#Dorothy Lancaster

[badgaymovies]

Masquerade (1988)

Masquerade by #BobSwaim, starring #RobLowe and #MegTilly, "details of the lifestyles of the rich and famous don't exactly ring true",

BOB SWAIM Bil’s rating (out of 5): BB.5 USA, 1988. Metro-Goldwyn-Mayer, Michael Levy Enterprises. Screenplay by Dick Wolf. Cinematography by David Watkin. Produced by Michael I. Levy. Music by John Barry. Production Design by John Kasarda. Costume Design by John Boxer. Film Editing by Scott Conrad. Cashing in on the popularity of steamy erotic thrillers that lived in the shadow of Body Heat, this…

[gatutor]

Dorothy McGuire-Burt Lancaster

It´s only love

[arogaba]

[perfettamentechic]

12 agosto … ricordiamo …

12 agosto … ricordiamo … #semprevivineiricordi #nomidaricordare #personaggiimportanti #perfettamentechic

2021: Una Stubbs, attrice britannica. È stata sposata con l’attore Peter Gilmore e hanno adottato un figlio, Jason. Dopo il divorzio sposò l’attore Nicky Henson e hanno avuto due figli: il compositore Christian Henson (nato 1971) e il musicista-compositore Joe Henson (nato 1973). (n. 1937) 2021: Tarcisio Meira, pseudonimo di Tarcisio Magalhaes Sobrinho, attore brasiliano. Sposato per quasi 60…

[lesbiancolumbo]

Also, another book question: how'd you work your way up to 100 books? (I'm at 21 now, but I'd like to get higher...) And what are some books on film you'd recommend? Cheers! 🐊💫

the only advice i can give to you on how to read 100 books in a year is to be a crazy insane fast reader like myself. i don't know how i do this and i also don't want to be doing what i'm doing 😭 actually i would say that the best advice is to reframe your thinking and look at it less in how many books you read a year in a number form, but in what you're reading, how you're reading it (this to me is way more important, like yeah you can read 100 pulp sex novels in a year but what are you actually retaining from that, you know?), your intentionality. 21 books in a year is nothing to smirch at! i will also say i usually vary my type of book to create a nice reading flow. if i'm reading hardcore analysis/nonfiction after the other it takes me longer bc my brain gets bogged down in the denseness of it, etc. i usually alternate something more light or shorter, like a collection of short stories or a dumb romance novel lmao.

as for film books - it really all depends on what specifically you're looking for! biographies? history? analysis? feel free to send a DM or ask if you want something more tailored for you but my favorite books are i do and i don't: a history of marriage in the movies, directed by dorothy arzner, from reverence to rape, is that a gun in your pocket? women's experiences of power in hollywood, and some biographies i enjoy are furious love: elizabeth taylor, richard burton, and the marriage of the century, marilyn in manhattan: her year of joy (AND the many lives of marilyn monroe!), and burt lancaster: an american life. hollywood: the oral history is a great text too, and in general i recommend most things by jeanine basinger, molly haskell, eddie muller, donald bogle, jacqueline stewart, kevin brownlow, and cari beauchamp.

[greatbritishsimchallenge]

Over the course of their relationship, Neville and Alice have seven children. The first, Isabeau, dies from sickness as a toddler. Of their triplets, Dorothy, Elisaria and Lancaster, Dorothy dies at birth and Lancaster dies of the plague as a child. Their fifth child, Tiffany, dies as a toddler from sickness. Their sixth and seventh children are twins, Bartholomew and Clement; Bartholomew dies from sickness as a toddler and Clement dies of the plague as a toddler.  Alice dies in the same plague that killed Lancaster and Clement.

Altogether, Neville had ten children, but only two survived past childhood: his daughter Eydis, from his marriage with Dodie, and his daughter Elisaria, from his marriage to Alice. He had successfully built his parent’s business in a thriving, lucrative trade and had become a respected and wealthy merchant. For him, there was only one step left - fulfilling Alice’s wish that her child become a Lady of the Realm.

(6/7)

Start (Iron Age) | Start (Roman Britain) | Start (Anglo Saxon) | Start (Medieval)

Previous | Next

[deullinique]

Paramount Pictures 1987

From left to right - front row - Martha Raye, Dana Andrews, Elizabeth Taylor, Frances Dee, Joel McCrea, Harry Dean Stanton, Harrison Ford, Jennifer Beals, Marlee Matlin, Danny de Vito.

