#renata davis

[girlwhodoeskratom]

Carmen Marc Valvo Fall/Winter, 2000 Ready-to-Wear

[grapefruitey]

"Oh yeah, I have terrible taste." Sierra laughed. Well it was as good of a segue she could hope for. "That said, I uh, I was wondering if you'd want to hang out with me sometime? Preferably when I don't have to pay for your attention. Not that I'm against paying, I'm a proper gentleman." It was so unfortunate that she only got tongue-tied around pretty girls. It really harshed her vibe.

For a moment Renata bothered to pay attention to the customer she was serving, handing off the drink with a smile before she found herself gravitating back towards Sierra easily, brows raising as she took a second to lift her brows curiously. So, not her, but the drink specials. Renata grinned cheekily, hand resting on her hip. "So you love that locally brewed beer that tastes like shit. Hm. Now I'm starting to worry."

[the-weirdos-mind]

With the EAH AU coming back here’s who my OCs are related too

Estella; Successor of Cinderella/Daughter of Maribel

Cass; Daughter of Mabel Pines/Successor of Dipper

Romeo; Son of Mabel Pines

Stephanie; Daughter of Varian

Fanner; Successor of Bucky Barnes

Anwir; Son of Hans

Castor; Successor of Morph

Natalie; Daughter of Barbossa/ Successor of Elizabeth Swann

Dylan; Son of Will

Sam; Son of Jim Hawkins

Lo; Son of Jack Sparrow

Asher; Son of Barbossa

Silas; Son of Davy Jones

Maverick; Son of Prince Charming

Oscar; Son of Camilo/Successor of Bruno

Maya; Daughter of Camilo/Successor of Julieta

Renata; Daughter of Camilo/Successor of Pepa

Alastor; Son of Bill Cipher

Minzhe; Son of Melin Lee

Thurio; Successor of Doofenshrimz

Cato; Successor of Drakken

Khünbish; Son of Shan Yu

@adrianasunderworld @mangacupcake @writing-heiress @marrondrawsalot @anxious-twisted-vampire @abyssthing198

[watchingcbeams]

Compiled a bunch of reading lists/recommendations in my notes

Zen in the Art of Archery by Eugen Herrigel

A Doll’s House by Henrik Ibsen

The Garden Party by Katherine Mansfield

Rosencrantz and Guildenstern Are Dead by Tom Stoppard

And Strange at Ecbatan the Trees by Michael Bishop

In Between the Sheets by Ian McEwan

Invisible Cities by Italo Calvino

Amusing Ourselves to Death: Public Discourse in the Age of Show Business by Neil Postman

Camp Concentration by Thomas Disch

Tropic of Cancer by Henry Miller

The Drowned World by J.G. Ballard

Winesburg, Ohio by Sherwood Anderson

Engines of Logic: Mathematicians and the Origin of the Computer by Martin Davis

Go Tell It on the Mountain by James Baldwin

Notes of a Native Son by James Baldwin

Polemics by Alain Badiou

Smalltalk Best Practice Patterns by Kent Beck

Speedboat by Renata Adler

The Dynamics of Creation by Gregory Bateson

The Theoretical Minimum: What You Need to Know to Start Doing Physics by Leonard Susskind

A Clockwork Orange by Anthony Burgess

Hard to Be a God by the Strugatsky Brothers

The Invincible by Stanisław Lem

At Swim-Two-Birds by Flann O’brien

Appointment in Samarra by John O’Hara

Nickel and Dimed: On (Not) Getting By in America by Barbara Ehrenreich

Piranesi by Susanna Clarke

Down and Out in Paris and London by George Orwell

Far Away and Long Ago by W.H. Hudson

The Life of Jesus by Ernest Renan

The Maltese Falcon by Dashiell Hammett

The Stone Leopard by Colin Forbes

The Dream Master by Roger Zelazny

The Exile Waiting by Vonda McIntyre

Valis by Philip K. Dick

Nova by Samuel Delany

The Day of the Triffids by John Wyndham

The Fifth Head of Cerberus by Gene Wolfe

Martian Time Slip by Philip K. Dick

Ubik by Philip K. Dick

Lancelot by Walker Percy

Rabbit, Run by John Updike

Pulphead: Essays by John Jeremiah Sullivan

Laughter in the Dark by Vladimir Nabokov

A Beautiful Question: Finding Nature's Deep Design by Frank Wilczek

A Farewell to Arms by Ernest Hemingway

Bicycling Science (MIT Press) by David Gordon Wilson

Codex Seraphinianus by Luigi Serafini

Epic Measures: One Doctor. Seven Billion Patients by Jeremy R. Smith

How to Be Alone: Essays by Jonathan Frazen 

On Beauty by Umberto Eco

On Ugliness by Umberto Eco

Snow Falling on Cedars by David Guterson

South Wind by Norman Douglas

The Dispossessed by Ursula K. Le Guin

The Drunkard's Walk: How Randomness Rules Our Lives by Leonard Mlodinow

The Infinite Resource: The Power of Ideas on a Finite Planet by Rainer Zitelmann

The Knowledge: How to Rebuild Civilization in the Aftermath of a Cataclysm by Lewis Dartnell

The Soul of A New Machine by Tracy Kidder

The Upside of Stress: Why Stress Is Good for You, and How to Get Good at It by Kelly McGonigal

The World Without Us by Alan Weisman

This Will Make You Smarter by John Brockman (Editor)

Uncontrolled: The Surprising Payoff of Trial-and-Error for Business, Politics, and Society by Jim Manzi

Visual Explanations: Images and Quantities, Evidence and Narrative by Edward Tufte

