#* speaks

[fervour-a]

@gcminas​ liked for a starter !  ( 1 / 2 )

marilyn hated having to do this, but it was a means to an end. and she had enemies she loathed more than the witches, surprisingly. “i come in peace,” the wolf speaks as she steps forward, raising her hands in mock defense. 

[timeless-hollywood-classics]

Robert Charles Durman Mitchum (August 6, 1917 – July 1, 1997) was an American actor, director, author, poet, composer, and singer. Mitchum rose to prominence for starring roles in several classic films noirs, and his acting is generally considered a forerunner of the antiheroes prevalent in film during the 1950s and 1960s. His best-known films include Out of the Past (1947), The Night of the Hunter (1955), Cape Fear (1962), and El Dorado (1966). Mitchum was nominated for the Academy Award for Best Supporting Actor for The Story of G.I. Joe (1945). He is also known for his television role as U.S. Navy Captain Victor “Pug” Henry in the epic miniseries The Winds of War (1983) and sequel War and Remembrance (1988).

Mitchum is rated number 23 on the American Film Institute's list of the greatest male stars of Classic American Cinema.

Robert Mitchum was born in Bridgeport, Connecticut, on August 6, 1917, into a Norwegian-Irish Methodist family. His mother, Ann Harriet Gunderson, was a Norwegian immigrant and sea captain's daughter; his father, James Thomas Mitchum, was a shipyard and railroad worker of Irish descent.[3] His older sister, Annette (known as Julie Mitchum during her acting career), was born in 1914. Their father, James Mitchum, was crushed to death in a railyard accident in Charleston, South Carolina, in February 1919. Robert was one year old, and Annette was not yet five. Their mother was awarded a government pension, and soon realized she was pregnant. Her third child, John, was born in September of that year. Ann married again to Major Hugh Cunningham Morris, a former Royal Naval Reserve officer. Ann and Morris had a daughter together, Carol Morris, born July 1927, on the family farm in Delaware. When all of the children were old enough to attend school, Ann found employment as a linotype operator for the Bridgeport Post.

As a child, Mitchum was known as a prankster, often involved in fistfights and mischief. When he was 12, his mother sent him to live with her parents in Felton, Delaware; the boy was promptly expelled from middle school for scuffling with the principal. A year later, in 1930, he moved in with his older sister Annette, in New York's Hell's Kitchen. After being expelled from Haaren High School, he left his sister and traveled throughout the country, hopping on railroad cars, taking a number of jobs, including ditch-digging for the Civilian Conservation Corps and professional boxing. At age 14 in Savannah, Georgia, he said he was arrested for vagrancy and put on a local chain gang. By Mitchum's own account, he escaped and returned to his family in Delaware. During this time, while recovering from injuries that nearly cost him a leg, he met Dorothy Spence, whom he would later marry. He soon went back on the road, eventually "riding the rails" to California.

Mitchum arrived in Long Beach, California, in 1936, staying again with his sister, now going by the name of Julie. She had moved to the West Coast in the hope of acting in movies, and the rest of the Mitchum family soon joined them. During this time, Mitchum worked as a ghostwriter for astrologer Carroll Righter. Julie convinced him to join the local theater guild with her. At The Players Guild of Long Beach, Mitchum worked as a stagehand and occasional bit-player in company productions. He also wrote several short pieces which were performed by the guild. According to Lee Server's biography (Robert Mitchum: Baby, I Don't Care), Mitchum put his talent for poetry to work writing song lyrics and monologues for Julie's nightclub performances.

In 1940, he returned to Delaware to marry Dorothy Spence, and they moved back to California. He gave up his artistic pursuits at the birth of their first child James, nicknamed Josh, and two more children, Chris and Petrine, followed. Mitchum found steady employment as a machine operator during wartime era WWII, with the Lockheed Aircraft Corporation, but the noise of the machinery damaged his hearing. He also suffered a nervous breakdown (which resulted in temporary blindness), due to job-related stress. He then sought work as a film actor, performing initially as an extra and in small speaking parts. His agent got him an interview with Harry Sherman, the producer of Paramount's Hopalong Cassidy western film series, which starred William Boyd; Mitchum was hired to play minor villainous roles in several films in the series during 1942 and 1943. He went uncredited as a soldier in the Mickey Rooney 1943 film The Human Comedy. Also in 1943 he and Randolph Scott were soldiers in the Pacific Island war film Gung Ho.

Mitchum continued to find work as an extra and supporting actor in numerous productions for various studios. After impressing director Mervyn LeRoy during the making of Thirty Seconds Over Tokyo, Mitchum signed a seven-year contract with RKO Radio Pictures. He was groomed for B-Western stardom in a series of Zane Grey adaptations.

Following the moderately successful Western Nevada, RKO lent Mitchum to United Artists for The Story of G.I. Joe (1945). In the film, he portrayed war-weary officer Bill Walker (based on Captain Henry T. Waskow), who remains resolute despite the troubles he faces. The film, which followed the life of an ordinary soldier through the eyes of journalist Ernie Pyle (played by Burgess Meredith), became an instant critical and commercial success. Shortly after filming, Mitchum was drafted into the United States Army, serving at Fort MacArthur, California, as a medic. At the 1946 Academy Awards, The Story of G.I. Joe was nominated for four Oscars, including Mitchum's only nomination for Best Supporting Actor. He finished the year with a Western (West of the Pecos) and a story of returning Marine veterans (Till the End of Time), before filming in a genre that came to define Mitchum's career and screen persona: film noir.

Mitchum was initially known for his work in film noir. His first foray into the genre was a supporting role in the 1944 B-movie When Strangers Marry, about newlyweds and a New York City serial killer. Undercurrent, another of Mitchum's early noir films, featured him as a troubled, sensitive man entangled in the affairs of his brother (Robert Taylor) and his brother's suspicious wife (Katharine Hepburn). John Brahm's The Locket (1946) featured Mitchum as bitter ex-boyfriend to Laraine Day's femme fatale. Raoul Walsh's Pursued (1947) combined Western and noir styles, with Mitchum's character attempting to recall his past and find those responsible for killing his family. Crossfire (also 1947) featured Mitchum as a member of a group of World War II soldiers, one of whom kills a Jewish man. It featured themes of anti-Semitism and the failings of military training. The film, directed by Edward Dmytryk, earned five Academy Award nominations.

Following Crossfire, Mitchum starred in Out of the Past (also called Build My Gallows High), directed by Jacques Tourneur and featuring the cinematography of Nicholas Musuraca. Mitchum played Jeff Markham, a small-town gas-station owner and former investigator, whose unfinished business with gambler Whit Sterling (Kirk Douglas) and femme fatale Kathie Moffett (Jane Greer) comes back to haunt him.

On September 1, 1948, after a string of successful films for RKO, Mitchum and actress Lila Leeds were arrested for possession of marijuana.[10] The arrest was the result of a sting operation designed to capture other Hollywood partiers as well, but Mitchum and Leeds did not receive the tipoff. After serving a week at the county jail (he described the experience to a reporter as being "like Palm Springs, but without the riff-raff"), Mitchum spent 43 days (February 16 to March 30) at a Castaic, California, prison farm. Life photographers were permitted to take photos of him mopping up in his prison uniform. The arrest inspired the exploitation film She Shoulda Said No! (1949), which starred Leeds. The conviction was later overturned by the Los Angeles court and district attorney's office on January 31, 1951, after being exposed as a setup.

Despite, or because of, Mitchum's troubles with the law and his studio, his films released immediately after his arrest were box-office hits. Rachel and the Stranger (1948) featured Mitchum in a supporting role as a mountain man competing for the hand of Loretta Young, the indentured servant and wife of William Holden. In the film adaptation of John Steinbeck's novella The Red Pony (1949), he appeared as a trusted cowhand to a ranching family. He returned to film noir in The Big Steal (also 1949), where he reunited with Jane Greer in an early Don Siegel film.

In Where Danger Lives (1950), Mitchum played a doctor who comes between a mentally unbalanced Faith Domergue and cuckolded Claude Rains. The Racket was a noir remake of the early crime drama of the same name and featured Mitchum as a police captain fighting corruption in his precinct. The Josef von Sternberg film, Macao (1952), had Mitchum as a victim of mistaken identity at an exotic resort casino, playing opposite Jane Russell. Otto Preminger's Angel Face was the first of three collaborations between Mitchum and British stage actress Jean Simmons. In this film, she played an insane heiress who plans to use young ambulance driver Mitchum to kill for her.

Mitchum was fired from Blood Alley (1955), due to his conduct, reportedly having thrown the film's transportation manager into San Francisco Bay. According to Sam O'Steen's memoir Cut to the Chase, Mitchum showed up on-set after a night of drinking and tore apart a studio office when they did not have a car ready for him. Mitchum walked off the set of the third day of filming Blood Alley, claiming he could not work with the director. Because Mitchum was showing up late and behaving erratically, producer John Wayne, after failing to obtain Humphrey Bogart as a replacement, took over the role himself.

Following a series of conventional Westerns and films noirs, as well as the Marilyn Monroe vehicle River of No Return (1954), Mitchum appeared in Charles Laughton's only film as director: The Night of the Hunter (1955). Based on a novel by Davis Grubb, the thriller starred Mitchum as a monstrous criminal posing as a preacher to find money hidden by his cellmate in the cellmate's home. His performance as Reverend Harry Powell is considered by many to be one of the best of his career.[15][16] Stanley Kramer's melodrama Not as a Stranger, also released in 1955, was a box-office hit. The film starred Mitchum against type, as an idealistic young doctor, who marries an older nurse (Olivia de Havilland), only to question his morality many years later. However, the film was not well received, with most critics pointing out that Mitchum, Frank Sinatra, and Lee Marvin were all too old for their characters. Olivia de Havilland received top billing over Mitchum and Sinatra.