Second row - Olivia de Havilland, Kevin Costner, Cornel Wilde, Don Ameche, Deforest Kelley, Tom Cruise, Charlton Heston, Penny Marshall, Bob Hope, Victor Mature, Elizabeth McGovern, Robert de Niro.

Third row - Andrew McCarthy, Henry Winkler, Anthony Perkins, Robert Stack, Mark Harmon, Faye Dunaway, Buddy Rogers, Gregory Peck, Debra Winger, Timothy Hutton.

Fourth row - Jane Russell, Mike Connors, John Travolta, Janet Leigh, Charles Bronson, Ted Danson, Lou Gossett Jnr, Ryan O’Neal, Rhonda Fleming, Leonard Nimoy.

Fifth row - William Shatner, Peter Graves, Molly Ringwald, Dorothy Lamour, Olivia Newton-John, Cindy Williams, Matthew Broderick, Gene Hackman, Walter Matthau, Robin Williams.

Back row - Ali MacGraw, Burt Lancaster, Scott Baio, Rhea Perlman, Bruce Dern, James Caan, Glenn Ford, Fred MacMurray, Shelley Long, James Stewart.

Photo by Terry O'Neill.

[mercerislandbooks]

My Mother, the Reader

I told my mom I was going to be writing about how much she fostered my own love of reading. She said, “You know, it all started in the library, when I had one of my first jobs as a page.” Back in the sixties, my mom was a teenager in the little desert town of Lancaster, California. I pictured my mom in her A-line dresses, pushing a library cart around to re-shelve books in the evenings. She said she got very distracted reading the titles of the books as she was alphabetizing them. Sounds like someone else I know, who also gets distracted reading the backs of interesting books that customers bring up to the register.

For as long as I can remember my mom read to us, me and my younger brother. She would read out loud to us on long car trips, books like Hatchet and The Fairy Rebel, complete with all the voices. Even though I was impatient because I could read faster on my own, I loved hearing a story unfold in her voice. We always had books in the house, either stacks from the library or gently worn paperbacks from the used bookstore or books ordered from the Scholastic Book Club. Mom put clear Contact paper on my paperbacks, the stuff that you use to line shelves, to make them last longer since I took them everywhere and read them to pieces.

She told me that at some point she couldn’t keep up with concurrently reading everything I was reading and had to just let it go. For birthdays and Christmas she would buy me the most recent (hardback!) books in whatever fantasy series I was obsessed with, lurid covers and all. When she needed recommendations for something new for me, she would go to Island Books and get advice from Cindy. I vividly remember her sending me Dorothy Dunnett’s Game of Kings my first year in college, thus kicking off my love for Lymond. When she chooses for herself, my mom often gravitates towards mysteries, especially ones with over-the-top titles. The winner so far is Pennies on a Dead Man’s Eyes. Nothing else about it but the title has been retained, but it still gives us a laugh. She read all the Sue Grafton mysteries, and she and my dad pass the Jack Reacher books by Lee Child between them. 

But she doesn’t just stick to one genre. She’s adventurous and wide-ranging in her reading. When she got into poetry, I remember collections of Neruda and Mary Oliver and Billy Collins around the house. On trips, she’ll always go to indie bookstores and ask the booksellers to recommend a local author or select something off the staff picks shelf. She reads the Seattle Reads Book every year. She’s willing to give nearly anything that sounds interesting to her a try. It inspires me to be more adventurous myself and venture outside my comfort genres.

Now, as a bookseller, I’m the one enabling my mom. I’ll bring her titles I think she’ll be interested in, or ones she’s asked me about. I pass on the books I’ve particularly loved, making sure her TBR is just as big as mine. Right now she’s catching up with the middle of Louise Penny’s Inspector Gamache series (I suspect she’s already read these, but she’ll happily read them again), and she just finished The Woman in the Room by L. Jane Hastings, a memoir of a female architect in Seattle that was written up in the Seattle Times. She’s got Percival Everett’s Erasure started, and several Rachel Linden books. She picked up Amy Tan's The Backyard Bird Chronicles. Her stack of started and unfinished-as-of-yet books is almost as tall as mine. I’m not sure if I can get away with giving her another book for Mother’s Day (unless there’s one she asks for). I feel lucky that I get to share this passion for books with my mom, and grateful for all the many ways she’s encouraged my love of reading throughout my life.

