#Rich Leder

[nando161mando]

"Shiny boots und trotzdem da, lack und leder-antifa" (DE: Deutsch)

"Shiny boots and still there, antifascist leather" (EN: English)

[thedepartmentofdiscoveries]

Description of the artwork «Hygieia. A fragment of the painting "Medicine" (the ceiling Paintings for Vienna University)»

In 1894, Gustav Klimt was an extremely popular artist in Vienna. His colleagues dreamt of the glory that surrounded him. He had painted many successful artworks, caressed by critics, he also managed to make the design for the Burgtheater in Vienna and the Vienna Art History Museum. He was only 26 when he received the Golden Order of Merit from Emperor Franz Josef I of Austria for his contributions to murals painted in the Burgtheater. And in 1894, Gustav Klimt received another prestigious large-scale order: the art committee of the Ministry of Education commissioned him and Franz Matsch to design the ceiling paintings for the assembly hall of the University of Vienna, and approved a budget of 60,000 Guilders (today approximately 400,000 Euros).

The painter was asked to create allegorical renderings of the faculties "Medicine," Jurisprudence* and Philosophy* along with the pendentive paintings.

Allegorical ceiling painting of Law for the Jurisprudence* faculty of Vienna University that was unfortunately destroyed in 1945:

Allegorical ceiling painting for the Philosophy* faculty of Vienna University that was unfortunately destroyed in 1945:

He first presented his rendering Philosophy* at the 6th Secession exhibition in 1900, followed by Medicine* at the 10th Secession exhibition in 1901. Both works met fierce criticism and sparked outrage over artist’s departure from the hitherto adhered to historic-conservative painting traditions. Klimt was asked several times to rework his motifs and even rented a second studio with higher walls in Vienna to accommodate the large-scale works. His Faculty Paintings became a political issue. In 1905, the artist refused to deliver the artworks to the Ministry of Education and, aided by his patron August Lederer, paid back his fee of 30,000 Crowns (today approximately 162,000 Euros). It was to be Gustav Klimt’s last public commission.

At first sight, Klimt's "Hygieia" seems to be put another representation of the femme fatale. "Hygieia" confronts the viewer almost scornfully, her haughtiness is implied by her upraised chin and inscrutable gaze and her posture is slightly ominous, the golden snake twines sinuously along her upraised arm and it is unclear whether she offering the bowl or withholding it. The stylization of her encompassing red and gold robe serves to hide her body and her hair is covered beneath her rich headdress, the only indication of humanity and feminine sensuality lie in her bare face and arms, and even here, her sensuality becomes a source of power, though she stares out of the painting, her eyes are hidden in shadow. It is clear that "Hygieia" is powerful and dangerous in her own right.

"Hygieia", according to Greek myth, was the goddess of hygiene, of health, cleanliness and sanitation. In fact, the snake and the bowl remain symbols of pharmacy to this day. In this context, she was not a femme fatale but belonged rather in the traditional categorization of women as caretakers. This explanation of "Hygieia" contrasts with Gustav Klimt's powerful, inscrutable and even ominous depiction of her.

At the same time, it is clear that "Hygieia" is not the only figure in this artwork, hidden amongst her elaborate headdress are the reposing faces of two women and the bare torso of a naked pregnant woman is partially hidden by "Hygieia's" red robe. Behind "Hygieia", or perhaps within her, are very human very vulnerable women whose downward gazes, flowing hair and nudity speak much more to traditional depictions of women than "Hygieia's" strange defiance and power. Is she protecting these women? Is she instead threatening such women? Are these women another side of "Hygieia," is she both vulnerable and powerful, innocent and mysterious? These questions are swallowed in the inscrutable gaze of Klimt's "Hygieia."

[skamenglishsubs]

Nobel Prizes and more Actual Royals

Today is December 10th, which means it's time for the Nobel Prize award ceremony in Stockholm. (and Oslo) The Nobel prizes are the most prestigious awards in physics, chemistry, medicine, and literature (and peace), and each laureate gets a nice diploma, an actual gold medal, and about a million dollars in prize money. Oh, and the prizes are awarded by the actual King of Sweden! (and Norway)

The prizes are awarded in memory of Swedish inventor Alfred Nobel, who got filthy rich after having invented dynamite in the 1800's and who founded Sweden's largest weapons manufacturer, Bofors. He didn't have any children, and he may have developed a wee bit of a guilty conscience after that, so in his will he bequeathed his entire fortune to a foundation and tasked them with awarding prizes every year to the persons who "have conferred the greatest benefit to humankind", which they've been doing for over 120 years now.

Each year's winners are selected by the Swedish Academy of Sciences, the Karolinska Institute, and the Swedish Academy. (and the Norwegian parliament) The reason the Swedish Academy doesn't say what it's the academy of, is because they're the OG literature snobs, modelled after the original French Academy. The Swedish one was instituted in the 1700's by Gustaf III, you know the gay king I wrote about who got murdered at a masquerade and who Wilhelm sort of dresses up as at the Valentine's ball. Yeah, that guy.

The award ceremony and banquet is the most prestigious party in Sweden all year, the entire royal family is there, so if you want to spy some actual Swedish royals, you can check out the award ceremony here, it starts at 4pm today:

Later tonight it's time for the Nobel banquet at the Stockholm City Hall, and you can watch that here:

Best dressed? Worst dressed? Most boring speech? Most diamonds in their tiara? 👑 Let me know in the comments and don't forget to like this video, subscribe to my channel, and hit the bell! 😛

[are-they-z]

Supporters of #NoHostageLeftBehind Open Letter to Joe Biden - Part 2/2

Gabe Turner

Gail Berman

Gary Barber

Genevieve Angelson

Gideon Raff

Grant Singer

Greg Berlanti

Guy Nattiv

Hannah Fidell

Hannah Graf

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Harold Brown

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Inbar Lavi

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Jake Graf

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Limor Gott

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Paul Haas

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Rachel Riley

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Rich Statter

Richard Kind

Rick Hoffman

Rick Rosen

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Roger Green

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Veronica Smiley

Whitney Wolfe Herd

Will Graham

Yamanieka Saunders

Yariv Milchan

Ynon Kreiz

[sataniccapitalist]

You might have noticed this

[avelvokai]

Major Study: Pre-Production #3

Inspirations:

Avatar: The Last Airbender" has been monumental inspiration for my work. I'm particularly drawn to its intricate world-building, where each nation is a unique blend of fictional elements and real-world influences, with strong nods to Asian and Native American cultures. One aspect that particularly resonates with me is their approach to clothing. The attire worn by characters in these series not only reflects the cultural aesthetics of their respective nations but also tells a story of tradition, identity. In my own storytelling, I aim to similarly infuse garments with symbolic meaning, using them as a visual language to deepen the immersion and authenticity of the world I'm creating.

Water Tribe: The Water Tribe draws inspiration from indigenous Arctic and Inuit cultures. The Southern Water Tribe is reminiscent of Inuit communities, with igloo-like structures and a focus on fishing and hunting, while the Northern Water Tribe is more reminiscent of coastal Inuit communities, with its larger, more elaborate city and connection to the sea.

