at the People’s Choice Awards [2010, 2011, 2016]

[thisdayindnphistory]

This Day in Dan & Phil History - August 1

2010 - 🏖️

2011 - epic love fail

2012 - 5 kinds of drunk people

2014 - the photobooth challenge got nominated for A TEEN CHOICE AWARD

2016 - COOKING WITH UNDYNE! - Dan and Phil play: Undertale #6

[feedists4walz]

Food is one of the most universally beloved things on planet Earth. Aligning a presidential campaign with it is smart for all the obvious reasons, but for the Harris-Walz ticket, it’s also a signal. The rhetorical challenge of progressivism is that it is by nature abstract: It imagines a world that does not yet exist, rather than advocating to return to some previous version of the one we know. [...] In foregrounding food, Harris and Walz are making theirs the candidacy of terrestrial pleasure and straightforward abundance.

The governor of Minnesota and possible future vice president’s hotdish recipe is, uh, a lot. It involves, among other things, whole milk, half-and-half, two types of meat, three cups of cheese (specifically Kraft), nearly a stick of butter, and a full package of Tater Tots. It is gluttonous, deeply midwestern, and, I am sure, delicious. Indeed, Walz won the Minnesota Congressional Delegation’s hotdish cook-off in 2013, 2014, and 2016.

Tim Walz loves food. He loves corn dogs, and the all-you-can-drink milk booth at the Minnesota state fair, and—I’m sorry to have to be the one to tell you this—dunking cinnamon rolls in chili. He gets excited about soda. He posts pictures of his sandwiches.  He loves to eat so much that people on X are already writing short-form fan fiction about it. Throughout his political career, but especially recently, he has gone out of his way to talk about food, the fattier and folksier the better. Last week, in a discussion with CNN’s Jake Tapper that was ostensibly about Joe Biden’s mental fitness, Walz recounted receiving a call from the president while eating the Minnesota delicacy Juicy Lucy, a hamburger stuffed with cheese. The next day, he posted on X about a different award-winning hotdish recipe of his, this one involving two separate kinds of canned soup.

We are witnessing what might be the most food-centric presidential campaign in American history. Kamala Harris is, by all accounts, an exceptional and enthusiastic home cook, and has made cooking part of her political brand—surely an intentional calculation, given the negative connotations that might arise when the potential first woman president openly embraces domesticity. In 2019, she offered an off-the-cuff lesson in turkey brining while getting mic’d up to go on television: “Just lather that baby up,” she said, eyes bright. The next year, she started an amateur cooking show; on it, she cracks an egg with one hand and bonds with Mindy Kaling over the fact that their parents both stored spices in old Taster’s Choice jars. She laughs a lot in the kitchen.

Unlike her running mate, Harris seems unlikely to throw four kinds of dairy in the oven for dinner—she’s a Californian, and she cooks like one: swordfish with toasted cardamom for her pescatarian stepdaughter, herb-flecked Mediterranean meatballs on an Instagram Live with the celebrity chef Tom Colicchio. But she’s not immune to the humble charms of ice cream, gumbo, Popeye’s chicken, red-velvet cupcakes, or bacon, which she describes as a “spice” in her household. She comes off as sincere in her love of food but discerning in her tastes. When a 10-year-old recently asked her at an event what her favorite taco filling was, she answered with the kind of absorbed expression that she might otherwise display when explaining foreign policy on the debate stage: carnitas with cilantro and lime, no raw onions.

Invoking food on the campaign trail is a cliché for a reason: Eating is an easy and extremely literal way to prove that you are a human being. But the Democratic Party has not always been great at it. In 2003, John Kerry visited the Philadelphia cheesesteak institution Pat’s and asked for a sandwich not with the traditional Whiz, American, or Provolone, but with Swiss. If voters needed proof that he was something other than the eggheady elitist they thought he was, this wasn’t it: In Philly, Swiss is “an alternative lifestyle,” The Philadelphia Inquirer’s food critic, Craig LaBan, said at the time. One does not get the sense that Walz or Harris would stride into Pat’s and ask for Swiss—not because they’re self-consciously avoiding a gaffe, but because they have deep respect for America’s foodways and are interested in enjoying food however it is meant to be enjoyed.

