#win mcnulty

[jessread-s]

✩🪴🏴‍☠️ Review:

If I was only allowed to read one book for the rest of my life, I would choose this one!

“Out on a Limb” follows Win McNulty and Bo Durand, two strangers whose lives are forever altered after a one-night stand at a Halloween party. With a baby on the way, the two decide to get to know one another as friends and nothing more. But, as they both should know by now, life rarely goes according to plan.

I loved reading from Win’s perspective! Her distinctive character voice drew me in from the very start! I appreciate how Win’s inner thoughts showcase very real day-to-day struggles, insecurities, and fears as she navigates her unexpected pregnancy and relearns how to embrace herself fully. Though I couldn’t relate to Win’s specific situation, I could relate to her feelings and emotions and was moved by her vulnerability. 

I adore Bo Durand!!! He is the PERFECT partner for Win. Every interaction he was involved in made me smile because he is just so kind and supportive of Win. He makes her feel protected, safe, and loved. On top of that, his sunshine personality, nerdiness, and dad jokes made my heart flutter to no end. 

Win and Bo’s relationship development is beautiful from start to finish. At first, they are perfect strangers. Once Win discovers she is pregnant with Bo’s baby, they spend the majority of the story establishing a strong friendship that later serves as the foundation for their romantic relationship. They get to know each other so completely by asking each other questions and keeping communication open. As they got more comfortable with each other, there were little moments (like when Bo braided Win’s hair, when Win helped Bo grapple with his own demons, or when the two slow danced in the kitchen) that really stuck with me. I laughed, I cried, and I got all the warm and fuzzy feelings from this book! It’s disabled joy at its core and I couldn’t recommend it enough!

Cross-posted to: Instagram | Amazon | Goodreads | StoryGraph

[maddiesflame]

Out on a Limb headers

like/reblog if saved © maddiesflame

[cenestpasaudrey]

I knew I was going to finish this book in less than 12 hours when I laughed out loud while reading the first page. First.

Not only is this good and lightweight. This is also one of the funniest I’ve read this year. (Maybe because I should stop succumbing to those Mafia/Billionare/Hockey booktok recommendations.)

[mashkdemss]

Parallels between Byler and the canon couple from "Anne with an E"

Warning, there are a lot of spoilers here! And I apologize in advance if you find mistakes in the text, I'm still learning English O_o

Hi everyone!! Last month, I watched the series "Anne with an E" for the second time, and during my second viewing I decided to approach the romantic line of the main characters from a different angle. After many analyses of Byler, I learned to analyze relationships in cinema, and this case really surprised me on the good side! Let's talk with you about the parallels between Mike and Will with Ann and Gilbert, which help to make sure that Byler will soon become a canon :)

"Anne with an E" is a Canadian TV series, the first season of which was released in 2017 (8 months before the release of season 2 of Stranger Things). The main role in it was played by actress Amibeth McNulty, who also played the role of Vickie in season 4 of Stranger Things. And this is not the only important connection of this series with ST! At the end of the first season, Hopper was reading a book to Sara in the hospital, and that book was "Anne of Green Gables" (the Netflix series was based on this book)

Then in episode 3 of season 2, he reads the same book for Eleven.

The main romantic line in "Anne ..." develops between Anne and Gilbert over the course of 3 years (13-16) and it is narrated through such tropes as: from friends to lovers, slowburn, a love triangle, and a trope in which both characters think that their feelings for each other are unrequited, although in fact this is not the case. All of these relationship constructions are also applicable in the case of the Byler.

Direct parallels can be drawn between the characters:

Will = Anne

— Creative and sensitive teenagers from medium-income families who were bullied by their peers. They both talk a lot next to people they feel comfortable with, both have a self-built little castle in the forest where they retire during a difficult period and can feel safe without fear that someone will judge them (and later these castles were destroyed at both). There is a scene where Anne runs into her wooden house and cries there, very similar to Will's scene after a fight in the rain.

Ann and Will both told their mothers (in Anne's case, the foster mother) that they are "not going to fall in love" although the line of their romantic attachment to Gilbert and Mike is already developing according to the idea of the plot. Another interesting correspondence between these two characters is that they both helped people dear to them with their romantic relationships, while they themselves did not want it. Anne read the letters that her foster father's old friend had sent him, and without telling him about it, she decided to send her answers on his behalf because she thought they were deeply in love, and her father "just didn't know what to say". As a result, her father found out about it and talked to her about how he hadn't read his friend's letters because he didn't want a relationship with her, he just wasn't in love with her anymore and wasn't ready to change his life. Does it remind you of anything? Will also used Anne's "tactics", revealing his feelings to Mike on behalf of El, only he used a painting and not letters.