Wonderland by Joyce Carol Oates

Wuthering Heights by Emily Brontë

Lady Chatterley's Lover by D.H. Lawrence

On the Road by Jack Kerouac

Handmaid’s Tale by Margaret Atwood

Childhood; Boyhood; Youth by Leo Tolstoy

Underground Railroad by Colson Whitehead

The World Without Us by Alan Weisman

Life of Pi by Yann Martel

The Sound and the Fury by William Faulkner

Run Rabbit by John Updike

House of Seven Gables by Nathaniel Hawthorne

Blood Meridian by Cormac McCarthy

The Jungle by Upton Sinclair

Life of Pi by Yann Martel

Tinker, Tailor, Soldier, Spy by John Le Carré

Master and Commander by Patrick O’Brien

The Master and Margarita by Mikhail Bulgakov

Midnight in the Garden of Good and Evil by John Berendt

A Confederacy of Dunces by John Kennedy Toole

The Coalwood Way by Homer Hickam

Hail and Farewell by George Moore

The American by Henry James

Victory by Joseph Conrad

Collected Poems by Robert Lowell

Collected Poems by W.H. Auden

Guerrillas by V.S. Naipaul

Madame Bovary by Gustave Flaubert

Sanctuary by William Faulkner

The Berlin Stories by Christopher Isherwood

The Collected Poems by Wallace Stevens

The Executioner's Song by Norman Mailer

The Good Soldier by Ford Madox Ford

The Short Stories of Guy de Maupassant by Guy de Maupassant

Watership Down by Richard Adams

The Ideological Origins of the American Revolution by Bernard Bailyn

Victory by Joseph Conrad

Grapes of Wrath by John Steinbeck

Life of Pi by Yann Martel

Cat's Eye by Margaret Atwood

The Enormous Room by E.E. Cummings

The Open Boat by Stephen Crane

The Best American Humorous Short Stories by Alexander Jessup

The Old Wives’ Tale by Arnold Bennett

The Red and the Black by Stendhal

The Revolt of the Angels by Anatole France

The Overstory by Richard Powers

Her Smoke Rose Up Forever by James Tiptree Jr.

Hyperion by Dan Simmons

Brothers Karamazov by Fyodor Dostoyevsky

Demon Copperhead by Barbara Kingsolver

Possession by A.S. Byatt

The Glass Bead Game by Hermann Hesse

De Facto Inclusions of Italo Calvino: The Baron in the Trees; The Nonexistent Knight; The Cloven Viscount by Italo Calvino

The Blue Hotel by Stephen Crane

Sister Carrie by Theodore Dreiser

Buddenbrooks by Thomas Mann

Of Human Bondage by Somerset Maugham

The Oxford Book of English Verse

Foucault's Pendulum by Umberto Eco

Battle Royale by Koushun Takami

The Oath by John Lescroart

Blind Assassin by Margaret Atwood

Midnight’s Children by Salman Rushdie

The Corrections by Jonathan Franzen

A Little Life by Hanya Yanagihara

The Brothers Karamazov by Fyodor Dostoyevsky

Swann’s Way by Marcel Proust

The Brothers Karamazov by Fyodor Dostoyevsky

Anna Karenina by Leo Tolstoy

John Keats and Percy Bysshe Shelley: Complete Poetical Works

Within a Budding Grove by Marcel Proust

Rainbow Six by Tom Clancy

The Power Broker: Robert Moses and the Fall of New York by Robert Caro

Jonathan Strange & Mr Norrell by Susanna Clarke

Way of Kings by Brandon Sanderson

War and Peace by Leo Tolstoy

[justforbooks]

The Italian pianist Maurizio Pollini, who has died aged 82, was one of the giants of the keyboard in the second half of the 20th century, and yet for all the respect he commanded, his playing was criticised throughout his career for being excessively cool and cerebral. When he took first prize at the 1960 Chopin competition in Warsaw, the chairman of the jury, Artur Rubinstein, declared: “That boy plays better than any of us jurors.” But that success proved to be only the prelude to the first controversial event of his career. He withdrew from the international concert circuit for 18 months to broaden his repertoire and develop other cultural interests. It was not until nearly the end of the decade that his performance schedule achieved a normal rhythm, but his full return in 1968, coinciding with a contract signed with the Deutsche Grammophon (DG) label, launched a series of triumphs on the concert platform and in the recording studio.

Classic recordings of Chopin Etudes, of music by Schumann and Beethoven, and of modernist repertoire such as Pierre Boulez’s Second Sonata consolidated his reputation and, at its best, Pollini’s playing combined expressive but unsentimental intimacy, tonal beauty, textural clarity and a formidable technique. Particularly in his later years, Pollini’s breathless, impatient delivery of Beethoven’s sonatas often seemed to deny their rhetoric, as though he was embarrassed by large romantic gestures or overt emotionalism.

Pollini’s cerebral instincts appeared to deprive him of the ability to live in the moment: romantic subjectivity, it seemed, had constantly to be interrogated.

Pollini was born in Milan. His father, Gino Pollini, was one of Italy’s leading architects of the interwar period; his mother, Renata (nee Melotti), who had studied singing and piano, was the sister of the modernist sculptor Fausto Melotti. Such a background, in which “old works and modern works co-existed together as part of life”, as Pollini later put it, was to have a formative influence on his own approach to art. The discovery of his musical talent led to lessons with Carlo Lonati and Carlo Vidusso (from 1955 at the Milan conservatory) and various competition successes prior to Warsaw. His 1963 London debut, playing Beethoven’s Third Piano Concerto with the LSO under Colin Davis, was criticised by the Times as “rushed” and over-impetuous.

Peter Andry, the responsible executive at EMI in the early 1960s, told in his autobiography, Inside the Recording Studio (2008), of the pursuit of the 19-year-old who had just won the prestigious Warsaw competition: “We quickly signed the young Italian, a slender, bespectacled young man with an elongated brow but a very pleasant manner.” One of their first (and only) projects together was a recording of the two sets of Chopin Etudes, Opp 10 and 25. It was not long after this that Pollini appeared to suffer a crisis of confidence. EMI sent him off to study for two years with the pianist Arturo Benedetti Michelangeli, but even as his musicality deepened, and reviews were often complimentary, Pollini retreated from the spotlight. He refused to allow the Etudes to be released – though this was in part because DG, shortly to sign Pollini as an exclusive artist, wanted to make their own version. The EMI sets were finally released only in 2011 (on Testament), winning plaudits for their spontaneity and freshness.

It was also in the 60s that music and politics first became intertwined in Pollini’s career. A friendship with a fellow-student, Claudio Abbado, a like-minded leftwing idealist, led them to seek radical ways of bringing classical music to factory workers, including a cycle of concerts at La Scala for employees and students. Another friendship, with the Marxist avant garde composer Luigi Nono, was equally important, resulting in the commission of two pieces for Pollini, including one for piano, voice and tapes, commemorating an assassinated Chilean revolutionary. Pollini’s radical outlook remained with him throughout his career, as did his intellectual approach to art and life. If too often that cerebralism seemed at odds with the heroic or passionate romantic sensibility of the music he played, there were compensations: the visionary gleam in a Chopin miniature; the anticipation of modernism in the ghostly finale of the same composer’s Second Piano Sonata.

