#vintage damsel in distress

[extreme2024]

[thursdaymurderbub]

Screenland magazine, January 1938

[nocternalrandomness]

"The Ledge" by Greg Hildebrandt

[wbondsface]

Some movie damsels . . .

[intergalactic-io]

I don’t care what the shadows indicate, this is not a normal-sized woman suspended in a tube, it’s a

Giantess planning her escape and the brutal stomping of her captor

Captured Fantastic Science Fiction Stories, May 1960 Art by John Duillo

[hotvintagepoll]

Propaganda

Jessie Matthews (Evergreen, First a Girl, It's Love Again, Gangway)—known as “the dancing divinity”, jessie matthews was a british musical star of stage and screen in the 20s and 30s - if you're an enjoyer of lavish art deco musicals of the likes of fred and ginger, busby berkeley etc, definitely give her movies a try they are delightful! (tantalizingly there were multiple attempts made to pair her and fred together that never came to fruition - gaumont-british tried to get fred for evergreen and mgm wanted jessie for a damsel in distress.) and for the women in tuxedos enjoyers, her 1935 movie first a girl was the first english language remake of viktor und viktoria, famously later remade with julie andrews.

Lotus Long (Tokyo Rose, Last of the Pagans, Think Fast Mr Moto)— Look at those doe-like eyes! Her abundant hair! Her perfect Cupid's bow!

This is round 2 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Jessie Matthews:

Star of British 1930s stage and screen, she introduced classic songs by Noel Coward and Rogers and Hart to English audiences, and then played perky heroines, but today it’s her genderswapping role in First A Girl that probably gets most attention.

[nite-puff]

89!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!

HIII MARK!!!!! :D

89: Headcanons for an AU that you have

hmmm… roger rabbit au… hmmmm….

i could talk more in depth about taka and mondo’s in world cartoon in the au because i’ve never talked about it on my account before. so excuse me while i ramble…

the taka cottontail cartoon is your typical “hero saves the damsel in distress from the big bad villain” type cartoon (think of some old mickey and minnie mouse cartoons, popeye, a non vintage cartoon example would be mario, peach and bowser).

taka of course stars as the hero and mondo is the cartoon’s villain for a limited time (he gets fired at one point the dummy). and sayaka is our damsel (because HELL YEAH WILLPOWER UNION). she is also a bunny and is named “sayaka satin” after satin rabbits, known for their shiny and pretty fur and how they’re bred specifically for rabbit shows.

anyways. for mondo, im having a tough time thinking about how his villain character’s gonna be. i could go the more flamboyant route (with the idea of him being created to be very queercoded and somehow getting on the screen) and have him be a cruella de vil-like fashion designer who wants to capture sayaka and use her pretty fur for clothing. or i could go for something with a little more machismo (to really contrast his acting persona with his later one that’s more akin to jessica rabbit) and have him be a hunter/trapper that wants to hunt down sayaka like game to display her like a trophy. again, because she’s pretty. still working on which one i like more.

also off camera, these guys are besties. they hang out a lot and built a nice relationship with each other. sayaka’s stuck in this weird predicament where the person who was made to be her love interest actually doesn’t like her like that behind the scenes, but she doesn’t mind it. taka’s a good friend, but she’s not looking for that kind of relationship right now because she’s so focused on her career. she wants to break off and do her own thing once the cartoon ends its run, but she’s unsure if people will be able to separate her from that show. hmmm…

she’s also essentially the stand-in for the original movie’s baby herman because she’s the first person who approaches kyoko about taka being framed and asks her to help clear his name. because she knows taka, and she knows he’d never do something like that.

and taka’s just silly. he stays silly. silly rabbit.

no nice drawings this time, just this old sketch of taka and sayaka while i was trying to figure out their designs. still a wip.

[pdrrook]

After playing through all three LI routes in the visual novel, I started looking through more information about your blog.

While I love all of the routes, Reed seacrtly over his childhood friend for years, Jewel and MC falling in love when they're both on the run 🥰. Learning Laurent is a fan of classic nior films just makes his romance more hilarious for me in hindsight, considering the MCs Allure ability and illegal activities are traits usually associated with the classic Femme Fatale, but they're also framed for murder and unwittingly involved in a conspiracy so they got some damsel in distress mixed in.