On March 8, 1955, Mitchum formed DRM (Dorothy and Robert Mitchum) Productions to produce five films for United Artists; four films were produced. The first film was Bandido (1956). Following a succession of average Westerns and the poorly received Foreign Intrigue (1956), Mitchum starred in the first of three films with Deborah Kerr. The John Huston war drama Heaven Knows, Mr. Allison, starred Mitchum as a Marine corporal shipwrecked on a Pacific Island with a nun, Sister Angela (Deborah Kerr), as his sole companion. In this character study, they struggle to resist the elements and the invading Japanese army. The film was nominated for two Academy Awards, including Best Actress and Best Adapted Screenplay. For his role, Mitchum was nominated for a BAFTA Award for Best Foreign Actor. In the WWII submarine classic The Enemy Below (1956), Mitchum gave a strong performance as U.S. Naval Lieutenant Commander Murrell, the captain of a U.S. Navy destroyer who matches wits with a German U-boat captain Curt Jurgens, who starred with Mitchum again in the legendary 1962 movie The Longest Day. The film won an Oscar for Special Effects.

Thunder Road (1958), the second DRM Production, was loosely based on an incident in which a driver transporting moonshine was said to have fatally crashed on Kingston Pike in Knoxville, Tennessee, somewhere between Bearden Hill and Morrell Road. According to Metro Pulse writer Jack Renfro, the incident occurred in 1952 and may have been witnessed by James Agee, who passed the story on to Mitchum. He starred in the movie, produced, co-wrote the screenplay, and is rumored to have directed much of the film. It costars his son James, as his on screen brother, in a role originally intended for Elvis Presley. Mitchum also co-wrote (with Don Raye) the theme song, "The Ballad of Thunder Road".

He returned to Mexico for The Wonderful Country (1959) and Ireland for A Terrible Beauty/The Night Fighters for the last of his DRM Productions.

Mitchum and Kerr reunited for the Fred Zinnemann film, The Sundowners (1960), where they played husband and wife struggling in Depression-era Australia. Opposite Mitchum, Kerr was nominated for yet another Academy Award for Best Actress, while the film was nominated for a total of five Oscars. Mitchum was awarded that year's National Board of Review award for Best Actor for his performance. The award also recognized his superior performance in the Vincente Minnelli Western drama Home from the Hill (also 1960). He was teamed with former leading ladies Kerr and Simmons, as well as Cary Grant, for the Stanley Donen comedy The Grass Is Greener the same year.

Mitchum's performance as the menacing rapist Max Cady in Cape Fear (1962) brought him further renown for playing cold, predatory characters. The 1960s were marked by a number of lesser films and missed opportunities. Among the films Mitchum passed on during the decade were John Huston's The Misfits (the last film of its stars Clark Gable and Marilyn Monroe), the Academy Award–winning Patton, and Dirty Harry. The most notable of his films in the decade included the war epics The Longest Day (1962) and Anzio (1968), the Shirley MacLaine comedy-musical What a Way to Go! (1964), and the Howard Hawks Western El Dorado (1967), a remake of Rio Bravo (1959), in which Mitchum took over Dean Martin's role of the drunk who comes to the aid of John Wayne. He teamed with Martin for the 1968 Western 5 Card Stud, playing a homicidal preacher.

One of the lesser-known aspects of Mitchum's career was his foray into music as a singer. Critic Greg Adams writes, "Unlike most celebrity vocalists, Robert Mitchum actually had musical talent." Mitchum's voice was often used instead of that of a professional singer when his character sang in his films. Notable productions featuring Mitchum's own singing voice included Rachel and the Stranger, River of No Return, and The Night of the Hunter. After hearing traditional calypso music and meeting artists such as Mighty Sparrow and Lord Invader while filming Heaven Knows, Mr. Allison in the Caribbean islands of Tobago, he recorded Calypso – is like so ... in March 1957. On the album, released through Capitol Records, he emulated the calypso sound and style, even adopting the style's unique pronunciations and slang. A year later, he recorded a song he had written for Thunder Road, titled "The Ballad of Thunder Road". The country-style song became a modest hit for Mitchum, reaching number 69 on the Billboard Pop Singles chart. The song was included as a bonus track on a successful reissue of Calypso ... and helped market the film to a wider audience.

Although Mitchum continued to use his singing voice in his film work, he waited until 1967 to record his follow-up record, That Man, Robert Mitchum, Sings. The album, released by Nashville-based Monument Records, took him further into country music, and featured songs similar to "The Ballad of Thunder Road". "Little Old Wine Drinker Me", the first single, was a top-10 hit at country radio, reaching number nine there, and crossed over onto mainstream radio, where it peaked at number 96. Its follow-up, "You Deserve Each Other", also charted on the Billboard Country Singles chart. He sang the title song to the Western Young Billy Young, made in 1969.

Mitchum made a departure from his typical screen persona with the 1970 David Lean film Ryan's Daughter, in which he starred as Charles Shaughnessy, a mild-mannered schoolmaster in World War I–era Ireland. At the time of filming, Mitchum was going through a personal crisis and planned to commit suicide. Aside from a personal crisis, his recent films had been critical and commercial flops. Screenwriter Robert Bolt told him that he could commit suicide after the film was finished and that he would personally pay for his burial. Though the film was nominated for four Academy Awards (winning two) and Mitchum was much publicized as a contender for a Best Actor nomination, he was not nominated. George C. Scott won the award for his performance in Patton, a project Mitchum had rejected for Ryan's Daughter.

The 1970s featured Mitchum in a number of well-received crime dramas. The Friends of Eddie Coyle (1973) had the actor playing an aging Boston hoodlum caught between the Feds and his criminal friends. Sydney Pollack's The Yakuza (1974) transplanted the typical film noir story arc to the Japanese underworld. He also appeared in 1976's Midway about an epic 1942 World War II battle. Mitchum's stint as an aging Philip Marlowe in the Raymond Chandler adaptation Farewell, My Lovely (1975) was sufficiently well received by audiences and critics for him to reprise the role in 1978's The Big Sleep.

In 1982, Mitchum played Coach Delaney in the film adaptation of playwright/actor Jason Miller's 1973 Pulitzer Prize-winning play That Championship Season.

At the premiere for That Championship Season, Mitchum, while intoxicated, assaulted a female reporter and threw a basketball that he was holding (a prop from the film) at a female photographer from Time magazine, injuring her neck and knocking out two of her teeth. She sued him for $30 million for damages. The suit eventually "cost him his salary from the film."

That Championship Season may have indirectly led to another debacle for Mitchum several months later. In a February 1983 Esquire interview, he made several racist, anti-Semitic and sexist statements, including, when asked if the Holocaust occurred, responded "so the Jews say." Following the widespread negative response, he apologized a month later, saying that his statements were "prankish" and "foreign to my principle." He claimed that the problem had begun when he recited a racist monologue from his role in That Championship Season, the writer believing the words to be his own. Mitchum, who claimed that he had only reluctantly agreed to the interview, then decided to "string... along" the writer with even more incendiary statements.

Mitchum expanded to television work with the 1983 miniseries The Winds of War. The big-budget Herman Wouk story aired on ABC, starring Mitchum as naval officer "Pug" Henry and Victoria Tennant as Pamela Tudsbury, and examined the events leading up to America's involvement in World War II. He returned to the role in 1988's War and Remembrance, which continued the story through the end of the war.

In 1984, Mitchum entered the Betty Ford Center in Palm Springs, California for treatment of a drinking problem.

He played George Hazard's father-in-law in the 1985 miniseries North and South, which also aired on ABC.

Mitchum starred opposite Wilford Brimley in the 1986 made-for-TV movie Thompson's Run. A hardened con (Mitchum), being transferred from a federal penitentiary to a Texas institution to finish a life sentence as a habitual criminal, is freed at gunpoint by his niece (played by Kathleen York). The cop (Brimley) who was transferring him, and has been the con's lifelong friend and adversary for over 30 years, vows to catch the twosome.

In 1987, Mitchum was the guest-host on Saturday Night Live, where he played private eye Philip Marlowe for the last time in the parody sketch, "Death Be Not Deadly". The show ran a short comedy film he made (written and directed by his daughter, Trina) called Out of Gas, a mock sequel to Out of the Past. (Jane Greer reprised her role from the original film.) He also was in Bill Murray's 1988 comedy film, Scrooged.

In 1991, Mitchum was given a lifetime achievement award from the National Board of Review of Motion Pictures, in the same year he received the Telegatto award and in 1992 the Cecil B. DeMille Award from the Golden Globe Awards.

Mitchum continued to act in films until the mid-1990s, such as in Jim Jarmusch's Dead Man, and he narrated the Western Tombstone. He also appeared, in contrast to his role as the antagonist in the original, as a protagonist police detective in Martin Scorsese's remake of Cape Fear, but the actor gradually slowed his workload. His last film appearance was a small but pivotal role in the television biopic, James Dean: Race with Destiny, playing Giant director George Stevens. His last starring role was in the 1995 Norwegian movie Pakten.

A lifelong heavy smoker, Mitchum died on July 1, 1997, in Santa Barbara, California, due to complications of lung cancer and emphysema. He was about five weeks shy of his 80th birthday. His body was cremated and his ashes scattered at sea, though there is a plot marker in the Odd Fellows Cemetery in Delaware. He was survived by his wife of 57 years, Dorothy Mitchum (May 2, 1919 – April 12, 2014, Santa Barbara, California, aged 94); his sons, actors James Mitchum and Christopher Mitchum; and his daughter, writer Petrine Day Mitchum. His grandchildren, Bentley Mitchum and Carrie Mitchum, are actors, as was his younger brother, John, who died in 2001. Another grandson, Kian, is a successful model.

Mitchum is regarded by some critics as one of the finest actors of the Golden Age of Hollywood. Roger Ebert called him "the soul of film noir." Mitchum, however, was self-effacing; in an interview with Barry Norman for the BBC about his contribution to cinema, Mitchum stopped Norman in mid flow and in his typical nonchalant style, said, "Look, I have two kinds of acting. One on a horse and one off a horse. That's it." He had also succeeded in annoying some of his fellow actors by voicing his puzzlement at those who viewed the profession as challenging and hard work. He is quoted as having said in the Barry Norman interview that acting was actually very simple and that his job was to "show up on time, know his lines, hit his marks, and go home". Mitchum had a habit of marking most of his appearances in the script with the letters "n.a.r.", which meant "no action required", which critic Dirk Baecker has construed as Mitchum's way of reminding himself to experience the world of the story without acting upon it.