Even when declining physical stamina took its toll in later recitals, Pollini commanded admiration of a sort for his continued willingness to pit himself against some of the most demanding works in the repertoire. The breathless impatience of his foreshortened phrases was unsettling, but glimpses of the old magic were still in evidence. The programming of his five-concert series The Pollini Project at the Royal Festival Hall, spread over five months in 2011 – which moved from Bach, through late Beethoven and Schubert to Chopin, Schumann, Liszt and Debussy to modernists such as Stockhausen and Boulez – represented a personal statement about landmarks in the history of piano music.

His interpretation of Boulez’s Second Sonata, notable for its precision and explosive energy, but also for its lyricism and Debussy-influenced pointillism, remains without peer. Stravinsky’s Petrushka likewise drew from him an incomparable muscularity coupled with tonal clarity that was ideally incisive rather than brutal. If Pollini’s playing was controversial, it was so because it explored the dichotomy of intellect and emotion fundamental to music-making.

He is survived by his wife, Marilisa (nee Marzotto), whom he married in 1968, and their son, Daniele.

🔔 Maurizio Pollini, pianist, born 5 January 1942; died 23 March 2024

Daily inspiration. Discover more photos at Just for Books…?

[deepestfunchaos]

Volturi Guard Fancasts

Gemma Chan as Heidi

Sam Clarifin as Felix

Tom Glynn-Carney as Demetri

Harry Collett as Alec

Emily Carey as Jane

Monet de Haan as Chelsea

Charles Michael Davis as Afton

Fabian Frankel as Santiago

Camilla Mendes as Renata

Natasha Liu Bordizzo as Corin

[banananutmilk]

Head Film Essay (1968)

Directed by Bob Rafelson and Jack Nicholson

Written by Jacob Christopher

“Of course Head is an utterly and totally fragmented film. Among other reasons for making it was that I thought I would never get to make another movie, so I might as well make 50 to start out with and put them all in the same feature." - Bob Rafelson

Head is a fun film, not because of it's plot, but it's absence of any sensical story direction at all. Released with it's corresponding album, the film utilizes the talents of the boy band The Monkees traversing through an obstacle of hijinks on their movie set, searching for sense trapped in a surrealist inspired story progression. Taking a satirical tongue and cheek approach to it's humor and messaging. Expressed through it's dialogue and formalistic style of cinematography, often the point is played vaguely and subtly due to it's delivery. Exemplified as a pariah for the time, The Monkees, Hollywood TV's answer to The Beetles. Were a Family TV show tied with music production, blurring the lines between actors and musicians. From mid-sixties to the year of 1967, The Monkees group of boys, Micky Dolenz, Peter Tork, Davy Jones, Michael Nesmith, soared towards the top of American notoriety and attention, before the inevitable downfall that waits for most manufactured trends.

In a glory of self destruction, the creator of The Monkees Bob Rafelson and the boys of the band had set to create a film as if it were their last opportunity to throw every editing tool and story beat, accumulating into a fun mess of a send off for the band. Ultimately flopping at the box office in extortionary fashion, only garnering $16,111 in the box office. The ticket sales in comparison to it's budget of $750,000 clearly show the disparity of the investment's outcome.

Reception during the airing of the movie was very mixed if not mostly negative, To quote a review of the time by  Renata Alder of The New York Times: Head "might be a film to see if you have been smoking grass, or if you like to scream at the Monkees, or if you are interested in what interests drifting heads and hysterical high-school girls." Alienating their audience of families due to the un-child friendly subject matters shown, while also unable to reach an adult audience due to the already concrete notions of The Monkees tween image. Despite the poor reception of the film upon release a cult following for the film had managed to be birthed from the film's obscurity and ambitious story telling.

The film is the lease bit conventional in everything it does, exemplified from it's camera cuts, video editing and especially the lack of coherent story progression. In the beginning sequences of the movie Mickey Dolenz jumps from a bridge and into the water, where psychedelics sequences of inverted colors and high contrasting visuals of mermaids swimming around his drowning body, transitioning backwards in time to the band being kissed by a woman, who rates all of the members to be about the same quality of partner. Where things become harder to describe is the plot of the film, or as many put it, the lack of a plot at all. However there is more to be dissected than just face value, or even what the film just shows you at all. Most of what makes Head (1968) interesting isn't just the summer of love aesthetic brought by the hippie movement, but also the martyr philosophy the the band and directors try to make of the novelty.

(Top Image: Article of MLK's assassination)

(Bottom Image: Moments before the execution of Nguyễn Văn Lém)

To emphasize the tumultuous times of the late sixties, Martin Luther King had unfortunately been assassinated in Memphis, and war waged furious. The scene that had staked itself into my attention, forcing me to see this film as something more than just zany 60s sitcom antics. Is that of the execution of Nguyễn Văn Lém, a captive of south Vietnamese troops. A polarizing scene to include, especially regarding The Monkees previous audience of children and family orientated television. For many it can be deemed as none less than shock, but also play part of the messaging of the time. 1968, the Vietnam War curtained prevalent over many lives. In usage of the execution, the scene plays also as commentary on what America's television programming hid from it's audience, The Monkees used as a blanket of blissful ignorance, but not anymore. Unappreciated for it's time, Head (1968) has aged into a relic of the past to be appreciated by a newer audience in retrospective perspective.

[sandwormsummoner]

MUSIC/INTERVIEW:

Beetlejuice: Thais Piza says she needs to “control herself not to laugh” during the musical

By Eduardo do Valle (@duduvalle)

Published on 02/27/2024, at 5:24 pm

Actress and singer returns to the stage alongside Eduardo Sterblitch and a great cast in a São Paulo production of a musical adapted from Tim Burton's work: 'it's poking fun at oneself.

Eduardo Sterblitch and Thais Piza behind the scenes of 'Beetlejuice, The Musical' (Personal collection)

Thais Piza is back on stage - and once again leading a celebrated musical. After shining as Vivian Ward in the production of Pretty Woman, the singer and actress now brings Barbara to life in Beetlejuice, The Musical, which premiered in São Paulo on the 21st.

The Brazilian adaptation of the Broadway show, Beetlejuice, The Musical arrives in São Paulo after a successful run in Rio de Janeiro. Here, it retains part of the structure and cast, notably Eduardo Sterblitch in the title role. Directed by Tadeu Aguiar and produced by Renata Borges Pimenta, the play has been praised for its distinctly Brazilian humor in adapting the classic story from Tim Burton's film: "The play was completely tailored to the Brazilian audience; we play with accents, well-known jokes, names, people, and situations."

Thais Piza in 'Beetlejuice, The Musical' (Rafa Marques/Blog do Arcanjo)

“Unlike a musical that comes, as we joke, 'canned,' in this one, we were able to adapt everything. It brought together the genius of Edu [Sterblitch], with the genius of Tadeu [Aguiar] and a team where we have incredible actors, like my scene partner, Marcelo Laham - it's a hit! Goal! Goal for Brazil... Record-breaking box office.”

