#ryan fletcher icons

[editfandom]

AMERICAN HORROR STORIES, S03E08 | Debby Ryan as Jillian Fletcher

[moonlover9191]

Not in a sexual way—He looks so comforting to hug. I need a Owen in my life😭

I need Owen Teague so bad yall

It’s not even funny anymore

FUCKKKKKK

[dear-indies]

who are some of your favorite trans and/or nonbinary fcs of color in the 21-28 age range? i'm trying to find ideas for a discord rp character, so gif or icon resources are not a requirement. thank you so much!

Jesse James Keitel (1993) - is a trans woman.

Eve Lindley (1993) - is a trans woman.

Ryan Cassata (1993) - is a trans man.

Summer Luk (1994) Chinese - is a trans woman.

Sky Teotico (1994) Tagalog Filipino and some Spanish, according to Sky himself he identifies as mestizo - is a trans man.

Zión Moreno (1995) Mexican of Unspecified Indigenous and Spanish - is a trans woman.

Sydney Mae Diaz (1995) Unspecified - is a trans man.

Miles McKenna (1995) - is a trans man.

Eva Reign (1995) African-American - is a trans woman.

AJ Clementine (1996) Filipino and White - is a trans woman.

Liniker (1995) Afro Brazilian - is a genderfluid trans woman.

Elliot Fletcher (1996) - is a trans man - has stated that if you roleplay using him as a faceclaim to not comment on his body.

Leo Sheng (1996) Chinese - is a trans man.

Nicole Maines (1997) - is a trans woman.

Asuka (1998) Japanese - is a trans woman.

Nakayama Satsuki (1998) Japanese - is a trans man and is asexual.

Georgie Stone (2000) - is a trans woman.

Quei Tann (2000) African-American - is a trans woman and a lesbian.

Tylan Grant (2001) Zambian / English - is a trans man - is autistic.

Josie Totah (2001) Palestinian Arab / Lebanese Arab, Italian, Irish, German - is a trans woman.

Casil Mcarthur (?) - is a trans man.

Third gender:

T'áncháy Redvers (1994) Denesuline, Metis, Unspecified White - two-spirit and genderfluid and pansexual (they/them).

Peshawn Bread (1996) Comanche, Blackfoot, Kiowa - two-spirit and queer (she/they).

Non-binary:

Dua Saleh (1994) Tunjur Sudanese - non-binary (they/them).

T'áncháy Redvers (1994) Denesuline, Metis, Unspecified White - two-spirit and genderfluid and pansexual (they/them).

Mason Alexander Park (1995) Spanish and Mexican - non-binary (they/them).

Liniker (1995) Afro Brazilian - is a genderfluid trans woman.

Kehlani (1995) Filipino, African-American, Blackfoot, Cherokee, Choctaw, Mexican, French, Spanish, Scottish, English, German, Irish, Welsh, Cornish - non-binary womxn and a lesbian (she/they).

Elena Heuzé (1995) Filipino - non-binary (they/them).

Terry Hu (1995) Unspecified - queer and non-binary (they/them).

Travis Alabanza (1995) Black and Filipino - non-binary (they/them).

Bilal Baig (1995) Pakistani - non-binary (they/them).

Quintessa Swindell (1997) African-American / White - non-binary (he/they).

Misha Osherovich (1997) Ashkenazi Jewish - non-binary (they/them).

Kaiit (1997) Papuan, Gunditjmara, Torres Strait Islander - non-binary - (she/he/they).

Aida Osman (1997) Eritrean - non-binary (she/they).

Blu del Barrio (1997) Argentinian - non-binary (they/them).

Fin Argus (1998) - genderqueer (they/them).

Celeste O'Connor (1998) Kenyan - non-binary (they/them).

Gabe Adams-Wheatley (1998) Brazilian - non-binary (he/she) - has Hanhart syndrome.

Dove Clarke (1999) Siksika Blackfoot, Black American - non-binary, bisexual, is Autistic, and has ADHD (any pronouns).

Miss Benny (1999) - non-binary (they/she/he).

Sivan Alyra Rose (1999) Chiricahua Apache / Afro-Puerto Rican, Creole - is genderfluid and pansexual (she/they).

Lizeth Selene (1999) Mexican - genderfluid and is queer (she/they).

Zoe Terakes (2000) - non-binary trans masc (they/he).

Ceci Balagot (2001) Filipino / White - non-binary (he/they).

Ian Alexander (2001) Vietnamese / White - non-binary (they/he).

Jesse Leigh (?) Chinese - non-binary (they/them).

Here you go, bolded the ones with no resources if anybody wants to make some!

[mbtiblogfun]

MBTI INFP romantic pairings and couples:

INFP x INFP

——

As per request here we have a few INFP x INFP couples lol. I did some quick googling and didn’t find that many lol, but I actually have a couple of iconic ones you may or may not know of.

So on the list:

Romeo and Juliet (1996 ver pictured 1st, 1968 ver pictured 2nd)

Classic Shakespeare lol. The 1996 ver stars Leo DiCaprio and Claire Danes and the 1968 ver stars Olivia Hussey and Leonard Whiting. Some reviews online say the 1968 version is better because it was more accurate to the story, but other reviews say that the 1996 version is more romantic. I've only seen clips of the 1996 film in class so I can’t really compare the two. However the 1996 version is supposed to be a more modern take on Romeo and Juliet. West Side Story (2021 and 1961)

Speaking of modern adaptations, West Side Story is a beautiful modern spin off of the Romeo and Juliet story. I've seen both the 1961 ver and the 2021 ver and I honestly love them both so much, and I will never shut up about how much I love the soundtrack. Heathers (Musical)

The movie and the musical are different, in the movie Veronica's an INFJ while JD is an ENTP, but in the musical they’re both INFPs lol.

(Top photo: Jamie Muscato as JD and Carrie Hope Fletcher as Veronica Bottom photo: Ryan McCartan as JD and Barrett Wilbert Weed as Veronica)

[mytearsrricochet]

list of celebrities/musicians/media personalities who have spoken up for taylor

i’ll add to this list as it goes on, but here is a list of people/groups who have spoken up for taylor by either retweeting, liking, or commenting on the matter (regardless of their industry or following). THEY ARE NOT IN ANY ORDER, just in the order that i’ve seen it.

Jameela Jamil (actress)

Jessica Chastain (actress)

Conan Gray (musician)

Todrick Hall (musician)

Halsey (musician)

Selena Gomez (musician)

Camila Cabello (musician)

Sara Sampaio (model/actress)

Catie Turner (musician)

The Regrettes (musicians)

Tim Froggy (radio personality)

Mad Cool Festival Team (festival group)

Bradley Will Simpson (musician)

Derik Fein (musician)

Andrew Huang (musician)

Nick Viall (CEO)

The Anchoress (musician)

Erik Jensen (actor)

Leigh Van Bryan (actor)

Alice (musician)

Shaun Dooley (actor)

Martha Hunt (model) x

Gigi Hadid (model)

Alexandria Ocasio-Cortez (politician)

Lily Allen (musician)

Hayley Sales (musician)

Travis Flores (motivational speaker)

Ella Eyre (musician)

Peter Hollens (musician)

James O’Brien (author/podcaster)

Rob Schneider (actor)

Aimee (musician)

Ashley Ianconetti (bachelor contestant)

Edith Bowman (TV/radio personality)

Lauren Aquilina (musician)

James McVey (musician)

Nina Nesbitt (musician)

Angie Thomas (author)

Allie Thomas (USWNT soccer player)

NIKI (musician)

Niki Demar (musician)

Chelsea Briggs (Billboard contributor)

Alan Cumming (actor/musician)

Sara Bareilles (musician)

Simon Curtis (musician)

Ricky Dillon (youtuber)

Sarah Schauer (youtuber)

Addy Miller (actress)

Brian Fallon (musician)

Ron Bultongez (musician)

Rachel Zegler (actress/musician)

Bobby Berk (actor)

Laura Lux (social media star)

Michael MacRae (filmmaker)

Lauren Sanderson (musician)

Echosmith (musicians)

OkCupid (dating app team)

Grindr (dating app team)

Nine Days (musicians)

Joel Little (musician)

Paul Vigna (author)

SaraBeth (musician)

Tessa Violet (musician)

Spencer Pratt (social media star/actor)

Hindia (musician)

DistroKid (music company)

Slayyyter (musician)

Annenberg Inclusion Initiative (music based research company)

Damon Fizzy (youtuber)

Parson James (musician)

Kara Swisher (podcaster)

Rob Sheffield (Rolling Stone writer)

Alanah Pearce (podcaster/producer)

Emily Vaughn (musician)

Randy Havens (actor)

Stranger Things writing team (writers)

Piya Sinha-Roy (film editor)

Joe Lamour (musician)

Icon For Hire (musicians)

Percy Jackson Musical (Broadway cast)

Linz DeFranco (vlogger)

Rebecca Black (musician)

Jessie Paege (youtuber)

Demi Burnett (bachelorette)

Emily Andras (actress)

Lily Lane (musician)

Rebecca Reid (author)