Their approach makes a marked departure both from the Obama era—what with its well-meaning but not entirely fun focus on childhood obesity, and its notorious seven almonds—and from the current leaders of the Republican Party. Donald Trump doesn’t really talk about liking eating; he does, famously, consume a lot of fast food, but that is reportedly because he’s afraid of being poisoned, not because fast food tastes amazing. His most well-known food tweet—“Happy #CincoDeMayo! The best taco bowls are made in Trump Tower Grill. I love Hispanics!”—reads like an obligatory plug rather than an earnest celebration of the way the taco bowl itself looks, smells, and tastes: all business, no pleasure. Meanwhile, Trump’s running mate, J. D. Vance, says he loves Diet Mountain Dew, but he seems mostly to be mad about it. To the degree that he has gotten specific about why he likes the beverage, the praise is purely functional: “high caffeine, low calorie.” The primary message here is that food is the site not of delight and togetherness but of anxiety and alienation, or utilitarianism at best. It’s all a little, well, weird.

Food is one of the most universally beloved things on planet Earth. Aligning a presidential campaign with it is smart for all the obvious reasons, but for the Harris-Walz ticket, it’s also a signal. The rhetorical challenge of progressivism is that it is by nature abstract: It imagines a world that does not yet exist, rather than advocating to return to some previous version of the one we know. I find it telling that Walz keeps using the word joy when he talks about the campaign and about his running mate. It’s an uncomplicated message, one that’s even more concrete than Barack Obama’s hope: Hope is the future, but joy is the present. It’s cold milk on a hot day; a perfectly cracked egg; a steaming casserole dish full of God knows what, enjoyed at a crowded table. In foregrounding food, Harris and Walz are making theirs the candidacy of terrestrial pleasure and straightforward abundance. It’s simple, really. —Ellen Cushing

[cas-is-my-weakness]

misha edition of cockles but let's talk about some soft moments

[sgiandubh]

Hi there. I enjoyed your post about Sam’s brand and it got me thinking. I feel like he’s stuck between trying to do what other people tell him he should to “make it” and trying to do it himself. Other people: you’re hot, show it off, do action movies, date blonde floozies. Himself: I want to be a good person and a decent actor, but what if I’m not? Guess I should work a lot, build a non-acting brand just in case I get fired, but try not to pay too many people to market it, I can do that myself; the liquor has the added benefit of getting his name out there and hopefully giving him another income stream if acting goes to shit. Where this all becomes problematic is that he’s not the person others tell him to be, so he comes off as fake, inconsistent, disingenuous, contradictory. I worry though that he can’t break away from these “advisors” because of whatever hole he and caitriona have themselves in with Starz and their bosses. We may not all agree on what happened in 2016 or why, but it’s obvious something did. The difference between them both since then is stark. The light has dimmed. They’ve aged exponentially. They’re guarded. They’re not the effervescent dynamos they started out as. She looks pissed all the time, like she’ll trot Tony out if necessary, but she won’t look like she enjoys it. She’ll go to awards ceremonies, but she won’t look as gorgeous as she easily could. She won’t be their ingenue. I don’t know, I think they’re stuck and are limited in what they can actually do for themselves, as much as they might like to. I can only hope there is an end in sight for them and they can persevere until then!

PS, I watched She Said last night. Highly recommend for anyone who doesn’t think a network executive could or would force their tent pole stars to deny a relationship.

Dear She Said Anon,

I liked your submission so much, I have read it three times in a row (and damn the late hour!). I have very few things to add to your excellent assessment of what I think is a very complicated situation. The proverbial Scottish parsimony could explain the choice of a minimally budgeted, all hands on deck sales and advertising approach. But we are quickly passing this stage and he should seriously think of hiring true professionals, if he really wants to make a financial lifebelt out of SS.