If you’re looking for a gift for Mother’s Day (coming up on May 12th), stop by Island Books to peruse our stacks of books, curated gift items and wide range of cards. And ask your mom — or the mother figures in your life — what they’ve been reading lately. The answer might surprise you!

— Lori

[mystacoceti]

When I was about ten or twelve, my father used to take me to the movies fairly frequently. He'd always done it grudgingly, however, so that only later did it occur to me that he probably got a kick out of such movies too: for over those years, he took me with him to see Mighty Joe Young, The Day the Earth Stood Still, It Came From Outer Space, This Island Earth, and Fort Ticonderoga (because, like Outer Space, it was in 3-D). My memories of those pleasant times are tarnished by the fact that, when he would grow angry at me, he would punish my transgressions (usually, at least in my memory, fairly small ones, like speaking to him in the wrong tone of voice or some other minor enthusiasm of mine he would take as disrespect) by not taking me to see the one that I wanted to.

Once he forbade me to see House of Wax (also in 3-D), as punishment for what I no longer remember. (A film I also had already missed, as another punishment, was The Five Thousand Fingers of Dr T, whose coming attractions I'd seen with my dad at another picture and been dazzled by.) When I went to spend my spring vacation with Mom over at my cousins' in New Jersey, Dorothy (three years my senior) had taken me to see Call Me Madam with Ethel Merman and Donald O'Connor (whom I instantly fell in love with, and went tap dancing around the house till I had to be told to stop), and Oh, You Beautiful Doll. And, after I went to see it with Boyd (five years older than I), I carried on so much about Burt Lancaster's acrobatic performance in The Flame and the Arrow, that, when my father came over to visit us in Jersey, he scowled and said, "Didn't I forbid you to see that ...?"

"No, Dad!" I protested with a sudden chill of guilt and fear, with the inchoate feeling every child has at such parental accusation that, deeply and unknowingly, they've done something wrong. "That was House of Wax ...!"

"Oh ..." he said (while Dorothy and Boyd glanced at each other uncomfortably, thinking their young cousin had tricked them into violating an unknown parental prohibition). "Are you sure ...?" unable quite to understand how I could have enjoyed something so much unless it was in violation of his will.

from The Motion of Light In Water, Samuel R. Delany

[misspeppermint2003]

Can you do a headcannon about pat from postman pat please

Patrick Clifton, also known as "Postman Pat", is a main character of British stop motion animated children's television series from September 1981 to March 2017. He is the postman who lives in an English village of Greendale with his wife Sara and their son Julian and their pet black-and-white cat named Jess in the United Kingdom.

He works as a postman for the Royal Mail postal service in the fictional village of Greendale (inspired by the real valley of Longsleddale near Kendal).

He brought Jess with him to accompany him as he delivers the post through the valley of Greendale. Although he initially concentrates on delivering his letters, he nearly always becomes distracted by a concern of one of the villagers, and is always keen to help resolve their problems.

Notable villagers include the postmistress, Mrs. Goggins; farmer couple Alf and Dorothy Thompson; the Reverend Timms; PC Selby, the police constable; Jeff Pringle, the school teacher; Peter Fogg, a farm hand; George Lancaster, a chicken farmer; Miss Hubbard, an upper-class woman; Julia Pottage, who runs Greendale Farm and Ted Glen, the local handyman and inventor.

In the spin-off series, Postman Pat: Special Delivery Service, Pat has been promoted to Head of the SDS and is now called upon to deliver anything. Each episode follows Postman Pat on a Special Delivery mission, from rescuing a runaway cow to delivering a giant ice cube. In his new role, Postman Pat commutes to the nearby town of Pencaster where he collects his special deliveries from the Pencaster Mail Centre. Postman Pat now has a newer fleet of vehicles including a bigger van, gyrocopter, 4x4 Jeep and motorbike, complete with side-car for Jess. He has a new boss, Ben, who tends to give him instructions (whereas he was his own master before the "promotion"). Pat also seems to make more mistakes in his work since moving to SDS, largely because the new format is always based on one delivery, which has to go wrong somehow (thus often because of Pat's errors).

