#Rene of paris wigs

[wigsandstyles]

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[spellboundwigs]

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[chicinsilk]

US Vogue October 1974

Rene Russo wears a small black velvet tuxedo, by Yves Saint Laurent, in Gandini silk. Hairdresser, Alexandre de Paris, using a Kanekalon wig. makeup, Ray Bandy.

Rene Russo porte un petit smoking en velours noir, par Yves Saint Laurent, en soie Gandini. Coiffure, Alexandre de Paris, utilisant une perruque de Kanekalon. maquillage, Ray Bandy.

Photo Francesco Scavullo vogue archive

[missfishersmurderpolls]

Murder in Montparnasse vs Death Defying Feats

[ID 1: Screencap from Miss Fisher's Murder Mysteries Episode 'Murder in Montparnasse'. The imagine is tinted a guazy yellow. Phryne wears a white dress and a big hat in a busy room. /End ID]

[ID 2: Screencap from Miss Fisher's Murder Mysteries Episode 'Death Defying Feats'. Phryne and Jack stand facing each other in front of a prop guilletine, the empty seats of a theatre visible in the background. Jack has a gloved hand raised and Phryne is placing something in it. Jack looks very grumpy. /End ID]

Murder in Montparnasse vs Death Defying Feats rounds out round one of of our most ridiculous episode (affectionate) tournament!! Remember to consider the following when casting your vote:

Does this plot make any sense at all?

Method of murder(s)

Absurdity of characters' behaviour (main or guest)

Wild historical/cultural/other inaccuracies

Supporting statements

1x7 - Murder in Montparnasse

Nominators say: "Not a single person who's ever been to France was consulted in the making of the episode."

What are the odds that Bert just HAPPENED to witness Phryne’s friend get murdered halfway around the world, ten years before they met? And then Rene is recognized by Bert ten years later!?

Phryne’s French friend from her Paris days a) moved to Melbourne, b) made a copy of his French cafe, and c) called it Cafe Replique. Why on earth? Any one of these things would be ridiculous on its own. We get all three.

The confusing order in which paintings were stolen/auctioned/sold/restolen.

They only use "French" words English speakers will understand. All the accents are terrible.

The painting style is super classic for a "modern" artist.

The wigs. THE BERETS.

The gauzy lens filter in the flashbacks.

"Beep beep"

3x1 - Death Defying Feats

Nominators say: "Ummm"

Jack drinking Henry's 'nerve tonic' and getting hit in the head with a door lol.

Murder method: sabotaged magic show props.

The murderer pretends to be her dead twin sister (who I think she murdered like decades ago?) to try and throw Phryne off.

The contortionist trying to hide in the box and Bert and Cec carting her off to Wardlow.

The mermaid dance.

Somehow Henry Fisher makes it to the end of this episode still alive and not having been smacked in the face by any of Phryne's pals.

[booksandsocialissues]

Gender's Role in M. Butterfly

Gender is a social construct, a malleable idea that is influenced by society. Carolyn M. Mazure from Yale School of Medicine states gender as “self-representation influenced by social, cultural, and personal experience.”[1] Many people want to insist there is only the binary of male and female, man and woman, masculine and feminine. However, gender is more nuanced than a monolithic binary. A person’s gender is a personal matter based on how they perceive themselves: man, woman, nonbinary, genderqueer, gender fluid, agender, or transgender. Regardless of how a person identifies, the world can perceive that person differently, as is the case for Song Liling in David Henry Hwang’s M. Butterfly.

For those of you who have never read M. Butterfly, it is a play about Rene Gallimard, a cisgender white man, recounting his time with Song Liling – a Chinese, non-cisgendered opera singer who presents as a woman and a man. Gallimard is a married French man living in Beijing in the 1960s who becomes enamored with Liling after hearing them sing “Un Bel Di” from Madama Butterfly. Gallimard is so taken with the story of Lieutenant Pinkerton and Cio-Cio-San that he imposes the characterization of Cio-Cio-San onto Liling, calling them “Butterfly” for most of the play. Dressed as a woman in traditional Chinese female clothing, Liling lets Gallimard continue to believe they are a woman as they spy on Gallimard for the Chinese government. By the end, Gallimard cannot accept Song and their male body, so their story ends in tragedy.