I had no idea about this when I first played Laurent's route because when I created my MC Liz Morren, I gave her a vintage wardrobe and eyes like Elizabeth Taylor. She does hide her natural violet eye color with colored contacts, being a tier 5 Allure is difficult enough without having a rare eye color that would make her easier to potentially identify. Also, considering her limited funds, she can only really afford shopping at second-hand stores, and women's fashion from the 40s and 50s tend to flatter her curvy build better than most modern fashion.

Can you just imagine when Laurent first started visiting the perfume shop and then this sales girl who looks like she just stepped out a classic Hollywood film in live color gives him the most charming customer service smile? The poor bastard never stood a chance.

I was gonna say but "Can you just imagine when Laurent first started visiting the perfume shop and then this sales girl who looks like she just stepped out a classic Hollywood film in live color gives him the most charming customer service smile? The poor bastard never stood a chance." you said it all 😌

Laurent living his best silent noir film life on the run with the love of his life 😳👌

[officer-achilles]

Okay self indulgent idea of what Hera would look like if she had a physical form...

I think as of Season One she would have a physical form that's very retrofuturism meets vintage air hostess meets movie starlette...

I imagine mechanical blue skin, white blonde hair, vintage space outfit that's impractical- think the Jetson's female outfits and not actual space safe attire. Perhaps an outfit with a bit of Marilyn Monroe flare, the splayed out bob, the bright eyes, perhaps a mole on her cheek. A little bit pretty alien...

Because I think Goddard Futuristics would want to belittle her a bit, remind her that she's not a person in her own right- that she's a part of the ship, there to aid, not to function as an individual. So they make her look more fashionable than functional and lean into a pretty Star Trek damsel in distress look.

I think Hera would resent this appearance and try to find some way in her programming that she could adjust her form to something she would actually prefer. In Hera's ideal form she'd wear a jumpsuit like the rest of the crew, tie her hair up or perhaps cut it into a less feminine style and she'd ditch the makeup that makes her look more like an actress than anything else.

With the help of Maxwell she'd be able to change a few things- and maybe end up with a form that's closer to looking like Minkowski or Lovelace than a character from a C-tier sci-fi film in the 60s...

[havinganidentitycrisis]

[GORE/BODY HORROR TW]

🩻 Goretober Week 4: PARASITE x POISONED 🩻

(character name/pronouns: Marionette, she/they)

☆ so i realized that, looking back, the first artwork i made featuring Marionette in this AU had her fully transformed, and the second piece from last year showed her in the act of currently mutating. here, i ended up deciding to show the parasite after just entering her body and beginning to infect her bloodstream, making all 3 pieces into a sort of 3 act transformation going backwards from the completion of her mutation to the start.

☆ in terms of the style of the piece itself, i was inspired by those corny yet evocative vintage horror pin-up drawings of pretty girls as witches, zombies, damsels in distress, etc, as well as the very obscure body horror film Frankenhooker from 1990. both of these pieces of media are so shlocky and lowbrow, but i just can't help but adore them and feel so fascinated by them. they make my very queer, horror loving heart swoon. ♡

☆ so here we have my stitched up doll as a body horror barbie, i hope you love her to pieces just as much as i do. ♡

('canon accurate' version on the left, pin up ver on the right)

[vintagestagehotties]

Hot Vintage Stage Actress Round 1

Helen Menken: Diane in Seventh Heaven (1922 Broadway); Irène De Montcel in The Captive (1926 Broadway); Elizabeth I in Mary of Scotland (1933 Broadway); Charlotte Lovell in The Old Maid (1934 Broadway)

Jane Baxter: Lady Maud Marsh in A Damsel in Distress (1928 West End); Margaret in George and Margaret (1937 West End); Viola in Twelfth Night (1948 Old Vic)

Propaganda under the cut

Helen Menken:

her and mae west were arrested on the same night and got into a shouting match where mae west called her a lesbian and she called mae west a drag queen and personally i think the foundation for a really hot enemies to lovers story is 👌

Jane Baxter:

[witchyirishgal]

Those lingerie pics!