Tinashe (musician)

Undrea (actress)

Daphne Osena Paez (author)

Phillip Henry (comedian)

Greg Miller (comedian)

Damian McGinty (musician/actor)

Garon Cockrell (screenwriter)

Anthony Amorim (musician)

Jade Jolie (drag queen/actress)

Emma Blackery (musician)

Tommy Vietor (podcaster)

Erin Robinson (youtuber)

Ciara King (author)

Ron Hogan (writer/editor)

Nils Lofgren (musician)

Torres (musician)

ATRL (music publication)

Janick Thibault (musician)

James Graham (musician)

Katie Stevens (actress)

Jesse Tyler Ferguson (actor)

Iggy Azalea (musician)

Maren Morris (musician)

Azealia Banks (musician)

Jordan Pruitt (actress)

Dodie (musician)

Mike Birbiglia (author)

Ruby Rose (actress)

Hilary Duff (actress/musician)

Antoni Porowski (actor)

Bryana Salaz (actress)

Best Ex (musician)

Lucy Moon (vlogger/podcaster)

Roisin Ingle (author/podcaster)

Jason Dottley (actor/musician/producer)

Marsha Blackburn (politician)

Connar Franklin (model)

Kurt Eichenwald (author)

Cher (musician)

Kathy Griffin (actress/comedian)

Emma White (musician)

Elizabeth Warren (politician)

Ryan Tedder (musician)

Geoffry Rickley (musician)

Cara Delevingne (model/actress)

Roxane Gay (author)

Kaya Jones (conservative personality/musician)

Tomi Lahren (bitch ass hoe)

Andrew Yang (politician) *tweeted by a staffer but he retweeted

Adam Rippon (Olympic athlete)

Hayley Kiyoko (musician)

Fletcher (musician)

Christina Perri (musician)

Justin Mikita (lawyer/activist/producer)

Ne-Yo (musician)

[riathel]

Thoughts about Shelley and the Unresolved Questions of Season 12

Well, I am writing a meta post about the Timeless Children and why I think it adds such an interesting complexity to the Master’s relationship with the Doctor, but in the meantime, while I process that finale, I wanted to write about something I’ve noticed this entire season.

The connection to the Shelleys and to Byron.

To TL;DR this post:  I think that next season, we’ll get an answer to who the Kasaavin are, it will tie into Percy having had the Cyberium in him (and it having been around Byron’s house), and we’ll get some huge development for Yaz, the Master and the Doctor, as they’ve all been in the Kasaavin realm.

Let’s recap all the times we’ve lingered around Byron and the Shelleys this season, shall we? This includes some very brief history lessons, and I will be including links!

Episode 2: Spyfall Part 2

We meet Ada Lovelace, who has a connection to the Kasaavin. She sees them in her dreams, she’s the one to rescue the Doctor from their realm. Brief history lesson: Ada Lovelace was an absolutely BRILLIANT mathematician and the parent of computers. She was also the only legitimate child of Lord Byron and his wife. She died in 1852 at age 36, taken far too young. I’ll post the scene here for benefit:

[Kasaavin realm] ADA: Please be assured all this will pass. I shall be recovered momentarily. DOCTOR: When you say recovered, what do you mean? ADA: The paralysis will fade. DOCTOR: You don't look paralysed. ADA: Not in this realm, but in my earthly aspect. DOCTOR: Right. What's your name? ADA: I am Ada. DOCTOR: And what do you think this realm is, Ada? ADA: I believe it to be my mind. Though I have not met another here before. DOCTOR: Then what do you think I am? ADA: I presume you are a consequence of my thoughts. DOCTOR: No. I'm the Doctor, and I'm very real. But you've been here before? ADA: Many times. When the paralysis subsides, I find myself fully back in my body, restored in the physical realm. If you are real, do you have your own solution for egress from here? DOCTOR: No exit strategy. Before I leave, I need to work out what this place is. Oh! Those fragments of light or energy, why are they surrounding you? ADA: They are always here with me. They place a word in my mind. Kasaavin? (One of the light creatures appears.) DOCTOR: Ada, step away. ADA: Do not be afraid. This is my guardian. DOCTOR: This is their realm. This is where they're from. But how did you bring us here? Unless... You can't be. But you must be. What, gateways? We go through you and arrive in your realm? I say realm. It's not a planet, not really a void. A separate dimension? Are we beyond our... my universe? ADA: Little of what you are saying makes sense to me, but I am concerned you'll be marooned here. When my guardian has returned... DOCTOR: They're not your guardians. ADA: I can offer you my hand. We may leave this place together. DOCTOR: I don't think that will work. ADA: How will you know if you do not try? Decide, Doctor.

Later in the episode:

DOCTOR: If you're Charles Babbage, then you're not just any old Ada. You're Ada Lovelace, daughter of Lord Byron and Annabella Milbanke, one of the great minds. ADA: I am Ada Gordon, madam. DOCTOR: 1834. Of course you are. Well, maybe one day, who knows, you might meet a nice Earl. This changes everything! This isn't an accident. Ada Lovelace in Babbage's house? You're clues. You're important.

Charles Babbage has the Silver Lady (aka the Kasaavin device) in his house, but Ada is the one who has been being visited by them.

DOCTOR: Ada, when was your first paralysis? ADA: I was 13 years old. That is when I was first transported to the place where we met, and I first saw an apparition. DOCTOR: And over the years, the paralysis recurs with the same effect? ADA: Yes. No doctor has ever been able to diagnose the cause. DOCTOR: Well, this Doctor may be able to. An apparition, from this machine. BABBAGE: Correct. DOCTOR: So, they take you, Ada, multiple times from here and they study you in their dimension, which means they can't be in this dimension for long. But maybe they gain an ally, a mastermind who builds them a machine which stabilises them in this world long enough for them to send spies and to spread their work and start a plan. 'Cause I've seen the map in his hut. Multiple Earths. Except not. Not multiple Earths. Multiple time periods. These creatures aren't just alien spies on Earth, they're spies through Time, through history, starting with you.

Or, at the very least, the Doctor assumed they were starting with Ada. Maybe they started earlier - with her parents. Or maybe the Master found out about the events of  The Haunting of Villa Diodati with the Cyberium - but we’ll get to that in time.

Again, Spyfall ends with a neat-ish conclusion as to them being focussed on “computing history” and “human DNA”

DOCTOR: I know what this is. A temporal map, showing every significant person in the development of computers through history, starting with you, Ada. This is the plan. See? BOTH: No. ADA: Wh... what is a computer? DOCTOR: Oh, forget you heard that word, otherwise I've just disrupted the whole of history. Again. Okay. Ah, my brain's fizzing. Good. The Kasaavin posted an agent on every person on that map, because that's what spies do, what Barton does. They gather all the data. Where does the DNA fit in? Kasaavin, technology, DNA. How are they all connected? Oh! Human DNA. That's what they were testing.

Episode 8: The Haunting of Villa Diodati

Gif by itberice.

This is the big episode, where I started to notice it especially. Huh, a bit a coincidence they’re doing Byron when Ada was his daughter. Interesting.

DOCTOR: Okay, so there was a spot of rain, and gale-force winds and a super-long walk. But I got us here, didn't I? And Mary Wollstonecraft Godwin, soon to be Shelley, screamed in your face. Quality historical experience, that. Gold. YASMIN: (sotto) On that night that inspired Frankenstein. FLETCHER: If... you'd be so kind. GRAHAM: Blimey. DOCTOR: Excuse me, Yaz. I was very clear about the rules. RYAN: Nobody mention Frankenstein, and don't interfere. YASMIN: And nobody snog Byron.

This is because, as Tumblr has already noted, Byron is a thot/fuckboi.

BYRON: She walks in beauty, like the night. DOCTOR: Of cloudless climes and starry skies. BYRON: I'm intensely flattered you're familiar with my work, Mrs Doctor. DOCTOR: Just Doctor is fine. I'm quite into Shelley's stuff too. He about?

Then enters the Lone Cyberman (aka Ashad). It is scouring the villa for Percy, to obtain the Cyberium, and cannot find him. When it starts charging up, it begins to quote Percy’s poetry (specifically Queen Mab book 2 and Queen Mab book 3)

CYBERMAN (glowing with energy): There's not one atom of yon Earth, but once was living man. (Book 2) The sword that stabs his peace; He cherisheth The snakes that gnaw his heart; he raises up the tyrant whose delight Is in his woe. (Book 3)

As the episode progresses, Ashad gets the Cyberium back from Percy (who has been dying with it). Even more interestingly though - the Cyberium wants to choose the Doctor.

DOCTOR: And it chooses me. Interesting. Time Lord magnetism. Looks like I'm the true Guardian. (The Cyberium passes into the Doctor.) CYBERMAN: Surrender it or I will execute you. DOCTOR: I'd be very careful with those execution threats. I can feel it already, fusing to me. It feels very at home. Recognising great host material. Not to big myself up, but I don't think it'll vacate me without a fight.