While the fact that Gallimard is white and Liling is Chinese is important, M. Butterfly would be a different story without Liling’s gender influencing the story. Gallimard first sees Liling dressed as a feminine, graceful opera singer, and it is dressed as such that Gallimard assumes Liling to be a woman with female anatomy. Liling goes to great lengths to maintain their feminine appearance and persona as they spy on Gallimard, dressing as a woman when not performing and buying a child to claim him as Gallimard’s and Liling’s son. Yet, in act three, scene one, Liling dresses as man to match his sex during their and Gallimard’s espionage trial in Paris. Then, in act two, he takes of his clothes to prove to Gallimard that Liling was always a man, regardless of how Liling presented their gender to Gallimard. Yet Gallimard refuses to accept song as anything but a woman – his Butterfly. If Liling had been a woman all along, Gallimard would have rejected Liling for being a woman who dared to use, manipulate, and spy on him, calling into question Gallimard’s masculinity and his sense of power and authority. Since Liling does not have female anatomy, Gallimard focuses on his former lover’s body not matching their womanly presentation and, therefore, Gallimard’s delusion of Liling being his Butterfly.

As important and influential as Liling’s gender is to the play’s plot, their gender also plays a significant role with the play’s audience. Although transgender people can be found in literature throughout history, the quantity of the gender identity’s representation is low. As such, many readers view Liling as transgender due to Liling’s preference to dress as a woman more often than necessary. In act two, scene four, Liling’s handler, Comrade Chin, calls out Liling for this preference, “…You’re wearing a dress. And every time I come here, you’re wearing a dress.”[2] Liling does not outright call himself a woman, though. In act three, scene two, during his physical reveal to Gallimard, Liling undresses for Gallimard in an attempt to convince him that Liling, regardless of clothing and anatomy, is still Gallimard’s Butterfly. Liling calls their time in the kimono and wig a part they played. They strip completely, revealing their male body, and then they have Gallimard touch their skin while they cover his eyes to remind his that the skin Gallimard is touching is the same skin he touched when Liling dressed as a woman. While Gallimard does accept Liling’s male body, he refuses to accept that his Butterfly is male. Liling insisting Gallimard accept their male body does not negate the opinion of reader’s that Liling is a transgender woman. The play contains enough evidence to support that opinion. Yet the play also contains enough support for another opinion on Liling’s gender: Liling is a cisgender male and a drag queen. Even though Liling dresses as a woman for acts one and two, using she/her pronouns anytime they are dressed thusly, Liling spends act three dressed as a man and uses he/him pronouns. A drag queen makes sense because they have their male identity for their everyday lives, and then they have their female persona when they perform, and Liling is a performer, an opera singer. With both transgender people and drag queens being negatively portrayed in the media and targeted in numerous bills in the United States, both readings of Liling’s character are valid and important because both interpretations show there is more to gender than man and woman, masculine and feminine.

In her essay, “We’re All Someone’s Freak,” Gwendolyn Ann Smith – a transgender woman, writer, and activist – discusses people’s need to put others in nice, neat boxes, to make others be an either/or: man or woman, normal or freak. Smith writes, “We just want to identify the ‘real’ freaks, so we can feel closer to normal. In reality, not a single one of us is so magically normative as to claim the right to separate out the freaks from everyone else. We are all freaks to someone.”[3] Like transgender people and drag queens are “freaks” in today’s society, Liling – whether transgender or a drag queen – was Gallimard’s freak. Gallimard could not put Liling in the nice, neat “woman” box, could not accept that he fell in love with a male body in woman’s clothing. Liling being Gallimard’s freak prevented the latter from accepting the former as they are, leaving Liling alone and Gallimard lost to his fantasy of his Butterfly.

The takeaway from this is that M. Butterfly would not be the lasting, influential story that it is without the role of Song Liling’s gender. Liling having a male body while dressing in women’s clothing shaped their relationship with Gallimard, played a significant role in their ability to spy on Gallimard, and lead to the tragic ending of Liling’s and Gallimard’s relationship. Transgender or drag queen, Liling was Gallimard’s freak, and Liling being who they were will continue to be valid and important in a reality where gender is a social construct.