And one more take.... Anne's so-called mentor was aunt Josephine. They were in a good relationship and she gave her advice about her life and love. Josephine was also a lesbian. I want to say that this is also a possible parallel, because in the fifth season we are definitely waiting for the interaction of Will and Robin.

Mike = Gilbert

— curly black-haired guy from a more affluent family, who often acts as a leader and has some authority as a smart student. He liked Anne as soon as she joined their school and he tried to win her attention, but Anne knew that her friend liked him, so she carefully avoided Gilbert (although she also liked him). This gives us another coincidence: Anne, like Will, believes that she does not deserve love and avoids her feelings in order for other people to be happy. The main similarity between Mike and Gilbert is that they both stand at the center of a "love triangle."

Due to misunderstandings that have occurred between him and Ann, Gilbert begins to think that his love for her is not mutual and decides to marry Winifred (represents El in our case). Winifred is a girl from a rich family whom he met quite recently, and if Gilbert marries her, then her father will give him the opportunity to study at a prestigious medical college, which he has long dreamed of. Everyone around him approved of the idea of him and Winnie getting married, everyone expected it from Gilbert. Their wedding, unlike a relationship with a village red-haired orphan girl, could have brought him social approval, just as Mike and Eleven's relationship could have brought Mike social approval and entrenched his image of a "normal heterosexual".

But Gilbert doesn't love Winifred the way she loves him. Therefore, shortly before their wedding, he confesses to her that in fact his heart will always belong to Anne and that for this he is ready to give up his dream. And although their breakup was sad for Winnie, Gilbert explained the reasons to her as tactfully as possible, saying that she deserved someone much better than him. All of this also goes well with Willelmike.

To declare his love to Anne again, Gilbert writes her a letter and leaves it in her room while no one is at home. He writes that he and Winnie are not getting married, that he has always loved only Anne, and at the end he signs "Love, Gilbert." LOVE, GILBERT. Where have we heard this before? That's right, Mike's letters... If anything, I absolutely believe in the Lettergate theory, and that's also one of the reasons I'm confident in it.

Then there is confusion, Ann thinks Gilbert is mocking her feelings, and tears up the letter, and Gilbert goes to a less prestigious medical college. Now they are both sure that their feelings are not mutual, and even resigned to their failure, BUT! Anne meets Winnie, who tells her that she and Gilbert broke up and that he confessed his love for Anne to her.

Meanwhile, Gilbert meets Anne's best friend on the train, who loudly told Gilbert everything she thinks about him and "opened his eyes." She also mentions a love letter that Anne left some time ago, in the same way Gilbert left in her room later. Anne's letter was also unread, and the phrase "What letter, Diana, what letter?" appears. Don't you think it's very similar to a possible scene from s5 of ST with "What painting?"

In general, they ended up running to each other and touchingly reunited, after which there was a sensual kiss that the audience had been waiting for for so long. Unfortunately, the series ended there, but according to the canons of the book, they lived happily ever after, married and had many children, as befits such old love stories.

The main plot is not about Anne's love story, but about her growing up, other problems and events in their village (as in the case of Stranger things), so this line between the characters unfolds slowly and throughout the series, and Anne with Gilbert open up about their feelings and kiss only in the last minutes of the last episode.

It seems to me that there are too many coincidences to be coincidences. All of this inevitably leads to Byler endgame, if you look at everything from a cinematic point of view. Absolutely the same techniques were used: framing, phrases, lighting, musical accompaniment. When watching "Anne..." viewers have never denied the fact that there are feelings between Anne and Gilbert, although they were not revealed directly until last season. And all because Anne and Gilbert are a heterosexual couple, and such couples unfortunately turn out to be more pleasant and understandable to the average viewer. But they turned out to be a really good ship, and I'm even glad that the Duffer brothers were inspired by this setting.

So if the Shirbert is canon, then Byler will soon become canon!