For Thais, the invitation to join the cast of the São Paulo production came as a welcome challenge, materializing in less than a month of preparation to take the stage as Barbara - a character immortalized by Geena Davis in the 1988 film adaptation.

“It was a mix of happiness and madness to accept the invitation to play Barbara here in São Paulo because the play came ready, meaning I had a week to learn what the cast had built in two months,” the actress shares.

Thais Piza in 'Beetlejuice, The Musical' (Rafa Marques/Blog do Arcanjo)

Her character is part of a recently deceased couple, who become ghosts trapped in their old house. With the arrival of new tenants, she and her husband (Adam, played by Marcelo Laham) must learn how to scare the new occupants - and they do so with Beetlejuice himself. Speaking to Rolling Stone Brasil, Piza admits to having to hold back laughter at times - notably in scenes with Eduardo Sterblitch's Beetlejuice and João Telles, who have more freedom on stage.

“The sharp jokes fall more on Edu and João, who is the alternate Beetlejuice. We stick more to the script because we 'don't see' the audience like Beetlejuice does. And man, comedy is just that, poking fun at oneself, it's laughter at any cost.”

Beetlejuice, The Musical, is produced by Touché Entretenimento, with a cast of 26 people and over 100 professionals involved in the production. The show runs at Teatro Liberdade in São Paulo until April 21st. Tickets are available for purchase through Sympla.

↓ Read the full interview with Thais Piza below ↓

Rolling Stone Brasil: You approached Beetlejuice after a praised season in Pretty Woman. How did the opportunity arise and how much time did you have to prepare between the two projects?

Thais Piza: I received the invitation from Renata Borges less than a month after the end of Pretty Woman and about a month and a half before the São Paulo premiere. I am extremely grateful for bringing Vivian to life in Brazil, and I believe it was indeed a turning point in my career, but ever since I found out that Beetlejuice was coming to Brazil, I freaked out. I watched the play in New York and was ecstatic. It was a mix of happiness and madness to accept the invitation to play Barbara here in São Paulo because the play came ready, meaning I had a week to learn what the cast had built in two months. But this cast is so generous, so supportive, and Tadeu Aguiar is such an incredible director as well, that putting it all together ended up being easy, as far as possible [laughs]... Now I'm having too much fun on stage. I always say it was my most confident yes.

Rolling Stone Brasil: In the show, you portray Barbara, a role famously played by Geena Davis. What characteristics do you bring to the role, and how does this iconic interpretation from cinema influence you?

Thais Piza: Just as there was much talk about Julia Roberts in Pretty Woman, now Geena Davis is in the spotlight. And the answer is quite similar, yet different: Beetlejuice is a super comedy! Edu [Sterblitch] is a genius from whom I learn every day; he has become a dear friend, and as he himself said, "If Wicked is the Juliette of musicals, then we are the Gil do Vigor." The play was completely adapted for the Brazilian audience; we play with accents, well-known jokes, names, people, and situations. The starting point, as in Pretty Woman, will always be the film followed by the Broadway adaptation, but then comes the spice, the Brazilian essence. As I used to say: I'm not Julia Roberts, but I made my Vivian. And I repeat: I'm not Geena Davis, but I'm making my Barbara.

Thais Piza as Barbara in 'Beetlejuice, The Musical' (Andy Santana)

Rolling Stone Brasil: Since you mentioned the Brazilian essence, are there opportunities to bring any references or inspirations from our dramaturgy into such a rigid script like that of a musical? Did you consider any for the development of your role?

Thais Piza: I considered a friend who has the characteristics of Barbara [laughs]. I always like to imagine who the character could be in real life during the character's construction. And yes! Absolutely! There are many references to Brazilian things. Unlike a musical that comes, as we joke, "canned", like a Les Mis or a Phantom of the Opera, in this one, we were able to adapt everything. It brought together the genius of Edu, with the genius of Tadeu, and a team where we have incredible actors, like my scene partner, Marcelo Laham - a hit! Goal! Goal for Brazil... Record-breaking box office.

Rolling Stone Brasil: Beetlejuice navigates through a whimsical universe while also experimenting with a certain freedom, especially in the use of sharp humor. How does this musical adaptation explore these aspects?

Thais Piza: I love doing comedy. I love Tim Burton. Put it all together, mix it up, add Brazil, a cast of beasts, exquisite direction, and you get success. The sharp jokes fall more on Edu and João's shoulders, who is the alternate Beetlejuice. We stick more to the script because we "don't see" the audience like Beetlejuice does. And man, comedy is just that, poking fun at oneself, it's laughter at any cost. Our play is the one where you leave your problems at home and come to the theater with one single purpose, which is to have fun.

Rolling Stone Brasil: How has your experience been with the cast?

Thais Piza: I'll be brief: I think, to this day, this cast is in the "top 3 best casts" I've ever worked with. There's a lot of laughter, a lot of affection, a lot of fun, and a lot of professionalism. It's a different lesson in every session.

Eduardo Sterblitch e Thais Piza nos bastidores de 'Beetlejuice, O Musical' (Acervo pessoal)

Rolling Stone Brasil: Any favorite or surprising scenes you'd like to highlight?

Thais Piza: I have two! There's a scene where I always have to control myself not to laugh, which is when Edu, Laham, and I are in the attic, with Beetlejuice teaching the two goofy ghosts how to scare. And the other one is our duet called "Barbara 2.0" - where my character "stops being silly" and sings a song in the best Broadway style with extremely high notes - thank you, Rafael Villar, my singing teacher. I've been eagerly waiting since the beginning to perform this delightful number.

↓ SUPPORT THE ORIGINAL POST! ↓

[wildestdreamcatcher]

My Ocs Parents

A/N: Huge thank you to Eesa (@fromrussiawithlove-maddie ) for helping me with the names 🫶🏽🫶🏽🫶🏽

Ruby Vienna Alexander

Birthday: March 28th

Ruby is the oldest of 3 sisters and she grew up with loving but very strict and somewhat demanding parents.

She's religious and she's Catholic.

She's an overachiever in everything she does especially in school in sports. She was a straight A student all throughout her whole school career. She was on the cheer, volleyball, dance, and softball team

She doesn't really have a lot of friends. She struggles to make friends and she can come off as abrasive which makes her harder to build friendships.

Oldest daughter syndrome

She and Andrew have 2 kids together: Summer and Lennon.