Yes. There's a price to be paid for all the games they are being served to play (and yes, something terrible happened in January 2016, of which we will probably never have the full details). Both of them are now striving to show us they can (scantily, painfully) exist without the magical Other. She, with that colorless, wrist-grabbing, fist-clenching literally dumb person (strictly meaning that we never hear him). He, with that (forgive me, Father, for I am about to sin) questionable, loud and tacky Oriental consigliere (it is high time I should write that paper on the Persia I know and love, lest you or other Anon think I am racist, or something). You can't figure out more opposite add-ons to Those Two, both serving, I believe, the same purpose: to deflect, at all costs, any attention given to the real state of play.

I haven't watched She Said yet and I welcome and thank you for the suggestion. On a lighter note, I trade for it Call My Agent (I have already mentioned this very, very witty French series, dealing with the life in a Parisian talent agency) - it shouldn't be a problem to find it on Netflix.

Good night, Anon. This one below is me thanking you for your trouble and time writing this wonderful post. Just look at Mitsuko Uchida's genuine Joy while playing Beethoven - same energy as Two People We Know, back in 2014, right?

[anneboleyns]

Natalie Dormer at the People’s Choice Awards, 2016

[iwillbringyouruin]

Is this the moment of just letting go?

I can't begin to describe the feeling of seeing the vision I had for this come to life on paper. I have put an elaborate description of the details I put into this (with the meaning I personally intended for them) as well as the reference that inspired it below the cut!

Please don't repost this!

The pose is based on the 1560s version of Repentant Mary Magdalene by Titian. However, unlike in that painting, Copia isn't looking up to the sky or heavens but rather forward/slightly down, perhaps mostly inward in reflection. He is sitting there in the foreground on one of his cloaks, nude - completely stripped of his vestments, clutching one of his chasubles to his chest to cover most of his torso and his legs as the fabric drapes over them. He is literally holding onto who he was or presented himself as, but he knows that he cannot be that same person again.

Copia's skull paint is smudged - based on the markings on his face and his fingertips, it can be assumed he has been desperately clawing at it without having the energy to properly wipe or clean it off. To the left, there is a rat sitting on the cloak looking up at him, his mitre lies folded on the right, no longer of use. He acknowledges neither, too lost in thought. There are three semi-transparent hands grabbing onto Copia's shoulders in support and comfort, one lighter than the other two, indicating these to be the hands of the three Emeritus brothers that came before him (the lighter hand belonging to Terzo due to his white gloves). They have never taken the steps he has; they haven't had to or haven't had the choice to. But they can be here for him now in those moments when he feels there is no one else.

In the background, there is a large bookshelf on the left, reaching to the middle of the drawing both horizontally and vertically. From top to bottom, the left part of the bookshelf displays: a plush rat and a plush goat (a reference to on-stage shenanigans), a foldable picture frame showing the silhouettes of eight people in the large rectangular middle frame - Copia's ghouls and ghoulettes - and one pair of people on either side - Copia with his father and his mother, respectively. This picture frame is intentionally placed at eye level so that Copia can always comfortably look at his family. Below are an inverted cross, two candelabras and the Grammy award won for Cirice in 2016. The rest of the bookshelf is stacked with books. In one place, a human skull is used as a bookend, a reminder of his mortality.

On the right side of the background, slightly further back in the room, there is a work desk in front of a stained-glass window with a pentagram in the middle, a curtain is gathered to the left of it. Almost out of frame, in the front and to the right of the desk, there is the tricycle Copia has been gifted, covered in cobwebs, not having been used in a long time. He hasn't put it away or covered it, be it because he didn't have the heart to or because he intends to dust it off at some point. On the work desk, there are slightly messy stacks of paper, a mug and an inkpot. Additionally, there is an open book on the desk, on top of which is another book. This book has been open just before the end but stopped from closing entirely by what's supposed to be the quill belonging to the inkpot. This book stands for Copia's story. It is unclear if he was the one who has stopped it from closing, if he wants to delay getting to the last page, if this book has been written by him or if it has been written by others for him.