Is it weird to suggest that you would look wonderful wearing that while something like the Creature from the Black Lagoon carries you away into its lake to become its mate... like those vintage 50s Sci fi horror posters with damsels in distress?

This woman is a goddess… but one of my favorite photos of all time.

[f-cat]

Hey, Cat!

What's your favorite thing to work on with your art, and why is it your favorite thing?

Do you have a favorite piece of art that you're especially proud of? Why is it your favorite?

What's the most challenging thing to work on when it comes to your art? Why is it so challenging for you?

What brought on the tickling, and tied up fetishes? To be honest I was very indifferent towards this sort of thing, but I have to say I think your art may have awoken something. Which I never thought would have happened lol. Guess it's good to be open minded. Might be because of how amazing your models look.

Hope the last one isn't too personal. Thanks for taking the time to look at and answer these. I'm a big fan and can't wait to how much you improve upon in the future. I've never interacted with you on your platforms like twitter, but I may start doing it soon. Have a nice day!

Hello Anon!

What's your favorite thing to work on with your art, and why is it your favorite thing?

If I had to be honest, some of my favorite things to work on with art are the faces. More so than the situations or other things I put them in. There's nothing more satisfying to me than finishing up the touches of makeup on a model and previewing it to see that it looks good.

Do you have a favorite piece of art that you're especially proud of? Why is it your favorite?

I can't really say I do. I feel like I'm pretty numb when it comes to my own work, and I am often pretty rough on myself when things don't turn out the way I want. Like if I'm spending 3 or 4 hours working on a face and it's just not coming out good, I quit and do something else. But when things do come together, those pieces are often my favorite for a day or two before I start brainstorming something new.

What's the most challenging thing to work on when it comes to your art? Why is it so challenging for you?

Everything is difficult. Sculpting, drawing on makeup, tattoo lines, expressions, posing; there's nothing easy at all, but it's fun to do. If I had to pick the "most difficult," I'd say it's the decision to approach a character in a distinct style. I have mainly a cartoonish "Overwatch" style versus a "hyper-realistic" comic style (I'd like to think), and it's tough deciding who wants to be in what style.

What brought on the tickling, and tied up fetishes? To be honest I was very indifferent towards this sort of thing, but I have to say I think your art may have awoken something. Which I never thought would have happened lol. Guess it's good to be open minded. Might be because of how amazing your models look.

Thank you! I'm glad you're still discovering yourself too! I discovered tickling when I was pretty young through like your typical cartoons, comic books, fiction, etc. Things where certain characters were "in a ticklish dilemma" and I've always wondered "hmm, I wonder what it's like to be in that position." I discovered more and more and started to enjoy the idea of it growing up, and would sometimes write about it. It's weird to say, but I liked the idea of me being a damsel-in-distress; it felt so vintage. In college, people in the community opened up to me about their interests and fetishes (even feet), and I started foot-modeling. All of that pretty much translated to whatever this chaotic representation of my art is. I just sat down and learned it; first with pre-made models, then decided to try to make my own.

Thanks for asking, feel free to drop by to say hi here/Twitter/DeviantArt!

[tonydaddingham]

LWA: I like your alternate reading of the damsel-in-distress scenes, in that Aziraphale's explanation becomes both post hoc and an attempt to lie to himself about how he feels about this dynamic persisting into the present. That would parallel Crowley's repeated attempts to invent a consistent friendship/partnership with Aziraphale that the script shows us is only of recent vintage. Both characters are unreliable narrators.

1967:

Two things interested me about the 1862/1967 scenes when I first watched the series. First, they're out of line with all of Crowley's other requests for Aziraphale to step out of Heavenly form, and that includes the straight-up child murder. Crowley can convince Aziraphale to go along with the Arrangement, anti-Armageddon, and even the child murder because they all involve benefits for both of them and/or the "greater good." The Holy Water is /only/ for Crowley. Here's the point for Crowley in the argument: Aziraphale won't do a (really big) favor just for Crowley. (Back to the new 1941 scene: Aziraphale's sleight of hand saves Crowley, as a riposte to 1862.) However, the flip side of 1862 is that Crowley, who by this point in the script knows that it took several centuries for Aziraphale to agree to the Arrangement, just drops the request on him out of nowhere. This was destined to not go well, even though the matter is urgent. More importantly, Aziraphale sets a hard boundary in this scene: he won't give Crowley a suicide pill. No, it's not self-evident that Crowley wants a suicide pill instead of a defensive weapon (the new 1827 scene explains why Aziraphale's mind went there, however), but Crowley just doesn't get around to stipulating why he's asking for his anti-demon nuke.