She started dating Andrew in their towards the end of sophomore year and she ended up marrying him a few years later

She has a huge passion for dance. She majored in dance at college

Ruby was extremely close with Rebecca and he helped her a lot after Lexie was born

Andrew David Curtis

Birthday: October 11th

Andrew is the middle child out of 1 brother and a younger sister. He grew up kind of poor and he struggled a lot with self esteem issues

He's catholic but he isn't as religious as Ruby.

Andrew struggled a lot with self esteem issues rooting from the fact that he grew up in poverty and his "middle child syndrome".

He's best friends with Dylan and Elijah.

Andrew almost dropped out of school but he went to community college to become a mechanic.

Severe undiagnosed ADHD. He wasn't diagnosed until he was 41-42

He's not really close with his dad, especially growing up but he was close with his mom and siblings.

Married to Ruby.

He wasn't really popular in high school. He had 4 friends and he mainly hung out with those friends, his siblings and Ruby.

Elijah Alexander Matthews

Birthday: May 26th

Elijah is the youngest child of 3 brothers. He's not really close with his family at all, especially his parents. He's always had issues with his dad ever since he was 15

He got into a lot of trouble in high school. He was always doing something around town to get into trouble and he was hoping his parents would pay attention to him because of that.

After high school, Elijah moved to Vegas to get away from his parents

He's a yuppie. He'd always been one but once he got with his gf/wife, Cleo, he fully became one. Speaking of Cleo, he is the father of their 2 kids: Jude and Marley.

He moved around a lot as a kid because his father was in the military but his dad got discharged because of an injury he suffered in the war and they moved to Tulsa permanently.

Cleo Renata Davies

Birthday: June 4th

Cleo grew up in a coastal city in SC with her parents: Giovanni (John) and Alessandra (Alexandra) and her siblings: Mariah and Nicholas. She was super close with her family, especially her mom.

Her grandparents and parents are Italian immigrants. They immigrated a few years before the Great Depression.

After high school, she moved to Vegas with her friend and she started doing cosmetology there. In Vegas, she met Elijah at a bar: she was a lounge singer and he was a bartender. They started dating and they had Jude and Marley together.

She's a yuppie. She always had been and that's one of the reasons why her and Elijah bonded so quickly.

She used to do modeling a few years for catalogs and makeup/hair ads.

Cleo got really into astrology and tarot cards. She finds comfort in things like that

She's way more of a cat person than anything. She adopted a cat named Rose

Cleo has a lot of different tattoos and piercings

Rebecca "Becca" Madison James

Birthday: March 1st

Rebecca had a pretty good life. She's an only child and she's absolutely adored by her parents. She grew up in a super tight knit family

Becca is best friends with Ruby and Ruby was the godmother of her daughter, Lexie.

Rebecca had Lexie with her high school sweetheart but their relationship didn't end well and they divorced when Lexie was 3 months.

Becca has to drop out of college because she struggled to go to school and get her nursing degree. She did eventually go back to college when Lexie was 10 and she got her nursing degree when Lex was 15

She met Ruby in a dance class when they were 4 years old.

She enjoys making jewelry and crocheting.

Desiree Marie Davis

She's friends with Desiree and Cleo

Birthday: January 12th

Desiree grew up in Chicago. She has an older brother and she's super close to her family.

She moved to Atlanta when she was 10 and she decided to go to college in Tulsa because the college she went to had a great journalism program.

Desiree became friends with Ruby in college because they were roommates. She met Dylan through Ruby and Andrew

She works as a magazine interviewer and writer. She works for a fashion magazine

She volunteered at animal shelters all through out her life. She owns a lot of shelter pets because of that

She and Dylan have 3 daughters together: Roxanne, Lola and Olivia

Dylan Isaiah Randle

Birthday: May 16th

Dylan grew up a little more wealthier than his friends. His dad was a pharmacist and his mom was a nurse.

Dylan and Andrew became best friends in 9th grade. They met in science class and have been best friends ever since

Dylan met Desiree through Ruby. He had a crush on Desiree since he saw her on campus while he was getting his engineering degree and he and Desiree instantly hit off after meeting for the first time

He works as a civil engineer which was his dream job

Dylan loves animals and he and Desiree have 3 dogs and 2 cats together.

He loves working on stuff and he always does DIY projects around the house

Pictures found on Pinterest

@fromrussiawithlove-maddie @lyn-winston @80stacos @sadlonelyyogurt

[hatingwithfears]

BOOKS READ IN 2022

Here’s the complete list of books I managed to read in 2022.

168 books. 54,494 pages.