AFI's 100 Years...100 Stars lists Mitchum as the 23rd-greatest male star of classic Hollywood cinema. AFI also recognized his performance as the menacing rapist Max Cady and Reverend Harry Powell as the 28th and 29th greatest screen villains, respectively, of all time as part of AFI's 100 Years...100 Heroes and Villains. He provided the voice of the famous American Beef Council commercials that touted "Beef ... it's what's for dinner", from 1992 until his death.

A "Mitchum's Steakhouse" is in Trappe, Maryland, where Mitchum and his family lived from 1959 to 1965.

[missallycat]

Did you know? - Gilmore Girls FAQs, trivia and curiosites

I’ve watched this show so many times, I stopped counting years ago when I reached double digits. Is my favorite show of all times and I’ve been told almost nobody knows it as well as I do, so I decided to put together all the knowledge I’ve gained over the years of trivia tidbits, although in that I’m nowhere near an expert ;) my deal is knowing these characters and their personalities and the lines of the show lol but I figured I’d give it a try and collect all the trivia and tidbits of knowledge I’ve gained over the years in one post that I’ll continue to edit to add more stuff (there are a couple that I didn’t get a chance to add right not that will add later on)

1. Yes, that’s Kirk in guardians of the galaxy 2 http://www.imdb.com/name/nm0348231/. And yes Sam Smith (depending on the photo) does look like Kirk (Sean Gunn). Sean Gunn also played the movements of Rocket the racoon.

2. And yes that is Jess dad's girlfriend Sasha now as April's mom (yes she was/is in Twin Peaks http://www.imdb.com/name/nm0000145/). Amy wanted to work with Sherilyn and rumor has it she was offered the role for Lorelai first but there’s no article yet to be found stating this directly from the Palladinos mouths.

3. And yes cousin Marilyn and Gran, Lorelai the first, Richard’s mother, are the same actress. (Happy Day’s Mrs Cunningham http://www.imdb.com/name/nm0005385/?ref_=nv_sr_1).

3. Yes the girl in SH high unnamed who asks Lorelai a question and Logan’s LBD friend Juliette are the same actress. Different character. Riki Lindhome played the unnamed student of SH high and Juliette

5. Yes the first episode looks completely different (not just in the diner) because it was filmed in a different location (Ontario, Canada).

6. Yes, that’s Luke in Seinfeld. (”sponge worthy guy”) and in Will & Grace, jerk guy obsessed with huge boobs, Grace wanted to impress with the water bra. Lauren was also in Seinfield as one of Jerry’s brief girlfriends. That’s also a young Lauren in Caroline in the city.

7. That’s Chris in friends (hums when he pees guy). Yes that's both Luke and Chris on Will & Grace (Luke water bra artist narcissistic guy, Chris cabin in the woods hot guy).

8. Yes that is Logan (and with Usher for that matter lol) in that scene at 7th heaven . And yes Logan. Matt Czuchry was in the good wife, and he has his own show now “The Resident” on Fox. Currently filming a second season (as in October 1st, 2018)

9. Yes Crazy Carrie was also the Stars Hollow High teacher (by a different name) in the pilot. Same actress that plays crazy Carrie but different name of character

10. No, nobody knows if the show will ever come back (as far as it’s been told everything points to a NO). The Palladinos don’t double book, they are happy doing Mrs Maisel and they devote themselves to one show at the time. The last interview they gave on the subject was to Michael Ausiello in the podcast you can hear in the links. 1. A direct link to the article from November 2017 but is important to listen to the podcast http://tvline.com/2017/11/27/amy-sherman-palladino-podcast-interview-gilmore-girls-mrs-maisel/ 2. This is a link directly to the podcast that opens right up and they say "it would have to be the right time , we don't know but we're open. We said no before and ended up doing more that's why we're open now but it would have to be in a different format", Daniel doesn't repeat the would have to because he already said it right before in the same sentence. Basically is nothing we didn't know. However is a very interesting podcast http://hwcdn.libsyn.com/p/b/8/1/b810a8eea76b5eb5/Amy_and_Dan.mp3?c_id=17932724&expiration=1526427435&hwt=95629606ee9caf86bc57bb8d2d70cf6a. Amy and Dan Palladino show creators and writers and producers, these are the people who made this universe, these are the people who the show belongs to, this is THEIR baby and they made a damn good one.

11. No, Lauren Graham did not have cancer and write a book about it. (different person, same name).

12. No, Lauren and Scott didn't hate each other's guts they just weren't BFFs. They have both said this endlessly, they have respect for each other. Scott had a crush on Lauren when he begun the show. But from what has been told and learned about Scott, it seems he doesn’t like to get along with the rest of the cast unless is for his personal gain.

13. NO Rory is not a surrogate. They never even discussed the surrogacy Lorelai with Rory neither did Paris with Rory and Gilmore Girls is a light dramedy not a soap opera it doesn’t have sudden hidden scenes that come to change the show completely, other shows, soap operas could do that, Gilmore Girls DOES NOT. She is NOT pregnant of the Wookie. She never slept with Paul (the actor even said it wasn’t Paul’s) Milo said Jess is not the father and doesn’t romantically love Rory anymore. Only Alexis and Matt were told who the father of the baby is. The Palladinos have said clearly that the father of Rory’s baby was never meant to be a mystery. The only person that fits is Logan. The only actors they have told are Alexis and Matt and told them they could do what they wanted with the information but they have chosen not to say anything because is Amy’s story.And the Palladinos have said IT IS THE OBVIOUS CHOICE. So, Logan is the father, is no cliffhanger is open ending. Yes it would be lovely to see more of them but the Palladinos don’t have the style of wrapping up things in a big pink bow.

14. Ace is Logan’s term of endearment for Rory, it shows respect and admiration, it comes from what they used to call top reporters in the 50’s movies, he first calls her that in a IM conversation at the Yale daily news in the episode season 5 episode 6 of Norman Mailer, I’m pregnant!. Not in the poker game, not in the LDB first gathering. Is a term of respect for her abilities investigating the Life and Death Brigade.

15. The love rocket. Rory understood the meaning because it was the same model, came from an episode of the Twilight zone that was Logan’s favorite. It didn’t need confirmation from Logan because Rory had already said she understood it and she explained it to Lorelai in the same episode: “When Logan and I were first going out, we were in the pool house one night really late, and we were falling asleep on the couch. And this episode of "the twilight zone" came on -- "the long morrow." There's this astronaut who was supposed to go into space for 40 years, but right before he left, he met this beautiful woman. But for those 40 years that he was going to be in space, he was going to be in suspended animation. So when he came back to earth, he was going to be really young, but she would be really old. So he goes into space, and when he does come back, the woman is still young and beautiful because she put herself in suspended animation to wait for him, but he's really, really old because he took himself out of suspended animation so he could be old with her. He spent 40 years alone in space just waiting to see her, and he was willing to come back as an 80-year-old man, giving up almost his entire life just to spend those last few years with her. The point is, that this is Logan's favorite episode of "the twilight zone." And when we watched it together, he said, "that's true love." That's true love! This is the most romantic gift I've ever been given.”.

16. Chris wasn’t at Rory’s high school graduation. He was however at her college graduation. The reason they give is he had to work. Probably the actor who was a guest star was doing another project and couldn’t be in the episode or they just didn’t want to write him in so they could develop more the arc between Lorelai and Luke.

17. June 3rd is the date of Rory’s court date AND the date chosen by Lorelai for hers and Luke’s wedding in the original show. Is the same date different year, coincidence as Lorelai herself says the date happened to happen. There’s a theory that is ASP’s best friend Helen Pai’s birthday. Since it was in an old interview we haven’t found the confirmation of it yet becaue there’s no data (at least on the searches we’ve done so far by various people) on Helen Pai’s date of birth.

18. Lane’s story is loosely based on Helen Pai’s, executive producer of the show and Amy Sherman Palladino’s best friend. HEP ALIEN is an anagram of her name (Pai’s name). Helen Pai’s husband is real life Dave Rygalski which was the character of Dave initially based on until the actor had to leave for a better offer.

19. The real life Dave Rygalski shows up in the troubadour’s “attack” episode, he was with Daniel Palladino who was singing a beaver ate my thumb Dan is singing and Dave is playing the bass. Daniel Palladino is also the town loner, the one who protests at the church and appears briefly in the pilot episode leaving Luke’s. In total Dan Palladino shows up three times in the show

20. Keiko Agena and Emily Kuroda are Japanese American that’s why when they speak korean in very few moments in the show is very difficult to understand for people who do understand korean. Also Mrs Kim’s real name, at least Korean’s name is Jong Ya. Lane’s is Hyun Kyung, without last names, which come first in Korean Culture so Lane would be Kim Hyun Kyung, Mrs Kim however would not be Kim as last name, that’s a westerner tradition, in Korea women don’t change their last name when they marry and they are referred as Madam, Auntie, or as mother of such (name of youngest child) depending on level of familiarity. There’s never a mention of Mrs Kim’s “westerner” first name.

21. There’s also no idea of what Lane’s father does or where he is during the original show. Amy Sherman Palladino show creator said she never saw the need to create or cast a Mr Kim because it was more to focus in the mother and daughter dinamics. No is not the unnamed Asian waiter at Luke’s. Mr Kim appears in the revival for a brief moment, never before. There’s a fan theory going around that he was never there because he had to constantly be traveling to supply antiques for the store. Lane mentions “my parents”, “my mother and father” in a handful of ocassions through the show. He WAS NOT the unnamed Asian waiter that is always at the background at Luke’s. The Palladinos had never made anyone pass for Mr Kim not even as the back of a head until the revival as a way of fan service and as a joke like saying “oh look, so maybe he had been there the entire time”.

22. The translation of the korean wedding ceremony is here: https://missallycat.tumblr.com/post/173812878159/i-got-a-sidekick-out-of-you (is a tumblr post) complete with before and after.