(I will take a quick break from my chain of thought to note that Gaiman's abandoned plans for a "Wild West" scene would have blown up our understanding of their nineteenth-century chronology. If it was before 1862, then Crowley wasn't in Hell for thirty-five years; if it was afterwards, then they would have seen each other prior to 1941, even if on hostile terms. The TV fandom keeps forgetting that according to Gaiman, TV!Crowley is awake for the nineteenth century.)

The script is clear that the 1967 scene parallels the 1941 church rescue (Crowley's/Aziraphale's "what are you doing here?!", the gift of an important object as a token of love). However, the script is also clear that the conversation has not progressed beyond 1862. Aziraphale repeats his earlier points and says explicitly that his mind has not changed. The boundary has not moved. Instead, Aziraphale faces two options: he can let Crowley risk death for something that he still thinks is a suicide pill, or he can just give him the suicide pill. So he plumps for the least unacceptable option, which is door #2. But he has still violated the boundary he has set for himself, and spends the rest of the scene visibly near tears about it.

A lot of fanon assumes that Crowley's "anywhere you want to go" is lovely and romantic and all, and that Aziraphale's "you go too fast for me" is a sign of a character flaw. Resisting the demon's love, once again! At the risk of treading on sensitive fanon feet, the parallel to this scene is the end of S2, in which Aziraphale's half of the proposal crosses Crowley's hard boundary about Heaven. In S1ep3, Aziraphale's dialogue shows that his hand has been forced; Crowley's "anywhere you want to go" is not a reciprocal action because it doesn't respond to what Aziraphale either says or visibly manifests over the course of this scene. The outcome of this mini-arc is that Aziraphale hurts himself to help Crowley, but does not get any assurance in return that Crowley will not make him do that again. I'm not sure that we need something more from the 1941 scene to explain why Aziraphale yeets himself out of the car as he does. (That being said? If we are idly predicting what might happen in 1941 that causes Aziraphale to be upset in 1967, it's most likely to be yet another request for Holy Water at exactly the wrong time.)

thank you!!!✨

re: wild west, i did think this when i saw his ask response - and the same for the 60s scene that neil mentioned - that they would potentially alter the narrative as we've received it so far, so for the moment im glad they weren't actualised, even if they would be fantastic on their own merit.

as an unrelated aside, because i haven't fangirled about this yet; the papal mention really piqued my interest - it was vague ("15th century") but even the implications of that time period... the build of the sistine chapel (and michelangelo)? the borgias and medicis? or even reference to constantinople? that would have been so cool!!!

anyway -

i see your point about the holy water request being of a different kind to any other request that crowley has made of aziraphale, either directly or indirectly, and that's true.

it is entirely for crowley's own benefit, as opposed to the wider benefit of humanity/'greater good'. i would slightly also argue that 1941 was also for their joint benefit, insomuch that whilst aziraphale is cognizant that hell is directly threatening crowley, he - aziraphale - would lose crowley, and only just having realised at least to some degree that he feels something More for, loves, him. would this - aziraphale saving crowley in 1941 - therefore by definition be selfish as well as selfless, compared to 1862 where arguably it is only for crowley's benefit? debatable but admittedly very tenuous.

in any case, id have to agree with your second reading of 1862; whilst crowley no doubt sees this as the only time that he's actively reaching out to aziraphale for help, and has been refused despite that it must be desperate because he is asking, not only is it dropped out of nowhere on crowley's part, but also the context is key from aziraphale's perspective, and that is what is being withheld.

aziraphale is hypothetically not under, at this point, any notion that crowley might be in danger, he's presumably been out of contact with aziraphale since 1827 (if we accept that pre-1862 wild west is technically not canon...? if it's not in the story?), and crowley presumably has just dropped a cursory letter or telegraph to tell aziraphale to meet at st james with no explanation whatsoever. i think given that, aziraphale's demeanour is understandable, and hardly poses as a good set up for such a request.