Renata Adler- Speedboat

Kendra Allen- The Collection Plate

Jonathan Alter- His Very Best: Jimmy Carter, A Life

Kenneth Anger- Hollywood Babylon

Jason Bailey- Fun City Cinema: New York City and the Movies That Made It

Peter Baker, Susan Glasser- The Divider: Trump in The White House 2017-2021

JG Ballard- The Atrocity Exhibition

Julien Barnes- Elizabeth Finch

Brit Bennett- The Vanishing Half

Charles M. Blow- The Devil You Know: A Black Power Manifesto

Anthony Bourdain- Medium Raw

Anthony Bourdain, Laurie Woolever- World Travel: An Irreverent Guide

Box Brown- Cannabis: The Illegalization of Weed in America

Mariah Carey, Michaela Angela Davis- The Meaning of Mariah Carey

Nick Cave & Sean O’Hagan- Faith, Hope, and Carnage

David Chang- Eat a Peach

Dan Charnas- Dilla Time

Leonard Cohen- A Ballet of Lepers

Lee Cole- Groundskeeping

Teju Cole- Black Paper

Ray Connolly- Being Elvis: A Lonely Life

Brian Contoir- Practical Alchemy

Antoine Cosse- Metax

Charles R. Cross- Here We Are Now: The Lasting Impact of Kurt Cobain

Daniele Cybulskie- How To Live Like a Monk

Travis Dandro- King of King Court

John Darnelle- Devil House

Michael Deforge- Heaven No Hell

Rita Dove- Playlist for the Apocalypse

David Duchovny- The Reservoir

Jennifer Egan- The Candy House

Robert Evans- The Kid Stays in The Picture

Scott Eyman- Cary Grant: A Brilliant Disguise

Nicolas Ferraro- Cruz

Mark Fisher- Ghosts of My Life

Mark Fisher- Capitalist Realism

Johnathan Franzen- Crossroads

Harry Freedman- Leonard Cohen: The Mystical Roots of Genius

Matti Friedman- Who By Fire: Leonard Cohen in the Sinai

James Gavin- George Michael: A Life

Lizzy Goodman- Meet Me in The Bathroom

Andrew Sean Greer- Less

Dave Grohl- The Storyteller: Tales of Life and Music

Joseph Hansen- Troublemaker

Joy Harjo- Poet Warrior

Robert Harris- The Ghost Writer

Noah Hawley- Anthem

Wil Haygood- Colorization: One Hundred Years of Black Film in a White World

Clinton Heylin- The Double Life of Bob Dylan

Andrew Holleran- The Kingdom of Sand

Michel Houellebecq- Serotonin

Sean Howe- Marvel Comics: The Untold Story

Dorthy B Hughes- In a Lonely Place

John Irving- The Fourth Hand

Walter Isaacson- Leonardo Da Vinci

Kazuo Ishiguro- Klara and The Sun

Junji Ito- No Longer Human

Robert Jones Jr- The Prophets

Saeed Jones- Alive at The End of the World

Stephen Graham Jones- My Heart is a Chainsaw

Rax King- Tacky

Stephen King- Billy Summers

Katie Kitamura- Intimacies

Chuck Klosterman- The Nineties

TJ Klune- Under The Whispering Door

Karl Ove Knausgaard- The Morning Star

Hideo Kojima- The Creative Dream

Milan Kundera- Slowness

Wally Lamb- I Know This Much is True

Yiyun Li- Dear Friend, from My Life I Write to You in Your Life

Thomas Ligotti- The Conspiracy Against The Human Race

Roger Lipsey- Make Peace Before the Sun Goes Down

Patricia Lockwood- No One is Talking About This

Ling Ma- Bliss Montage

Stuart B MacBride- Halfhead

Michael Mann & Meg Gardiner- Heat 2

Greil Marcus- Dead Elvis

Mike McCormack- Solar Bones

Jennette McCurdy- I’m Glad My Mom Died

Janelle Monae- The Memory Librarian

Ottessa Moshfegh- Lapvona

Leila Mottley- Nightcrawling

Alan Moore, Melinda Gebbie- Lost Girls

Grant Morrison- The Invisibles

Mannie Murphy- I Never Promised You a Rose Garden

Sequoia Nagamatsu- How High We Go in The Dark

Joyce Carol Oates- Blonde

Joyce Carol Oates- American Melancholy

John O’Connell- Bowie’s Bookshelf

Ryan O’Connell- Just By Looking at Him

Jenny Offill- Weather

Paul Ortiz- An African American and Latinx History of The United States

Hiroko Oyamada- The Factory

Hiroko Oyamada- The Hole

Helen Oyeymi- What is Not Yours is Not Yours

James Patterson- Hear No Evil

Larissa Pham- Pop Song

Brian Phillips- Impossible Owls

Stephanie Phillips- Why Solange Matters

Keith Phipps- Age of Cage

Michael Pollan- This Is Your Mind on Plants

Richard Powers- Bewilderment

Questlove- Music is History

Kristen Radtke- Seek You

Sue Rainsford- Follow Me to Ground

Claudia Rankine- Just Us: An American Conversation

George A Romero, Daniel Kraus- The Living Dead

Karen Russell- Orange World

George Saunders- A Swim in a Pond in The Rain

George Saunders- Liberation Day

Samantha Schweblin— Fever Dream

Leonardo Sciascia- Equal Danger

Mark Seal- Leave The Gun, Take The Cannoli

Seth- Clyde Fans

Alan Sepinwall- Breaking Bad 101

Zadie Smith- Feel Free

Won-Pyung Sohn- Almond

Bob Spitz- Led Zeppelin: The Biography

Elizabeth Strout- Oh William!

J Randy Taraborrelli- The Secret Life of Marilyn Monroe

Herve Le Tellier- The Anomaly

Manjit Thapp- Feelings

Olga Tokarczuk- The Books of Jacob

Jia Tolentino- Trick Mirror: Reflections on Self Delusion

Leo Trezenick- The Confession of a Mad Man

Stanley Tucci- Taste

Una- Becoming Unbecoming

Ocean Vuong- Time is a Mother

Chris Ware- Rusty Brown

WC Ware- Jimmy Corrigan

John Waters- Liarmouth

Peter Weiss- The Shadow of The Coachman’s Body

Missouri Williams- The Doloriad

Antoine Wilson- Mouth to Mouth

Sarah Winman- Still Life

Laurie Wollever- Bourdain: The Definitive Oral Biography

Kenneth Womack- Solid State: The Story of Abbey Road and The End of The Beatles

Hanya Yanagihara- To Paradise

Ed. Jelani Cobb & David Remnick- The Matter of Black Lives

Ed. Sinead Gleeson & Kim Gordon- This Woman’s Work: Essays on Music

[daikenkki]

US Open 2024 - Women's Singles Draw:

Iga Swiatek (1) (POL) vs Kamilla Rakhimova (LL)

Daria Saville (AUS) vs Ena Shibahara (Q) (JPN)

Elisabetta Cocciaretto (ITA) vs Kateryna Baindl (PR) (UKR)

Taylah Preston (WC) (AUS) vs Anastasia Pavlyuchenkova (25)

Mirra Andreeva (21) vs Camila Osorio (COL)

Shuai Zhang (PR) (CHN) vs Ashlyn Krueger (USA)

Eva Lys (Q) (GER) vs Marie Bouzkova (CZE)

Qiang Wang (PR) (CHN) vs Liudmila Samsonova (16)

Danielle Collins (11) (USA) vs Caroline Dolehide (USA)

Cristina Bucsa (ESP) vs Sara Errani (ITA)

Anna Karolina Schmiedlova (SVK) vs Clara Tauson (DEN)

Nadia Podoroska (ARG) vs Diana Shnaider (18)

Katie Boulter (31) (GBR) vs Aliaksandra Sasnovich (Q)

Jessica Bouzas Maneiro (ESP) vs Petra Martic (CRO)

Emma Raducanu (GBR) vs Sofia Kenin (USA)

Shelby Rogers (PR) (USA) vs Jessica Pegula (6) (USA)

Elena Rybakina (4) (KAZ) vs Destanee Aiava (Q) (AUS)

Jessika Ponchet (Q) (FRA) vs Saisai Zheng (PR) (CHN)

Caroline Wozniacki (DEN) vs Nao Hibino (Q) (JPN)

Renata Zarazua (MEX) vs Caroline Garcia (28) (FRA)

Beatriz Haddad Maia (22) (BRA) vs Elina Avanesyan (ARM)