Earth Kingdom: The Earth Kingdom is inspired by various East Asian cultures, including Imperial China, ancient Korea, and pre-modern Japan. The Earth Kingdom's vast size, diverse landscapes, and hierarchical society are reminiscent of Imperial China. Ba Sing Se, the capital city, draws heavily from the layout and structure of ancient Chinese capitals like Beijing. Additionally, the Earth Kingdom's architecture and clothing feature elements of traditional Korean and Japanese design.

Fire Nation: The Fire Nation draws inspiration from imperialist societies, particularly Imperial Japan and ancient China. The Fire Nation's military prowess, expansive empire, and strict hierarchical structure echo elements of Imperial Japan's militarism and expansionism. The Fire Nation's architecture and technology also bear resemblance to ancient Chinese civilization, with its grand palaces and advanced machinery.

Air Nomads: The Air Nomads draw inspiration from various Tibetan and Himalayan cultures, as well as elements of Buddhist philosophy. The Air Nomads' spiritual beliefs, monastic lifestyle, and connection to nature reflect Tibetan Buddhist traditions. Their architecture, with its temples built high in the mountains, is reminiscent of Himalayan monasteries.

By drawing from a diverse range of real-life cultures, "Avatar: The Last Airbender" creates a rich and immersive world that feels both familiar and fantastical. Each nation's unique culture and history contribute to the series' depth and complexity, making it a beloved and enduring masterpiece.

The Artbook "The Art and Soul of Dune," and specifically Keith Christensen's concept art, is a huge inspiration for my project. The artist’s skill in illustrating fictional cultures, as showcased in this book is fascinating and impressive. The way he brings imaginary worlds to life with detail authenticity inspires me.  Just like the bold vision and intricate design process showcased in the book, I aim to create a visually stunning experience with my story.

Ray Lederer

Ray Lederer is a Senior Concept Artist who has worked at Bethesda Game Studios on titles such as TESV:Skyrim, Fallout 4, Fallout 76, and Starfield. His exceptional talent and artistic vision serve as a significant source of inspiration for my own creative endeavors.

Visual novel games:

Romance Club is a mobile game and it has served as a significant inspiration for my visual novel game project, particularly due to its diverse array of settings. The game's ability to transport players to a multitude of captivating environments, each with its own unique atmosphere and narrative potential, has fueled my creative vision. Drawing from Romance Club's example, I aspire to offer players a similarly immersive experience, where they can explore a rich tapestry of worlds and stories within the confines of my game.

"These Nights in Cairo" is a visual novel game that transports players to the enchanting and mysterious streets of Egypt's vibrant capital. Set against the backdrop of bustling bazaars, ancient pyramids, and hidden oases, the game immerses players in a world of intrigue, romance, and adventure.

In conclusion, the diverse inspirations behind my project have fueled my creativity and shaped its unique identity. With dedication and passion, I look forward to bringing my project to life and sharing it with the world.

References:

atlaculture (n.d.). Cultural Architecture: Fire Nation Roofs. [online] Tumblr. Available at: https://atlaculture.tumblr.com/post/670499096009801728/cultural-architecture-fire-nation-roofs [Accessed 19 Apr. 2024].

Tumblr.com. (2024). Available at: https://64.media.tumblr.com/tumblr_lvvjmoqlGp1r7coaeo1_1280.jpg [Accessed 19 Apr. 2024].

Titan Books (2020). The art and soul of ‘Dune’. London: Titan Books.

‌Lederer, R. (n.d.). [online] Artstation. Available from: https://www.artstation.com/raylederer  [Accessed 19 Apr. 2024].

Romance Club Wiki. (n.d.). Legend of the Willow. [online] Available at: https://romance-club.fandom.com/wiki/Legend_of_the_Willow [Accessed 19 Apr. 2024].

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[rapochannat-blog]

Driftarens Guide Till Galaxen // Jaqe & Michel Dida // Svensk-Hiphop // 2021

Män får sällan blommor innan sin begravning. Trött sagt men inte mindre sant för det. Att hylla det vi älskar är mer värdefullt än att kritisera det vi ogillar. Därför vill jag snart tre år försent ge detta tack följt av en uppmaning till Jaqe och Dida, snälla gör en uppföljare.

Didas kollaborationsalbum med Jaqe Driftarens Guide Till Galaxen, släpptes 2021 på skivbolaget ARKETYP och genererade inte den tänkta eller förtjänta uppmärksamheten. De senaste två åren har jag haft en nära relation till albumet. Under den tiden har "Grace Kelly" varit min mest spelade låt på Spotify två år i rad och jag har lyssnat på EP:n back to back fler gånger än jag kan räkna. Dagligen har jag trakasserat vänner med citat, albumet har helt enkelt inte lämnat mig oberörd.

Albumets inledande spår, Rasmus Et Romulus, börjar med en klinkande pianomelodi, likt ljudet av en speldosa. Titeln refererar till Rasmus och Romulus från romerska mytologin och metaforen är tydlig. Jaqe och Dida liknar sig med bröderna. En rags to riches-historia där de, uppväxta av vargar, sedan själva får grunda staden dit alla vägar leder. Historien tar som alla vet en tragisk vändning när en konflikt resulterar i att Romulus dödar sin bror och blir den ensamma grundaren av Rom. Vad jag tror denna metafor kan syfta till är det faktum att efter varje kollaborativa rap-album är den första frågan alltid, “vem dödade vem?” vem vann? Vi kommer till det senare.

I Jaqes första rad tycks han fira sin självständighet efter att ha släppts från sitt skivbolag. Han firar sin “Independance day” och han förstår att förväntningarna på honom, även Dida, är sinnessjukt höga. 

“Änglar och demoner Har reflekterat som jag är månen Tro mig comebacks är inte enkelt Det är extra nollor på procenten"

Introduktionen mynnar ut i en lay-up för rapkollegan varpå Dida tar över och levererar raderna som om hans liv hängde på det. Den första minuten verkar bara ha varit ett förspel för fyrverkerierna. Redan här skymtar vi kontrasterna i texten.

"Medans Haji åkte Mecka jag pulverisera Concerta"

Dida skryter men tar även upp hjärtesorgen från vad som antagligen är Noomi Rapace. Beatet är stormigt och högljutt, signerat stockholmsproducenten DJ Hayden, precis som resten av albumet.

Denna storm mynnar ut i Melissa Horns sköra röst, som sjunger om isolation och längtan efter tröst. Visst nämnde jag kontraster? Vi är nu 150 sekunder in på albumet.

Titelspåret är mycket mer avslappnat, påminner något om Ledighetsmaskinens tidigare beats. Rökigt, avslappnat, Jaqes "vänta" adlib som alltid inget annat än toppen.

"Lamborghini rosa, käkar helt låsta Igenom dessa stråk som Mozart när det är kolsvart"

Beatförändringen halvvägs in i låten spär på atmosfären. Vi pratar sommarens solnedgång, en bil som kryper fram genom ett orange sken av ljus och dam. Flertalet shoutouts från Terrance Steven.

"And to all the pretty girls out there in Stockholm, Södermalm Wave high when you see me this summer"

Den norska rapparen Dutty Dior lägger de sista raderna och jag hoppas att om någon backpacker lyssnar på detta album genom detta förstår att auto-tune diskussionen är sedan flera år stängd, aldrig hört norska så här wavy.

"Ni**as blev rojalister, borde haft kronor på sig… Två G som i Gucci-logos."