23. What does Lane’s grandmother say when she arrives at the house before the wedding? Grandma takes her coat and she sees Lane, she calls out her name Hyun Kyung-a (the a is an added sound they use for familiarity when they call someone's name) and tells her to come down. After Lane comes down she pats her in the cheek and says Lane is "oh so pretty!". Lane replies, "welcome, grandmother, I am very happy you came." The grandmother then says, "it's good to have come / I'm glad I came." She then talks to Mrs Kim (Yong Ja-ya Jong Ya is the name the ya the added familiarity informal sound), asking why is that Budha statue here in the room?. Mrs Kim says I was going to move it, mother (formal). Grandma walks through the house she's saying, "ugh, it's so dirty and stuffy in here - open a door." Then Mrs Kim says something that sounds sort of like, "rest first, please." When the camera cuts to Lane and Rory giving each other 'the look,' Grammy Kim is saying, "hey, why didn't you come out to the airport?" Mrs Kim maybe replies, "you said yesterday... that I shouldn't..." (and the sentence doesn't finish). Grammy Kim then says, "the atmosphere/karma is bad [in here]. It needs to be changed. Let's bow 108 times."

24. The episode of Jess in California “Here comes the son” WAS the backdoor pilot episode of what was going to be made into a spin off. But it wasn’t deemed interesting enough by the network to justify the expenses of shooting in the actual locations so it didn’t happen.

25. Miss Celine and Drella the harpist are the same actress. Alex Borstein. She was going to be Sookie, she was in the unaired pilot but due to conflicts with her other show she couldn’t be so she came later as other characters. She was also the voice in Dwight’s answering machine (especially my trivial pursuit!) and the woman’s voice in the museum. Jackson was married to her but they are divorced know.

26. Paris (Liza Weill) initially auditioned for the role of Rory, she didn’t get it but they liked her so much they created Paris for her.

27. Luke was initially going to be a woman but they figured the show needed more testosterone so they casted Scott. This has been the first and only major role Scott Patterson has had in his entire “career” as an actor, the one that led him to get a few more minor roles, rumor has it, he’s very difficult to work with and not talented enought to be worth the pain. He milks Gilmore Girls every chance he gets.

28. Sookie was going to be gay but the network put a stop to that, they didn’t want any openly gay characters in the show. The Palladinos were new at this so they accepted the network’s conditions. Is probably why Michel was always put as bicurious or closeted gay man during the original show and was only fully out in the revival as an obvious thing that needed no explanation or backstory because everyone always assumed Michel was gay.

29. Kirk (Sean Gunn) was initially just an appearance, Mick in the pilot episode, then swan guy, then Kirk new manager at Doose’s new in town who didn’t know Miss Patty or anyone and then became the Kirk Gleason we know and love. Sean Gunn was initially an extra but they loved him so much they created Kirk Gleason as permanent character for him.

30. Gypsy and Berta, the maid in AYITL are both played by the extremely talented, Rose Abdoo. She was hilarious in a reading when they hadn’t casted anyone yet so she was given the part. Her language is “berta-ese” lol She speaks mostly Spanish, a couple of words could be Brazilian portuguese (maybe?), is mostly nonsensical Spanish words in the kind of Spanish that wouldn’t make a sentence with any meaning or sense and Rose Abdoo said she had changed a few vowels of the words to make it more confusing.G

31. The unkown town elder (towel guy) is played by William Morgan Sheppard. He was never in the show before or after.

32. None of the elders were the same actors or characters of Richard’s two friends in the golf outing with Rory. But one of those friends was the reverend that buries gran, and in the revival is Charlie of the gazette.

33. Rory’s resident advisor Tess the girl who hands her the keys on her first day of Yale (SE04 EP2 “The Lorelais first day at Yale”) is a different actress than Sandee from Sandee says in AYTIL (a year in the life, netflix GG revival) Tess name is Joy Darash http://www.imdb.com/name/nm1384632/?ref_=ttfc_fc_cl_t17 Sandee is Julia Goldani Telles http://www.imdb.com/name/nm5065920/?ref_=tt_cl_t3 (if you ever saw ASP’s show bunheads that’s Sasha)

34. When they take the roadtrip to Harvard. The picture of the girl Lorelai stares at when she’s in the hallway is a stranger it has to do with the year not the girl herself. That's the year she would have graduated if she went to an Ivy league college as it was planned. It was sort of a “what if” moment.

35. Emily Gilmore didn’t go to Yale she went to Smith to study History. Women weren’t admitted in Yale at the time Richard and Emily went to college but it was usual that girls colleges and guys colleges would have parties together and visited each other when there were couples. First mention of Emily attending Smith was in season 5. How many kropogs to cape cod. Richard jokes how Emily got kicked out of the women’s softball team for elbowing another girl. In season 7 I’m a kayak hear me roar, Emily says she went to Smith and majored in History.

36. They talk about Richard’s mother in the first season in past tense but later on Trix appears. It was an error of the first season when things weren’t that defined.

37. Alexis Bledel and Milo Ventimiglia did date in real life, apparently it ended really badly. She also dated Jared Padalecki. She didn’t date Matt Czuchry at least not that is known but both are extremely private people, however they are good friends and trust each other a lot from every interview they have given and enjoy working together. She’s now happily married to her Mad Men costar Vincent Kartheiser and they have a beautiful boy together.

38. Luke’s diner has the sign of William’s hardware store and not Danes’ because as a fandom we assume William was his dad’s first name. You’ll see changes in the diner all through the show. However Luke’s parents names are never mentioned ever during the show. The pilot episode was filmed in Unionville Ontario in a building that was formerly Williams hardware. For continuity when they moved to the studio lot at Warner Brothers the name was kept. I don't remember them ever explaining the name on the series other than the hardware store belonged to Lukes father

39. Lorelai’s doll house is NOT the same dollhouse on friends but it is the dollhouse they show on sale at Kim’s antiques, in one episode where Lane is going to talk to her mom about the band and Mrs Kim cracks the joke “but is past their bedtime”.

40. Yes Gil from Hep Alien is Sebastian Bach from Skid Row.

41. Yes the “hug-a-world” that was in the garage in season 4 is on their couch in season 1! (Same as the scary clown pillow is in a number of seasons lying around lol)

42. Alexis Bledel is actually a Latina. She was born and raised in the US but grew in a Spanish speaking, latino, household, her father and paternal grandfather are Argentinian, her mother, like herself was born in the US, but Alexis’ mother grew up in Mexico. Alexis didn’t learn English until she started school. The episode where Rory speaks Spanish with Esperanza (Season 6 episode 2: “Fight face”) she anglicized her native Spanish BECAUSE Rory didn’t know much Spanish. There’s an old interview with Ellen Degeneres on set while filming season 6 or 7 that she’s asked to translate for Lauren, she doesn’t translate everything due to nervousness. (It also happens when you live your adult life in a country that doesn’t speak your first language, growing up bilingual, you tend to adopt the accent of the language you use most and tend to confuse some words when you don’t use your native language often).

43. People praised the chemistry and physical closeness between Lauren Graham and Alexis Bledel, but there is actually a very logical reason for this: Alexis was a model and was just starting out acting and had a tougher time making her marks, so as veteran, Lauren often physically moved Alexis to make sure she was in the right place. Lauren told “The Today Show” in 2015: "The camerawork on that show is very specific and we really had to hit certain marks, which especially when you start out, is just a foreign concept...I remember a lot of times just kind of grabbing her, just kind of leading her arm. So, in the beginning, people are like, 'You have such great chemistry.' And I'm like, 'I'm mauling her. That's why.'"

(check this entry from time to time because I’ll keep writing fun facts)

[beckzorz]

Out of Nowhere (6/21)

Pairing: Bucky Barnes/OFC Summary: An offhand comment at work draws Jesse Kaplan into the orbit of Bucky Barnes. Bucky’s excited at the prospect of normalcy, but there’s nothing normal about falling in love with the Winter Soldier. Words: 2702 A/N: The song for this chapter is “Chant in the Night” by Professor Cunningham And His Old School from The Rhythm Method. The plot thickens this chapter; buckle up!!! Hope you enjoy :3

PART 6: “CHANT IN THE NIGHT”

By the time Jesse got home from work on Monday, Bucky was due for lesson planning in less than fifteen minutes. The effects of Marilyn’s prolonged absence from the office were starting to take root. Between that and her own lingering anxiety about last Friday morning, Jesse had stayed late once again to finish everything on her plate. She hadn’t succeeded, but she had to get home to meet Bucky. Work would have to wait.

Jesse scurried around the apartment, trying to meet her guest-coming-over cleanliness standard. She cleaned the toilet—her skin crawled at the memory of dunking her arm—and did a hasty sweep of the bathroom and kitchen to pick up anything that had accumulated in the corners. Were the surfaces clear enough? The papers on the coffee table were in a single pile, and the top was just a shopping list—perfectly uninformative and bland. The counters were clean, with just a few dishes in the dishrack, but she ran her squeegee across the counter to get any crumbs in the sink.

The buzzer rang; Jesse froze with squeegee in hand. She quickly brushed the crumbs into the sink and ran to the buzzer unit on her wall.

“Hello?” she said into the speaker.

“It’s me.”

Bucky.

An unbidden smile appeared on her face as she pressed the button to let him in, and then she turned around and flinched. She still needed to do a few things—close Fran’s door, run the sink to get rid of the crumbs. A knock at the door came as she was closing her own bedroom door, and she dashed to turn off the sink before opening the door.

There he was. Bucky was typing something on his phone—a grammatical monstrosity of a text? She couldn’t tell. He was dressed similarly to that time at the coffee shop, with a baseball hat and a long shirt that didn’t quite disguise his musculature. Jesse tried not to stare. Fortunately, he finished typing in a moment. Bucky put his phone in his pocket and gave a tight smile.

“Sorry,” he said as he came inside. “It couldn’t wait.”

Jesse locked the door. “If it’s urgent, we can reschedule…”

“No, no.” Bucky crossed his arms and leaned against the partition wall between the kitchen and living room. His smile was lighter now. “Not that kind of urgent.”

“Good, I hope!” Jesse said. She bit the inside of her lip. She usually asked people to take off their shoes, but Bucky was wearing combat boots, of all things. Better not. “How are you?”

“Alive,” he said.

She snorted. “I feel that. Haven’t slept properly in days.”

“No?” Bucky tilted his head and fixed his eyes on hers. Worry wrinkled his brow. The concern written on his face sent a swoop through her; she swallowed.

“No,” Jesse repeated. She went to grab a cup of water; it wasn’t hot in the apartment, so why was she so warm? “Want something to drink?”