Perhaps a combination of both. Either way, he is in charge now. There is also a vase on the left corner of the desk, containing flowers that are wilted in the vase except for one, signifying a new beginning and the cycle of life, growth and death, but also the way that time seems to slip when we find our minds clouded by pain - life and our obligations don't stop for grief, but we mustn't be hopeless.

[seoul-bros]

Han So-Hee in her own words.

I started writing this when I heard that Han So-Hee was rumoured to appear in Jungkook's upcoming MV for Seven. I love to explore the intersections between the world of kdrama/kfilm (which I have followed for some considerable time) with the world of music and BTS (which is a much newer love).

I haven't seen her in many roles but what I have seen convinces me she is someone who is working on her craft and constantly looking for ways to improve and deliver more for her audience.

After seeing her first in a supporting role in Abyss (2019), I've seen her with Song Kang in Nevertheless (2021) where she plays a sculpture student in a much more Bohemian world than we generally see in kdramas and then in My Name (2021) where she played a revenge seeking bad ass. She had to do a lot of physical training for the part and said that it was a habit that stayed with her.

"If I get hooked on something, I’m the type to do it no matter what anyone around me says. That’s one of the things I like about myself."

She isn't your average Korean actress. When she published photos of herself with tattoos she received a lot of public criticism in Korea but she has a clear philosophy to life which she is determined to stick to.

"I want to live youthfully while wearing, eating, and expressing what I like. As long as I don’t stray away from what’s ethical and moral, I want to live while expressing myself freely. Instead of being passive, I hope others also find their own spark and color to shine."

She loves and respects other women.

"There are so many cool unnis. I think people who live their life doing what they want are cool. ..........., since you only live one life, I want people to live while doing what they want. These days, I think people like that are the coolest."

She is serious about the people in her life and she is ready to express her love and support publicly. She is close to Song Hye Kyo and they often post for each other on Instagram. When Song Hye Kyo won the Baeksang Arts Best Actress Award for The Glory this year she was quick to post her congratulations on Instagram.

The two were set to star in the The Price of Confession together, that project seems to have been shelved but their relationship is still going strong. Song Hye Kyo recently sent a coffee truck to the set of Han So Hee's latest project Gyeongseong Creature.

Isn't it nice to see women supporting each other perhaps certain parts of the fandom could take a lesson from that.

I've seen people online compare Han So-Hee to Jungkook and having read her words, I don't think they are wrong. Both are unconventional individuals living in a strictly conformist society. Both are proud of what they call their stubbornness which I actually think is more about their being determined to live an authentic life on their own terms. Both seek to express publicly the love and support they have for the important people in their life. As such I think she is a good choice as a co-star for this music video.

It won't be her first time appearing in a Kpop MV. She appeared in SHINee's video for 'Tell me what to do' in 2016......

.....and to be honest if she is appearing in JK's video I hope he gives her more to do. It seems such a waste of a good actress to have her just strike a pose.

Quotes taken from Allure Magazine Interview as reported online.

Post Date: 04/07/2023

[mediaevalmusereads]

Powers of Darkness: the Lost Version of Dracula. By Bram Stoker and Valdimar Ásmundsson (trans. Hans Corneel de Roos). Overlook Duckworth, 2016.

Rating: 4/5 stars

Genre: horror, 19th/20th century literature

Series: N/A

Summary: Powers of Darkness is an incredible literary discovery: In 1900, Icelandic publisher and writer Valdimar Ásmundsson set out to translate Bram Stoker’s world-famous 1897 novel Dracula. Called Makt Myrkranna (literally, “Powers of Darkness”), this Icelandic edition included an original preface written by Stoker himself. Makt Myrkranna was published in Iceland in 1901 but remained undiscovered outside of the country until 1986, when Dracula scholarship was astonished by the discovery of Stoker’s preface to the book. However, no one looked beyond the preface and deeper into Ásmundsson’s story.