[1] Mazure, Carolyn M. “What Do We Mean by Sex and Gender?” Yale School of Medicine, Yale School of Medicine, 19 Sept. 2021, medicine.yale.edu/news-article/what-do-we-mean-by-sex-and-gender/.

[2] Hwang, David Henry. M. Butterfly. Penguin Books, 1989, pp. 46.

[3] Smith, Gwendolyn Ann. “We’re All Someone’s Freak.” The Norton Reader: An Anthology of Nonfiction, edited by Melissa A. Goldthwaite et al., 15th ed., W. W. Norton, 2020, pp. 145-47.

[grammymk]

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[youarebeautifulwigs]

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[wigs33]

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[therealaves-blog1]

I want the void to see my takes on Star Trek: Coda

They vaporize the site from orbit and the attack stops. Everyone counts their dead and Chen a friend of Taurik morns him but realizes he might have left some knowledge in her brain when they accidentally pseudo melded earlier.

The Aventine arrives with the DTI B team from Watching the Clock while Tom Paris and Belanna Torres back on Earth meet with the head of the DTI and big wig admiral (apparently a prior adventure had them remember Year of Hell, which is cool) so they can give time advice.

Dax and co beam over and everyone interrogates the prisoner whose in some kind of insane transporter prison thing due to being a time ghost. He confirms hes Devidian and is basically puppeting the time ghost body around. They find out theyre trying to kill anyone who can interfere, like Wes, but seem to imply the various god beings are sitting this one out to see how it lands. Wes confirms this as the orgainians, among others he tried to contact are gone. the time ghost mocks him, implying they’ve killed all the other travelers which upsets Wes. They get to admit that the intentional diverging of timelines and subsequent destruction is a stress test for their big idea. The time ghost disconnects and basically dies. But Wes manages to get an idea of where they might be hiding. In sickbay Picard and Beverly worry about whether Rene can be returned to his correct age and list off two separate episodes where that shit happened. Rene is apparently mumbling in his sleep. Wonder if that will become relevant later.

Wes, Picard, Chen, the DTI, and others hop on over to the Aventine where the more cool and based ship’s better tech can be used to time travel. Which they then do to that planet Picard and Wes saw, but this time to some few thousand years in their relative future. Whole section has a vibe of ‘Picard’s in charge here’ which sucks cause this is Dax’s ship and crew. Show some damn respect old man. Planets lit up with time bullshit and they go down in a shuttle finding some crystal bullshit. They go inside and its like a hub for access to different timelines and shit and is one of many installations networked together. Theyre attacked and start trying to hold them off while Wes does space magic to connect to it.

The Aventine is also attacked but because they are better than the Enterprise they hold them off more effectively. Theres a breach and attacks continue but they buy enough time to let engineering do a energy wave that kills everything. on the surface a ton of people die before another ghost shows up and is talking mad shit before it gets 86d by the security detail. Chen is injured and starts old aging, one of the DTI and most of the security team are killed before Wes finishes and they get beamed back up.

We skip ahead to their return to the Enterprise to learn that the end of the chapter where Dax was under attack? that oh yeah that was her fucking dying. We learn this from her sad second in command (now acting Captain) Sam Bowers, as he talks with Picard about how sad it is that Dax is dead. Host and worm.

BOOOOOOOOO, fuck this, how dare. Ezri deserved better, cant believe they’re just trash canning her before she even got to talk HER GOOD FRIEND WORF OR CAPTAIN SISKO OR KIRA. OR EVEN FUCKEN BASHIR. HOW DARE SIR HOW DARE. 

I’m okay, im normal about Star Trek and can be trusted with material. Worf has another weird dream about fighting in the Ent D with the time ghosts and watching a security officer die. Hes weirded out but feels its important somehow and opts to discover it on his own. Its clearly Riker’s D that got got (teehee). Worf you have been through so much cosmic bullshit, I feel like not bringing this up straight away is a failure on your part. Your cool commanding officer (Sisko) straight up had religious visions and you were happy to engage with them. Now is not the time to revert to pre DS9 neuroses Worf.