But now we know - she’s not just a Time Lord. So can the Cyberium sense that? Did it know? Or perhaps, even if she were just a Time Lord, it would have preferred her... Anyway, this deviates too hard into my other, upcoming post. I think this episode, the Villa episode, was VITAL in determining what will happen next season.

Episode 10: The Timeless Children

MASTER: Look upon my work, Doctor, and despair.

This is an homage to Percy Shelley’s sonnet, Ozymandias, which contains the iconic lines:

“My name is Ozymandias, King of Kings; Look on my Works, ye Mighty, and despair! Nothing beside remains. Round the decay Of that colossal Wreck, boundless and bare The lone and level sands stretch far away.”

Oh, cute, what a fun little addition, I first thought when I heard it in the finale. (It now occurs to me, while writing this, that the Master might have quoted Shelley to the Doctor because he knows she loves his work. My poor shipper heart.)  

Then I thought - hang on. That’s a lot of “coincidental” involvement with the Byrons & Shelleys in this season, especially when the rest of the plots have been so deftly woven with surprises.

The Master mentions to Ashad/the Cyberium that he has the entire Matrix in his head and then he ends up absorbing the Cyberium into him, linking it with him in ways that will have consequences we haven’t even seen yet. It all sets up such a juicy, interesting thread into the next season.

Summary:

What does it all mean? Who can say? I hope this will give us some answer for what the Kasaavin are, where their universe is (is it beyond the Boundary? is it another Boundary?), how the Master found them (was it in the Matrix? did the Time Lords know about them?)

Most importantly: I think Yaz will play a huge role in the next season, given she was in the Kasaavin realm, as will the Doctor and (I suspect/hope) the Master again. This Kasaavin plot-line is still left unresolved, and I will be incredibly interested to see what Chibnall’s plan contains.

This could all just be a very cute, season-long homage to Byron/Shelley... but... it’s very suspicious. Especially given they have an entire two episodes focussed on them/their progeny.

If anyone has any other examples of Percy & Byron or descendants in season 11/12, please add them through reblogs! :D I worry that I haven’t gotten every single moment, or that I missed a couple of them.

Links to biographies:

Ada Lovelace Mary Shelley Percy Shelley Lord Byron

[cammie-morgan-goode]

Gallagher Girls Series Music Playlists

@maceyjanemchenry and I were talking about the series/books and got on the topic of music association.... So here’s a playlist for Ally Carter’s Gallagher Girls Series! (I am unable to make a playlist on 8tracks or spotify at the moment for whatever reason, but as soon as I find an account/application, I will make public playlists and update them with new content!) enjoy! Feel free to message me, leave an ask, or comment any songs you associate with the series!

Gallagher Academy Playlist (these all speak for themselves)

-stand by you by Rachel platten

-I’ll stand by you by the pretenders

-salute by little mix

-run the world (girls) by Beyoncé

-back home by Andy Grammer

-bones by MS MR

-centuries by fall out boy

-everything at once by Lenka

-Hustler by Zayde Wolf

-legend by the score

-princess by fletcher

-take on the world by you me at six

-teenagers by my chemical romance

-together we can by the cheetah girls (you know it’s true)

Cameron Morgan Playlist

-trouble is a friend by Lenka (this girl finds trouble everywhere)

-hurricane by Fleurie

-branded by natewantstobattle

-human by Christina Perri (for obvious reasons)

-missing by evanescence (definitely when she runs)

-Save Myself by Ed Sheeran

-terrible things by mayday parade (Matt/Cammie)

-surrender by Digital Daggers (when Cammie goes in search of the circle)

Rebecca Baxter Playlist

-make it up by Sam Tsui (totally matches her swagger)

-my promise to Maryland by boys of fall (aside from it being a love song this is totally Bex to Cammie)

-never give up by NEFFEX

-good girls by 5SOS (obviously haha also applies to the rest of the girls)

-Rock this world by Hilary duff (I mean have you seen Bex’s confidence??)

Elizabeth Sutton Playlist

-One Foot by walk the moon (just upbeat and positive like Liz)

-never enough by Loren Allred

-Never lose your flames by issues (also works for zammie)

-not about angels by Birdy

-those nights by skillet (told in the POV of Liz but mostly for all the girls/Liz reminiscing)

Macey McHenry Playlist

-attention by Charlie Puth (LYKY)

-let you down by nf (young macey/DJGC when she runs)

-a little too much by Shawn Mendes (young macey/DJGC)

-She’s not afraid by one direction

-nobody’s home by Avril Lavigne (I’m really sorry for this one)

-I have questions by Camila Cabello

-perfect by Hedley

-true friend by Hannah Montana (I had to)

Zachary Goode Playlist

-crossfire by Stephen (major blackthorne vibes)

-hate myself by NF (Zach growing up and blackthorne and with Catherine as he got older)

-heroine by RUNAGROUND (more of a Zammie song but still)

-Myself by NEFFEX (major Zach vibes and you can fight me if you don’t think so)

-Recover by David Hodges (definitely when he started falling for Cammie)

-Ribcage by Andy Black (definitely him growing up)

-Run Boy Run by woodkid (OGSY/OSOT)

-sorry about your parents by icon for hire (obvious reasons)

-speechless by Dan+Shay (when Zach saw Cammie at the dance)

Rachel Morgan Playlist (this one hurts)

-ghost of you by 5 seconds of summer

-happier by bastille

-haunted by kelly Clarkson

-homesick by Kane brown

-humble and kind by Tim McGraw (mother/daughter vibes)

-I will always be yours by Ben Rector

-I’m already there by lone star (Matt/Cam/Joe)

-I’ll keep you safe by sleeping at last (more mother/daughter vibes)

-start again by Sam Tsui (ugh my heart Joe/Rachel)

-tonight I wanna cry by Keith urban (LYKY on Matt’s birthday)

-weather by a story told

-you said you’d grow old with me by Michael Schulte

Joe Solomon Playlist

-crossfire by Stephen

-daylily by Movement’s (after blackthorne and Matt’s death)

-don’t take the girl by Tim McGraw (major step daughter Cammie vibes)

-while I’m alive by STRFKR

-Finding Home by Boys of Fall (Rachel/Joe)

-paranoid by post Malone

-Runnin’ by Adam Lambert (spy life)

-we might fall by Ryan Starr (Rachel/Joe)

-27 by machine gun kelly (young joe before he came to Gallagher)

Written by: @cammie-morgan-goode

[jmsa1287]

In Ryan Murphy's 'Ratched,' Starring Sarah Paulson, an Origin Story of Campy Proportions

I liked “Ratched” more than “Perry Mason” at least!

How many times have audiences seen Bruce Wayne's parents murdered in a dimly lit alleyway? (Spoiler alert: It happened most recently in Todd Phillips' "Joker.") It's an origin story told countless times to varying degrees of success but one that Hollywood is obsessed with retelling.

Creators seem to love the origin story (and not just when it comes to superheroes) and we have no shortage of such tales, even on the small screen. Just a few months ago, HBO's rebooted "Perry Mason" showed how the iconic defense attorney (played here by Matthew Rhys) went from a private investigator to the bullish lawyer we know today. For "Ratched," which hits Netflix Friday, producer Ryan Murphy attempts to do the same but with another iconic character, Mildred Ratched, the demented nurse from Ken Kesey's 1962 novel "One Flew Over the Cuckoo's Nest." (Louise Fletcher played Nurse Ratched in the 1975 film for which she won an Oscar.)

"Perry Mason" was undoubtedly an expensive show to make; it was rich in detail and every frame looked like Rhys was transported back to the early 30s. But it was a dull story and maybe one we didn't particularly need. Despite Sarah Paulson's wonderful performance, the same goes for "Ratched," co-created by Evan Romansky, though its problems stem from the opposite of the issues that plagued "Perry Mason." Because the show is a Murphy production, the new series is heavy on over-the-top camp — a hallmark of his projects — while trying to infuse the story with 2020 wokeness (see his previous Netflix series "Hollywood").

Set in 1947, "Ratched" takes place before the events of "One Flew Over the Cuckoo's Nest." The show follows Mildred as she squeezes her way into getting a job at a leading psychiatric hospital in Northern California where its head doctor Richard Hanover (Jon Jon Briones) is working on a number of gruesome experiments to test on willing patients — many of whom happen to be gay. While trying to get a job as a nurse she often bumps up against head nurse, Betsy Bucket (a wonderful Judy Davis, who knows exactly what kind of TV show she's in). It's soon revealed that Mildred has an ulterior motive for wanting to work at the facility, which has something to do with Edmund Tolleson (Finn Wittrock), a murderer sent to the hospital to for evaluation to see if he's fit to stand trial for his crimes. And throughout the show, we get flashbacks upon flashbacks that show us how Mildred became the twisted Nurse Ratched best-known from the award-winning film.

"Ratched" starts off strongly with Murphy behind the camera (he directs the first two episodes), setting up the show to be a Hitchcockian thriller (there's plenty of nods to the master of suspense sprinkled throughout the first two episodes). But as more characters are introduced and more plot is revealed, the show quickly reveals itself to be another Murphy misfire albeit not his worst.