In 2014, literary researcher Hans de Roos dove into the full text of Makt Myrkranna, only to discover that Ásmundsson hadn’t merely translated Dracula but had penned an entirely new version of the story, with all new characters and a totally re-worked plot. The resulting narrative is one that is shorter, punchier, more erotic, and perhaps even more suspenseful than Stoker’s Dracula. Incredibly, Makt Myrkranna has never been translated or even read outside of Iceland until now.

Powers of Darkness presents the first ever translation into English of Stoker and Ásmundsson’s Makt Myrkranna. With marginal annotations by de Roos providing readers with fascinating historical, cultural, and literary context; a foreword by Dacre Stoker, Bram Stoker’s great-grandnephew and bestselling author; and an afterword by Dracula scholar John Edgar Browning, Powers of Darkness will amaze and entertain legions of fans of Gothic literature, horror, and vampire fiction.

***Full review below.***

Content Warnings: blood, racism

Because this book is a late 19th/early 20th century work of literature, I'm going to structure my review a little different from normal.

I first became aware that there was an "Icelandic version" of Dracula a few years ago. Hearing that it contained a different plot, different characters, and various allusions to Norse-Icelandic folklore, I was excited to read it and compare it to Stoker's novel. And boy, did this story take me on a wild ride.

I won't spoil the plot for anyone who wishes to discover how different (or similar) it is to Dracula, so instead, I'll focus on the edition by de Roos.

Overall, I found this edition to be fairly accessible for a casual reader yet it involved enough supplementary materials to satisfy someone with a more academic interest in the work. de Roos's introduction clearly laid out the relationship between Dracula and Powers of Darkness, and I found the diagrams of the castle to be very helpful. As for the text itself, I don't read a lot of Icelandic, so I can't speak to the quality of the translation, but I appreciated the notes in which de Roos explains his choices.

I also really loved the page layouts in this volume. I love a book with big, beautiful margins that leave enough space for me to make my own annotations, and I appreciated that the "footnotes" weren't at the bottom of the page, but just to the right or left to the text so I didn't have to move my eyes very far. Granted, this layout did mean that there was a lot of wasted space, so this edition will probably best serve those who will be writing directly on the page.

Overall, I award this book 4 stars because it was a wacky reading experience, made all the more engaging by de Roos's introduction and informational annotations. The only thing preventing me from giving it a full 5 stars is my subjective enjoyment of the text itself; I found part 2 to be rather awkward, and the descriptions of the "ape-like" people reeked of 19th century racism (though de Roos points this out). Still, if you're interested in Dracula and its legacy, you'd do well to pick up this book, though if you're doing serious scholarship, you should probably find an Icelandic language version too.

[havithreatendub4]

#Peoples Choice Awards #2016

[delightfulfeet]

Sandra Bullock, People Choice Awards 2016

[uwmspeccoll]

A Jerry Pickney Saturday

Jerry Pinkney (1939-2021) was a multi-award-winning American illustrator and children’s book author. His numerous awards include a Caldecott Medal (2010); five Caldecott Honor Book awards; five Coretta Scott King Book Awards (the most for any illustrator); five Coretta Scott King Honor Awards; the Coretta Scott King-Virginia Hamilton Lifetime Achievement Award (2016); the 2016 Laura Ingalls Wilder Award; four Gold medals, four Silver medals, and the 2016 Original Art Lifetime Achievement Award from the Society of Illustrators; and he was nominated twice for the Hans Christian Andersen Award, considered the Nobel Prize for children's literature, among many other awards and recognitions.

The images shown here are Pickney’s pencil, color pencil, and watercolor illustrations for children’s book author Alan Schroeder’s 1996 fictional biography, Minty, A Story of Young Harriet Tubman, published in New York by Dial Books for Young Readers. This book won Pickney the 1997 Coretta Scott King Book Award for Illustrator, and the book was a Cooperative Children's Book Center Choice for 1996.