and it's a huge request! as you indicated LWA, aziraphale is slow to change himself, and slow to take in changes to the status quo; whether that's the idea that what is Good is not always Right, or whether that's 'lending a hand when needed' in the Arrangement because it means he's consorting with a demon etc., to drop something monumental on him, something that could ensure crowley's destruction, is not a light thing to aziraphale. i could imagine in some way it almost feels like a betrayal of the friendship and trust that they've slowly been building up.

ive taken a look at the scene again, and crowley's first line to aziraphale is, "ive been thinking. what if it all goes wrong? we have a lot in common, you and i." so, first of all, no preamble. straight away, he's loosely suggesting there's an Issue without so much as a by-your-leave. but the reference to having something 'in common' is stumping me; what does this line serve? is crowley saying that they both are being watched by their head offices, like aziraphale in 1793 and crowley in 1827/this scene? is he saying that he and aziraphale are both in the grey, and that puts a target on their respective backs? is he saying that they have started this friendship, and by that a reliability on each other, that crowley is hoping will play a part in aziraphale acquiescing to his request?

regardless of that (which, LWA, would be grand to have your interpretation at some point because idk if im just reading too much into it, but similarly also feeling like im Missing Something that could be key contextually for crowley), absolutely the mere suggestion of a suicide pill is a hard no for aziraphale. and crowley is deliberately vague with using 'insurance' because, to my mind, he sees it as being either/or. if demons come looking for him, he'll try to take them out. if that doesn't work, he'll remove himself from the equation entirely. and that's a horrendous prospect, but completely empathetic, but we only surmise why it's empathetic by way of our hypothetical conclusion drawn from his yeeting in 1827.

aziraphale however is demonstrably a little slow on the uptake and has clearly got some pretty big self-esteem issues. it's understandable (albeit frustrating) that he'd immediately interpret crowley's disappearance as being a reflection on him himself, rather than something potentially involuntary on crowley's part. it's only in 1941 that aziraphale understands why the request was made and - yes, 105 years after st james - in 1967 he finally reconciles that to give crowley the holy water instead of him risking death to get it (which in itself must lend some indication of how dire the need was and is after both 1827 and 1941) is the safer option. caught between the devil etc etc.

in terms of the boundary not having moved by 1967, absolutely. and this is where i imagine what will be a follow up to the s2 1941 minisode will be key in s3, because the departure from the softness at the bookshop is so vastly different to 1967.

there must be (speculation alert), not only a further conversation about the holy water - given that it's not discussed at all in the s2 minisode - but i think this will directly correlate with 'you go too fast for me'. that crowley perhaps - now feeling secure in that they can fend off hell - pushes the boundary of their friendship/arrangement/relationship, and tells aziraphale what happened after 1827 (bearing in mind that im basing this entirely off of a theory at this point). tells aziraphale that is why he needed the holy water, pushes again for it, and aziraphale still refuses. and given what they've just gone through at the theatre, crowley is expecting aziraphale to just change his mind and follow what crowley has asked for, not taking into account that this is a bit too soon for aziraphale.

maybe also a romantic move is made, maybe not, but aziraphale having only just realised what he feels for him can't quite bring himself to give crowley what he's asked for, not yet, and perhaps in multiple senses. personally, i think it has to be something deeper than just a move being made (although this would offer an interesting parallel to the ep6 kiss), but in any case the fact that aziraphale responds with such veiled conviction that for now this is all he can take shows to me a huge leap in his development.

even if he has given crowley the holy water, he is probably quietly angry that crowley has pushed the issue (in trying to get the water by any means necessary, directly undermining and neglecting how aziraphale would feel to lose crowley even by accident), and feels potentially even somewhat betrayed that crowley would use him and his feelings for him like that - even if at this point crowley only interprets those feelings as purely platonic. it doesn't surprise me that this is the last scene we see of them together pre-2019, and i kind of hope it remains that way (although i pray nightly to every god above that we at least see crowley in 1984/5 but that's immaterial).