Fans of Murphy — and Paulson — will likely think back to "American Horror Story: Asylum," the second season in the FX anthology franchise, which was also set in a creepy mental health facility during the 50s. It was also Paulson's first leading role in the series and that season was incredibly pulpy and camp, featuring aliens, Nazi doctors, and serial killers. For "Ratched," Murphy and Co. (which includes writer Ian Brennan, who is a frequent Murphy collaborator and penned several episodes here), strike a similar tone but also try to shoehorn 21st-century politics into the story. Most notably, "Ratched" is another period piece that prominently features queer people. ("Lovecraft Country," "Perry Mason," "Penny Dreadful: City of Angels," and Murphy's own "Hollywood" all have queer plotlines with varying levels of importance.) And again with "Ratched," queerness is displayed as suffering and suffocation because of the era in which the show is set.

Still, the show is visually stunning and often uses candy-color sets and costumes to perverse effect; you'll never see a more fabulous looking lobotomy. A shoutout goes to the supporting cast — including Davis — who prop up the show, like Sharon Stone, who plays Lenore Osgood, an extremely wealthy heiress with a vendetta who complicatedly gets involved with Mildred's plans. Cynthia Nixon also stars, playing Gwendolyn Briggs, the assistant to California Governor George Milburn (Vincent D'Onofrio) who begins to fall for Mildred.

"Ratched" is heavy on style and OMG moments, failing to serve a gripping origin story worthy of its main character. Despite its misgivings, it's still at least more entertaining than a stuffy prestigious drama.

[russicnrat]

anonymous​​  /  ✦✧ :  heathers 

favourite character: jd :))

least favourite character: ms fleming

favourite obc cast member: ryan mccartan, but barrett is def a close second ( carrie hope fletcher for west end )

favourite song: meant to be yours is a literal banger

least favourite song: shine a light ( reprise )

favourite act: act i

favourite ship: i’m conflicted; i don’t think i can say veronica & jd because it’s so unhealthy lol

least favourite ship: none

if  there  is  something  i  would  change  about  the  musical: add more iconic lines from the film!! also, i’d get the productions a higher budget because some of the off-bway props were seriously rough ahahaha

rating: 9/10

[judgmental-eyebrows]

Nikita

Oh my goodness yes please THANK you. Also, I still have a “Helen Collins” ask in here I need to do... I have NOT forgotten. I just plan to write A Lot. Gonna try and do a different character for each of these like I did with the Grey’s one!

The character I love: Helen “Amanda” Collins. Need I say more? I’ve rotated through several images of her as my icon, it’s a gif of one of her most iconic moments on my blog... yeah. I need a new character tag for her, that reminds me. 

The character I hate: I know I should say Percy. I’m saying Alex Udinov and while I don’t “hate” her, she’s the character I dislike the most.

The character I would call if I was in trouble: Michael Bishop. While he has his moments, he’s very level headed. Also, a very kind and reasonable straight white man, which is rare to see in media. 

The character who I’m in trouble with: Nikita Mears. I’d follow her pretty much anywhere. 

The character I would trust to plan my birthday party: Owen Elliot. Again, not big on parties. The guy would probably forget, he’s got a lot going on. And once he’s back to being Sam? Then he just wouldn’t care, lol!

The character I would share fries with: Seymour Birkhoff. The man is a junk food aficionado. 

The character who would be my best friend: Ryan Fletcher. I adore him. That is all.  

The character I would hang out with on a rainy day: I’m gonna go with Cyrus. He’s classy, stylish, and would have great stories to tell, I’m sure!

Thank you for the ask about one of my favorite shows!

[grigori77]

Summer 2019′s Movies - My Top Ten Favourite Films (Part 1)

The Runners-Up:

20.  ANGEL HAS FALLEN – Gerard Butler’s arse-kicking secret service agent returns in this third (and, from the look of it, final) entry in the trilogy started with surprise hit Olympus Has Fallen and its London-set follow-up, and this time HE’S the prey after he’s framed as a would-be assassin of Morgan Freeman’s new US President.  It’s not as memorably meaty as its predecessors, but latest director Ric Roman Waugh (Snitch, Shot Caller) certainly has the action chops to pull off the necessary heavy lifting, and Butler’s great as ever.

19.  STUBER – summer 2019’s most irreverent guilty pleasure is a gleefully non-PC action comedy in which pathetically nerdy Uber driver Stu Prasad (The Big Sick’s Kumail Nanjiani) is effectively hijacked by dangerously myopic renegade LAPD cop Vic Manning (Dave Bautista), who’s looking to take down his “white whale”, murderous drug lord Oka Tedjo (The Raid’s Iko Uwais).  This is one of those hilariously foul-mouthed, gruesomely violent and unapologetically crude romps that does exactly what it says on the tin.

18.  MEN IN BLACK INTERNATIONAL – Friday director F. Gary Gray certainly has the required comedy pedigree to succeed Barry Sonnenfeld on this sort-of sequel/soft reboot, but while it’s certainly as consistently, inventively funny as its predecessors there’s still something missing here.  Thor: Ragnarok duo Chris Hemsworth and Tessa Thompson have still got chemistry to burn, but they’re no substitute for Smith and Jones, although there’s definitely potential for a solid new series here if they can iron out the kinks.  It IS a moderate improvement on MIB 2, though.

17.  BOOKSMART – actress Olivia Wilde makes her directorial debut with this sharp-witted and enjoyably unpredictable coming-of-age comedy that follows straight-A high school graduates Molly (Lady Bird’s Beanie Feldstein) and Amy (Last Man Standing and Short Term 12’s Kaitlyn Dever) as they indulge in one crazy night out so they can experience the inappropriate partying chaos they always avoided to get those top grades.  Funny, fascinating and powerfully heartfelt, this is a guaranteed future gem of the genre.

16.  ROCKETMAN – hot off his patch-up directing gig finishing off Bohemian Rhapsody after Bryan Singer jumped ship, Dexter Fletcher tackles the life-story of another musical icon, Elton John, in this far more stylized but also thoroughly memorable “musical fantasy” interpretation of the rise/fall/rise-again of the man born Reginald Dwight.  Kingsman star Taron Egerton delivers the finest performance of his career so far, displaying an impressive lack of vanity as he crafts a warts-and-all portrayal of Elton, while Jamie Bell is equally excellent as his lifelong friend and writing partner Bernie Taupin.

15.  I AM MOTHER – the best of Netflix’ original movie summer offerings is this impressively original and edgy sci-fi thriller based around a killer concept – Mother is a robot (voiced with chillingly seductive duplicity by Rose Byrne) in a hi-tech bunker in the aftermath of some unknown apocalyptic cataclysm, the de-facto parent and sole companion of Daughter (The Lodge’s Clara Rugaard), seemingly the last human in the world, who’s never known anything of the outside, until an unexpected arrival threatens everything.

14.  DETECTIVE PIKACHU – Pokémon returns to the big screen with this brilliant live action feature that beautifully builds on the expansive source material while simultaneously repackaging it nice and fresh for a new generation. Ryan Reynolds is a fiendishly inspired choice to voice the eponymous investigator, who enjoys impressive chemistry with Jurassic World: Fallen Kingdom’s Justice Smith as the failed Pokémon trainer who is, inexplicably, the only human who can understand him.  You don’t need to be a fan to get this film, either – it’s well-thought-out enough that even newbies can get maximum entertainment out of it.

13.  MIDSOMMAR – Ari Aster, the disturbingly talented writer-director of acclaimed horror gem Hereditary, drops another mind-melting, skin-crawling slowburn treat of pure, unadulterated sustained dread and terrible expectation on an unsuspecting summer audience, although this one certainly proved far more (ahem) seasonal.  Florence Pugh (Lady MacBeth) and Jack Reynor (Strange Angel) are both excellent as the unsuspecting American couple whose visit to a remote Swedish festival exposes them to a twisted cult.

12.  THE STANDOFF AT SPARROW CREEK – debuting writer-director Henry Dunham proves he’s going to be one-to-watch in the future with this insidious little suspense thriller starring James Badge Dale as a former small town cop drawn into a tense internal investigation of the local militia he’s part of after it becomes clear one of its members is responsible for a terrorist attack that’s got the local police up in arms.  A perfectly-pitched lesson in slow-building tension crafted with consummate skill.

11. TOY STORY 4 – marking the feature directorial debut of long-serving Pixar animator/writer Josh Cooley, this is another gold standard entry in the studio’s flagship franchise that also marks a watershed moment for many of its beloved characters.  Woody and Buzz (Tom Hanks and Tim Allen, both on top form) are front and centre once again, but the biggest fun to be had here involves the new faces, particularly Keanu Reeves as hapless Canadian stunt-biker toy Duke Caboom.  This may not be QUITE as essential as what came before, but it’s still a series that continues to play very much to its strengths.