Halvvägs igenom plattan får vi höra Grace Kelly som är ett mästerverk, jag kan prata om den i timmar. Det otroliga soul-samplet med stabsen, Didas första vers, Jaqes vers, där han påkallar en paus för applåder a lá Madvillainy. Didas andra vers, där han plockar stafettpinnen från malmörapparen och gör motsvarigheten till vad Usain Bolt gjorde i London 2012. Versen påvisar hur långt svensk hiphop kommit sedan The Latin Kings hedervärda insatser på 90-talet. Men här lär de svennar hur man ska rimma på svenska.

"Blå linje hustler, kittad Adi Dassler Strumpbyxsmasker, pannan liknar kassler Takbalk, jasper, marmor, alabaster G.H Mumm flaskor, lättar dessa laster"

Didas vers förtjänas egentligen inte att refereras till i citat, utan fullständigt. Det är bland det bästa som skrivits. Jag har hört folk slänga sig med termer som "ord-bajseri" när denna typ av rap tas upp men Dida slösar inte en enda mening, fullt fokus.

Samplet ekar och leds in i sista låten till tonerna av nu bortgångne Daddy Boastin (RIP) som Dida och Jaqe lyckades få tag på kort innan hans död. I och med det sluts cirkeln perfekt. Med en nära kollaboratör till The Latin Kings, i en låt om hur man kom från nada, hamnat någonstans men inte glömt vart man kom ifrån.

New Kids On The Block är segervarvet som avslutar showen. Dida och Jaqe insåg kanske vidden av deras prestation här, från inledningsspåret där Jaqe diskuterar svårigheten med comebacks, till fyra låtar senare när det låter det som man har Grammisen i handen och tacktalet ljuder genom högtalarna. New Kids On The Block, demostrerar sina framgångar men drar hela tiden kopplingar till hur allt började. Då kanske man ska fråga sig, vem dödade vem? Ingen. I denna metafor skapades Rom gemensamt av bröderna. Trots att turismen förstört staden ska vi vara glada att vi har den.

Men om jag verkligen måste välja, så finns det bara en svensk rappare som skulle göra ett multirim om metylendioxi-tabletter.

"Min nike-sula gav dem slajf-snuva Min babe 10:a men en size 7:a Arabanen åkte via Tjeckien Nio-rätters under tisdagsnätter Min G från Peckham kom precis från check-in Polisarrester som i Lethal Weapon Isbaguetter inne i Ica-jätten Metylendioxi-tabletter"

I den sista minuten får vi slutorden levererat i en vers från entreprenören Barakat Ghebrehawariat, som lägger fram budskapet för EP:n så elegant och tydligt att jag inte behöver förklara den för er. Läs eller, ännu bättre, lyssna.

"New kids on the block, men inget annat har förändrats."

5/5

+ “Remus et Romulus” "Driftarens Guide Till Galaxen" "Grace Kelly" "New Kids On The Block"

-  Haha, roligt skämt

[sneakerpreviewde]

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[libramonthlyhoroscope1]

Dream about poop

Life is an amazing journey. We spend on average 6,000 hours of time on the toilet. At age 76 the average human produces 24,320 lbs of poo - which is the total weight of around three to four hippos! At some point, everyone will be asking questions like 'What is my purpose in life?', "Is there life after the death?", or "Why did I have a dream of poo?

Dream about poop

What is the dream psychology on poop dreams?

Sigmund Freud was a famous dream psychologist in the 1930s he analysed thousands of dreams and came up with a detailed, valuable interpretation from a neurologist's perspective. Poop dreams in his manuscripts connect to the following: control in situations, unsettled emotions, humiliation, worry over money, concerns about others and that finances will play on the dreamer's mind. 

Spiritually, Poop in dreams is about how we navigate our life. When one dreams of poop, this is symbolic of a situation that has become rife with stress. This dream is so much more spiritually than you can ever imagine.

Is poop in dreams good or bad dream?

We feel poop it is a nasty disgusting thing to do, but this is a chance of removing all those toxins from your body. You are two distinct people. One goes about his or her daily life – taking care of the family, following routines, going to work – day after day without thinking, much like a machine. It's like a continuous loop of the same thing. Before you fall asleep at night, you may spend hours thinking about your day. And then there is the other you; the night-time, dreaming you. Think about a dream as a key to a greater life. Your dream life runs parallel to your daily life, and the dream state is not unreal; it is just synchronized with another dimension, so what is the dream telling us. I think this dream is good, it is telling you to remove those “toxins” or difficult situations in life. Removing for the greater good! 

In life, we sometimes feel dissociated from both our spiritual natures and the world around us because we are caught up in the fast pace of daily life, rapid communication, and transportation. Mind and body are now two separate forms of consciousness. This has led to two lives. We must be sincere in our efforts to maintain a connection. There is no interaction, or at least no significant interaction, between mind and body. We tend to see the body as a machine or as something that is different from ourselves. An interesting author called Drew Leder argues that dualism enabled us to create a mechanistic view of the body and its functions. It seems the world has become more materially wealthy, but less spiritually rich. The phenomenon is also called the "absent body." The reason I mention this is that when we dream we are ‌outside our own bodies and I would like to now consider what this dream is saying in regards to quantum physics.

In addition, most of us will have a poo dream at some point in our life - that is probably why you are here reading this. To understand what this dream can mean for you, we have to consider complex questions about humans, the universe, and their immediate natural and inanimate environments. We also need to look at the relationships between people and their past and present lives. Here is a video I have done on this so you can play while reading my article.

I can remember myself having a dream about overfilled toilets with poo all over the floor. It was above all shocking, but it actually means something.

[shiningwizard]

The Eleventh Commandment (Paul Leder, 1986)

An odd and joyless movie wrapped in a sunny soap opera sheen. Rich family squabbles or deep, deep trauma, no truth to be found, everyone gets stabbed.

[quirky-book-reads]

Cooking For Cannibals

Cooking For Cannibals by Rich Leder. I would recommend reading Cooking For Cannibals to lovers of Thrillers as it is a book to escape into, with lots of intrigue. #BookBlogger #Thiller #Crime #DarkHumour

Genre: Thriller Fountain of youth? More like murderous medication! Carrie Kromer pushes the boundaries of science, not her social life. The brilliant behavioral gerontologist’s idea of a good time is hanging out with her beloved lab rats and taking care of her elderly mother and the other eccentric old folks at the nursing home. So no one is more surprised than Carrie when she steals the lab’s…

[featherpen87]

Cooking for Cannibals by Rich Leder 📚 BOOK REVIEW

Cooking for Cannibals by Rich Leder 📚 BOOK REVIEW

Rich Leder I read a digital edition of Cooking for Cannibals that was sent to me for free by Laugh Riot Press in exchange for an honest review. Genre: Comic thriller Publisher: Laugh Riot Press Originally published: January 21st, 2021 Pages: 371 (Kindle edition) Synopsis by the publisher: Carrie Cromer pushes the boundaries of science, not her social life. The brilliant behavioral…

[deadendtracks]

Lederer also looks at the development of organ transplants in the 20th century. Early on, there was concern about trade in human organs. In a 1903 advertisement in the New York Times, a man offered $5,000 for a right ear, to replace one he lost in an accident. The operation was reported as a success. But by the 1920s, a fad for transplanting the testicles of young men to give renewed vigor to rich elderly recipients led one biologist to decry "the despicable traffic in organs."

the things you learn while doing research

[notsimroart]