“I’m good. What’s up with your sleeping?”

Jesse fiddled in her freezer for ice cubes. Did she dare tell him about the scare last Thursday? She was pretty sure it was just a case of a distorted memory, but… No, no, Bucky didn’t need to hear about her problems. He never shared his with her. The least she could do was follow his lead.

“Just had some bad nights, I guess. I think I screwed my schedule up with all the late evenings.”

Bucky didn’t respond. Once she’d filled her cup, Jesse turned to look at him, but he’d left his perch by the wall. She made her way into the living room and saw Bucky inspecting the photo arrangement over the couch. He’d left his hat on the coffee table; she could see his whole face now, and he was frowning.

“Who is this?” He pointed to one of the many pictures with Fran.

“Oh, that’s my roommate. His photos have the gold frames. Mine are all silver.”

“Huh.” Bucky studied the photos for another minute, then turned to her with his face set with determination. “So what’s the plan?”

“Let me pull up what I’ve got, and we can go over it…”

Jesse grabbed her laptop and opened the document her college friend had sent. She talked Bucky through the different steps—warm-up, introduction, basic footwork, open position, closed position, dancing together, so on and so forth—and Jesse tested out various wordings for explaining the different motions and moves before typing it out in the lesson plan document. Bucky just typed, but he didn’t edit at all. Jesse looked over his work whenever he tilted the screen in her direction, but it was always solidly done. He must have had a lot of practice planning without making a sound.

It only took about an hour and a half to get through two lessons. Getting through the basics for total beginners didn’t exactly go at a clipping pace.

“Hopefully the kids are as enthusiastic as the ones from your other workshop,” Jesse said. She scratched the back of her neck. All the dance lessons she’d taken involved willing participants; plopping into a middle school to teach unsuspecting preteens wasn’t necessarily going to go so smoothly.

“Enthusiasm is catchy.” Bucky typed up his last comments. He shut the laptop and set it aside on the coffee table, then leaned his elbows on his knees and smiled ruefully at her. His eyes were bright, open. “You do a good job of it.”

Jesse snorted and propped her feet on the coffee table. “You haven’t seen me in front of a crowd.”

“I bet you could fake it,” he said.

“If I can, so could you,” she countered with a cheeky smile. “At least, I suspect so.”

“Yeah?” Bucky’s lips twitched, though he wasn’t smiling yet.

“I’ve seen you smile before,” she teased. “Properly, I mean.”

Bucky laughed out loud. Still grinning, Jesse surreptitiously studied the laugh lines on his face. For all his reserve, he was able to smile around her, and now laugh. How had she gotten so lucky? How many people could say they’d seen Bucky Barnes laugh because of them?

Not many.

He stood up and headed to the door, still chuckling. “We’ll find out when we get started,” he said. He unlocked the deadbolt and turned back to her. “Should we meet again before then?”

“Marilyn wanted at least five lesson plans set before we start,” Jesse told him.

“I’ll be out of town for at least part of the week,” Bucky said, his expression more serious than before.

“Okay.” Jesse’s heartbeat kicked up a notch, though she tried not to let it show. Out of town doing what? Did he have some work—dangerous work? Would he be okay? Would he come back? Or was he just going off to visit a friend? Did he have friends? She clenched her teeth against the avalanche of questions building in her brain. “How about next Sunday morning?”

He pulled out his phone again. “Should work. Here again?”

“Ye—no, we should take advantage of bagels,” Jesse decided. “There’s a great bagel place on Prospect Park West, two blocks south of the park.”

“Fine,” Bucky said. He pulled on his cap, shielding his eyes from her. “Ten okay?”

“Works for me.”

Bucky opened the door and tilted his head up to look her in the face without his hat obstructing his vision. He wasn’t smiling, but there was a softness in his blue eyes that set her heart beating fast. “Good luck sleeping.” He slipped out and shut the door.

Jesse sat on the arm of her couch and fell back onto the couch, feet dangling. All things considered, that had gone awfully well. She’d made him smile; she’d made him laugh. He’d looked more carefree in that moment, with his hair tucked back behind one ear and his eyes crinkling with genuine amusement, than anyone she’d ever seen. How could he consider anything he did normal? He was extraordinary, every step of the way.

—

    Today, 9:08 PM

itsadrian: i finally beat that game!!! jesse.kaplan: nice!! jesse.kaplan: did it have a good ending? itsadrian: surprisingly, yes itsadrian: i was def expecting some cop outs on the tough stuff, but nope itsadrian: they did a good jesse.kaplan: haha, good! itsadrian: what are you up to tonight? jesse.kaplan: picking up my takeout jesse.kaplan: I had a late meeting itsadrian: what for? jesse.kaplan: dancing stuff itsadrian: uh huh… itsadrian: with someone in particular? :P

—

Jesse couldn’t help the smile on her face as she stuffed her phone back in her purse. Adrian had the subtlety of a ton of bricks. Jesse wasn’t sure if she was smiling over fondness for Adrian or because of someone in particular, as Adrian had put it. Adrian usual made her smile, but so could Bucky, when he wasn’t awkward or frightening. Which was more and more, lately.

She crossed the street, and from there it was steps to the Chinese restaurant. Jesse went in and gave her name at the counter, but the cashier frowned at her.

“Someone picked that up already,” he said.

Jesse’s eyebrows went up. “What?”

“Sweet and sour chicken and veggie dumplings for Jesse?”

“Yes, that was for me,” Jesse said. “Steamed dumplings.” Her stomach growled, and the cashier winced.

“Someone picked that up a few minutes ago,” he said. “He knew the order, so I assumed… Even the steamed bit. One sec.”

He went back into the kitchen and started speaking Chinese to the chef. Jesse turned away, lips pursed and stomach panging. Of all the nights! She was already starving. And the news on the tv over the other wall was full of disturbing stories again.

    [ A Brooklyn woman has returned home after     [ five 5 days missing. Authorities report th

The cashier came back quickly, and Jesse turned away from the tv.

“We’ll get another order made up right away. So sorry,” the cashier said.

“Thanks,” Jesse said. She made her way to the counter and stools by the front window and perched there, frowning at the other patrons.

What the hell? This was bizarre. She’d been coming here at least once a month for the last year and a half, and nothing like this had ever happened before. She’d always called in an order, waltzed in fifteen minutes later, and picked it up. Boom, done. How had someone gotten their order mixed up with hers? Was there another Jesse out there with the same tastes?

No, that couldn’t be it. If that was the case, there would be a second order that she could take instead. Someone knew her order. Despite the heat of the restaurant, Jesse couldn’t help the chill that ran up her spine. She adjusted her gray dress over her leggings self-consciously. How could someone have known her order? She’d called in it at home—from her bedroom, no less.

Her stomach dropped; she rubbed her right arm, trying to get rid of the phantom feeling of wetness there. Did this have something to do with last Friday? She’d been working hard to convince herself the toilet and all the rest had been nothing, just a series of happenstances she’d brought about herself, but now… Now she was back to square one. She couldn’t figure a way for this to have been a coincidence, or anything else she could explain away. Her order was specific enough—steamed dumplings weren’t even on the menu! She’d asked for them special. How could someone have known that without listening in on her? Could they have read the receipt on her takeaway bag? She glanced behind the counter, but the completed orders were off in the kitchen with the orders obscured by a pile of unassembled boxes.

So. Someone was listening in on her. How? Something in her apartment, or just hacking the phone lines? If there had been a break-in last week, she knew which was more likely, but she was less and less certain of the truth. Nothing made any sense. Who would spy on a conversation just to steal some takeout? Or was this about something else?

Was this… about Bucky?

Jesse’s eyes prickled; she pressed her lips together and stared at the ceiling. God, let it not be about Bucky. She shuddered a little and pulled her phone from her purse. The blank screen stared up at her.

Should she text him? Call him, even? No, she couldn’t do that. They weren’t on calling terms. And if he wasn’t traveling, he was alone, enjoying some privacy. Jesse shoved her phone back in her purse and crossed her arms tight over her chest. She was supposed to be a normal thing in his life. He’d looked so pleased at the possibility. They’d toasted to it, together. If she couldn’t give him normalcy, what good was she?

Her stomach growled again. Jesse grimaced. She needed a plan, one that didn’t involve Bucky. She still had no idea where he lived, but she doubted he lived close enough to actually be of help. The closest police station was less than a mile away. She could go there—get an Uber, a cab, whatever came first.

But first, food.

She waited there for another five minutes, her whole body tense and her purse clutched tight on her lap. The place got a little busy at one point, and a stocky man bumped into her, poking her arm with his keys. He apologized, but Jesse just gave a tight smile and went to sit further away from the door.

When her food was finally ready, the cashier brought it out to her with a tense smile. “Sorry about that,” he said. “We threw in some egg rolls for free.”

A smile ghosted past Jesse’s lips as she took the stapled back from him. “Thank you so much,” she said. “Sorry for the confusion.”

Jesse slid off her chair and stumbled. The waiter grabbed her by the arm.

“Are you alright?” he asked, eyes wide.

“I’m fine, I’m fine,” she said quickly. She pulled away, stood up straight, and rolled each ankle. “Just sat still for too long! I’m calling a cab, so no worries.”

Jesse gingerly sat back down and called a cab line. She kept an eye out of the front window, though exhaustion was catching up with her fast. Her vision was beginning to blur, and her limbs were tired. She blinked rapidly and pinched her arm.

A cab pulled up to the restaurant, and Jesse perked up in relief. She slid carefully off the high stool and made her way outside. She tried to pull open the back door of the cab, but her hands were as compliant as wet rags. The driver turned in his seat to raise his eyebrows at her, and Jesse gave a harried, apologetic smile and tried again. This time even her wrists didn’t engage.

“Let me help.”

Jesse turned her head and blinked groggily up at the same stocky man who’d bumped into her a few minutes before. He put a hand on her elbow to move her a little out of the way, and Jesse sucked in a harsh breath. Keys? He hadn’t bumped into her with keys! He’d done something to her! She tried to pull away, but all her strength had seeped away. Keeping herself upright was almost more than she could manage, but she shook her arm as much as she could, heart racing.

“Dun touch me!” Jesse meant to shout, but her words were barely a groan.