[rogloptimist]

AND ALL MY DEVOTION TURNS VIOLENT

when i make one web weave i am physically unable to not make at least three more (credits under cut)

ada limon - the good fight // mads pedersen, tadej pogacar, jonas vingegaard, and wout van aert - stage 16, tour de france 2022 // tadej pogacar and jonas vingegaard - stage 17, tour de france 2022 // tadej pogacar and jonas vingegaard - stage 11, tour de france 2024 // romance - elaine kahn // american sonnet for my past and future assassin - terrance hayes // tadej pogacar and jonas vingegaard - stage 18, tour de france 2022 // tadej pogacar and jonas vingegaard - stage 17, tour de france 2022 // horoscope for the heartbroken - schuyler peck // tadej pogacar and marc soler - stage 17, tour de france 2023 (anne-christine poujoulat, getty images) // vingegaard marches towards tour de france title as pogacar cracks - julien pretot // jonas vingegaard - stage 15, tour de france 2024 (IMAGO) // pogacar wins in high mountains to deal blow to vingegaard and extend tour de france lead - kieran crichard // peripety series - jen mazza // tadej pogacar and jonas vingegaard - stage 7, tour de france 2024 // mabel, episode 28: matryoshka // tadej pogacar and jonas vingegaard - stage 7, tour de france 2024 // it's a circus and we all paid to be here - ashe vernon // the winner's kiss - marie rutkoski // tadej pogacar and jonas vingegaard - podium ceremony, tour de france 2024 // you are the apple - lady lamb // tadej pogacar, brandon mcnulty, and jonas vingegaard - stage 17, tour de france 2022 (gruber images) // i don't smoke - mitski // tadej pogacar and jonas vingegaard - stage 17, tour de france 2022 // tadej pogacar and jonas vingegaard - stage 20, tour de france 2024 (presse sports, belga images) // vingegaard and pogacar 'allies' says former tour de france champion - AFP // 'now we have a fair fight:' pogacar remains bullish despite vingegaard counter-punch at tour de france - andrew hood // the fall - alan stephens foster // vingegaard vows to keep swinging at imperious pogacar: 'we will fight to the end of the tour de france - andy mcgrath // i'm your man - mitski // jonas vingegaard - stage 18, tour de france 2024 (gruber images) // tadej pogacar - stage 18, tour de france 2024 (gruber images) // tadej pogacar and jonas vingegaard - stage 9, tour de france 2024 (getty images)

[jgroffdaily]

Excerpts from an interview with Jonathan and Maria Friedman at the Los Angeles Times by Charles McNulty, with photos by Justin Jun Lee:

Hopefulness and regret are calibrated to perfection in a revival that ought to be filmed before it closes July 7. I’ve seen the New York production twice, and the psychology only deepens on subsequent viewing.

The key to making this work — which is to say making us care — is the performance of Groff, who humanizes Frank’s choices without sentimentalizing his arc. Frank can come off as a narcissist, a guy who can’t resist whatever shiny object happens to be in front of him. But Groff, who received Tony nominations for his performances in “Spring Awakening” and “Hamilton” and deserves to win for his beautifully layered work in “Merrily,” reveals what Mary and Charley see in him and don’t want to give up on: an answer to their dreams of fulfillment — romantic in Mary’s case, artistic in Charley’s.

Groff was fresh from filming HBO’s “Spring Awakening: Those You’ve Known,” a reunion concert with the show’s original cast and creative team, when casting director Jim Carnahan asked him about his interest in “Merrily.” He immediately watched the London production on YouTube and was struck by an image from the opening number that matched something he had just re-created for the “Spring Awakening” doc.

“Frank walks out with a red folder, and Mary and Charley come out and stand in the exact positions that John Gallagher Jr. and Lea Michele stood in at the end of ‘Spring Awakening,’ with the girl over the left shoulder, the guy over the right,” he said, speaking from his dressing room at the Hudson Theatre. “That is the final bit of ‘Spring Awakening’ and I was like, ‘Oh, that’s so weird. I just lived that.’”

But it was one of Frank’s lines that really clinched the deal for Groff: “I’ve made only one mistake in my life. But I made it over and over and over. That was saying ‘yes’ when I meant ‘no.’” “When I heard that,” Groff said, “I went, ‘Oh, my God. I have to play this. I have done that. I’m just learning how to not do that. Yeah, I get him.’”

“I cast Jonathan for many reasons,” Friedman said. “One, because he’s absolutely brilliant. But I cast a big heart, a beating heart.”