Ancient artist at work. I was very intrigued by the recent description of a carved giant deer (Megaloceros) toe bone found in a cave in Germany, made around 51,000 years ago and attributed to a Neanderthal (Leder et al., 2021). The carvings have no apparent practical use, and appear to be an example of geometric art. It may be that, since giant deer were impressive animals and rich food sources, the Neanderthal who made it wanted to honour their significance. This discovery adds to a growing understanding of our ancient relatives' minds, demonstrating that they too likely embraced concepts like symbolism. Experimental evidence suggests that the bone was boiled before being worked with a flint blade

[tuseriesdetv]

Noticias de series de la semana

Renovaciones

The CW ha renovado Superman & Lois por una segunda temporada

FOX ha renovado The Simpsons por una trigésimo tercera y trigésimo cuarta temporada

ITV ha renovado Finding Alice por una segunda temporada

Cancelaciones

La tercera temporada de Pose (FX) será la última

CBC ha cancelado Frankie Drake Mysteries tras su cuarta temporada

Noticias cortas

Chelsea Harris (Sykes) será regular en la tercera temporada de Snowpiercer.

Fichajes

Sissy Spacek (Castle Rock, Carrie) y Ed O'Neill (Modern Family, Married with Children) protagonizarán Lightyears. Serán Irene y Franklin, una profesora de inglés jubilada y un carpintero que llevan décadas ocultando un portal a un extraño planeta desierto en su patio trasero.

Mandy Patinkin (Homeland, The Princess Bride) se une como regular a la quinta temporada de The Good Fight. Será Hal Wackner, alguien que abre un juzgado en la parte de atrás de una copistería sin tener formación jurídica.

Edie Falco (The Sopranos, Nurse Jackie) será Hillary Clinton en Impeachment, la tercera temporada de American Crime Story.

Ray Liotta (Shades of Blue, Goodfellas) será Big Jim, el padre de Jimmy (Taron Egerton), en In With the Devil.

Indira Varma (Game of Thrones, Luther) se une a Obi-Wan Kenobi. Se desconocen detalles.

Constance Wu (Fresh Off the Boat, Hustlers), Riley Keough (The Girlfriend Experience, The House That Jack Built) y Jeanne Tripplehorn (Big Love, Criminal Minds) serán Katie Buranek, corresponsal de guerra; Lauren Reece, triatleta de élite y esposa de James (Chris Pratt); y Lorraine Hartley, la primera mujer secretaria de Defensa; en The Terminal List.

Dakota Fanning (The Alienist, I Am Sam) será Susan Ford, la hija de Betty Ford (Michelle Pfeiffer), en The First Lady.

Timothy Spall (Harry Potter, Sweeney Todd) protagonizará Magpie Murders junto a Lesley Manville. Será el detective Atticus Pünd.

Devon Sawa (Final Destination, Casper) se une como recurrente a Chucky, en la que Jennifer Tilly volverá a interpretar a Tiffany Valentine. Zackary Arthur (Transparent, Kidding), Teo Briones (Ratched, Pretty Little Liars), Alyvia Ayn Lind (Daybreak, Masters of Sex) y Björgvin Arnarson serán regulares en los papeles de Jake Webber, un adolescente solitario que busca su sitio tras la muerte de su madre; Junior Webber, el primo de Jake y opuesto a él; Lexy Taylor, la princesita del instituto, novia de Junior y principal acosadora de Jake; y Devon Lopez, el típico vecino fan de los true crime.

Geoff Stults (Enlisted, Little Fires Everywhere), Tiya Sircar (The Good Place), Alanna Ubach (Euphoria, Girlfriends' Guide to Divorce), Laurie Davidson (Will, Cats), Andre Hyland y Jules Latimer estarán en Guilty Party junto a Kate Beckinsale. Serán Marco, el marido de Beth (Beckinsale); Fiona, socia de Beth; Tessa, una presentadora de noticias; George, un traficante de armas; y Toni, una joven sentenciada a 92 años de prisión sin libertad condicional por asesinar a su marido.

Alec Mapa (Ugly Betty, Devious Maids) protagonizará junto a Kelsey Grammer y Alec Baldwin la comedia de ABC sobre tres antiguos compañeros de piso que vuelven a reunirse. Será Andre, un hombre gay muy empático que funcionaba como pacificador ante Channing (Baldwin) y London (Grammer) mientras busca el éxito romántico y profesional que hasta ahora no ha conseguido.

Eoin Macken (Merlin, The Night Shift) y Jack Martin protagonizarán La Brea junto a Natalie Zea y Zyra Gorecki sustituyendo a Michael Raymond-James y Caleb Ruminer. Formarán la familia Harris. También se unen a la serie Jon Seda (Chicago PD, Treme) y Veronica St. Clair, que ya participaron en el piloto, y Lily Santiago.

Mary Holland (Homecoming, Veep), Shelley Hennig (Teen Wolf, Dollface), Christina Anthony (Mixed-ish), Samsara Yett (The Flight Attendant), Cameron Britton (The Umbrella Academy, Mindhunter) y Benjamin Levy Aguilar (Filthy Rich) se unen a The Woman in the House. Serán Sloane, dueña de una galería de arte y amiga de Anna (Kristen Bell); Lisa, una chica dulce y sexy que puede esconder algo; la detective Lane; Emma, la adorable hija de nueve años de Neil (Tom Riley); Buell, el manitas de Anna; y Rex, alguien no muy brillante pero irresistible.

Dallas Roberts (Insatiable, The Good Wife), Clea Lewis (The Americans, Ellen) y Nicole Chanel Williams (Boomerang) serán recurrentes en American Rust como Jackson Berg, dueño de una farmacia preocupado por la proliferación de cadenas en tiempos de crisis; Jillian, una mujer baptista preocupada por qué pensará su marido de que ella y sus compañeras de la fábrica se quieran sindicar; y Jojo, una mujer que vive en la carretera y acoge a Isaac (David Alvarez).

Andrea Martin (Difficult People, Great News), Robert Ri'chard (One on One, Cousin Skeeter), Juani Feliz, Kate Rockwell y Sullivan Jones (The Looming Tower) se unen como recurrentes a Harlem.

Michael James Shaw (Blood & Treasure, Limitless) se une como regular a la undécima y última temporada de The Walking Dead. Será Mercer, que en los cómics es un marine que se relaciona románticamente con Juanita (Paola Lázaro).

Theo Rossi (Sons of Anarchy, Luke Cage) se une como regular a True Story. Será Gene, un fan muy entusiasta de The Kid (Kevin Hart).

Catherine Haena Kim (FBI, Ballers) y Craig Parker (Charmed, Reign) serán recurrentes en la tercera temporada de Good Trouble como Nicolette Baptiste, una abogada de la oficina del fiscal del distrito; y Yuri Elwin, un artista de perfil alto que necesita un becario.

Conrad Khan (The Huntsman: Winter's War, County Lines) se une a la sexta y última temporada de Peaky Blinders. Se desconocen detalles.

Sarah Niles (Catastrophe, I May Destroy You) se une como regular a la segunda temporada de Ted Lasso. Será Sharon, psicóloga deportiva que comienza a trabajar para el AFC Richmond.