Schroeder writes that “While Minty is a fictional account of Harriet Tubman’s childhood, and some scenes have been invented for narrative purposes, the basic facts are true.” Of illustrating this book, Pinkney writes:

The challenge that Minty initially posed for me came from not having a clear picture of Harriet Tubman’s early childhood. However, I was able to imagine the spirited eight-year-old Minty, using Alan Schroeder’s strong text and Harriet Tubman’s biography, The Moses of Her People, as springboards. The National Park Service was also helpful . . . as was the Banneker-Douglas Museum in Maryland, where extensive research uncovered the style of plantations around Maryland during Minty’s childhood and authentic details regarding backgrounds, dress, food, and living conditions of the enslaved as well as the slave owners. My interest was to give some sense of Minty’s noble spirit and open a window to understanding the day-to-day, sunup to sundown life of the slave, by individualizing the hardships in overwhelming circumstances.

In 1978 I was privileged to create the first Harriet Tubman commemorative stamp for the U.S. Postal Service. This book, then, brings me full circle with Harriet’s life and courage.

View another post with illustrations by Jerry Pinkney.

View more posts from our Historical Curriculum Collection.

View more Black History Month posts.

[rebeccalouisaferguson]

Angela Bassett earned an Oscar nomination for Best Supporting Actress for her role as a devoted mother in the sequel “Black Panther: Wakanda Forever.” So I couldn’t help but wonder while watching “Dune: Part Two” whether Rebecca Ferguson could follow a similar trajectory to awards glory.

The two roles are similar in that both women play mothers whose life partners are killed and whose children carry great power. Of course, beyond that there are significant differences. Bassett’s Queen Ramonda is thrust into leadership reluctantly after the deaths of her husband and son. Ferguson’s Lady Jessica, on the contrary, actively seeks power for herself and her child Paul (Timothee Chalamet), preying on people’s faith and fear in order to fulfill a prophecy.

But both actresses give standout performances among their films’ ensemble casts. Bassett lends emotional depth and raises the stakes of what might have been a conventional superhero sequel. Ferguson deepens her film’s narrative in a different way. We recognize her love for her son and unborn daughter, but there are subtle shades of Lady Macbeth underneath; her pure love for her family is twisted by a thirst for power. It’s through her unsettling performance that the film comments on the dangers of religious fanaticism and begins to suggest that Paul’s rise might not be as heroic as we’re first led to believe.

Clarisse Loughrey (The Independent) writes of the performances that “Chalamet and Ferguson take all that was regal and dignified about their performances, and apply to them a poisoned tip.” Brian Truitt (USA Today) adds that “Ferguson’s Lady Jessica rises to become a gripping ‘Dune’ persona, who goes from being extremely dry in the first film to an intriguingly determined figure.” Brian Tallerico (RogerEbert.com) argues that her “slippery performance” adds “flavors here that weren’t in the first outing.”

Ferguson’s career has been building for more than a decade now. She earned a Golden Globe nom for her breakthrough performance in the 2013 TV limited series “The White Queen.” A couple of years later she got a Critics Choice bid for Best Actress in an Action Movie for “Mission: Impossible – Rogue Nation” (2015). She also received a smattering of awards attention for her role in the “Shining” sequel “Doctor Sleep” (2019) and made additional appearances in awards contenders like “Florence Foster Jenkins” (2016), “The Girl on the Train” (2016) and “The Greatest Showman” (2017), but she has yet to be nominated by a major industry peer group like SAG, Emmy, BAFTA or Oscar.

The question, of course, is whether Ferguson can survive the gauntlet of the rest of the 2024-2025 awards season, which to be honest hasn’t even really begun yet and won’t get into high gear until this summer and fall’s festivals. Still, we’ve seen early releases survive the long haul of an Oscars campaign like “Black Panther,” “Everything Everywhere All at Once” and “Past Lives.” And the Oscar success of the first “Dune” film (six wins out of 10 nominations) indicates that awards voters will surely have this sequel on their radars. Will Ferguson also garner attention for her chilling performance?