The stocky man ignored her. He opened the door and maneuvered her inside, then slid in beside her. The moment he closed the door, the driver peeled away from the curb.

“No,” Jesse mumbled. Her vision was fading. She tried to fumble for the phone in her purse, but the stocky man beside her easily pulled both her bags out of her reach. He patted her shoulder consolingly as he worked the takeaway bag open. Jesse’s head drooped, and before her eyes slid shut she saw him pulling out an egg roll.

“Relax, Jesse,” he said. Jesse heard him take a crunchy bite and swallow. “Just relax.”

[kootenaygoon]

So,

The Friday issue had just arrived.

I’d been at the Star for nearly four years, but I still got giddy whenever the fresh stacks of bundled papers showed up at the office twice a week. I made a ritual out of gathering copies for the entire newsroom, then settling in to read each issue with a large A&W coffee. Sometimes I counted up my stats, like Greg Nesteroff had, always looking to break new records with my output. As far as I was concerned, I was doing the job better than it had ever been done — and I was especially proud of my Me Too column, in which I’d attempted to acknowledge my complicity within rape culture while also expressing my aspiration to be a better human. I felt like I was starting to learn the social justice language of the feminists speaking out on the issue, like I’d built up enough credibility to write something meaningful and contemporary and, most importantly, moral.

I was halfway through re-reading the print version of that column for about the fourth time when Ed’s phone rang. The window beyond his desk gave us a panoramic view of the grey drizzle. He grumbled into the phone, grabbing at his notebook and jotting down some details. I took my feet off my desk and tried to listen in, noting the way his body language had tensed. He sighed heavily, thanked the caller, then sat for a long moment staring at his lap.

“So?” I asked. “What was that?”

He grimaced in my direction. “We’ve got another fentanyl overdose.”

“When? Where? Who told you this?”

“Young girl, teenager. The caller’s a friend of the family, apparently. He was really upset, said somebody needs to speak up about this.”

I stood up and walked over to his desk. “He said that? Does he want to go on record with us? Did you get a name for the girl?”

He picked up his notepad, looked through the glasses perched at the end of his nose, frowned. “Kessa Cunningham, he said. Do you know a Kessa Cunningham?”

I thought for a second. “Doesn’t sound familiar. She go to Elephant Mountain Secondary?”

“She’s a 2016 grad.”

I took a deep breath. After covering their grad cancellation, I’d come to feel a fatherly connection with those kids. I knew their parents, I’d sat through their school assemblies. A bunch of them were friends with me on Facebook now. Recently one of them had died in a car wreck on the highway, probably checking his cell phone. Now they had to suffer through a fentanyl overdose too? Hadn’t they been through enough?

“Well, I told him you’d call him back,” Ed said.

“You want me to write a story on this?”

He shook his head. “I don’t know yet. But why don’t you go through the details with him, see how much you can find out.”

When I got back to my desk, I typed Kessa’s name into Facebook. When her profile popped up, I saw we had dozens of friends in common. One of them was Blayne. Right away I felt like I was falling down the same rabbit hole I’d fallen down with Ryan Tapp, feeling it all like a human instead of a journalist. In her profile picture she was mugging for the camera, with white-blonde Marilyn Munro hair and a black tank top. She looked eerily like one of my younger sisters. I scrolled through the mournful messages that had begun to accumulate on her wall.

After a few minutes, I called back Ed’s source. My pulse was throbbing erratically in my neck as I scrolled. Already I felt like this could be a career-defining story for me. All this time I’d been covering the fentanyl beat, and we’d never gotten a name like this before. There was still so much stigma, so much shame, but I yearned to get this shit out in the open. Here was the real human cost of this fucking drug, right here, and why shouldn’t we all know about it?

The source spoke on condition of anonymity, and made sure to repeatedly say that he spoke for no one but himself. He filled me in on Kessa’s family history, taking me through one family tragedy after the next. Only six months earlier she’d lost her father to an apparent suicide. She was fatherless.

“I can’t handle it anymore, man. You see these drug dealers just totally using young girls, getting them hooked on this shit, and everybody’s in on it. You can’t tell me these bouncers don’t know these girls are underage. That they’re getting exploited. But nobody fucking cares.”

My cheeks began to redden at his words. I thought of my dreams about the Nelson catacombs, of how I felt standing guard at the entrance of Tony’s Taphouse. I thought of Natalya’s words, about the shit I’d heard about Shambhala. While writing these Me Too stories multiple women had disclosed details of their sexual assaults to me, not because they wanted me to do anything about it but because they wanted me to know. I’d heard some disgusting shit, and I wanted to do something about it.

Something drastic.

“So what do you think? Will the family speak out?” I asked.

“I dunno about that. I haven’t really talked to anyone. Her Mom, maybe, might go on the record.”

He mentioned that the family had already run the obituary, and I flipped through the newspaper in front of me to check. There it was, with the same photo from Facebook. This had all happened two weeks earlier, so why was I only hearing about it now?

“You know, the funeral’s tomorrow. You could go to that,” the guy said.

“Do you think that would be appropriate? For me to go? I feel like I’d like to pay my respects.”

“Oh yeah, I’m sure they’d be okay with that. It’s not like you’re the paparazzi or something, right? I mean, she had a lot of friends. The whole fucking community’s mourning. It feels like getting throat-punched, you know?”

After I hung up with the source, I printed off Kessa’s profile picture and taped it on the wall opposite my desk. Underneath her smiling face was the text I’d copied from her obituary. I stood staring at it for a moment, my heart thrumming, while I replayed the conversation in my mind. This girl was loved fiercely, popular and attractive, but had seen more than her share of suffering. She’d taken her father’s death hard, and now she’d followed him into the graveyard. She was the ultimate Me Too victim. I figured this could be a moment that galvanizes the community, that inspires people to flood into the streets like they do for the environmental protests. I felt like breaking some windows.

“I’m thinking I’ll go to this funeral tomorrow,” I told Ed, looking out the window at the grey clouds obscuring Elephant Mountain. “It’s a public event.”

He leaned back in his chair. “Why would you do that?”

“Well, we need to get someone on record, right? This guy suggested maybe the Mom’s going to want to talk. Also, I thought it would be good to put in an appearance.”

He considered this. “You didn’t know this girl.”

“Yeah, I know. But I went to her grad, right? I’m tight with that community.”

He sighed. “And what will you do while you’re there?”

“I figure I’ll just sit in the back, try to figure out who’s who. Maybe introduce myself to a key family member or two, see if anyone wants to talk.”

“Not at the funeral.”

“No, I’ll give out my card. You know, make myself available.”

He pursed his lips. I could tell my enthusiasm for this story was already making him nervous, but I didn’t understand why. Wasn’t he as sickened and appalled as I was? Didn’t he want to see justice done?

“It’s not a story yet, so I don’t want you going around telling people we’re writing a story about it. But if the family is willing to talk, well, then and only then will we go forward with it. Does that make sense?”

“Absolutely.”

“If we’re going to do this story properly, I can’t have you flying out there like Superman. We have to make sure we’re being respectful, that we’re approaching this the right way. No messing around.”

“I can do that.”

He nodded. Ed had two daughters, and I figured they must be foregrounded in his headspace as we talked about this. I could tell he wanted to pump his foot on the brakes, but part of him felt like I did, like it was time somebody did something about these fucking child rapists and drug dealers.

“I want you on your best behaviour, Will. Don’t make a spectacle of yourself.”

“When have I ever made a spectacle of myself?”

After our conversation, I headed to the bathroom for a long piss. I needed some time to get my face temperature back to normal. I’d smoked a particularly strong indica that morning, and it was exacerbating my emotions to the point that my eyes throbbed. I splashed some water on my face, ran wet fingers through my hair, and contemplated vomiting. The source had described several elements of the story in cinematic detail that I wouldn’t soon forget and I couldn’t stop picturing her rigid corpse when they found her. It had been Nate Holt on the scene, apparently, just like with Andrew Stevenson.

Eventually I wandered back into the newsroom, intent on getting to this funeral and making the Kessa story a reality. I walked over to where I’d taped her photo on the wall, standing beside Ed’s desk.

“I can feel this in my body,” I said.

He didn’t know how to respond to that.

The Kootenay Goon

[warholiana]

Lovely review of my Warhol bio by Michael Millner in the US edition of The Spectator:

“An extraordinary and revealing biography — surely the definitive life of a definitive artist….There is something interesting, revealing or humorous on just about every page. Gopnik deftly excavates his data mine. His prose is precise and pointed, and his year-by-year narrative clips along. He is also a master of pithy and informative character and historical sketches.”

Magus of mass production

Warhol by Blake Gopnik

Ecco, pp.976, $45.00

reviewed by Michael Millner

This article is in The Spectator’s April 9, 2020 US edition.

‘If you want to know all about Andy Warhol,’ the artist said in the East Village Other in 1966, ‘just look at the surface: of my paintings and films and me, and there I am. There’s nothing behind it.’ This quotation re-appeared in 2002 on the US Post Office’s commemorative Warhol stamp. It’s fabulously fitting for a stamp that reproduced a self-portrait, but when scholars recently compared the audiotapes of the interview with the printed version, the passage wasn’t on the tapes. Warhol sometimes invented interviews from whole cloth. He answered questions with a gnomic ‘yes’ or ‘no’ or, refusing to speak at all, allowed proxies like his ‘superstar’ Edie Sedgwick to answer for him. After all, he was just surface — leather jacket, shades, wig. The magus of mass production was there and everywhere forever, but nowhere in particular. This negation of personality seems a publicity ploy, or the evasiveness of a shy man, or possibly the self-protection of a gay man in pre-Stonewall America. It was all of this, but also much more. The self-as-surface routine was perfect for a new kind of celebrity, one founded less on accomplishment and talent and more on presenting a surface for the projected desires of a mass audience. Authenticity and the sense of a deep self were obstacles to the creation of this new celebrity persona. Warhol made millions by autographing screen prints that were mass-produced by anonymous assistants. Warhol somehow understood how this all worked. Born in 1928 in Pittsburgh to working-class Catholics from eastern Europe who barely spoke English, he realized the power and danger of being known to the world. The flipside of ‘15 minutes of fame’, Warhol suggests again and again, is death. The paintings of Marilyn Monroe memorialized her suicide; those of Jackie Kennedy, her suffering following her husband’s assassination. After Warhol survived his own assassination attempt in 1968, he allowed Richard Avedon to photograph the surgeon’s scars that crisscrossed the surface of his torso. There is no narrative development or personal bildungsroman in Warhol’s art, and his affectless manner resists psychologizing, the biographer’s stock-in-trade. His images are impressions, flashes whose immediacy, flatness and repetition carry little sense of progression. The Brillo box contains no story, and the subject of a film like Empire, with its eight hours of static footage of the Empire State Building, remains inanimate. Despite Warhol’s resistance, Blake Gopnik has written an extraordinary and revealing biography — surely the definitive life of a definitive artist. He accomplishes this through broad and deep, even obsessive, research into what he calls Warhol’s ‘social network’. Gopnik reports that he consulted 100,000 period documents and interviewed 260 of Warhol’s lovers, friends, colleagues and acquaintances. Warhol kept everything — he was a hoarder, collector and archivist all his life — and Gopnik has left no archival folder unopened or box unperused. Across 976 pages and more than 7,000 footnotes on a separate website, he recreates the swirl of ideas, culture and especially people that orbited Warhol. Warhol famously thought of his studio as a factory, producing work after work off an assembly line. The catalogue raisonné of his paintings, drawings, films, prints, published texts and conceptual works would, if it were ever completed, rival that of the other master of 20th-century self-replication, Picasso. Gopnik has surveyed it all.