Matthew Sato (Chicken Girls, Save Me) y Emma Meisel (American Horror Story) se unen como regulares a Doogie Kamealoha, M.D. Serán Kia y Steph, el hermano y la mejor amiga de Lahela (Peyton Elizabeth Lee). Ronny Chieng (The Daily Show, Crazy Rich Asians) será recurrente como un cirujano cardíaco.

Momo Rodríguez (La Chamba) se une como recurrente a la tercera temporada de Mayans MC. No se conocen más detalles.

Thom Scott II (American Soul) será recurrente en la quinta temporada de Saints & Sinners como el doctor Ross, un médico talentoso especializado en procedimientos experimentales pioneros para asegurar tratamientos exitosos por cualquier medio.

Jess Schine se une a Long Slow Exhale como regular. Será Eddie Hagen, ayudante de la entrenadora (Rose Rollins).

Pósters

    Nuevas series

Apple TV+ ha encargado ocho episodios de Roar, antología con historias independientes contadas desde un punto de vista femenino. Protagonizada por Nicole Kidman (Big Little Lies, The Hours), Cynthia Erivo (Harriet, Genius: Aretha), Merritt Wever (Nurse Jackie, Unbelievable) y Alison Brie (GLOW, Community). Basada en el libro de historias cortas de Cecelia Ahern (2018). Creada, escrita y producida por Liz Flahive (GLOW, Nurse Jackie) y Carly Mensch (GLOW, Weeds). Producen Kidman (Big Little Lies, The Undoing), Bruna Papandrea (Big Little Lies, The Undoing), Steve Hutensky (Queen America, Nine Perfect Strangers) y Allie Goss (The Crown, Daredevil).

Netflix adaptará The Talisman, la novela de Stephen King (1984), en la que un chico de 12 años comienza un viaje de costa a costa para encontrar un cristal que podría salvar a su madre moribunda. Escrita por Curtis Gwinn (Stranger Things, The Walking Dead) y producida por Steven Spielberg (The Goonies, Back to the Future) y los hermanos Duffer (Stranger Things).

Gugu Mbatha-Raw (The Morning Show, Miss Sloane) y David Oyelowo (Selma, Nightingale) protagonizarán The Girl Before en HBO Max y BBC One. Jane (Mbatha-Raw) tiene la oportunidad de vivir en una bonita casa minimalista diseñada por un enigmático arquitecto (Oyelowo) a cambio de seguir unas estrictas normas en toda la calle que no permiten los libros, las fotos o el desorden. Jane cree que la casa la está cambiando y descubre qué le ocurrió a la chica que vivió allí antes que ella. Creada, escrita y producida por J.P. Delaney y basada en su propia novela (2016) y dirigida por Lisa Brühlmann (Killing Eve, Servant). Cuatro episodios.

Netflix encarga diez episodios de una comedia multicámara centrada en Chelsea (Emily Osment; Young & Hungry, Hannah Montana), una altanera e ingeniosa intelectual sin habilidades sociales para vivir en el mundo real que se ve obligada a vivir con su despreocupada y jovial hermana y sus amigos, uno de ellos Grant (Gregg Sulkin; Runaways, Wizards of Waverly Place), un dulce y romántico entrenador personal. Creada, escrita y producida por Jack Dolgen (Crazy Ex-Girlfriend, Diary of a Future President) y Doug Mand (How I Met Your Mother, Crazy Ex-Girlfriend). Producida por Kourtney Kang (How I Met Your Mother, Fresh Off the Boat) y dirigida por Pamela Fryman (How I Met Your Mother, Frasier).

Shira Haas (Unorthodox, Shtisel) interpretará a Golda Meir, la primera y única primera ministra mujer de Israel, en el drama Lioness. Basada en el libro de Francine Klagsbrun (2017), escrita por Eric Tuchman (The Handmaid's Tale, Kyle XY), dirigida por Mimi Leder (The Morning Show, The Leftovers) y producida por Barbra Streisand (A Star Is Born), Nina Tassler y Denise Di Novi (Ed Wood, Edward Scissorhands).

Amazon encarga The Devil's Hour, thriller británico sobre una mujer que se despierta cada día a las 3:33 de la mañana. Su hijo de ocho años es retraído y falto de emociones, su madre habla con sillas vacías y su casa está encantada. Ahora su nombre está inexplicablemente conectado a una serie de brutales asesinatos en la zona. Escrita por Tom Moran (The Feed, White Rabbit), dirigida por Johnny Allan (The Irregulars) y producida  por Steven Moffat (Sherlock, Doctor Who).

Disney+ adaptará We Begin at the End, la novela de Chis Whitaker (2020) que sigue la relación entre Vincent King, un convicto que sale de prisión treinta años después de haber matado a una niña de siete años; Duchess Ray Radley, la sobrina de trece años de la víctima; y el jefe de policía de un pequeño pueblo de California cuyo testimonio envió a Vincent a prisión aunque era su mejor amigo. Producida por Thomas Kail (Hamilton) y Jennifer Todd (City on a Hill).

Netflix encarga una serie de animación de Asterix & Obelix basada en el libro 'Le combat des chefs'. Dirigida por Alain Chabat (Asterix & Obelix: Mission Cleopatra).

Apple TV+ encarga Dr. Brain, adaptación de acción real de la historieta digital coreana que sigue a un científico (Lee Sun-kyun, Parasite) obsesionado con encontrar nuevas tecnologías para acceder a la consciencia y los recuerdos cuya familia sufre un misterioso accidente. Utilizará sus habilidades para acceder a los recuerdos de su esposa para entender qué ocurrió y por qué. Escrita, dirigida y producida por Kim Jee-woon (Mil-jeong).

David Simon (The Wire, Treme) y George Pelecanos (The Wire, Treme) escribirán y producirán We Own This City, limited series de HBO que cuenta la historia real de la unidad de rastreo de armas de la policía de Baltimore. Basada en el libro del periodista Justin Fenton (2021).

Starz prepara un revival de Party Down con el regreso de actores y productores. Seis episodios.

IMDb TV encarga un spin-off de Bosch en el que Harry Bosch (Titus Welliver) se embarca en el siguiente capítulo de su carrera y trabaja junto a su antiguo enemigo Honey "Money" Chandler (Mimi Rogers) para encontrar justicia. Volverá también Madison Lintz en el papel de Maddie Bosch.

ITV ha encargado cuatro episodios de The Thief, His Wife and the Canoe, un drama true crime sobre John Darwin, el funcionario de prisiones que fingió su muerte en un accidente con una canoa en 2002 para estafar a compañías de seguros. Anne, su esposa, denunció su desaparición en la costa de Cleveland, Inglaterra, y mintió incluso a sus hijos. Basado en un manuscrito no publicado del periodista David Leigh, que encontró y entrevistó a Anne en Panamá. Escrita y producida por Chris Lang (Unforgotten, Dark Heart) y dirigida por Richard Laxton (Mrs. Wilson, Him & Her).

ABC Signature ha adquirido Sitting Pretty: The View from My Ordinary Resilient Disabled Body, las memorias de Rebekah Taussig (2020), para su adaptación televisiva. Trata sobre una chica paralítica que creció en los noventa sin referentes adecuados en la ficción que retratasen su discapacidad como algo complejo y ordinario, incómodo y bello, doloroso y enriquecedor, y que quiere reflejar las complicaciones de la amabilidad y la caridad, vivir de forma dependiente e independiente, experimentar intimidad y cómo la omnipresencia del capacitismo en los medios de comunicación y las redes sociales se traslada directamente a la vida diaria. Escrita y producida por Taussig y dirigida y producida por Randall Einhorn (The Office, Parks and Recreation).