[jamieisnotrich]

Heathers UK: A Review by an OG Heathers Fan

Some of you may know this already, but the Heathers UK Cast Recording came out recently. I have been a fan of Heathers since the original Off-Broadway version in 2014 and after listening to this new cast recording, I have some OPINIONS. If you are an original Heathers fan then you probably remember how weird it was to go from almost everyone knowing what Heathers is (pre-Hamilton) to no one knowing anything about it (during Hamilton) to having a whole new ‘generation’ of people who love Heathers (post-Hamilton). In this review I will be breaking down each individual song and character portrayal in the new-ish version of Heathers and giving my overall opinion at the end. 

Beautiful

OOBC: 10/10

UK: 9/10

Now, of course, the original song is iconic. Not just because it introduces each individual character and future concept, but also because it has the iconic line “September 1, 1989.” It’s filled with laughs and relatable lines galore. We start by feeling bad for this main character while at the same time being intrigued by what is going on in her life. I feel like the West End does a great job at respecting the original song while at the same time giving their own flare. My only complaints are, of course, some of the language used. Not only is it painfully obvious that Heather Chandler can’t do an American accent for shit, but it’s also slowly revealed to us that they have changed some of the lyrics. Now, of course, it is expected, given that this is a whole new production, it’s just that some of the lyrics that they chose to change make no sense. It’s a great song, and I love Carrie Hope Fletcher’s energy toward the end, but it does not in any way compare to Barrett’s original performance. 

Candy Store

OOBC: 9.5/10

UK: 7.5/10 

Now, don’t get me wrong. I LOVE the original Candy Store, I just believe that in some ways, it could be improved (VERY minor). However, the West End’s rendition of this song is frankly not great. This is the first song where the Heathers really get to shine, and I feel like they’re more a little dull in this song. The belts aren’t great, the American accents are very noticeable, and let’s be honest, Jessica, Alice, and Elle are the best Heathers ever. A very minor complaint that I had that you cannot even see in the cast recording is that they switched Duke and McNamara. It really messed me up while looking through pictures of this production. I appreciate the drama and energy put into this song, but it’s just not as strong as the original. 

Fight for Me

OOBC: 8/10

UK: 7.5/10

Personally, I never really enjoyed the original version of this song. It’s a great song, but it doesn’t really stand out amongst all of the other songs in this musical. To me, it seems just like some kind of love-sick song that doesn’t really mean anything in the end. The West End does a great job of mimicking the original song, however, the arrangement of the music is not that great compared to the off-broadway production. 

Freeze Your Brain

OOBC: 10/10

UK: 6.5/10

I freaking LOVE Ryan McCartan’s original production of this song. No matter how many JD’s I watch perform this song, no one is as good as Ryan. When looking at a picture of Jamie Muscato, he seems like the kind of guy who would be perfect for the role of JD. In other words, he ticks all of the boxes, almost like an off-brand Ken doll. However, his rendition of this song is absolutely terrible. He sounds like he’s trying, he really is, but he just BARELY has the range for this song. This ultimately translates into him sounding more like a weird theatre kid and less like a mentally ill teenager. I appreciate the effort, but the payout is not great. 

Big Fun

OOBC: 10/10

UK: 7/10

When thinking about all of the obligatory ‘party’ songs in theatre (Halloween, The Dual, Revenge Party) ‘Big Fun’ almost always turns out to be my favorite. The energy, the craziness, the feeling of no regrets coming off of these teenagers. I just love every minute of the original song. However, this version does not in any way feel like the original. It starts off with the chords from the original that we all know and love, but they are being sung by the cast. Instead of just having the orchestra play them like a normal musical, they have the cast practically scream them at the top of their lungs. Although most of the original dirty jokes are still in the song, the high voices coming out of the cast through the entire 3 minutes and 42 seconds sound like they tried to make a Kidz Bop version. They really did try to create a good song, but it does not convey well at all. 

Dead Girl Walking

OOBC: 10/10

UK: 6/10

I love, love, love Carrie Hope Fletcher, but this was nowhere near her best song in this musical. She tried to do her best, but it’s really not a good song. They changed several of the lyrics from the original song, which are very awkward for the energy of the song. Jamie Muscato does a terrible job at acting like a teenage boy who just a (kind of) random girl bust into his room through the window. The harmonies are almost ear-shattering and compared to Barrett and Ryan’s original chemistry, these two have close to none. This song was not as bad as it could have been, but I just had very high hopes going into this song.

The Me Inside of Me

OOBC: 8.5/10

UK: 8.5/10

Believe it or not, I don’t particularly love the original version of this song. It’s a good song, I just don’t find it to be one of my top favorite in the musical. In my opinion, the West End production does a great job of keeping true to the original song. There was nothing that really stood out to me as being worse than the original song. It was pretty much the same as the original.  

You’re Welcome/Blue

OOBC: 2/10

UK: 9/10

I know this may not be the most popular of opinions, but I absolutely LOATH ‘Blue’. Frankly, it makes me feel extremely uncomfortable, and it doesn’t really add much to the story in the long run. The West End version replaced the dumpster fire of a song with a little number called ‘You’re Welcome’. Now I LOVE this song. It’s a perfect replacement for the original song, and it does an amazing job of showing the personalities of Veronica, Kurt, and Ram. I fell in love with Veronica’s new diary entries, and I believe that they did a great job of making it clear that Kurt and Ram are just two dumb white men. This song is the first in the musical that they completely replaced/added and it shows that maybe they should have just replaced the entire musical. The musical style is vastly different than all of the previous songs and, while the original musical is a classic, this song is absolutely amazing. 

Never Shut Up Again

UK: 8/10

This is the first song in the musical that is completely new. It’s a glorious number that really truly shows Heather Duke. Now, I don’t particularly love the casting choice for Heather Duke; T’Shan Williams’s voice is not what I imagine for Heather Duke, but I do love the energy she puts into her performance. I love how this song gives Heather Duke a small spotlight for a moment and really puts a light on her opinions about her friendship dynamic. I also love how in this song we also get to see Veronica’s slow descent from her short moment of fame. Another thing that I noticed is that the style of this song is very similar to that of ‘You’re Welcome’, which just further proves my point about maybe just completely re-writing the musical. The style is similar to that of another West End musical ‘Six’, which I’m not complaining about, given how good that musical is. 

Our Love is God

OOBC: 9/10

UK: 7.5/10

How much do I have to say this? I DO NOT LIKE JAMIE MUSCATO. Don’t get me wrong, I’m sure he’s a great guy, but I cannot stand his performance as JD. He tries his best, he really does, but Ryan McCartan is just 100 times better. The original song leaves you with a feeling of, ‘oh shit, what’s gonna happen next?’, but this version just kinda makes you think ’huh, cool’. It’s not completely terrible, but I just wish it were a little bit better. 

My Dead Gay Son

OOBC: 10/10

UK: 9.5/10

This song is actually surprisingly really good. It just feels kind of awkward in some parts, but it’s pretty dang good compared to the original, despite the massive lyric change. 

Seventeen

OOBC: 9/10

UK: 9.15/10

Yup, you read that right. I actually think this one is better than the original. Even though I absolutely adore Barrett Wilbert Weed and think that she is still the best Veronica of all time, Carrie Hope Fletcher makes this song just slightly better than the original. The passion and energy she throws into her performance makes Muscato’s performance bearable and is even better than the original. I don’t particularly love this song, given how boring it is in some ways, but this song made me truly believe in Veronica’s view on everything that had been going on. Carrie made me want to just help these poor teenagers and take them out of this terrible situation before it gets worse. Now, if Ryan McCartan were in this instead, I might consider making the rating a 10 (MIGHT). 

Shine a Light

OOBC: 8/10

UK: 6.5/10

I don’t really like this song in the first place. It’s kind of awkward and makes me feel kind of uncomfortable. However, this does not mean that I don’t have some small part of my heart saved for this song. The West End took this song, completely ruined the arrangement, and added an actor who does a slightly okay job at playing an awkward high school teacher. This song kinda made me hate this song more than I already did. 

Lifeboat

OOBC: 10/10

UK: 2/10

I had to listen to this song on repeat for like 10 minutes and I honestly don’t feel that great about that. I LOVE the original of this song; it shows that not all of the Heathers were completely terrible, and it’s absolutely beautiful in the long-run. I could listen to the original for hours, but I could barely listen to this song once. Sophie Isaacs’ rendition of Heather McNamara is really bad, and I’ll talk about that later, but I just really hate how she did this song. Heather McNamara is supposed to be the quiet, unsuspecting one, but Sophie Isaacs tries to make a big show of this character’s personality. I loved how in the original song, you could feel just how lonely Heather M felt, and in this version, felt none of that. 

Shine a Light (Reprise)

OOBC: 10/10

UK: 5/10

I absolutely LOVE the original. It’s perfect in showing just how far Heather Duke has gone, and while this song does certainly show that, I just do not like this rendition at all. There’s something OFF about it that I don’t really like, and I really wish that they didn’t ruin this song. I mean, how do you ruin a 40 SECOND song?