“The amusement and bafflement of having a go at life and everyone wanting a piece of you — that is the place that Jonathan works from,” Friedman said. “Everyone wants a piece of Frank. That’s what happens with brilliant people. Jonathan is not just brilliant and beautiful but also one of the kindest men. And kindness is central to this production.”

Groff, who was exceptional in the short-lived HBO series “Looking” about a group of young gay men living in San Francisco, said that, from “a queer perspective,” he could identify with the way Frank represses parts of himself to please others.

“Growing up closeted, I became an expert at dodging questions and shining a light on other people,” he said. “This can create a relationship dynamic where you’re in a constant state of service to others — like the perfect son who’s hiding something. That stereotype feels connected to the way Frank supports everybody’s dreams, talents, neuroses and needs. He’s able to do it because he’s full of passion and genuine love for those people.”

So how exactly did Friedman, Groff & Co. finally solve the riddle of “Merrily”? By approaching it the way they might a play by Shakespeare or Chekhov, sifting through the lyrics as though they were lines in “Hamlet” and digging into the psychology of the characters as though mining subtext in “Uncle Vanya.”

This revival, fittingly, has been a team effort. And the ensemble’s collaborative joy only reinforces our sense that, however much Frank, Charley and Mary may bitterly disappoint one another, their bond will always be the best thing that ever happened to them.

[mildew-dread-mold]

finished season 1 of anne with an e

i based my entire personality off of anne shirley as a child so i have large feelings about this and i’m making it other peoples problem

i hate that they gave marilla and matthew love interests, especially when marilla is all into nathaniel. she would not do that. matthew is explicitly stated to have not been interested in romance, and i remember this because i texted my friend saying matthew aromantic. so i am pissed about that

i hoped for more of a sitcom feel where it’s more anne’s escapades and coming of age adventures. i’m not mad about the more angsty storyline, but i’m eagerly awaiting more of anne’s shenanigans in other seasons

building off of that last point, they’re missing a lot of anne and gilbert’s rivalry at the beginning. there’s not a lot of gilbert actually trying to win anne over after the slate-incident (the candy heart and apple on her desk??? and much more) building up to when they actually have a falling out because gilbert is pissed that anne is pissed at him and anne feels all guilty and has her italicized *oh* moment. tl;dr i think anne deserves to be infinitely pettier and more grudge-y and stubborn. and gilbert deserves to have a little butthurt yearning moment.

love that they gave gilbert more backstory instead of having him just be a kind of cocky lovable asshole. wish he wasn’t on that boat mostly because i miss seeing him in direct sunlight. guy of all time tbh.

also actually did appreciate the notes of feminism and such which weren’t really present in the books for obvious reasons. i fully believe that if anne existed now she would do feminist slam poetry and kill sexist men with her bare hands.

one thing that was funny to me about that was how marilla is portrayed as forward thinking while rachel lynde is more close-minded, and then it is mentioned that marilla is conservative and rachel liberal. the second part was in the book which is probably why the line was added but funny to me. so

the casting was flawless i’m on the floor for the casting director, huge fan of their work. that is exactly how they look. the one thing i noticed was that josie pye is described as chubby in the books but i think some fatphobia went into that so i don’t mind at all. also props to amybeth mcnulty for being queer just because i am a queer girl who modeled my third grade self after her so that’s just cool.

love jerry’s character he’s very darling to me and i’m glad he’s been developed in the show

i wish there was more involvement with the girls form school. in the books they all loved anne immediately (josie pye exempt) and i think show!anne deserved that too. but this is not a huge gripe considering the nature of the show

also not a huge gripe but i wish anne had met miss josephine barry the way she had in the books, by engaging in tomfoolery and scaring the absolute shit out of everyone involved. i think it speaks some about the nature of their relationship.

also, josephine barry was meant to be lesbian-coded right?

[colemonroe]

WHERE: Outside a bar in Vegas WITH: @sawyerdecker

Over the last year, Tonopah had seen the hunters become the hunted and any semblance of normalcy stripped away, piece by piece. Since then, Cole had looked for any way to restore some of what this unseen enemy in their town had tried to rip away, but it wasn’t as simple as wanting it. He needed to move, and make it happen. The only problem was that he didn’t know where to aim his anger, or what to pluck from the shadows and shove into the light. Either way, they needed a win, and Cole hadn’t known how to go about finding one up until the moment his half-sister had called him with a wealth of information in her arsenal– a name, a name that was worth a thousand words and all the pain that followed behind it.