Sara Sorribes Tormo (ESP) vs Alexa Noel (WC) (USA)

Anna Bondar (HUN) vs Bernarda Pera (USA)

Lauren Davis (PR) (USA) vs Anna Kalinskaya (15)

Jelena Ostapenko (10) (LAT) vs Naomi Osaka (WC) (JPN)

Karolina Muchova (CZE) vs Katie Volynets (USA)

Brenda Fruhvirtova (CZE) vs Varvara Lepchenko (Q) (USA)

Anastasia Potapova vs Leylah Fernandez (23) (CAN)

Yulia Putintseva (30) (KAZ) vs Linda Noskova (CZE)

Xinyu Wang (CHN) vs Arina Rodionova (Q) (AUS)

Mayar Sherif (EGY) vs Karolina Pliskova (CZE)

Bianca Andreescu (WC) (CAN) vs Jasmine Paolini (5) (ITA)

Barbora Krejcikova (8) (CZE) vs Marina Bassols Ribera (Q) (ESP)

Julia Grabher (PR) (AUT) vs Elena-Gabriela Ruse (Q) (ROU)

Martina Trevisan (ITA) vs Taylor Townsend (USA)

Viktorija Golubic (SUI) vs Paula Badosa (26) (ESP)

Victoria Azarenka (20) vs Yuliia Starodubtseva (Q) (UKR)

Clara Burel (FRA) vs Sloane Stephens (USA)

Diane Parry (FRA) vs Xiyu Wang (CHN)

Yafan Wang (CHN) vs Maria Sakkari (9) (GRE)

Emma Navarro (13) (USA) vs Anna Blinkova

Ana Bogdan (ROU) vs Arantxa Rus (NED)

Chloe Paquet (WC) (FRA) vs Harriet Dart (GBR)

McCartney Kessler (WC) (USA) vs Marta Kostyuk (19) (UKR)

Elina Svitolina (27) (UKR) vs Maria Lourdes Carle (ARG)

Oceane Dodin (FRA) vs Anhelina Kalinina (UKR)

Tatjana Maria (GER) vs Solana Sierra (Q) (ARG)

Varvara Gracheva (FRA) vs Coco Gauff (3) (USA)

Qinwen Zheng (7) (CHN) vs Amanda Anisimova (WC) (USA)

Erika Andreeva vs Yue Yuan (CHN)

Tamara Korpatsch (GER) vs Moyuka Uchijima (JPN)

Jule Niemeier (GER) vs Dayana Yastremska (32) (UKR)

Donna Vekic (24) (CRO) vs Kimberly Birrell (Q) (AUS)

Greet Minnen (BEL) vs Magdalena Frech (POL)

Peyton Stearns (USA) vs Lesia Tsurenko (UKR)

Jaqueline Cristian (ROU) vs Daria Kasatkina (12)

Madison Keys (14) (USA) vs Katerina Siniakova (CZE)

Maya Joint (Q) (AUS) vs Laura Siegemund (GER)

Ajla Tomljanovic (PR) (AUS) vs Ann Li (Q) (USA)

Veronika Kudermetova vs Elise Mertens (33) (BEL)

Ekaterina Alexandrova (29) vs Viktoriya Tomova (BUL)

Magda Linette (POL) vs Iva Jovic (WC) (USA)

Lulu Sun (NZL) vs Lucia Bronzetti (ITA)

Priscilla Hon (Q) (AUS) vs Aryna Sabalenka (2)

[ulkaralakbarova]

Five twenty-something friends spend a drug-fueled weekend in Cardiff, Wales. Credits: TheMovieDb. Film Cast: Jip: John Simm Koop: Shaun Parkes Nina: Nicola Reynolds Lulu: Lorraine Pilkington Moff: Danny Dyer Lee: Dean Davies Felix: Andrew Lincoln Moff’s Father: Terence Beesley Reality (voice): Jo Brand Andy: Richard Coyle Karen Benson: Jan Anderson Pablo Hassan: Carl Cox Fleur: Stephanie Brooks Howard Marks: Howard Marks Jip’s Mother: Helen Griffin Tyrone: Danny Midwinter Ziggy Marlon: Justin Kerrigan Hip Hop Junkie: Tyrone Johnson Koop’s Father: Larrington Walker Jip’s Manager: Philip Rosch Lulu’s Uncle Albert: Peter Albert Lulu’s Auntie Violet: Menna Trussler Jeremy Faxman: Mark Seaman Connie: Lynne Seymour Luke: Patrick Taggart Boomshanka: Anna Wilson Casey: Robert Marable Herbie: Nick Kilroy Matt: Peter Bramhill Moff’s Mother: Carol Harrison Moff’s Grandmother: Anne Bowen Martin: Giles Thomas Jip’s Ex #2: Sarah Blackburn Doctor: Eilian Wyn Asylum Doorman: Neil Bowens Jip’s Ex #3: Nicola Davey Inca: Roger Evans Tyler: Bradley Freegard Trixi: Emma Hall Jip’s Ex #1: Elizabeth Harper Jip’s Secretary: Jennifer Hill TV Interviewer: Nicola Heywood-Thomas Casey: Robert Marrable Cardiff Bad Boy: Louis Marriot Millsy From Roath: Millsy in Nottingham Karen Benson’s Boyfriend: Robbie Newby Tom Tom’s MC: Ninjah Jip’s Mother’s Client: Cadfan Roberts Koop’s Workmate: Mad Doctor X Bad Boy: Jason Samuels Breakdancer / Bodypopper: Tim Hamilton Bodypopper: Alicia Ferraboschi Bodypopper: Sherena Flash Bodypopper: Marat Khairoullin Bodypopper: Adam Pudney Bodypopper: Mark Seymore Bodypopper: Algernon Williams Bodypopper: Colin Williams Bodypopper: Frank Wilson Film Crew: Supervising Sound Editor: Glenn Freemantle Sound Editor: Tom Sayers Dialogue Editor: Gillian Dodders Casting Director: Sue Jones Additional Editing: Stuart Gazzard Associate Producer: Rupert Preston Producer: Allan Niblo Director: Justin Kerrigan Producer: Emer McCourt Co-Executive Producer: Michael Wearing Steadicam Operator: Paul Edwards Second Assistant Director: Marcus Collier Sound Re-Recording Mixer: Craig Irving Editor: Patrick Moore Director of Photography: Dave Bennett Costume Designer: Claire Anderson Original Music Composer: Matthew Herbert Set Dresser: Ed Talfan Sound Recordist: Martyn Stevens Production Coordinator: Andrea Cornwell Post Production Supervisor: Jackie Vance Post Production Coordinator: Claire Mason ADR Recordist: Sandy Buchanan Gaffer: Andrew Taylor Sound Re-Recording Mixer: Nicolas Le Messurier Script Supervisor: Laura Gwynne Assistant Sound Editor: Susan French Music Supervisor: Pete Tong Makeup & Hair: Kerry September First Assistant Director: Charlie Watson Post Production Supervisor: Maria Walker Second Assistant Director: Matthew Penry-Davey Assistant Editor: Amy Adams Foley Editor: Miriam Ludbrook Original Music Composer: Roberto Leite Storyboard Artist: Nick Kilroy Dialogue Editor: Keith Marriner Makeup Designer: Tony Lilley First Assistant Director: Emma Pounds Music Consultant: Arthur Baker Co-Executive Producer: Kevin Menton Electrician: Mark Hutchings Boom Operator: Jeff Welch Costume Assistant: Karen Mason Casting Director: Gary Howe Production Design: David Buckingham Co-Executive Producer: Nigel Warren-Green Executive Producer: Renata S. Aly Art Direction: Sue Ayton First Assistant Director: Hywel Watkins Third Assistant Director: Tivian Zvekan Location Manager: Peter Vidler Location Manager: Frank Coles Assistant Location Manager: Roland Mercer Focus Puller: Mike Chitty Clapper Loader: Ewan O’Brien Key Grip: David Hopkins Construction Manager: Martin Dawes Property Master: John C. Reilly Set Dresser: Riana Griffiths Art Department Assistant: Jacqui Puscher Storyboard Artist: Deena Mathews Costume Supervisor: Anne McManus Makeup & Hair: Hanna Coles Still Photographer: Hector Bermejo Unit Publicist: Jessica Kirsh Movie Reviews: zag: One of my favorite films of all time, its a period movie describing the young party goers of the UK in the 1990’s. It hits the nail on the head, the lov...