I Say No

UK: 10/10

I FUCKING LOVE THIS SONG!!!! I’ve been listening to this song ever since they released the single weeks ago, and it’s absolutely perfect. I love how it shows Veronica’s personality, it gives her a voice, and it is just a REALLY good song. I love Carrie Hope Fletcher’s voice. I love the beat. I love the lyrics. Everything about this song is perfect for the story being told in this musical. I could listen to this for forever, and that’s not an exaggeration. This is yet another song that was added to the musical and is somehow perfect in every aspect. 

Kindergarten Boyfriend

OOBC: 8.5/10

UK: 8.5/10

Frankly, I don’t really love the original version of this song. I don’t really have anything against it, it’s just kind of boring. Jenny O’Leary does a really good job at mimicking the original song, while also making it her own. The arrangement for the music is a great tribute to the original as well. To me, it doesn’t really seem all that different from the original. 

Yo Girl

OOBC: 10/10

UK: 7.5/10

WHY??? WHY DID THEY REPLACE ‘MISERABLY’?? What was the point of that??? The original line is pretty freaking iconic and does an amazing job at lowering Heather Duke’s voice and staying within the original language. That lyric replacement was so random. The song overall feels kind of like a joke compared to the original. Even though it still gives the same feel as the original, I believe that the original feels a little creepier. It isn’t a great rendition, and honestly, the original is MUCH better. 

Meant to be Yours

OOBC: 10/10

UK: 5.5/10

Have I mentioned how much I hate the UK’s JD??? This was actually my favorite song when I was listening to the original cast recording, and this version is just so bad in comparison. Muscato is really trying to seem creepy, but it feels really forced. If anyone in this goddamn song could act for two seconds, then maybe I would take it a bit more seriously, but it’s so bad. 

Dead Girl Walking (Reprise)

OOBC: 10/10

UK: 7/10

What the heck, Carrie? I had so much trust in you! I’m sure a lot of other people feel this way, but the original version of this song is amazing. It does a great job at conveying just how frantic and vital Veronica’s actions are. I love Barrett’s original performance, and I also really love Carrie’s previous performances, but this is not her best. At all. I’m not even completely sure what’s wrong with it. It’s almost if the entire song is flat. 

I Am Damaged

OOBC: 9/10

UK: 8/10

I’m really confused about all of the lyric changes in this song?? None of them make any sense whatsoever. The song isn’t all that much different than the original other than the fact that I still hate UK JD. 

Seventeen (Reprise)

OOBC: 8.5/10

UK: 8/10

Eh, it’s not that bad. I don’t really like the original in the first place, just because I’m not usually a fan of the final songs in musicals, but the UK version isn’t that different from the original. It was fine, but not really what I expected. It’s a pretty fitting ending for this musical production. 

Characters

Alright, so now I’m going to give my opinion on each individual character. This is not necessarily a criticism as much as it is a criticism of the way this production portrayed this character. This is assuming that all of the original characters are a 10/10. 

Veronica: 9.5/10

JD: 3.5/10

Heather C: 8/10

Heather D: 7.5/10

Heather M: 5/10

Kurt: 8.5/10

Ram: 8.5/10

Mrs. Sawyer: 6.5/10

Final Verdict

8/10

While I did not really like this production, I did appreciate all of the time and effort they obviously put into its outcome. Just from watching their social media, you can tell that the entire cast does have some kind of chemistry. The new songs may even be better than the originals. This does not, however, excuse the fact that the original is still much better. Nothing can every replace Barrett and Ryan’s chemistry on stage or Jessica, Alice, and Elle’s perfect comedic timing. As much as I’d like to say that this production did a great job at honoring the original, it was in and of itself its own thing. And that’s not really a bad thing. It just gives the production a weird feeling at the end. I enjoyed revisiting this musical and seeing just how much my opinions have changed on some of these subjects. Overall, this entire cast recording is one major bit of nostalgia for the original fans and something to scream over for the newer fans. 

[tabloidtoc]

Entertainment Weekly, October

Cover: Fall TV Preview -- Jennifer Aniston and Reese Witherspoon of The Morning Show 

Page 3: Contents, KJ Apa and Cole Sprouse of Riverdale

Page 4: Sound Bites -- Jessica Lange on The Politician, Gary Cole on mixed-ish, Bradley Whitford on Perfect Harmony, Omar Benson Miller on The Unicorn, Tom Payne and Bellamy Young on Prodigal Son, Diana Maria Riva on Sunnyside, The Six Top Tweets -- Anthony Jeselnik, Desus Nice, Chrissy Teigen, Stephen King, Mindy Kaling, Conan O’Brien 

Page 7: Editor’s Note

Page 8: The Must List -- Judy -- Renee Zellweger 

Page 10: Dear Girls by Ali Wong 

Page 12: The Testaments by Margaret Atwood, Q+A with Margaret Atwood 

Page 14: Luigi’s Mansion 3, Tabloid: The Making of Ivanka Trump 

Page 16: The Highwomen 

Page 18: Find Me by Andre Aciman, Peaky Blinders 

Page 20: Zombieland: Double Tap 

Page 21: Brittany Howard 

Page 22: First Take -- Carrie Fisher: A Life on the Edge by Sheila Weller 

Page 24: Paul Reiser and Helen Hunt in Mad About You 

Page 27: Fall TV Preview 

Page 28: The Morning Show with Jennifer Aniston and Reese Witherspoon and the launch of Apple TV+ 

Page 34: More shows coming to Apple TV+ -- Dickinson, Truth Be Told, Servant, For All Mankind, See 

Page 36: It List -- Phoebe Waller-Bridge 

Page 37: Steven Canals, Sam Levinson, Lena Waithe, Lilly Singh 

Page 38: Ava DuVernay, Desus & Mero 

Page 39: Kevin Feige, Robin Thede, Jada Pinkett Smith 

Page 42: Fall TV Preview -- The Mandalorian 

Page 46: Tom Clancy’s Jack Ryan, Letterkenny, Modern Love 

Page 47: Limetown’s Jessica Biel, Looking for Alaska, First Wives Club 

Page 48: The Politician’s Ben Platt, The Kominsky Method, Raising Dion 

Page 49: Living With Yourself, Daybreak, Unbelievable 

Page 52: His Dark Materials -- Lin-Manuel Miranda, Dafne Keen and Ruth Wilson 

Page 55: Back to Life, Kidding, Bless the Harts 

Page 56: Godfather of Harlem’s Forest Whitaker, Watchmen 

Page 57: Damon Lindelof 

Page 58: Arrowverse Roundup -- Batwoman, Black Lightning, Arrow, The Flash, Supergirl, Dublin Murders 

Page 59: The Walking Dead 

Page 60: 9-1-1

Page 61: Prodigal Son’s Michael Sheen 

Page 62: Mixed-ish 

Page 64: This Is Us 

Page 65: Empire 

Page 66: Riverdale -- Camila Mendes, Lili Reinhart, Madelaine Petsch, Cole Sprouse, and KJ APA 

Page 69: Nancy Drew, Treadstone 

Page 70: Stumptown’s Cobie Smulders 

Page 72: The Good Place -- Kristen Bell and Ted Danson 

Page 76: A Million Little Things

Page 78: Perfect Harmony’s Bradley Whitford, Grey’s Anatomy 

Page 79: How To Get Away With Murder 

Page 82: The Unicorn’s Walton Goggins 

Page 83: Evil 

Page 84: Supernatural -- Jensen Ackles, Jared Padalecki, Legacies 

Page 85: Carol’s Second Act 

Page 86: Blue Bloods -- Bridget Moynahan, Donnie Wahlberg and Tom Selleck 

Page 88: Saturday Night Live mash-up of SNL legends and iconic characters 

Page 90: The Must-Watch New Shows -- Modern Love, Living With Yourself, The Morning Show 

Page 91: Evil, Mrs. Fletcher, Watchmen, The Unicorn, Unbelievable 

Page 92: What to Watch 

Page 93: Emergence 

Page 94: The Blacklist 

Page 95: Mr. Robot 

Page 96: No Host with the Most? The pros and cons of the Emmys going emcee-free 

Page 100: Reviews 

Page 101: Movies -- Toast of TIFF 

Page 104: Brad Pitt -- With award-baiting turns in Ad Astra and Once Upon a Time...in Hollywood, Brad Pitt, 55, has never been hotter and his behind-the-scenes work is just as influential. The actor-producer talks to EW about deep space, stardom, and the next frontier 

Page 108 -- How did they do that? Getting younger all the time 

Page 109 -- Q+A Jon Hamm and Natalie Portman, Movie Reviews -- Hustlers, Downton Abbey 

Page 110: Music -- Liz Phair on the making of her revealing memoir Horror Stories 

Page 113: The highs and lows of Charli XCX 

Page 114: The Playback -- Janet Jackson’s Rhythm Nation 1814 

Page 115: Why Tegan and Sara went back to High School 

Page 116: Books -- Ta-Nehisi Coates 

Page 117: Fiction reviews 

Page 118: Essayist Leslie Jamison 

Page 119: Zadie Smith 

Page 120: The Bullseye 

[dear-indies]

Hello! Do you know of any trans male fcs that have resources, specifically outside of small gif icons? Any ethnicity is fine, age preferably would be mid twenties to late thirties, but that could be flexible. ( if they have a edgier vibe that would be even better, but again, flexible ). Thanks for reading either way!