Dante Parker. 

He was at least connected in his own way to the virus that was plaguing their town– if Roman’s intel was good. Cole had no reason to believe that it wasn’t, and that was why he was currently parked outside a bar in Vegas, sitting in the driver’s seat of a blacked out van with his half-sister in the passenger seat. While they might not be able to build Rome in a day, they could at least try to right the heinous wrong Dante had inflicted when he’d pulled the trigger and aimed each blow at two innocent people– two people who were just trying to do right and live their lives the same as everyone else. Shepherd and Kate McNulty. 

Dante might have been the ADA, but Cole didn’t give a fuck– he never had. If you were a devil, you’d die that way– it didn’t matter to him if Dante had been the goddamned governor. He was a murderer first and foremost, and a coward– Cole had made up his mind that he’d die like one too. That was his world– every action had a consequence, though there was a part of him that wondered where Sawyer might land with it all. She knew he’d killed their father, knew what sort of man her half-brother was…but would she pause now, when the blood could saturate her hands too? Glancing over at her, Cole couldn’t help but wonder. Talking about taking a life and actually taking it were two different things.  “Bastard oughta be comin’ out any time now,” he muttered beneath his breath, blue eyes glued on the back exit– the perfect way for some distinguished piece of shit like Dante to make a quiet escape. The van they were stationed in was parked behind his polished Mercedes, and all they could do was wait– but Cole had never been good at that. He needed action– he needed this son of a bitch to finally pay for what he’d done to their brother and an innocent young woman. “Only gonna ask ya one more time,” he started, tugging his Beretta from the waistband of his jeans and racking the slide, shoving a bullet into the chamber, “Ya good with what’s about to go down?”

[stupidphototricks]

I've had this in my head since watching Anne With An E a couple of years ago, but I didn't have anywhere to put it. But it occurred to me that now I have a Tumblr account! Nobody reads it but that's okay.

I loved the 1985 Anne of Green Gables miniseries when I was a kid, but I haven't watched it since then so my memory may not be totally accurate. Apologies if I misrepresent anything.

So, my answers to the question that nobody asked me: Who wore [the character] better, the actor from 1985 Anne of Green Gables, or the actor from 2017 Anne With An E?

Anne: Megan Follows (1985) / Amybeth McNulty (2017) Megan Follows is fantastic, but for me, Amybeth McNulty wins this hands down. Follows's Anne is tiny and perky and vivid and lovely. McNulty's Anne is gangly and dreamy and huge-eyed and freckled, and somehow has the ability (as in the books) to look either plain or breathtaking depending on the situation and her frame of mind. Both can talk at a mile a minute (a requirement for Anne) but McNulty's delivery, which runs out of breath and trips over itself, is more what I imagine for Anne than Follows's lively chatter.

Marilla: Colleen Dewhurst (1985) / Geraldine James (2017) This is a tough choice. Colleen Dewhurst is excellent, but in my opinion Geraldine James does a better transition between the angry, exacting, emotionally closed off pre-Anne Marilla, and the doting parent that she eventually becomes. Dewhurst is too nice all along! Mostly this is down to the writing though.

Matthew: Richard Farnsworth (1985) / R. H. Thomson (2017) Again a tough one, and again the writing makes a big difference. I have to pick R. H. Thomson because I adore so much what he was given a chance to do with the character of Matthew. There wasn't enough of Richard Farnsworth in the 1985 miniseries to be fair.

Diana: Schuyler Grant (1985) / Dalila Bela (2017) Neither of these actors perfectly embodies what I imagine for Diana, but Schuyler Grant comes closer. Per the book, Diana is fun, always laughing, and possibly a little on the dim side. Dalila Bela (writing again, at least in part) portrays Diana as smart and more serious, not bad things of course, but not Diana to my thinking.

Gilbert: Jonathan Crombie (1985) / Lucas Zumann (2017) Sorry, Jonathan Crombie will always be Gilbert to me. It's non-negotiable that Gilbert should be roguish; Lucas Zumann as Gilbert is many things (adorable, tragic) but roguish is not one of them. Crombie was an excellent rogue.

I won't do a Miss Stacy comparison because I don't even remember her from the 1985 miniseries, but I love the character so much in the 2017 series that I'm sure that Joanna Douglas would win anyway.