In the 2014 animated comedy film "Postman Pat the Movie", Pat is planning to take his wife, Sara on a late honeymoon to Italy. He tries to afford it through a bonus from his employer, the Special Delivery Service (SDS), but their new boss, Edwin Carbunkle, has cancelled all bonuses. He plans to make SDS more efficient by replacing its human workers with robots, thinking that being friendly is a waste of time.

When Pat gets home and tries to tell Sara about the fact that the honeymoon is cancelled because the new boss has cancelled all bonuses, his son Julian shows him a television talent show, "You're the One", hosted by Simon Cowbell, who states the next auditions are coming to Greendale. Cowbell also confirms that the person who wins the contest will be awarded a holiday to Italy and a recording contract.

Pat decides to take part in the contest and his unexpected singing voice (Ronan Keating) wins the contest. Pat is to sing again in the finale, in a head-to-head contest with the winner of another heat, Josh. His Scottish-accented manager, Wilf, however, is very keen to make sure it is his client who wins at all costs.

The CEO of the SDS, Mr. Brown, and Carbunkle had been watching the contest on television. They say that they would like to use Pat in a publicity campaign including his own television series. Carbunkle also confirms that because Pat will be away participating in the contest, a robot replica of him called the "Patbot 3000" will be taking over his postal duties, along with another robot replica of Jess called the "Jessbot" as well.

After Pat and Jess are gone, the Patbot delivers the rounds like Pat normally does, but it behaves oddly and the people of Greendale are starting to complain about Pat behaving in such a way. Sara and Julian are starting to worry about Pat too. Meanwhile, Ben Taylor (TJ Ramini), the manager at the SDS, is fired by Carbunkle and is convinced that Pat doesn't want him anymore, not realising that Pat is a robot. Meanwhile, Wilf tries his schemes to stop Pat, not realising that the "Pat" going around Greendale is in fact a robot but they all backfire. The more Pat's family and friends become concerned, the more Pat feels guilty about coming on the contest in the first place.

And despite Pat's efforts to tell his wife the truth about why he entered the competition, he fails and starts to become fearful that he might have pushed his family away. It isn't until shortly after Pat's departure for the final competition that Ben and Jess discover that there appears to be more than one Pat and Edwin Carbunkle's true intent is exposed. It turns out that Carbunkle is in fact an evil megalomaniac and is making these robots to try and take over the world. Ben then rushes to tell Sara and Julian the terrible truth about Mr Carbunkle's plan.

Now fully aware of Carbunkle's plan, a desperate Sara informs the whole of Greendale about Carbunkle's true intentions and explaining that deep down, Pat has not changed. They all agree to head to London to support Pat, in an effort to thwart Carbunkle's plan. Meanwhile, Jess, who has stowed away on one of the SDS helicopter replicas that one of the Patbot 3000s used, manages to make his way to where Pat's performance, and he helps Pat escape after he is locked away in a dressing room by a Patbot and Carbunkle, who reveals that Pat's publicity was just to make people like him, so Mr Carbunkle could replace him with Patbots. They are then pursued by the Patbots and the Jessbot but manages to outsmart them all and get inside the theater.

Meanwhile, in the performance, a Patbot performs instead of Pat, unbeknownst to the audience. Wilf arrives, knowing it to be a robot (after defeating a Patbot with a magnet at the sorting officer earlier), uses a magnet to unmask the Patbot. Then, the real Pat interrupts the performance and gives a speech on what's really important and how he forgot to take time for those he really cares about. As Carbunkle releases the first few Patbots to kill off Pat, Simon and Brown, revealing that he has had enough of them hindering his plans, Josh saves them by using Carbunkle's phone to turn off all the Patbots before they can kill Pat, Cowbell and Brown. Little does Pat know that his wife and friends from Greendale arrive in the chaos.

After Brown fires Carbunkle and has him arrested, everything is back to normal. Unaware that Sara is listening, Pat expresses that he is only doing this competition to win the flight tickets for their honeymoon. Sara is suddenly heard calling Pat's name. Once Pat catches sight of Sara, Julian and all the people of Greendale in the audience, it dawns on him that Sara has heard the truth about why he entered the competition and is fully aware of Carbunkle's plan. Now fully aware that Sara has forgiven him. Pat decides to do his act but decides to change it slightly.