Brian Michael Smith (1983) African-American.

Alex Blue Davis (1983)

Laith Ashley (1989) Afro Dominican.

Jake Zyrus (1992) Bisaya Filipino, Tagalog Filipino, some Chinese.

Ryan Cassata (1993) - also queer.

Jamie Raines (1994)

Tyler Luke Cunningham (1995) Black British.

Miles McKenna (1995)

Elliot Fletcher (1996) - is ok being being rp'd but don't mention his body, you can find his asks about this in"/tagged/elliot fletcher" on my blog!

Emmett Preciado (?) Unspecified Latin, Spanish, and Italian.

Hey anon, all these men have bigger resources available at time of posting! There's also a masterlist of trans people HERE if anyone want suggestions with no resources / wants to make resources!

[woahhaleigh]

Heathers UK Cast Recording Review (From A Retired Veronica Sawyer’s Perspective)

If you are new to my blog, hi! I’m Haleigh and I am an actress local to Dallas/Ft. Worth, Texas. I had the utmost pleasure of playing Veronica Sawyer last summer in Plano, Texas. Veronica was an absolute dream role of mine. I feel so honored every day that I was chosen to tell that story. The show holds an extra special place in my heart because a little bit after the show closed, I started to date the wonderfully talented man who played my JD. So, Heathers holds a dear place in both of our hearts. We have spent a few evenings listening to the UK Cast Recording and gathering our thoughts on it.

I need to preface a few things. 1. I am a huge Carrie Hope Fletcher fan. So I am absolutely biased. Not sorry. 2. As a whole, I think my experience as Veronica would have been immensely easier if this album had been out for me to study and work with. The only Veronica when my show went up was the lovely Barrett Wilbert Weed. Anyone who has ever had the pleasure of playing this iconic role knows that it is insanely difficult to live up to such talent as hers. Carrie made the role seem a bit more human and her vocals, while still insanely difficult, were much more achievable. 3. I go on a few tangents about my experience as Veronica. We just celebrated the year anniversary since the first rehearsal. Your girl got a bit nostalgic. 4. Thank you for coming to my little corner of the internet. Let’s listen to the Heathers UK Album!

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Beautiful: I can hear the accents. I can hear them holy moly. It’s okay, Haleigh. Phew. I will say I could hear a distinct difference in the orchestration? It doesn’t feel quite so cutthroat and edgy as the Off-Broadway album. It really does sound more musical theatre. Which I truly enjoy. I like that it sounds like a completely different show. I’m not one for a carbon copy of something else. 

Candy Store: Okay, Jodie Steele is everything I never knew I needed?? This rendition is wonderful.

Fight For Me: Woah, this key change is everything! This song was really daunting to learn. And I seriously adore the changes in this album. This song was my favorite to sing. I hope they release the updated score for us on other sides of the globe to use for our books!

Freeze Your Brain: So I can hear Jamie Muscato’s every single syllable. Which is great for the pronunciation of his American accent. However, it was a bit jolting the first time through the cast album. Now that I’ve gone through a few times, I don’t notice it quite as much. Perhaps it’s just the recording and not him live. Such a gorgeoussss voice, nevertheless. 

Big Fun: The lyric changes were jolting at first, as well. Still takes a lot of time to get used to. Also, they took out the verse about “let’s use their showers. That sounds like big fun”. Don’t expect to be able to sing along with this one first time around. I do love that Heather Macnamara gets the line about “First it’s salt and then lime and thennnn shot!” like it was in the script when I did the show! 

Dead Girl Walking: Such a win, guys. The amount of fever dreams I had about this song is damn near embarrassing. I will say it again, if this album had been out when I did this role, it wouldn’t have been nearly as terrifying. Carrie’s belts were absolutely gorgeous!

Me Inside Of Me: Ugh, my least favorite song in the show. I will say, Jodie Steele, sounds absolutely stunning, though. Even more so than Candy Store. I can hear her bitchiness just in the audio. I wonder how chilling her performance was in person!

You’re Welcome: Unpopular opinion time; I dislike everything about this song. I’ve listened to it once and skip it every time I listen through the album. While Blue from the Off-Broadway album (if done wrong) can be just as predatory as this song, I’ve mainly seen it done silly and more comedic. You're Welcome is just plain scary, in my humble opinion. The vocals are undeniably stunning. Kurt and Ram are immensely talented. However, I just don’t feel like this was a good replacement for Blue. I feel this song is just scary and triggering. Especially for someone who has been in Veronica’s shoes before. While I respect that the writers prefer this song to Blue, I strongly stand behind my opinion on this song. 

Never Shut Up Again: I feel like this song is along the same lines as Dead Gay Son. It has a beautiful upbeat vibe to it. I’ve heard a lot of people say that it doesn’t sound like it belongs or flows. I completely disagree. Heather Duke deserved a solo. And T-Shan Williams absolutely slays this song. I also appreciate that they did a little nod to the Blue Reprise in here. This song will be a fan favorite if it gets released with the rights worldwide. 

Our Love Is God: Ah one of my most favorite songs to perform when I did this show. This song lives up to the outrageously high expectations I had for it. Brought massive tears to my eyes as I listened and replayed performing this scene in my head. I can only imagine how wonderful the performances were in person. 

Dead Gay Son: A song that is usually a skip for me. The vocals were lovely but this song is just better when you see the show live, in my opinion. 

Seventeen: Another song that had really high expectations. The vocals, the tone, the everything was truly wonderful. You could hear the love and the urgency behind both Carrie and Jamie’s voices. I was pleased when this song was released early. It was a great little taste to what a joy this cast album would be. 

Shine A Light: Less church-y than the Off-Broadway and more rock, I will say. Love Rebecca Lock’s choices with Fleming. She sounds so unapologetically her and it is truly a hilarious experience to listen to. (Funny story, James actually tripped and fell off a platform during our production of Heathers during this song. Just thought I’d share that with the world.)

Lifeboat: Sophie Issacs sure knows how to pull at your heartstrings with this one. It feels like there was a key change in this song too, I could be wrong, though. It also feels faster? I will say while her vocals are lovely since it does feel faster, the song doesn’t pack as much of a punch as it could have. 

Shine A Light Reprise: T’Shan is seriously terrifying. I loved the lyric and note changes for this one. Like man, that belt is too die for. 

I Say No: Added to my book and have already started to rehearse this so I can sing it at my first given opportunity. The lyrics to this song are really awesome. In the Off-Broadway show, I always was peeved that the musical took out my favorite quote from the movie “You know what I want? Cool guys like you out of my life.” And they included a bit of that in this song. As someone who is a huge fan of this movie, I was stoked when that was added in. From my understanding, this song happens after JD shoots the TV right after Veronica breaks up with him. (Correct me if my assumption is wrong!) James and I had discussed in the past how a song would have been awesome there. So, if that is where this song is, it just makes me that much happier. 

Kindergarten Boyfriend: Woah. I mean woahhhh. Those vocals are flawless. This is the only scene in the show where Veronica gets more than 30 seconds to be off stage. I always spent it listening to our Martha that evening sing her heart out. It is what got me into the mindset to cry during Meant To Be Yours. This rendition is so lovely and truly makes me cry every time I’ve listened to the album all the way through.

Yo Girl: So eerie and so haunting. I do prefer the Off-Broadway for this one. It felt more gut-wrenching. The lyrics changes, though, hit you right where it hurts. “what’s that brimstoney smell?” Ouch, guys. 

Meant To Be Yours: The differences are subtle between this and the Off-Broadway. I love Jamie’s performance. He truly sounds like he has lost his damn mind. And Ryan McCartan's JD sometime’s was really cartoony. (Still, absolutely adore him!!) My favorite performance from Jamie from this entire album. One character choice I really liked was the whisper of “No thanks”. So chilling. Okay, I’m crying while I’m listening to this. I gotta move to the next song. 

Dead Girl Walking Reprise: Carrie’s version is not quite as belt-y as Barrett’s. I always had to sing this after balling my eyes out and had to sniffle and belt this. I love that there is just as much power behind this version but not all the way sang up to the gods. It’s a much more achievable rendition for the average singer in a community theatre where this will get done more often. Again, Jamie for real sounds manic and I love every second of it. And I also looove that there’s an added “Don’t talk about my mom” and a “stop” lines in there. Every night when James and I sang this, he shot me a look like those were his thoughts, but I can’t say anything because she is singing and it’s not in the script. It’s really lovely to have that added bonus in here. 

I Am Damaged: These are the only lyrics changes I don’t agree with. I like how it was originally portrayed that JD may or may not be changing in this song. But either way, wow my heart hurts. That was so beautiful. Every night when I played Veronica, my interpretation of this song was probably quite different than most. I’d love to share that to someone other than James and a few members of the cast. When Veronica says “Say hi to God”, I always portrayed it as Veronica, despite all of the harm JD caused, truly believed he would still go to heaven. And it always got me to the depths of my core. 

