Cosmetic Executive Women Annual Women's Leadership Awards: Celebrating Women in the Beauty Industry
Cosmetic Executive Women (CEW) celebrated women and achievement Tuesday at the 2023 Women's Leadership Awards #CosmeticExecutiveWomen #WomenLeadershipAwards #WomensLeadershipAwards
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New Releases: January 2024
The Curse of Eelgrass Bog by Mary Averling (2nd)
Nothing about Kess Pedrock’s life is normal. Not her home (she lives in her family’s Unnatural History Museum), not her interests (hunting for megafauna fossils and skeletons), and not her best friend (a talking demon’s head in a jar named Shrunken Jim).
But things get even stranger than usual when Kess meets Lilou Starling, the new girl in town.…
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throughout the whole show whenever Christina popped up my brain went 'oooooo this is so Beth in What the Sea Wants, the Sea Will Have vibes' i'm never not thinking of the snippet about the whale bone corset 😵💫
Yessss, she's so gorgeous in the series and I feel like she gets a lot of the best costuming, as she should. My brain literally was like pirate au pirate au pirate au the entire time she was on screen too, haha, now we just need Manny in a period drama too for gifset purposes 👀.
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Christina Aguilera || Vanity Fair
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its funny to realize there weren't any gay people in precode talkies either. there were gay people in french silent films and american conservatives were like FUCK what if they find out gay people can talk?!?
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The Menu (2022, dir. Mark Mylod) - review by Rookie-Critic
I walked into The Menu expecting a horror movie that may be overly critical of people who consider themselves "foodies" with an ill-willed message about how overly saturated everything has gotten with food, but that's not what I got at all. What I did get was a deeply dark comedy about idol worshipping in the food world and, as seems to be a popular theme this year, how affluence has affected food culture and divined food as a benchmark for status and clout. I think my favorite bit about it tackling this particular theme as it pertains to this film is that it does so on both sides of the aisle, putting just as much emphasis on the misdeeds Ralph Fiennes' Chef Julian Slowik and his staff as it does on the rich people dining at his restaurant. The one exception to the film's ire is our protagonist, Anya Taylor-Joy's Margot, who is brought into this world from the outside. She's not a part of this rich world of small portions and exorbitant prices. That being said, Chef Slowik is not without his sympathetic moments, and by the film's end you can almost consider Taylor-Joy and Fiennes as co-leads.
The wit of the script is fierce and constant and mean-spirited, sometimes to the point where it's walking on a razor's edge between having fun at the expense of people who just like food and foodie culture and people who crave food as a status symbol, but it never tips the scales over to the "malicious towards the innocent" side, which I always appreciate in movies satirizing a subculture. Much like Triangle of Sadness, the film's message can be boiled down to "rich people = bad," but what sets it apart from Triangle is that The Menu manages to be a bit deeper than that in showing a character that very clearly started their journey with the best intentions, but lost their way at some point to the chase for clout and respect from people that don't matter. This and tackling something that's a bit more niche than just the wide umbrella of affluence set The Menu apart, and outside of some pieces of the film that I'm still trying to parse out meaning from and a few other little nitpicks that I won't mention here, it surprisingly soared above my expectations for it. This one is highly recommended.
Score: 9/10
Currently in theaters only.
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by Christina Fox | My boys were playing a board game one rainy afternoon. It was down to the last spin. One of my sons got the number he hoped for and crossed the finish line, winning the game. The loser stomped his feet and declared, "That's not fair! He always wins!" My boys are not alone in their view of life...
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