last couple of things; "anywhere you want to go" always struck me as crowley trying to brush everything under the carpet, same way he kind of intended in 1941 with "lift home?". yes, on the surface, it's an innocuous, kind gesture - but going by character-reading feels like it's a, 'cool that's over and we're good now, let's get on'. it's crowley reverting back to his Acts of Service standby like that will solve everything. it worked in 1941, possibly because of the setting and aziraphale being distracted by his epiphany, but it worked; crowley was invited back into aziraphale's world, and the status quo was re-established.

but in 1967 he attempted this twice: "can i... drop you anywhere?" comes first, which aziraphale rejects, but remains in the car and intimates that they're not over (however you want to interpret 'over') but one day proposing a picnic or the Ritz, but first he needs time. crowley steamrolls this, pushes again - "anywhere you want to go" - and this seems to finally push aziraphale away, and he physically removes himself from the car (which now feels like an very interesting mirror to the s2 ending).

and ooft, your remark on this hurting aziraphale but crowley not seeming to notice and makes no overture to ensure this is a one-off incident? well. his calling him 'stupid' in s1 being mirrored by 'idiot" in s2, his borderline-gaslighting apology in s1 being mirrored by the dance in s2 (even if aziraphale seems to accept it), his distrust that aziraphale could find a solution to armageddon in s1 being mirrored by his dismissal in ep5 re: demon incursion in s2... certainly seems to be a bit of a habit.

[hotvintagepoll]

Propaganda

Katharine Hepburn (Bringing Up Baby, The Philadelphia Story, The African Queen)—This woman. I have been obsessed with her for years. I know the urban legend is a popular one at this point of her walking around set in her underwear when her pants were stolen and she was left with only a skirt, but the pants thing is honestly enough for her to be the hottest in the room in my book. She refused to wear anything else at a time when the public in general and especially the studios did not like that. She was independent, stubborn, and so so very capable. Competency kink anyone? Also, if you want one final way that Katharine's entire life was saying "fuck you" to the establishment, it started young! Her mother took her to suffrage events, and she never got rid of that attitude of justice. I feel like I have barely scratched the surface of all the ways she was such a badass that I'm turning into a rambling mess instead.

Jessie Matthews (Evergreen, First a Girl, It's Love Again, Gangway)—known as “the dancing divinity”, jessie matthews was a british musical star of stage and screen in the 20s and 30s - if you're an enjoyer of lavish art deco musicals of the likes of fred and ginger, busby berkeley etc, definitely give her movies a try they are delightful! (tantalizingly there were multiple attempts made to pair her and fred together that never came to fruition - gaumont-british tried to get fred for evergreen and mgm wanted jessie for a damsel in distress.) and for the women in tuxedos enjoyers, her 1935 movie first a girl was the first english language remake of viktor und viktoria, famously later remade with julie andrews.

This is round 3 of the tournament. All other polls in this bracket can be found here. Please reblog with further support of your beloved hot sexy vintage woman.

[additional propaganda submitted under the cut.]

Katharine Hepburn propaganda:

I'm sure one million people will submit her as an iconic Hollywood star but that iconicness might lead people to forget just how insanely hot she was like she had it ALL she was skilled she was funny she was smart she was beautiful AND she was likely bisexual

The single word I would use to explain Katherine Hepburn's appeal is *range*. In her acting career, that meant covering all the ground between lush period dramas and the comedies she did with Carey Grant and Spencer Tracey. In terms of hotness, it meant an uncanny ability to bring anything from a Dietrich-esque androgyny to some of the best Classic Hollywood Glamour you will ever see.

Katharine hep was so cool. The VIBES, the INDEPENDENCE,,, living life on her own terms.

she just had this.... bearing to her, this power. she could be funny, even silly (like in bringing up baby) but also so regal and elegant. she was nobody's fool and dear GOD that's so hot

Fancam link

She’s not only stunningly gorgeous (those eyes that pierce your soul! a jawline you could cut glass with!) but her delivery and physical presence in roles gives off confidence and authority in such a sexy way (truly the biggest dick energy of Old Hollywood). Her fiery energy in The Philadelphia Story? Unmatched.

God she's. She's so hot y'all. She has the range!!!!! Funny and dramatic and lovely

She IS the transatlantic accent. Classically gorgeous and such a strong personality.