Wes goes over the data and is like ‘Good news, we know what they’re up to. Bad news, oh fucking shit fucking good god no.’ So they’ve built a ton of those hubs across time space and different realities time and space. and they use them to funnel energy back to the main nucleus thing. They started with going into busted up timelines that were already near their end and triggering natural decay but this has expanded to higher and higher branch points along the timelines. with places that have natural time anomalies being inherently less stable. Wes muses whether this means that their branch can even be saved or if he’s done this many times on lower branches and this is just the furthest any version has gotten. Everyone is bummed out and they head for Earth to meet up with ol Bill Riker. End of book.

WORF DOESNT EVEN GET A REACTION TO EZRI’S DEATH. THAT IS BOTH HIS CLOSE FRIEND AND THE CONTAINER OF HIS LATE WIFE MEMORIES. HOW IS THERE NOT LIKE EVEN A MOMENT FOR HIM TO MOURN AND RAGE. BOOO. BOOO I SAY. BAD DEATH. EZRI DESERVED BETTER.

Next time, book 2, which opens with Sisko so Im already back in.

[wigsandstyles]

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[spellboundwigs]

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[chicinsilk]

US Vogue October 1974

Rene Russo wearing a pearl necklace and black silk crepe de chine dress with ruffled collar, high waist and ruffled mid-calf skirt, braided in Gandini silk by Yves Saint Laurent. Hairdresser, Alexandre de Paris, using a Kanekalon wig. makeup, Ray Bandy.

Rene Russoportant un collier de perles et une robe en soie crêpe de Chine noire avec col volanté, taille haute et jupe mi-mollet à volants, tressée en soie Gandini par Yves Saint Laurent. Coiffure, Alexandre de Paris, utilisant une perruque de Kanekalon. maquillage, Ray Bandy.

Photo Francesco Scavullo vogue archive

[missfishersmurderpolls]

Round 2: Murder in the Dark vs Murder in Montparnasse

[ID 1: Screencap from Miss Fisher's Murder Mysteries episode 'Murder in the Dark' showing Dot and Hugh in the public part of the police station. Human ashes are spread on the counter in front of them. Hugh is wrinkling his nose as he sorts through them while Dot is covering her face with her handkerchief. /End ID]

[ID 2: Screencap from Miss Fisher's Murder Mysteries episode 'Murder in Montparnasse'. Jack and Phryne are in Phryne's parlour, kneeling/crouching on opposite sides of a low table where a nude painting of Phryne has been unwrapped for inspection. Phryne smiles at Jack, who's face isn't fully visible due to the camera angle. /End ID]

Murder sure is happening in places in our final match up of our most ridiculous episode contest with Murder in the Dark facing Murder in Montparnasse!

Supporting statements

1x11 - Murder in the Dark

Nominators say: "In the dark is a good description for how I felt watching this."

Why did Foyle kill Marygold?

Last episode there was no sign of Arthur at the circus in Phryne's flashbacks but now he was there and toffee apples were important somehow???

Mr B indulging in Guy's "special" fudge.

It had a ridiculous costume party. Pirates! Anthony and Cleopatra! Lady Godiva!

Anything involving Isabella is ridiculous on principle (I love it).

1x7 - Murder in Montparnasse

Nominators say: "Not a single person who's ever been to France was consulted in the making of the episode."

What are the odds that Bert just HAPPENED to witness Phryne’s friend get murdered halfway around the world, ten years before they met? And then Rene is recognized by Bert ten years later!?

Phryne’s French friend from her Paris days a) moved to Melbourne, b) made a copy of his French cafe, and c) called it Cafe Replique. Why on earth? Any one of these things would be ridiculous on its own. We get all three.

The confusing order in which paintings were stolen/auctioned/sold/restolen.

They only use "French" words English speakers will understand. All the accents are terrible.

The painting style is super classic for a "modern" artist.

The wigs. THE BERETS.

The gauzy lens filter in the flashbacks.

"Beep beep"

[lizseyi]

Wigs and Hairpieces & Wig Sale Uk - Hairware

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[djernigan]

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[lawigcompany]

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