Seventeen Reprise: The vocals and talent of this cast, my god. Just as beautiful as the Off-Broadway. Ugh, this is making me cry my eyes out, guys. 

There you have it guys. What did you think of this cast recording? If you haven’t listened to the album yet, you really should! Listen here. 

[aion-rsa]

James Wan Horror Movies Ranked

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James Wan has a new horror movie out this weekend, and it’s been far too long since we’ve been able to write that. As one of the singular genre filmmakers of his generation, Wan managed to launch three successful and pop culture defining horror franchises in less than a decade between Saw (2004), Insidious (2010), and The Conjuring (2013). And yet, the Australian director hasn’t stepped foot in a spooky house since 2016’s The Conjuring 2. Moving on to bigger and (maybe?) better things in Furious 7 and Aquaman, Wan’s new status as a blockbuster director caused many fans to wonder if his days in dark shadows were done. 

Which is why this weekend’s Malignant is such an inviting proposition. Five years after walking away from personally helming Ed and Lorraine Warren’s on-screen adventures, Wan’s returned to his roots with an original horror movie that’s not part of any franchise. What a novel concept. To celebrate this change of fortune, the editors at Den of Geek have put their heads together and voted, coming up with a definitive ranking of Wan’s horror movies. You can trust us.

7. Malignant

Sometimes it takes a while to get back into the swing of things. While Wan deserves credit for championing an original idea in the modern world of sequels, prequels, and spinoffs—he even turned down helming The Conjuring: The Devil Made Me Do It for this!—daring gambles don’t always payoff for everyone. Which might be a polite way of saying that for some of us (although not all), Malignant is a disappointment.

Built entirely around a plot twist we’re not going to spoil here, Wan’s Malignant takes the familiar concept of a protagonist (Annabelle Wallis) being wrongfully accused for supernatural crimes, and turns it on its head. The actual twist however has left folks divided. Some applaud how bold it is while others of us found it fairly underwhelming, and lacking a satisfying subtext or cohesiveness to make it worthwhile. We’re all in agreement though, it’s a stylish bit of eye candy… and that Wan’s done better before. – David Crow

6. Insidious: Chapter 2

As the second installment of Wan and frequent collaborator Leigh Whannell’s Insidious franchise, there was a lot of anticipation over how this horror sequel would follow-up on the cliffhanger ending to the first film. If you don’t recall—and here there be spoilers, by the by—that movie ended on the shocking revelation that Patrick Wilson’s repressed and mild mannered father, Josh, had become possessed by a ghost which has been chasing him since childhood. Worse, this spirit caused him to kill Lin Shaye’s delightfully kooky Elise! (Don’t worry, her soul gets better.) What will happen next to the poor Lambert family?

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Insidious: Is The Further Real?

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Something a lot more rote, as it turns out. This is not to say that Insidious: Chapter 2 is a bad movie; it’s simply a much lesser one than what came before. From the film doubling down on a monster not nearly as intriguing as the Lipstick Demon from the first film to the picture failing to expand on the strange astral plane of the Further in a meaningful way, Chapter 2 is just a tad underwhelming—a horror follow-up going through the motions. Still, it allows Wilson to play secretly evil, so that’s fun! – DC

5. Dead Silence

Dead Silence was DOA in theaters and critically panned when it debuted in 2007, yet after the movie became available as a home release it scraped together a small audience that was mostly composed of very specific genre fans: those who are just plain shit scared of ventriloquist dummies! Directed and written by the horror dream team of Wan and Whannell, Dead Silence stars True Blood’s Ryan Kwanten as Jamie Ashen, a young widower who slumps back to his hometown looking for answers following his wife’s ‘death by dummy.’ Dogging him on his quest is New Kid Donnie Wahlberg in a wild, scene-stealing performance as a detective who seemingly can’t stop preening his facial hair.

The mythical boogeywoman of the piece is Mary Shaw, a ventriloquist who was once lynched in the town after a performance went awry and a child later died by mysterious circumstances. Jamie’s family were an essential part of her lynching, and now Mary is on the warpath from beyond the grave.

Dead Silence is incredibly silly, but an important step in Wan’s directing career. Throughout the film he plays with the kind of masterful sound design and jump scares that he eventually refined down to a sublime craft. Just like one of Mary Shaw’s dolls, all the parts are there but the movie is only possessed by a little soul that doesn’t do too much damage to your nerves. – Kirsten Howard

4. Saw

The movie that made Wan a household name (at least among movie nerds and horror hounds), Saw became the biggest horror franchise of the 2000s and launched a grim new subgenre of exploitation that’s been derisively (if fairly) dubbed “torture porn” ever since. It’s therefore easy to forget Wan’s original Saw really isn’t one of those movies. Oh, people are tortured on-screen in this gnarly nightmare. And it is very horrific, to be sure.

Yet unlike the many subsequent Saw sequels that came later, plus copycats like the Hostel franchise, Saw doesn’t take perverse pleasure in its characters’ suffering or imagine the villain as some kind of antihero. Jigsaw was originally a chilling serial killer in the David Fincher mold, and his original film had a surprisingly minimal amount of gore. Most of the picture is really about the dreadful suspense of anticipation as we wait for something horrible to happen when two men wake up inside a dilapidated industrial bathroom and are told they need to saw off their own feet to survive.

In truth, if this same exact script (minus the grisly flashback sequences) was presented a one-act Off-Broadway play in 2004, it would’ve likely been hailed as edgy and boundary-pushing art. Instead we got a horror classic that spawned a memorable, if ultimately trashy, B-horror franchise after Wan and co-writer Whannell left the series following the first outing. Fair trade. – DC 

3. Insidious

Back in 2010 when Insidious was released, Blumhouse hadn’t yet become the horror behemoth it is today. So low budget but glossy horrors starring talented household names weren’t the norm. It wasn’t just these attributes that made Insidious a breakout which still holds up a decade later, however. It’s the fact that the movie is undeniably scary. It may use certain jump scare tactics at times but boy, do they work. Patrick Wilson and Rose Byrne star as a couple whose son is capable of astral projection, which has taken him into the nightmarish world of the Further and caused demonic figures to haunt the family. 

The first half of the movie will have you leaping out of your seat. The second half though is more of a comedy, marked by the arrival of psychic Elise (Lin Shaye) and her sidekicks, Tucker (Angus Sampson) and Specs (Leigh Whannell, who also wrote the screenplay). Made for just $1.5 million, Insidious is good-looking and distinctive, with scenes in the Further sharing an aesthetic with Dead Silence, and a mythology that clearly had legs. To date three sequels have been made, with a fourth confirmed last year. – Rosie Fletcher

2. The Conjuring 2

As a horror sequel done right, Wan’s follow-up to the biggest horror movie of his career felt like a palate cleanser for the director. After helming the successful but tragically troubled production of Furious 7, Wan returned to his roots and delivered a fiendishly designed thrill ride. In The Conjuring 2, we again follow Patrick Wilson and Vera Farmiga’s fictionalized takes on Ed and Lorraine Warren, this time to London as they investigate the infamous “Enfield Poltergeist” (spoiler alert: it’s a demon).

Once again Ed and Lorraine play the good samaritans and help a young family in desperate need, and Wan still keeps it wildly entertaining and suspenseful, if not necessarily fresh. But as important as his gliding camera set-ups and ability to create new iconic images of evil out of seeming whole cloth—hello, there demon Nun!—it’s the humanity in both of Wan’s Conjuring films which elevate them above the rest of their franchise. Never mind the ghosts; the scene of Wilson crooning Elvis Presley to some beleaguered children is the stuff of movie magic. – DC

1. The Conjuring

James Wan couldn’t have picked better subjects for his paranormal investigation franchise than Ed and Lorraine Warren, the controversial demonologists who left behind countless diaries and recorded accounts of demonic possession, haunted houses, and other supernatural events they claim to have witnessed over their decades-spanning careers. They even opened a museum full of spooky artifacts in the back of their Connecticut home. This is a couple who enjoyed digging into the occult, and with The Conjuring, Wan showed just how much he loved telling stories about the Warrens. 

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The first film covers one of the Warrens’ most famous cases, the Perron family haunting, with more than a few embellishments thrown in for an effective ghost story. In the real-life account and the movie, Roger and Carolyn Perron (Ron Livingston and Lili Taylor) are haunted by an antagonistic spirit that wants their newly-purchased 18th-century farmhouse in Rhode Island all to itself. That’s where the Warrens come in to investigate the strange occurrences, like the smell of rotting flesh in the basement.

The chemistry between Patrick Wilson and Vera Farmiga, who bring the Warrens to life, is one of the movie’s greatest strengths, establishing one of the franchise’s most important themes: that love can defeat any evil. It’s their devotion to each other, and their will to help others in need, that allows them to overcome any supernatural obstacles in these movies. (It’s why the sequels spend so much time threatening to tear them apart.) More than the creepy set pieces—like a possessed Carolyn in the crawl space *shudder*—and the “based on a true story” tagline, it’s the Warrens as characters that people keep showing up for, and the first Conjuring cleverly sells their love story to an audience just expecting jump scares and demons. – John Saavedra

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