There is something interesting, revealing or humorous on just about every page. Gopnik deftly excavates his data mine. His prose is precise and pointed, and his year-by-year narrative clips along. He is also a master of pithy and informative character and historical sketches: ��Warhol’s Pop wasn’t about borrowing a detail or two from commercial work, as many of his closest colleagues [like Robert Rauschenberg] did; it was about pulling all its most dubious qualities into the realm of fine art and reveling in the confusion they caused there. ‘He wants to make something that we could take from the Guggenheim Museum and put it in the window of the A&P over here and have an advertisement instead of a painting,’ complained one early critic of Warhol’s, getting it right, but backward: Pop pictures started in the windows and then migrated to the museums.’ Warhol is about the Age of Warhol as much as Warhol himself. We learn about the new possibilities of gay life in 1950s New York, the city’s underground film scene, the history of silk-screening (so important to Warhol’s art), the fluctuations of the art market, the history of department-store window design. We learn about fascinating things we may not even want to learn about, such as the size and color of Warhol’s penis. (Large and gray, like the Empire State Building.) Warhol arrived in New York City in 1949 and quickly made a name for himself as a commercial illustrator, especially of women’s shoes. He lived for two decades with his mother, Julia, one of his most influential muses, and sought out an emerging coterie of gay artists including Truman Capote, with whom he had a stalkerish infatuation. The great Pop paintings of the early 1960s transformed American art. No less important was Warhol’s mid-Sixties salon and studio, the Silver Factory (silver because wallpapered in aluminum foil). This perverse and fecund anti-commune of ‘superstars’ and hangers-on spawned Lou Reed and the Velvet Underground, as well as Warhol’s wannabe assassin, Valerie Solanas. On June 3, 1968, Solanas shot Warhol in the name of feminist revolution. His heart ceased beating on the emergency room table before a determined surgeon saved him. In the 1970s, he turned to what he called ‘business art’, mainly portraits of other famous people. He died in 1987, aged 58, after gallbladder surgery. Gopnik unpicks many of the conventions of Warhol’s non-biography. Warhol wasn’t an aesthetic rube when he arrived in New York. He had received an extraordinary avant- garde education from four years at the Carnegie Tech art school and at the Outlines gallery, which had brought Jackson Pollock, Alexander Calder, Joseph Cornell, Francis Bacon, Merce Cunningham and many other transformative artists to Pittsburgh in the 1940s. Warhol did not suddenly reinvent himself as a Pop artist in the early 1960s. As he built a successful career illustrating advertisements in the Fifties, he regularly tried to cross the line between commercial and fine art — a crossover he finally achieved in late 1961 with ‘Campbell’s Soup Cans’. Warhol was baptized ‘Drella’ by acquaintances — part bloodsucking Dracula and part innocent yet social-climbing Cinderella. But Gopnik also argues that one of Andy’s greatest desires was for compassionate companionship. This was never achieved. The ‘routine’ gallbladder surgery which led to his death was anything but routine. He had been very ill for weeks but avoided treatment out of a lifelong fear of surgery and a misplaced faith in the healing powers of crystals. Emphasizing Warhol’s radical ambiguity in art and life, Gopnik makes it impossible to say anything easy about him. His Warhol is a complex artist practicing what Gopnik, in a marvelous turn of phrase, calls ‘superficial superficiality’. The Warhol brand, the images of branded goods, famous faces and dollar bills, celebrates consumerism but also leaves us a little nauseated from our commodity fetishism. Warhol’s endless ‘boring’ films are hard to ignore because they give us so much space and time to think. They are studies in modern emptiness, and thus deep meditation. Warhol the critic of modern celebrity was also one of its greatest adulators. This double image of Warhol seems just right. ‘His true art form,’ Gopnik writes, ‘first perfected in the first days of Pop, was the state of uncertainty he imposed on both his art and his life: you could never say what was true or false, serious or mocking, critique or celebration... Examining Warhol’s life leaves you in precisely the same state of indecision as his Campbell’s Soup paintings do.’ Gopnik’s analysis of Warhol’s ambivalence evokes another great observer of midcentury American culture. Lionel Trilling, the gray-suited lion of Columbia’s literary studies, would have hated Warhol, had he deemed the Silver Factory worthy of a visit. Still, Trilling’s America is Warhol’s: ‘A culture is not a flow, nor even a confluence; the form of its existence is struggle, or at least debate — it is nothing if not a dialectic. And in any culture there are likely to be certain artists who contain a large part of the dialectic within themselves, their meaning and power lying in their contradictions.’ To Trilling, the great American authors contained ‘both the yes and the no of their culture, and by that token they were prophetic of the future’. Warhol absorbed and reflected the affirmations and negations of his America — but was he prophetic of ours? Yes and no. For a long time now we have lived in the Age of Warhol. If he were alive today, he would film us staring blankly at the social networks on our smartphones, hour after hour, while nothing and everything go on and on. By retaining ambivalence, Warhol allowed us to recognize and experience the deepest ethical dilemmas of American life — and he paid a price for being our screen and mirror.

[spotlightsaga]

Kevin Cage of @spotlightsaga reviews... Blood Drive (S01E01) The Fucking Cop Airdate: June 14, 2017 @syfy Ratings: 0.834 Million :: 0.24 18-49 Demo Share Score: 3/10 **********SPOILERS BELOW********** Want edgy, modern underground Exploitation? Try 'Dead Hooker in a Trunk', 'Hobo With a Shotgun', 'King Fury', or anything in that vein. Those straddle different forms of exploitation, capturing what many claim to be 'Grindhouse', without really understanding what that term refers to, capturing that spirit with minimal effort. See the trick to being successful in this genre, is never trying too hard. You've got to be the 'cool kid' at the Exploitation table... Otherwise your 'Blood Drive', that nerdy, poser kid you may let sit at the table because their Dad's a shady minister who's stealing money from his church, and you can somehow benefit from it so you allow the kid in your circle... But you end up regretting it. Too on the nose? That's also the point isn't it? No, Quentin Tarantino would not approve of this atrocity... And no Quentin Tarantino isn't even a notable Exploitation or 'Grindhouse' filmmaker, one *big budget* 'Double Feature' made with Robert Rodriguez doesn't make the man a fucking God of Grindhouse or Exploitation. Tarantino makes Pulp Films... Literally... One of those setting the tone by being called 'Pulp Fiction'. Obviously, there is notes of Exploitation, or inspirations of... See 'Django' or 'Jackie Brown', which bleeds 'Blaxploitation'. But wrong dog, wrong tree... Wayyy too much money. Excuse me, I'm probably coming off a little too strong. You see, Im a HUGE fan of Exploitation of any kind, but it has to be done right. Take 'Dead Hooker in a Trunk' for instance... It currently holds a 4.9 on IMDB, yet its 80% Fresh on 'Rotten Tomatoes'. Not everyone Exploitation and it's many sub-genres, and as much as the censorship lines are blurred on SyFy (tho I was tricked into watching this on the USA Network after a terrible episode of RAW), this isn't a network that has the vision, nor the flexibility of a network like STARZ, HBO, or one of the many Streaming Giants... I would have included Cinemax but they just canceled two of their best shows and get nothing but shame from me. The Soska Sisters made 'Dead Hooker in a Trunk' with $2,500 in Vancouver and shot to stardom. If you've ever seen the film, you'll see all the markings of dastardly greatness and sinister, ultra-violent exploitation... There's blood, guts, nudity, and constant bursting rapid-fire scenes of straight up insanity, but it's not all just to be throwing random grotesque scenes at the audience for good fun. They build tension like pros, it's one shocking scene built upon the other until the viewer literally doesn't think it could go any further... ONLY IT DOES! That's the magic of Exploitation. It's a highly misunderstood art form, and not everyone has the cahoñes to make such art. I even have a nice collection of old Sexploitation films, titles that would make you blush, and I love every last one of them. This is a SACRED genre and as I keep saying, it needs to be handled with care. It's true, and I say this across all genres of television, you can't really judge a show by it's pilot. However, when it comes to SyFy, it seems like you can. Once upon a time they had people heading their network that brought us a Golden Age of their own with titles like Eureka, Warehouse 13, Haven, Alphas, and even as recent as Defiance... But that vision, that spark, that Golden Age is over. This is a network that settles, it renews soulless, empty shows that don't get ratings, one after another... And cancel the promising ones. While I haven't watched them all, I've seen my fair share and know the exact place this network is in. But let me not get far ahead of myself after only seeing the pilot... It's not like there aren't some good moments and finely-tuned 'road-mapping', so to speak', effectively manufactured here... It's just that the majority of the episode is executed poorly. 1999 was one of the greatest years of all time, you had to there and be old enough to really appreciate its true 'anything goes' spirit. It's an interesting choice to set the show in a post-apocalyptic world on this date. People have drawn comparisons to the 'Exploitation' version of the cartoon 'Wacky Races' that had its original run from 1968-1970, but was immortalized by syndication, not to mention an entire world created inside the Amusement Park of Kings Island in Mason, OH outside of Cincinnati dedicated to its creators, and a fantastic execution by Hannah-Barbera. You can probably find a Warner Bros-friendly channel that still airs it today. This world is obviously painted heavily by the cars that run in its 'Death Race'... Contestants must feed the cars humans, or anything with blood I suppose, because the cars run on blood. There's apparently a self-destruct feature on the car that can be waved off by a good old fashioned fuck. That last part is made interesting when an ultra-generic 'Good Cop', Arthur Bailey (Alan Ritchson), one of the proud and the few, ends up being the fucker when he's trapped inside of the car with a racer, Grace (Christina Ochoa) who has her own sympathetic reasons as to why she's entered this race. She's not doing it for the love of the kill, but she sure is having a ball in the meantime. Cops have body cams and decide your fate right on the spot, but good luck pulling that off in such a corrupt world. Bailey tries to pull an arrest or sting, but he's hilariously outnumbered and doesn't get the job done. Club Mayhem hosts the race, and the character who leads that way is Julian Sink (Colin Cunningham). It was his introduction that made me drop my testy attitude towards the show and start truly paying attention. Not only does Sink embody 1999-Post-Apocalyptic Goth Fashion; He speaks, looks, eats, shits, breathes the part. He's very 99-'Marilyn Manson' meets 'Dick Dastardly and Muttley in the Mean Machine'... If there is one character that can change my attitude towards this show as the episodes move towards its finale... It's this guy! The world and set pieces are built well around him, so I can say there is some hope that 'Blood Drive'. This isn't all bad, but before anyone starts standing up and applauding, they 'better pump the breaks and drive slow, homey.' David Straiton is used as the director for some of the episodes, including this one. He's a bit out of his element. Later in the season Roel Reiné is handed the reigns... This is a man that knows schlock film and television, so I'd like to kind of balance out my harsh critiques with a piece of hopeful, forward thinking. Creator James Roland is dreaming big and it's my humble opinion that he's got the right ideas but he's teamed with the wrong producers and the wrong network... But in his favor, you seize opportunity where it is given. They are clearly going to let him get away with a lot more than they have ever let anyone get away with before, so only time will tell if he can take that chance and roll with it. Like I said, the world building is great and there are some fascinating characters, but is that enough? Will Roland understand that Exploitation is not just about how much raunchy fanfare you can stir up by pushing the limits? The Soska Sisters, Jason Eisner, or David Sandberg should have really been called upon, those are your true modern warriors of Exploitation... At least for some pointers and tips. Exploitation is about the build, so let's see if Roland will slap this bad boy on the ass and do this underground genre right.