In the end, Pat sings Stevie Wonder’s Signed, Sealed, Delivered I'm Yours with Brown, Josh, Wilf and the people of Greendale joining in. Sara also takes part in the act. They both win the holiday to Italy but pass the recording contract to Josh, so Wilf is happy too, and all is forgiven.

[arogaba]

tags tags tags

[jgroffdaily]

A long interview with Jonathan at Newsweek by H Alan Scott:

When you're an actor in an M. Night Shyamalan movie, it's easy to start obsessing over the eventual twists that are surely to come. But as Jonathan Groff experienced in Shyamalan's new film Knock at the Cabin (February 3), it's easy to get "lost" in the story. "We're really submitting to his vision and trying to help him achieve exactly what he wants." Groff plays Andrew [incorrect], a father held hostage along with his partner and young daughter by criminals who force them to make an impossible decision to avert the end of the apocalypse. Groff says he understood Andrew "in a primal way" and that this was "the first time I've ever done a horror movie. So it was a real education." For an actor so known for his voice, both in the Frozen franchise (as Kristoff), but also in Broadway musicals like Spring Awakening and Hamilton, the difference between stage and screen is huge. "I've really appreciated my time doing film and television, because it really keeps me on my toes" and that "there is something really freeing about the intimacy of film and TV that I really love."

What about Knock at the Cabin excited you?

Well, Night is one of those filmmakers, there's a handful of them, where I went to go see their films in the theater throughout my life. I distinctly remember the experiences where you really feel the director's eye throughout it and to me, his films, they feel special and they feel specific to him. So he's one of those people that even before reading the script or anything, I always wanted to work with because he's got that very specific point of view. So Night was the first draw. And then when I read the script I was pretty freaked out. It grabbed me in a very primal, visceral way. The choice that's posed in the trailer. The idea of sacrifice and family and home invasion and all of it felt really primal. I had a very visceral reaction to it. My heart was racing. And I had a feeling about the character of Eric, I understood him in a primal way. Then I read the book, Cabin at the End of the World, and that destroyed me. It's such a beautifully written novel. And then Night and I had a Zoom meeting, I made an audition tape, we did a meeting and we had an immediate connection. He lives just outside of Philly, and I'm from Lancaster, Pennsylvania. I've got this dream of converting my dad's horse farm into an artist's retreat. He's trained and raised horses his whole life for a living and I have this dream of taking over the farm. When I was Zooming with Night, he was in a converted horse stable in Pennsylvania four minutes from where my family lives and where I live as well in Pennsylvania. That was totally crazy and surreal and it felt like kismet.

You’ll be like Marina Abramović, with the artist's retreat in the countryside

It's funny, we made this documentary about Spring Awakening, which is a show I did on Broadway 15 years ago, and part of the documentary is the whole cast coming to my family's farm in Pennsylvania. It started in that moment. I grew up playing pretend on the farm and dress-up, I was Dorothy in The Wizard of Oz. A very creative energy there on the farm as a kid. And then bringing my friends there during Spring Awakening, they got really inspired and excited being there. There's a lot of Amish farms and they don't use electricity, there's something creative and something in the air in that area. I want to make it into an artists' retreat because I think it's just an inspiring place to be.

When you're working on an M. Night movie, do you know the twist? If you do, how do you get that out of your head while you're acting?

He's got the whole movie storyboarded, almost like a comic strip. From when we walked in, even from our very first rehearsals, he's got it all planned out. He knows exactly the shots that he's going to do and exactly how he wants to tell the story. So it's kind of easy to get lost inside of his process. Because as the actors, we're really submitting to his vision and trying to help him achieve exactly what he wants because he knows exactly what he wants, and he's incredibly specific. But, for the most part, it's one location, and we shot it pretty much completely in order, which also made it easy mentally to go through. Working with Night, he really seduces you into his world and into his methods, so playing the ending or not playing the ending, I didn't even think about that. I was just trying to play each specific moment. And one of the fun things about this movie in particular, there's seven of us through most of the movie, all together, and he really created an environment in rehearsal, which is also great. We had a couple of weeks of rehearsal before we did it and then on set where we were, all seven of us, passing the ball back and forth and in the movie. You really feel that when you watch it, everybody was fully committed and really playing with each other. So it was really easy to get lost in the story.