Fechas

Calls se estrena en Apple TV+ el 19 de marzo

La 1ª parte de la sexta y última temporada de Supergirl se estrena en The CW el 30 de marzo

La 4ª temporada de No Activity, que será de animación, se estrena en Paramount+ el 8 de abril

La tercera y última temporada de Pose se estrena en FX el 2 de mayo

La 2ª parte de la primera temporada de Ghostwriter se estrena en Apple TV+ el 2 de mayo

La segunda temporada de Duncanville se estrena en FOX el 23 de mayo

Housebroken se estrena en FOX el 31 de mayo

Tráilers y promos

Made for Love

Queen of the South - Temporada 5

Animal Kingdom - Temporada 5

No Activity - Temporada 4

Lupin - Parte 2

[classic-laugjhing-hollywood]

Marie Dressler (born Leila Marie Koerber, November 9, 1868 – July 28, 1934) was a Canadian stage and screen actress, comedian, and early silent film and Depression-era film star. In 1914, she was in the first full-length film comedy. She won the Academy Award for Best Actress in 1931.

Leaving home at the age of 14, Dressler built a career on stage in traveling theatre troupes, where she learned to appreciate her talent in making people laugh. In 1892, she started a career on Broadway that lasted into the 1920s, performing comedic roles that allowed her to improvise to get laughs. From one of her successful Broadway roles, she played the titular role in the first full-length screen comedy, Tillie's Punctured Romance (1914), opposite Charlie Chaplin and Mabel Normand. She made several shorts, but mostly worked in New York City on stage. During World War I, along with other celebrities, she helped sell Liberty bonds. In 1919, she helped organize the first union for stage chorus players.

Her career declined in the 1920s, and Dressler was reduced to living on her savings while sharing an apartment with a friend. In 1927, she returned to films at the age of 59 and experienced a remarkable string of successes. For her performance in the comedy film Min and Bill (1930), Dressler won the Academy Award for Best Actress. She died of cancer in 1934.

Marie Dressler's original name was Leila Marie Koerber. She was born on November 9, 1868, Cobourg, Ontario. She was one of the two daughters of Anna (née Henderson), a musician, and Alexander Rudolph Koerber (b. April 13, 1826, Lindow, Neu-Ruppin, Germany – d. November 1914, Wimbledon, Surrey, England), a German-born former officer in the Crimean War. Leila's elder sister, Bonita Louise Koerber (b. January 1864, Ontario, Canada – d. September 18, 1939, Richmond, Surrey, England), later married playwright Richard Ganthony.

Her father was a music teacher in Cobourg and the organist at St. Peter's Anglican Church, where as a child Marie would sing and assist in operating the organ. According to Dressler, the family regularly moved from community to community during her childhood. It has been suggested by Cobourg historian Andrew Hewson that Dressler attended a private school, but this is doubtful if Dressler's recollections of the family's genteel poverty are accurate.

The Koerber family eventually moved to the United States, where Alexander Koerber is known to have worked as a piano teacher in the late 1870s and early 1880s in Bay City and Saginaw (both in Michigan) as well as Findlay, Ohio. Her first known acting appearance, when she was five, was as Cupid in a church theatrical performance in Lindsay, Ontario. Residents of the towns where the Koerbers lived recalled Dressler acting in many amateur productions, and Leila often irritated her parents with those performances.

Dressler left home at the age of 14 to begin her acting career with the Nevada Stock Company, telling the company she was actually 18. The pay was either $6 or $8 per week, and Dressler sent half to her mother. At this time, Dressler adopted the name of an aunt as her stage name. According to Dressler, her father objected to her using the name of Koerber. The identity of the aunt was never confirmed, although Dressler denied that she adopted the name from a store awning. Dressler's sister Bonita, five years older, left home at about the same time. Bonita also worked in the opera company. The Nevada Stock Company was a travelling company that played mostly in the American Midwest. Dressler described the troupe as a "wonderful school in many ways. Often a bill was changed on an hour's notice or less. Every member of the cast had to be a quick study". Dressler made her professional debut as a chorus girl named Cigarette in the play Under Two Flags, a dramatization of life in the Foreign Legion.

She remained with the troupe for three years, while her sister left to marry playwright Richard Ganthony. The company eventually ended up in a small Michigan town without money or a booking. Dressler joined the Robert Grau Opera Company, which toured the Midwest, and she received an improvement in pay to $8 per week, although she claimed she never received any wages.

Dressler ended up in Philadelphia, where she joined the Starr Opera Company as a member of the chorus. A highlight with the Starr company was portraying Katisha in The Mikado when the regular actress was unable to go on, due to a sprained ankle, according to Dressler. She was also known to have played the role of Princess Flametta in an 1887 production in Ann Arbor, Michigan. She left the Starr company to return home to her parents in Saginaw. According to her, when the Bennett and Moulton Opera Company came to town, she was chosen from the church choir by the company's manager and asked to join the company. Dressler remained with the company for three years, again on the road, playing roles of light opera.

She later particularly recalled specially the role of Barbara in The Black Hussars, which she especially liked, in which she would hit a baseball into the stands. Dressler remained with the company until 1891, gradually increasing in popularity. She moved to Chicago and was cast in productions of Little Robinson Crusoe and The Tar and the Tartar. After the touring production of The Tar and the Tartar came to a close, she moved to New York City.

In 1892, Dressler made her debut on Broadway at the Fifth Avenue Theatre in Waldemar, the Robber of the Rhine, which only lasted five weeks. She had hoped to become an operatic diva or tragedienne, but the writer of Waldemar, Maurice Barrymore, convinced her to accept that her best success was in comedy roles. Years later, she appeared in motion pictures with his sons, Lionel and John, and became good friends with his daughter, actress Ethel Barrymore. In 1893, she was cast as the Duchess in Princess Nicotine, where she met and befriended Lillian Russell.

Dressler now made $50 per week, with which she supported her parents. She moved on into roles in 1492 Up To Date, Girofle-Girofla, and A Stag Party, or A Hero in Spite of Himself After A Stag Party flopped, she joined the touring Camille D'Arville Company on a tour of the Midwest in Madeleine, or The Magic Kiss, as Mary Doodle, a role giving her a chance to clown.

In 1896, Dressler landed her first starring role as Flo in George Lederer's production of The Lady Slavey at the Casino Theatre on Broadway, co-starring British dancer Dan Daly. It was a great success, playing for two years at the Casino. Dressler became known for her hilarious facial expressions, seriocomic reactions, and double takes. With her large, strong body, she could improvise routines in which she would carry Daly, to the delight of the audience.

Dressler's success enabled her to purchase a home for her parents on Long Island. The Lady Slavey success turned sour when she quit the production while it toured in Colorado. The Erlanger syndicate blocked her from appearing on Broadway, and she chose to work with the Rich and Harris touring company. Dressler returned to Broadway in Hotel Topsy Turvy and The Man in the Moon.

She formed her own theatre troupe in 1900, which performed George V. Hobart's Miss Prinnt in cities of the northeastern U.S. The production was a failure, and Dressler was forced to declare bankruptcy.