Counterpoints?

[joutsummer]

no offense to brandon mcnulty but there’s no way he wins this race

[authorbertslechner]

A New Story, Beach Day, is now Available to Read

My newest story, Beach Day, is available for free on my website! If you'd like to see how I can cosmic horror-ify a day on the beach go check it out!

I entered a story into a horror flash fiction competition hosted by the author Patrick McNulty, with the theme of Summer Vacation.There were a whole bunch of amazing entries, and you should really go check them out over at Patrick’s website here. The winning story by William Gray is super creepy.I liked my entry, Beach Day, enough that I’m adding it to the story roster here on my website for you…

[a2zsportsnews]

Tallon Griekspoor and Botic van de Zandschulp wins seal historic Davis Cup night for Netherlands | ATP Tour

Match Report Griekspoor and Botic seal historic Davis Cup night for Netherlands Dutchmen defeat Germany 2-0 to advance to maiden final, await Italy or Australia November 22, 2024 Matt McNulty/Getty Images Tallon Griekspoor celebrates at the 2024 Davis Cup Final 8. By ATP Staff Tallon Griekspoor tied the bow on a stirring night of Davis Cup drama on Friday, propelling the Netherlands into the…

[hotmusketeerspoll]

ALL FOR ONE AND ONE FOR ALL

Welcome to the Most Magnificent Musketeer Tournament!

We’re assembling the ultimate Three Musketeers cast, with the best version of each character. The finest D’Artagnan, the most seductive Milady, the perfect Athos Aramis & Porthos, the craftiest Richelieu, the cutest Constance, etc etc etc.

Each character will be duelling their opponents until we find tumblr’s favourite for each role.

(We all know that fighting duels is against the law, but the Cardinals have allowed special permission for the duration of the tournament - they’re all convinced that they will win “Best Cardinal Richelieu”, so as long as we keep them distracted scheming against each other, we can run the rest of the competition in peace.)

So how do you define Best?

However you want! The hottest, the best fencer, the drunkest, the largest moustache, the one with the ugliest horse, the most book-accurate, whatever works for you. But let’s be honest, most of these will probably be decided on looks, unless you can make a good argument otherwise!

Who is eligible?

Anyone who’s starred in a live action adaptation of The Three Musketeers, or one of the sequels (eg The Man in the Iron mask), as long as it involves the four main characters (D’Artagnan, Athos, Aramis & Porthos). This includes movies and TV shows, in any language. 

Submissions are now closed, you can see the full list of entrants here

When the tournament starts, you can send in additional propaganda to support your favourite character’s case, in the form of text, pictures, gifs and short videos. You can tag @hotmusketeerspoll in reblogs, or send it in an ask.

Acceptable propaganda: Anything from the property in question, including promotional material, behind the scenes and interviews related to the movie or show. Please don’t submit anything with your chosen actor in other roles - only Musketeer-related propaganda is allowed.

This is a friendly competition, and I won’t be reblogging or promoting any negative propaganda for contestants. Be excellent to each other!

This blog was inspired by @hotvintagepoll’s Dracula Daily casting, and @medievalandfantasymelee’s abundance of King Arthurs and Robin Hoods.

The Tournament has now ended, thanks to everyone who took part!

Tournament Winners

Best D'Artagnan - Luke Pasqualino (The Musketeers 2014-2016)

Best Constance Bonacieux - Tamla Kari (The Musketeers 2014-2016)

Best Rochefort - Christopher Lee (The Three Musketeers 1973, The Four Musketeers 1974, The Return of the Musketeers 1989)

Best Milady de Winter - Maimie McCoy (The Musketeers 2014-2016)

Best Athos - Tom Burke (The Musketeers 2014-2016)

Best Duke of Buckingham - Simon Ward (The Three Musketeers 1973, The Four Musketeers 1974)

Best Queen Anne of Austria - Alexandra Dowling (The Musketeers 2014-2016)

Best Aramis - Santiago Cabrera (The Musketeers 2014-2016)

Best Porthos - Howard Charles (The Musketeers 2014-2016)

Best King Louis XIV - Manaki Reika (All for One - D'Artagnan and the Sun King 2017 stage show)

Best Cardinal Richelieu - Tim Curry (The Three Musketeers 1993)

Best Captain Treville - Hugo Speer (The Musketeers 2014-2016)