[fashiontrendin-blog]

The 57 fashion quotes to live by *every* single day

http://fashion-trendin.com/the-57-fashion-quotes-to-live-by-every-single-day/

The 57 fashion quotes to live by *every* single day

Inject some glamour into your day with these beautifully poetic (and hilarious) quotes

1. ‘Fashion is the armour to survive the reality of everyday life.’ – Bill Cunningham

2. ‘Give a girl the right shoes and she can conquer the world.’ – Marilyn Monroe

3. ‘In order to be irreplaceable one must always be different.’ – Coco Chanel

4. ‘Fashions fade, style is eternal.’ – Yves Saint Laurent

5. ‘One is never over-dressed or underdressed with a Little Black Dress.’ – Karl Lagerfeld

6. ‘Whoever said that money can’t buy happiness, simply didn’t know where to go shopping.’ – Bo Derek

7. ‘Elegance is the only beauty that never fades.’ – Audrey Hepburn

8. ‘When you go to a nice restaurant, you want to be relaxed and have a drink and everything, you want to look at people who look well. You don’t want to look at some slob with an open shirt and a hairy chest. At least I don’t.’ — Iris Apfel

9. ‘I like being a woman, even in a man’s world. After all, men can’t wear dresses, but we can wear the pants.’ – Whitney Houston

10. ‘Fashion is not something that exists in dresses only. Fashion is in the sky, in the street, fashion has to do with ideas, the way we live, what is happening.’ – Coco Chanel

11. ‘In difficult times, fashion is always outrageous.’ —Elsa Schiaparelli

12. ‘I like my money right where I can see it: hanging in my closet.’ – Carrie Bradshaw

13. ‘Being well dressed hasn’t much to do with having good clothes. It’s a question of good balance and good common sense.’ – Oscar de la Renta

14. ‘If you can’t be better than your competition, just dress better.’ Anna Wintour

15. ‘The fashionable woman wears clothes. The clothes don’t wear her.’ – Mary Quant

16. ‘Girls do not dress for boys. They dress for themselves and, of course, each other. If girls dressed for boys they’d just walk around naked at all times.’ – Betsey Johnson

17. ‘Fashion is what you’re offered four times a year by designers. And style is what you choose.’ – Lauren Hutton

18. ‘Vain trifles as they seem, clothes have, they say, more important offices than to merely keep us warm. They change our view of the world and the world’s view of us.’ – Virginia Woolf

19. ‘The difference between style and fashion is quality.’ – Giorgio Armani

20. ‘You can never take too much care over the choice of your shoes. Too many women think that they are unimportant, but the real proof of an elegant woman is what is on her feet.’ – Christian Dior

21. ‘Don’t be into trends. Don’t make fashion own you, but you decide what you are, what you want to express by the way you dress and the way you live.’ – Gianni Versace

22. A girl should be two things: classy and fabulous.’ – Coco Chanel

23. ‘I’m just trying to change the world, one sequin at a time.’ – Lady Gaga

24. ‘Always dress like you’re going to meet your worst enemy.’ Kimora Lee

25. ‘Anyone can get dressed up and glamorous, but it is how people dress in their days off that are the most intriguing.’ – Alexander Wang

26. ‘When I design and wonder what the point is, I think of someone having a bad time in their life. Maybe they are sad and they wake up and put on something I have made and it makes them feel just a bit better. So, in that sense, fashion is a little help in the life of a person. But only a little.’ – Miuccia Prada

jane birkin – jane birkin pictures – style icon – fashion icon – 1960s – serge gainsbourg

27. ‘Style is a way to say who you are without having to speak.’ – Rachel Zoe

28. ‘Fashion should be a form of escapism, and not a form of imprisonment.’ – Alexander McQueen

29. ‘About half my designs are controlled fantasy, 15 percent are total madness and the rest are bread-and-butter designs.’ – Manolo Blahnik

30. ‘The beauty of a woman is not in the clothes she wears, the figure that she carries, or the way she combs her hair. The beauty of a woman is seen in her eyes, because that is the doorway to her heart, the place where love resides. True beauty in a woman is reflected in her soul. It’s the caring that she lovingly gives, the passion that she shows and the beauty of a woman only grows with passing years.’ – Audrey Hepburn

31. ‘You cannot fake chic but you can be chic and fake fur.’ – Karl Lagerfeld

32. ‘The only real elegance is in the mind; if you’ve got that, the rest really comes from it.’ – Diana Vreeland

33. ‘Style is when they’re running you out of town and you make it look like you’re leading the parade.’ – William Battie

34. ‘Fashion is not necessarily about labels. It’s not about brands. It’s about something else that comes from within you.’ – Ralph Lauren

35. ‘Fashion is a form of ugliness so intolerable that we have to alter it every six months.’ – Oscar Wilde

36. ‘To me, clothing is a form of self-expression – there are hints about who you are in what you wear.’ – Marc Jacobs

37. ‘Style is knowing who you are, what you want to say, and not giving a damn.’ – Orson Welles

38. ‘I don’t do fashion. I am fashion.’ – Coco Chanel

39. ‘Over the years I have learned that what is important in a dress is the woman who is wearing it.’ – Yves Saint Laurent

40. ‘A woman’s dress should be a like a barbed-wire fence: serving its purpose without obstructing the view.’ – Sophia Loren

41. ‘Simplicity is the ultimate sophistication.’ – Leonardo da Vinci

42. ‘I can’t concentrate in flats.’ – Victoria Beckham

Lady Gaga. Credit: Rex

43. ‘Men tell me that I’ve saved their marriages. It costs them a fortune in shoes, but it’s cheaper than a divorce.’ – Manolo Blahnik

44. ‘If I can have any impact, I want women to feel good about themselves and have fun with fashion.’ – Michelle Obama

45. ‘Clothes aren’t going to change the world, the women who wear them will.’ – Anne Klein

46. ‘When in doubt, wear red.’ – Bill Blass

47. ‘Fashion is instant language.’ – Miuccia Prada

48. ‘People will stare, make it worth their while.’ – Harry Winston

49. ‘Delete the negative; accentuate the positive!’ – Donna Karan

50. ‘Fashion can be bought. Style one must possess.’ – Edna Woolman Chase

51. ‘Fashion has to reflect who you are, what you feel at the moment, and where you’re going.’ – Pharrell Williams

52. ‘Conformity is the only real fashion crime. To not dress like yourself and to sublimate your spirit to some kind of group identity is succumbing to fashion fascism.’ — Simon Doonan

53. ‘Style is a simple way of saying complicated things.’ – Jean Cocteau

54. ‘Fashion may not be a weapon of the woman but at least it gives her the ammunition.’ – Brigitte Bardot

55. ‘My mother was right: When you’ve got nothing left, all you can do is get into silk underwear and start reading Proust.’ – Jane Birkin

56. ‘I don’t believe in fashion. I believe in costume. Life is too short to be same person every day.’ — Stephanie Perkins

57. ‘When a woman says, ‘I have nothing to wear!’, what she really means is, ‘There’s nothing here for who I’m supposed to be today.’’— Caitlin Moran

Picture credits: Rex Features

[fervour-a]

@bctenoire​​ liked for a starter. open to: anyone.

“what are you doing here?” the wolf finds herself asking, before she’s even given herself half a second to ponder it. she doesn’t recognize them, is sure they’re where they shouldn’t be; whether that be by mistake or intention. “can i help you?” she continues on, her stance tall and purposeful. it was her duty to protect her pack, and there’s very little she wouldn’t do in order to see that challenge through.