With the premise of this film, it feels like every scene would be very intense. How do you maintain that intensity without going crazy?

It's the first time I've ever done a horror movie. So it was a real education. You're at a certain fever pitch the entire time from an acting standpoint. All seven of the actors were there to show up and really commit, no one was phoning it in. No one was thinking of this as like an easy job or something. Everybody was really committed the whole time. And it was really intense and extreme emotions. We would do some of the scenes and just come off set and be like, "Wow, that was really something." We had a real camaraderie between the seven of us and we would laugh a lot on the breaks and just kind of chill and release from the intensity of the experience, and that really helped. We did fun stuff in Philadelphia—like Night's wife, she teaches an exercise like Zumba [but not]. One Saturday, Sunday morning, we all went and did that. So we had a lot of fun that offset the intensity of the scenes. But it was intense.

When you're in a film like this, how do you keep the twist a secret? I'd totally give it away in casual conversation.

In casual conversation I've totally given everything. I'm not great at hiding that stuff but—out of respect for the movie and out of respect for Night and how he really is such a passionate filmmaker and he takes what he does so seriously and it means so much to him—so out of respect of the movie, in interviews, I can be an adult and put on my filter. But in life I'm a little more loose-lipped.

I'm the same way. Don't tell me secrets.

I’m good at keeping secrets when it's important. There's some study I remember reading at some point that even if something is spoiled, if it's well made, it doesn't matter. I believe in this movie enough to think that even if you knew what was going to happen, it would still be an enjoyable experience.

If you could be in any M. Night film, which one would you be in?

Such a good question. I mean, Old and just be on the beach the whole time seems like it would have been really fun. Especially because I know they shot that during COVID. But that's more...

A vacation.

Yeah, yes. I'm glad. Let me think, who I would have wanted to be in one of his movies? I really have no idea.

I would want you to be Bryce Dallas Howard in The Village. I think that would be really fun.

Oh my god, I'm stealing that answer. Yes, I'll take it.

What's harder, Broadway or TV/film?

I’m a creature of habit, and I like to do things over and over again. So for me, artistically, I feel more comfortable and I feel more at ease on the acting meditation of theater, because it's making the same thing every day, fresh and finding something new in the repeated pattern. But the meditation of acting in film and TV, that is more challenging for me and it's less in line with who I am as a person. Every day it's something different. So I've really appreciated my time doing film and television, because it really keeps me on my toes and it really keeps my knife sharp. Because I am more out of my comfort zone doing something different every day and not getting to settle into that repeated thing. Some actors find it way more difficult to do the same thing every day and find it easier to do a different scene every day, but it's the reverse for me. It's sort of like long distance running as opposed to sprinting, I would say theater is like a long distance and film/TV is more like a sprint with scene work. Getting that opportunity to do that scene in one day and then you never get to do it again is daunting, it's exciting, but also daunting because you've got one shot. So it's that kind of adrenaline and that unique opportunity that keeps me coming back to film and TV. I love the intimacy of how if the camera sees it, you feel it, you don't have to project to the last row of the balcony. There is something really freeing about the intimacy of film and TV that I really love as well.

I find theater people often don't like to watch themselves on film. Do you?

I watch everything I do once. Maybe there's a couple things that I've watched more than once, but it doesn't bother me when I watch myself. I do have moments of regret when I watch myself. But I do think theater is more the actor's medium because we tell the story every night over the course of however long the play or musical is. But what I like about watching film and TV back the one time is to know what the story ended up being. Because we don't know when we're in it, the same as with Knock at the Cabin. I mean, most of it is the same but what are the editing choices? What did they cut out? What did they amplify? What is the score? All those elements are such huge parts of the storytelling and it's always really fascinating for me to see what the product is in the end. I really enjoy that part of it. That's unrelated to watching myself, which is always complicated, but ultimately fine. I can get over the mistakes I've made.

When are we going to get another Mindhunter? I need it very badly.

I have no idea. It's all up to David [Fincher]. If he wants to do it, I'm sure all of us would run in and go back and do it immediately. David is such a consummate artist and he packs so much into his work, so it makes sense that it would be something that would be played again and again. I'm excited for his next movie.