Best Planchet - Roy Kinnear (The Three Musketeers 1973, The Four Musketeers 1974, The Return of the Musketeers 1989)

Best King Louis XIII - Ryan Gage (The Musketeers 2014-2016)

Best Maria Theresa - Joan Bennett (The Man in the Iron Mask 1939)

Best Louise de la Valliere - Jenny Agutter (The Man in the Iron Mask 1977)

Best Cardinal Mazarin - Gigi Proietti (D'Artagnan's Daughter / Revenge of the Musketeers 1994)

Best Raoul - C. Thomas Howell (Return of the Musketeers 1989)

Best Mordaunt - Kim Cattrall (Return of the Musketeers 1989)

Best Philippe - Richard Chamberlain (The Man in the Iron Mask 1977)

Best Jussac - Paul McGann (The Three Musketeers 1993)

Best Grimaud - Matthew McNulty (The Musketeers 2014-2016)

[voormaligskischansspringer]

mcnulty wins?! that was unexpected

[rogloptimist]

brandon mcnulty winning the stage 1 time trial of the vuelta was not something i had on my 2024 bingo card but let’s go???

[zoeytess1]

From the Studio to the Screen: Zoey Tess's Contributions to Film and Television Music

Zoey Tess, an accomplished American songwriter and music producer, has significantly impacted the music industry with her innovative compositions and production skills. Beyond her success in the music studio, Tess has made notable contributions to film and television, demonstrating her versatility and ability to craft music that enhances storytelling in visual media.

Early Career and Transition to Screen Music

Zoey Tess's journey into the world of film and television music began with her foundational work as a songwriter and producer. Her early collaborations with industry veterans, such as Vic Steffens at Horizon Music Group, provided her with a strong technical and creative base​​. This experience proved invaluable as she transitioned to composing music for visual media, where the ability to evoke emotions and complement narratives is paramount.

Signature Style and Approach

Tess's approach to composing for film and television is marked by her keen understanding of how music can enhance storytelling. Her background in classical piano, violin, and voice allows her to create rich, emotive soundscapes that resonate with audiences. Tess’s music often blends orchestral elements with modern electronic sounds, a style that has become her signature in the industry​.

One of her standout contributions is the orchestral ballad "In These Dreams," which showcases her ability to merge classical and contemporary elements seamlessly. This track, mixed by Grammy Award-winning producer Mario McNulty, exemplifies Tess's talent for creating music that is both sophisticated and accessible​.

Notable Projects and Collaborations

Tess’s work in film and television spans various genres and formats, reflecting her versatility as a composer. She has contributed to numerous projects, from independent films to major television shows, each time bringing her unique musical perspective to the table.

One of Tess's significant contributions to television music is her work on thematic scores for popular TV series. Her ability to craft memorable and emotionally impactful themes has made her a sought-after composer in the industry. Tess’s music often serves as a vital narrative tool, enhancing key moments and adding depth to character development.

In addition to her solo projects, Tess enjoys collaborating with other artists and producers. Her work with multi-instrumentalist Jake Siberon, for instance, has resulted in several critically acclaimed tracks used in various media projects. This collaboration has allowed Tess to explore new sonic territories and push the boundaries of conventional film and television music.

Impact and Reception

The reception to Tess’s contributions to film and television music has been overwhelmingly positive. Critics and audiences alike praise her ability to create music that not only supports but also elevates the visual experience. Her compositions are noted for their emotional resonance and technical excellence, making her a respected figure in the industry.

Tess's work has been featured in several high-profile projects, earning her recognition and acclaim. Her ability to adapt her musical style to fit different genres and formats has solidified her reputation as a versatile and talented composer​.

Looking Ahead

As Zoey Tess continues to evolve as an artist, her contributions to film and television music are set to grow. She is currently working on an exciting project for a movie soundtrack, which promises to showcase her innovative approach to composition. Tess’s future projects are eagerly anticipated by both the music and film industries, as she continues to push the boundaries of what music can achieve in visual storytelling​.

Conclusion

Zoey Tess’s journey from the music studio to the screen is a testament to her talent, versatility, and dedication. Her contributions to film and television music have enriched the visual storytelling landscape, demonstrating the powerful role that music plays in enhancing narrative experiences. As she continues to create and innovate, Tess’s work will undoubtedly leave a lasting impact on the industry, inspiring both audiences and fellow artists alike.