She's literally one of the funniest women to ever live! She goes shot for shot with Cary Grant in Philadelphia Story and we damn well love her for it! She's the most annoying creature to ever live in Bringing Up Baby but she's so insane and funny that we simply cannot help but fall in love with her (and root for her to give Grant an aneurysm!)

i know she's accounted for but i really want to be sure someone has submitted the scene in bringing up baby where she's pretending to be a gangster

She simply stuns onscreen; you cannot do anything but be captivated by her presence. Also a non-gender-conforming icon and mild tumblr celebrity by virtue of that one picture from The Warrior's Husband (stage play).

Katharine Hepburn was out here casually changing the lives of young butch lesbians with her gender swag! She wore pants even when people said she shouldn’t, she refused to marry or have kids, and she wore menswear in at LEAST one movie!

If I start thinking about her face for too long I will cry she is so so hot. Katherine is so charismatic and charming in everything she appears in - watch her adopt a leopard and fall in love with her. Also she has the biggest dick energy ever (she and her pal Lauren Bacall share that accolade). Also had an incredibly long and varied career from screw ball comedies to serious dramas - she’s a queen of the screen and I adore her.

Someone's got to mention it, but she's won the most Oscars out of any performer and is largely considered one of the greatest actresses ever. She's got an incredible voice, an incredible presence, and she absolutely steals every scene she's in. She was private person and deemed standoffish and unapproachable, but she was also profoundly concerned for people's rights and was an outspoken supporter of abortion access. Finally, the Katharine Hepburn slacks look is just iconic. I mean look at her.

(I hope someone else submits real propaganda but just in case they don't:) Cries. Screams. Wails. The woman who singlehandedly made me realize I was bi. A real "do i want to look like her. be her. or be with her.' crisis, where the answer was all three. Holy shit please all three.

Jessie Matthews:

Star of British 1930s stage and screen, she introduced classic songs by Noel Coward and Rogers and Hart to English audiences, and then played perky heroines, but today it’s her genderswapping role in First A Girl that probably gets most attention.

[skyekilaen]

Gina is a board game fan, Marek is a video game translator. She's stuck on a bad relationship from her past, while he's ready to move on after his own dating disaster.

If you'd be into a queer romance about a bi man and a bi woman in their late 30s falling in love, you can find info, buy links, and a preview here.

Or here's the full blurb if you're intrigued...

Gina has a no-dating policy, but out-of-towner Marek’s nerdy charm is tough to resist. A small town bisexual romance.

No dating. That’s longtime divorcée Gina Kersey’s rule, and she’s sticking to it. Comfortably settled in her hometown of Clover Hill, she’d rather play board games than risk getting played herself. For company, she has her beloved if slightly meddlesome Great Aunt… who’s somehow made Gina promise to break her rule. She has to ask someone out. On a date. Maybe she could skip town instead?

Outgoing video game translator Marek Haas flew across the country to pick up the sports car of his teenage dreams—to celebrate getting over a breakup from the absolute worst boyfriend, not because he’s having a midlife crisis at thirty-five. In his automotive fantasies, though, the car didn’t break down in the middle of small-town nowhere.

Marek’s not a damsel in distress, but when Gina comes to his rescue on the side of the road, she can’t believe her luck. He’s handsome, charming, and most importantly, just passing through. Promise, meet loophole! When he turns out to be adorably nerdy as well, they skip drinks at the pub for a fun-filled night in Gina’s bed.

The problem? Marek’s vintage car needs parts the garage doesn’t have, so he’s stuck until they’re found. Meaning every time Gina turns around, her hot one night stand is still in her town, being all cute and friendly and sometimes taking his shirt off. Even worse, he seems to be falling for Clover Hill… and Gina might be falling for him.

Can Gina overcome her fears and take a chance on a geeky sweetheart who makes her weak at the knees, or will their unforgettable one night stand end up as nothing more than a memory?

A high-heat queer M/F romance with two bisexual main characters and a guaranteed HEA.

Tropes: “no dating” rule, vacation fling, one night stand, meddling matchmaker, seasoned romance with characters 35+, small town, nerds in love, bisexual romance.