In 1904, she signed a three-year, $50,000 contract with the Weber and Fields Music Hall management, performing lead roles in Higgeldy Piggeldy and Twiddle Twaddle. After her contract expired she performed vaudeville in New York, Boston, and other cities. Dressler was known for her full-figured body, and buxom contemporaries included her friends Lillian Russell, Fay Templeton, May Irwin and Trixie Friganza. Dressler herself was 5 feet 7 inches (1.70 m) tall and weighed 200 pounds (91 kg).

In 1907, she met James Henry "Jim" Dalton. The two moved to London, where Dressler performed at the Palace Theatre of Varieties for $1500 per week. After that, she planned to mount a show herself in the West End. In 1909, with members of the Weber organization, she staged a modified production of Higgeldy Piggeldy at the Aldwych Theatre, renaming the production Philopoena after her own role. It was a failure, closing after one week. She lost $40,000 on the production, a debt she eventually repaid in 1930. She and Dalton returned to New York. Dressler declared bankruptcy for a second time.

She returned to the Broadway stage in a show called The Boy and the Girl, but it lasted only a few weeks. She moved on to perform vaudeville at Young's Pier in Atlantic City for the summer. In addition to her stage work, Dressler recorded for Edison Records in 1909 and 1910. In the fall of 1909, she entered rehearsals for a new play, Tillie's Nightmare. The play toured in Albany, Chicago, Kansas City, and Philadelphia, and was a flop. Dressler helped to revise the show, without the authors' permission, and in order to keep the changes she had to threaten to quit before the play opened on Broadway. Her revisions helped make it a big success there. Biographer Betty Lee considers the play the high point of her stage career.

Dressler continued to work in the theater during the 1910s, and toured the United States during World War I, selling Liberty bonds and entertaining the American Expeditionary Forces. American infantrymen in France named both a street and a cow after Dressler. The cow was killed, leading to "Marie Dressler: Killed in Line of Duty" headlines, about which Dressler (paraphrasing Mark Twain) quipped, "I had a hard time convincing people that the report of my death had been greatly exaggerated."

After the war, Dressler returned to vaudeville in New York, and toured in Cleveland and Buffalo. She owned the rights to the play Tillie's Nightmare, the play upon which her 1914 movie Tillie's Punctured Romance was based. Her husband Jim Dalton and she made plans to self-finance a revival of the play. The play fizzled in the summer of 1920, and the production was disbanded. In 1919, during the Actors' Equity strike in New York City, the Chorus Equity Association was formed and voted Dressler its first president.

Dressler accepted a role in Cinderella on Broadway in October 1920, but the play failed after only a few weeks. She signed on for a role in The Passing Show of 1921, but left the cast after only a few weeks. She returned to the vaudeville stage with the Schubert Organization, traveling through the Midwest. Dalton traveled with her, although he was very ill from kidney failure. He stayed in Chicago while she traveled on to St. Louis and Milwaukee. He died while Marie was in St. Louis, and Marie then left the tour. His body was claimed by his ex-wife, and he was buried in the Dalton plot.

After failing to sell a film script, Dressler took an extended trip to Europe in the fall of 1922. On her return she found it difficult to find work, considering America to be "youth-mad" and "flapper-crazy". She busied herself with visits to veteran hospitals. To save money she moved into the Ritz Hotel, arranging for a small room at a discount. In 1923, Dressler received a small part in a revue at the Winter Garden Theatre, titled The Dancing Girl, but was not offered any work after the show closed. In 1925, she was able to perform as part of the cast of a vaudeville show which went on a five-week tour, but still could not find any work back in New York City. The following year, she made a final appearance on Broadway as part of an Old Timers' bill at the Palace Theatre.

Early in 1930, Dressler joined Edward Everett Horton's theater troupe in Los Angeles to play a princess in Ferenc Molnár's The Swan, but after one week, she quit the troupe. Later that year she played the princess-mother of Lillian Gish's character in the 1930 film adaptation of Molnar's play, titled One Romantic Night.

Dressler had appeared in two shorts as herself, but her first role in a feature film came in 1914 at the age of 44. In 1902, she had met fellow Canadian Mack Sennett and helped him get a job in the theater. After Sennett became the owner of his namesake motion picture studio, he convinced Dressler to star in his 1914 silent film Tillie's Punctured Romance. The film was to be the first full-length, six-reel motion picture comedy. According to Sennett, a prospective budget of $200,000 meant that he needed "a star whose name and face meant something to every possible theatre-goer in the United States and the British Empire."

The movie was based on Dressler's hit Tillie's Nightmare. She claimed to have cast Charlie Chaplin in the movie as her leading man, and was "proud to have had a part in giving him his first big chance." Instead of his recently invented Tramp character, Chaplin played a villainous rogue. Silent film comedian Mabel Normand also starred in the movie. Tillie's Punctured Romance was a hit with audiences, and Dressler appeared in two Tillie sequels and other comedies until 1918, when she returned to vaudeville.

In 1922, after her husband's death, Dressler and writers Helena Dayton and Louise Barrett tried to sell a script to the Hollywood studios, but were turned down. The one studio to hold a meeting with the group rejected the script, saying all the audiences wanted is "young love." The proposed co-star of Lionel Barrymore or George Arliss were rejected as "old fossils". In 1925, Dressler filmed a pair of two-reel short movies in Europe for producer Harry Reichenbach. The movies, titled the Travelaffs, were not released and were considered a failure by both Dressler and Reichenbach. Dressler announced her retirement from show business.

In early 1927, Dressler received a lifeline from director Allan Dwan. Although versions differ as to how Dressler and Dwan met, including that Dressler was contemplating suicide, Dwan offered her a part in a film he was planning to make in Florida. The film, The Joy Girl, an early color production, only provided a small part as her scenes were finished in two days, but Dressler returned to New York upbeat after her experience with the production.

Later that year, Frances Marion, a screenwriter for the Metro-Goldwyn-Mayer (MGM) studio, came to Dressler's rescue. Marion had seen Dressler in the 1925 vaudeville tour and witnessed Dressler at her professional low-point. Dressler had shown great kindness to Marion during the filming of Tillie Wakes Up in 1917, and in return, Marion used her influence with MGM's production chief Irving Thalberg to return Dressler to the screen. Her first MGM feature was The Callahans and the Murphys (1927), a rowdy silent comedy co-starring Dressler (as Ma Callahan) with another former Mack Sennett comedian, Polly Moran, written by Marion.

The film was initially a success, but the portrayal of Irish characters caused a protest in the Irish World newspaper, protests by the American Irish Vigilance Committee, and pickets outside the film's New York theatre. The film was first cut by MGM in an attempt to appease the Irish community, then eventually pulled from release after Cardinal Dougherty of the Archdiocese of Philadelphia called MGM president Nicholas Schenck. It was not shown again, and the negative and prints may have been destroyed. While the film brought Dressler to Hollywood, it did not re-establish her career. Her next appearance was a minor part in the First National film Breakfast at Sunrise. She appeared again with Moran in Bringing Up Father, another film written by Marion. Dressler returned to MGM in 1928's The Patsy as the mother of the characters played by stars Marion Davies and Jane Winton.