[sporadiceagleheart]

we all can go to God in prayer we can pray for the angels that was young and innocent and passed away rest in peace to those Angels Mei Shan “Linda” Leung, Tristyn Tyne “Tree” Bailey, Shirley Temple, Heather O'Rourke, Judith Eva Barsi, Saffie-Rose Brenda Roussos, Sara Sharif, Ava Jordan Wood, Katelyn Nicole “Dolly” Davis, Renata Igorevna “Rina Palenkova” Kambolina, Skylar Annette “Sky” Neese, Elizabeth Jessica “Lizzy” Shelley, Liliana Marie “Lily” Peters, Olivia Elouise (Liv)

PRATT- KORBEL, Charlotte “Charlie” Figi, Renesmee Jane-Ann Grenat, Renesmee Rose Ida-Lee Bridges, Elizabeth Short, Nelly Tarszis, Eleanor Parke “Nelly” Custis Lewis, Nellie Bly, Helen “Nellie” Herron Taft,

[dumberme]

The Ghost Dogs of the Amazon

Scientists have produced data that shows the range of an enigmatic short-eared canid species that has yet to be widely studied. It is one of the Amazon rain forest’s most elusive and enigmatic mammals. Experts call the species “shy” or even “a ghost.”

It’s a dog or at least a type of dog. The short-eared dog is the only member of the canine genus Atelocynus, and the only such species unique to the Amazon rainforest. In a study published last month in Royal Society Open Science, 50 researchers chipped away at the creature’s mysteries by putting together a large location data set gleaned mostly from camera trap cameos. By mapping the species’s range and determining its preferred habitat, the scientists, many of whom have never encountered the animal in person, hope to help protect it.

Daniel Rocha, a graduate student at the University of California, Davis, and the study’s lead author, became interested in the short-eared dog in 2015, when he began working in the southern part of the Amazon. He and his colleagues set up camera traps to study the local mammal community. As they looked through the footage, “these dogs would appear,” he said. With pricked ears and furrowed brows, they almost look surprised to be caught on camera. It surprised him, too. Even locals who spend a lot of time in the Amazon don’t often see short-eared dogs, which were assumed to be quite rare. They also evade career researchers focused on this region: Mr. Rocha, who spent years leading this study, said, “I’ve never seen the dog in the jungle, ever.”

Carlos Peres, an ecology professor at the University of East Anglia who contributed to the study, has been working in the Amazon for nearly 40 years. His longest sighting of a short-eared dog lasted about 20 seconds as it chased a spiny rat into a hollow log. They’re incredibly secretive,” he said.

Many canid species, from wolves to African wild dogs, hunt in packs and prefer more open habitats, like tundra or grasslands. Short-eared dogs, which only live in the Amazon, are mostly solitary and “almost certainly the most rainforest-adapted of all the canids,” said Dr. Peres. They are most comfortable trotting around in the trees, far from anywhere people might tread.

As a result, the species is “one of the least studied dogs worldwide,” Mr. Rocha said. We don’t know much about their life histories or reproductive strategies, or how many of them exist. We don’t even really know what they eat, although scat studies suggest that they like fish, small mammals and fruit.

Individual experts have gone to great lengths to change that. Renata Leite Pitman, a contributor to the study and an affiliated scholar at Duke University’s Nicholas School of Environment, once obtained a short-eared dog pup that had been raised with domestic dogs. She and her assistant, Emeterio Nuñonca Sencia, trained the dog to walk on a leash and took careful notes on what he sniffed at, ate and avoided. She has also managed to track several dogs with radio collars.

[rileykeouhg]

10 characters, 10 fandoms

tagged by @maisieepeters 🩷

in no particular order:

piper halliwell (charmed)

blair waldorf (gossip girl)

daphne sullivan (the white lotus)

elizabeth zott (lessons in chemistry)

peggy carter (mcu)

renata klein (big little lies)

rachel zane (suits)

daisy jones (daisy jones & the six)

kate sharma (bridgerton)

brooke davis (one tree hill)

tagging @useragarfield, @layla-keating, @keirahknightley, @narliee, @clubglee <3

[ocombatenterondonia]

Durante entrevista ao Fantástico, Wanessa Camargo dá sua versão sobre expulsão:

Durante entrevista concedida ao Fantástico, que vai ao ar neste domingo (17), Wanessa Camargo deu sua versão e relatou não ter agredido Davi Brito no BBB 24. , ela descreveu o incidente que ocasionou na sua expulsão como uma “brincadeira sem gra��a”. “Foi uma coisa sem querer, uma brincadeira inconveniente, sem graça. Mas não uma agressão”, disse para a repórter Renata Ceribelli. Ela afirmou que…