[greatbritishsimchallenge]

List 5 facts about a favorite sim of yours, and send this to 10 simblrs whose sims you adore 💜💜💜

Thank you for the ask - I'm going to use this as an opportunity to introduce you all to Elisaria, the sim we will be following into the Second Estate!

Her mother, Alice, died when she was a child. However, her mother was still a huge influence over her. Alice kept a tight control over her children and raised them to understand the rules and requirements of noble life. Elisaria understands that her goal in life is to improve the social standing of her family by marrying well and raising her own children properly.

She is the only survivor of triplets. Her sister, Dorothy, died at birth and her brother, Lancaster, died at the same time as her mother. She was incredibly close to both Lancaster and her mother and their deaths affected her deeply. However, her father taught her the importance of burying grief - and any other sad emotions - and focusing on the future ahead.

Her traits are 'snob' and 'creative'. Thanks to her upbringing, she is also beginning the Second Estate with a number of reward traits - high self-esteem, beguiling, shrewd, beloved, carefree and socially gifted, to name a few.

Though her father is now a Lord, she knows that those born into nobility will look down on her and her family. She is determined to prove that she belongs and to marry someone who was born into a long-line of nobility.

Her cousin, Mirabel (Maude's daughter!), works as a servant in the Windenburg household. Elisaria is torn between wanting to ignore Mirabel and pretend they are unrelated and to seek out her cousin for companionship when she feels homesick.

I'm looking forward to the Second Estate and seeing what messy drama I get into with this one (as of typing, I haven't started playing yet!)

[libero-de-mente]

Paramount Pictures 1987

From left to right - front row - Martha Raye, Dana Andrews, Elizabeth Taylor, Frances Dee, Joel McCrea, Harry Dean Stanton, Harrison Ford, Jennifer Beals, Marlee Matlin, Danny de Vito.

Second row - Olivia de Havilland, Kevin Costner, Cornel Wilde, Don Ameche, Deforest Kelley, Tom Cruise, Charlton Heston, Penny Marshall, Bob Hope, Victor Mature, Elizabeth McGovern, Robert de Niro.

Third row - Andrew McCarthy, Henry Winkler, Anthony Perkins, Robert Stack, Mark Harmon, Faye Dunaway, Buddy Rogers, Gregory Peck, Debra Winger, Timothy Hutton.

Fourth row - Jane Russell, Mike Connors, John Travolta, Janet Leigh, Charles Bronson, Ted Danson, Lou Gossett Jnr, Ryan O’Neal, Rhonda Fleming, Leonard Nimoy.

Fifth row - William Shatner, Peter Graves, Molly Ringwald, Dorothy Lamour, Olivia Newton-John, Cindy Williams, Matthew Broderick, Gene Hackman, Walter Matthau, Robin Williams.

Back row - Ali MacGraw, Burt Lancaster, Scott Baio, Rhea Perlman, Bruce Dern, James Caan, Glenn Ford, Fred MacMurray, Shelley Long, James Stewart.

[houdini911]

Dorothy Dietrich

Dorothy Dietrich BornOctober 31 1967

Erie,Pennsylvania

Known for"The Female Houdini"

Dorothy Dietrich is one of very few female magicians to have performed the bullet catch and is noted for performing a straight jacket escape suspended high in the air from a burning rope.

Biography

The Columbia Encyclopedia (Columbia University Press) included Dietrich among their eight most noted magicians of the late 20th century.

In addition to escapes and large scale stunts, Dietrich has performed tricks with live animals, such as doves, rabbits, poodles and ducks. She also does an updated version of the classic Miser's Dream, plucking coins from the air, nose, ears and pockets of a youngster from the audience.

Dietrich studied under "Coney Island Fakir" Al Flosso, a regular performer on the Ed Sullivan Show; Jack London (for the bullet catch); and Lou Lancaster with the Straight Jacket escape.

She was a founder of New York's Magic Towne House, a magic show spot in New York City. For many years she held Houdini Seances in New York as a tribute to the legendary magician, continuing a tradition started by Houdini's wife, and perpetuated by Walter B. Gibson. She currently heads up the Houdini Museum in Scranton, Pennsylvania, where she performs on a regular basis.