Hollywood was converting from silent films, but "talkies" presented no problems for Dressler, whose rumbling voice could handle both sympathetic scenes and snappy comebacks (the wisecracking stage actress in Chasing Rainbows and the dubious matron in Rudy Vallée's Vagabond Lover). Frances Marion persuaded Thalberg to give Dressler the role of Marthy in the 1930 film Anna Christie. Garbo and the critics were impressed by Dressler's acting ability, and so was MGM, which quickly signed her to a $500-per-week contract. Dressler went on to act in comedic films which were popular with movie-goers and a lucrative investment for MGM. She became Hollywood's number-one box-office attraction, and stayed on top until her death in 1934.

She also took on serious roles. For Min and Bill, with Wallace Beery, she won the 1930–31 Academy Award for Best Actress (the eligibility years were staggered at that time). She was nominated again for Best Actress for her 1932 starring role in Emma, but lost to Helen Hayes. Dressler followed these successes with more hits in 1933, including the comedy Dinner at Eight, in which she played an aging but vivacious former stage actress. Dressler had a memorable bit with Jean Harlow in the film:

Harlow: I was reading a book the other day.

Dressler: Reading a book?

Harlow: Yes, it's all about civilization or something. A nutty kind of a book. Do you know that the guy said that machinery is going to take the place of every profession?

Dressler: Oh my dear, that's something you need never worry about.

Following the release of Tugboat Annie (1933), Dressler appeared on the cover of Time, in its issue dated August 7, 1933. MGM held a huge birthday party for Dressler in 1933, broadcast live via radio. Her newly regenerated career came to an abrupt end when she was diagnosed with terminal cancer in 1934. MGM head Louis B. Mayer learned of Dressler's illness from her doctor and reportedly asked that she not be told. To keep her home, he ordered her not to travel on her vacation because he wanted to put her in a new film. Dressler was furious but complied. She appeared in more than 40 films, and achieved her greatest successes in talking pictures made during the last years of her life. The first of her two autobiographies, The Life Story of an Ugly Duckling, was published in 1924; a second book, My Own Story, "as told to Mildred Harrington," appeared a few months after her death.

Dressler's first marriage was to an American, George Francis Hoeppert (1862 – September 7, 1929), a theatrical manager. His surname is sometimes given as Hopper. The couple married on May 6, 1894, in Grace Church Rectory, Greenville, New Jersey, as biographer Matthew Kennedy wrote, under her birth name, Leila Marie Koeber,. Some sources indicate Dressler had a daughter who died as a small child, but this has not been confirmed.

Her marriage to Hoeppert gave Dressler U.S. citizenship, which was useful later in life, when immigration rules meant permits were needed to work in the United States, and Dressler had to appear before an immigration hearing. Ever since her start in the theatre, Dressler had sent a portion of her salary to her parents. Her success on Broadway meant she could afford to buy a home and later a farm on Long Island, which she shared with her parents. Dressler made several attempts to set up theatre companies or theatre productions of her own using her Broadway proceeds, but these failed and she had to declare bankruptcy several times.

In 1907, Dressler met a Maine businessman, James Henry "Jim" Dalton, who became her companion until his death [Death Record 3104-27934] on November 29, 1921, at the Congress Hotel in Chicago from diabetes. According to Dalton, the two were married in Europe in 1908. However, according to Dressler's U.S. passport application, the couple married in May 1904 in Italy.

Dressler reportedly later learned that the "minister" who had married them in Monte Carlo was actually a local man paid by Dalton to stage a fake wedding. Dalton's first wife, Lizzie Augusta Britt Dalton, claimed he had not consented to a divorce or been served divorce papers, although Dalton claimed to have divorced her in 1905. By 1921, Dalton had become an invalid due to diabetes mellitus, and watched her from the wings in his wheelchair. After his death that year, Dressler was planning for Dalton to be buried as her husband, but Lizzie Dalton had Dalton's body returned to be buried in the Dalton family plot.

After Dalton's death, which coincided with a decline in her stage career, Dressler moved into a servant's room in the Ritz Hotel to save money. Eventually, she moved in with friend Nella Webb to save on expenses. After finding work in film again in 1927, she rented a home in Hollywood on Hillside Avenue. Although Dressler was working from 1927 on, she was still reportedly living hand to mouth. In November 1928, wealthy friends Mr. and Mrs. Arthur Neurmberg gave her $10,000, explaining they planned to give her a legacy someday, but they thought she needed the money immediately. In 1929, she moved to Los Angeles to 6718 Milner Road in Whitley Heights, then to 623 North Bedford Drive in Beverly Hills, both rentals. She moved to her final home at 801 North Alpine in Beverly Hills in 1932, a home which she bought from the estate of King C. Gillette. During her seven years in Hollywood, Dressler lived with her maid Mamie Cox and later Mamie's husband Jerry.

Although atypical in size for a Hollywood star, Dressler was reported in 1931 to use the services of a "body sculptor to the stars", Sylvia of Hollywood, to keep herself at a steady weight.

Biographers Betty Lee and Matthew Kennedy document Dressler's long-standing friendship with actress Claire Du Brey, whom she met in 1928. Dressler and Du Brey's falling out in 1931 was followed by a later lawsuit by Du Brey, who had been trained as a nurse, claiming back wages as the elder woman's nurse.

On Saturday, July 28, 1934, Dressler died of cancer, aged 65, in Santa Barbara, California. After a private funeral held at The Wee Kirk o' the Heather chapel, she was interred in a crypt in the Great Mausoleum in the Forest Lawn Memorial Park, Glendale, California.

She left an estate worth $310,000, the bulk left to her sister Bonita.

Dressler bestowed her 1933 Duesenberg Model J automobile and $35,000 to her maid of 20 years, Mamie Steele Cox, and $15,000 to Cox's husband, Jerry R. Cox, who had served as Dressler's butler for four years. Dressler intended that the funds should be used to provide a place of comfort for black travelers, and the Coxes used the funds to open the Coconut Grove night club and adjacent tourist cabins in Savannah, Georgia, in 1936, named after the night club in Los Angeles.

Dressler's birth home in Cobourg, Ontario, is known as Marie Dressler House and is open to the public. The home was converted to a restaurant in 1937 and operated as a restaurant until 1989, when it was damaged by fire. It was restored, but did not open again as a restaurant. It was the office of the Cobourg Chamber of Commerce until its conversion to its current use as a museum about Dressler and as a visitor information office for Cobourg.[66] Each year, the Marie Dressler Foundation Vintage Film Festival is held, with screenings in Cobourg and in Port Hope, Ontario. A play about the life of Marie Dressler called "Queen Marie" was written by Shirley Barrie and produced at 4th Line Theatre in 2012 and Alumnae Theatre in 2018.

For her contribution to the motion picture industry, Dressler has a star on the Hollywood Walk of Fame at 1731 Vine Street, added in 1960. After Min and Bill, Dressler and Beery added their footprints to the cement forecourt of Grauman's Chinese Theatre in Hollywood, with the inscription "America's New Sweethearts, Min and Bill."

Canada Post, as part of its "Canada in Hollywood" series, issued a postage stamp on June 30, 2008, to honour Marie Dressler.

Dressler is beloved in Seattle. She played in two films based on historical Seattle characters. Tugboat Annie (1933) was loosely based on Thea Foss, of Seattle. Likewise Hattie Burns, in Politics (1931), was based on Bertha Knight Landes, the first woman to become mayor of Seattle.

Dressler's 152nd birthday was commemorated in a Google Doodle on November 9, 2020.