can we just take a moment to appreciate the women of the black panther those magnificent deadly beauties and bow down
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Arsenal Players captaining England
this is arsenal's official list:
obviously there are some notable exceptions so here's who they missed:
(bold indicates they were permanent captain)
Leah Williamson: 22 games as Captain, 43 caps - 2021 - present [Captained England to their Euros win]
Jordan Nobbs: 2 games as Captain, 71 caps - 2015
Alex Scott: 1 game as Captain, 140 caps - 2013
Rachel Yankey: 2 games as Captain, 129 caps - 2010
Kelly Smith: 4 games as Captain, 117 caps - 2008
Mary Phillip: 17+ games as Captain, 65 caps - 2003-? [The first Black player to Captain the Lionesses]
Faye White: 48 games as Captain, 90 caps - 2002-2012 [Captained England at 4 international tournaments and to their first medal 🥈 at the 2009 Euros]
Debbie Bampton: 26+ games as Captain, 95 caps - permanent captain between 1985-1997 [oversaw the integration of the Lionesses into the FA in 1993, Captained England at their first World Cup in 1995]
Players who have played for Arsenal but we're England Captain while playing for another team:
Laura Bassett - 2 games as Captain
Ellen White - 3 games as Captain
Steph Houghton - 72 games as Captain
Casey Stoney - 19 games as Captain
Fara Williams - 11 games as Captain
not once does the article on Arsenal.com specify that it is referring to the men's team
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When I watched BP:WF there were moments in the movie where the theater stood still.No one made a noise.It was so quiet you could hear people's hearts beat.You could feel the grief in air and I've never felt that in a theater.It truly felt like we all lost a loved one in that theater and i've never felt more connected to a group of strangers in my life.
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✨Black Excellence 2023 Golden Globe Edition✨
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STRANGE DAYS (1995): Elaborately derivative, unpleasantly sordid cyberpunk thriller, directed by Kathryn Bigelow, set in Los Angeles in late December 1999 (still four years in the future when the film was released) and starring Ralph Fiennes as Lenny, a disgraced former vice cop and down-at-heels dealer in black market recordings for a technology that lets the user experience someone else's prerecorded memories (essentially the "simstim" rigs from William Gibson's Sprawl novels). After a former acquaintance leaves him a recording that could set a match to a city already perpetually teetering on the brink of riot — and which seems somehow connected to Lenny's estranged ex-girlfriend Faith (Juliette Lewis) and her sleazy producer/pimp/boyfriend Philo (Michael Wincott) — Lenny ends up on the run, aided only by his former partner Max (Tom Sizemore) and his inexplicably loyal driver/bodyguard/ex-girlfriend Mace (Angela Bassett, in a role obviously inspired by Gibson's Molly Millions, albeit without the hardware).
The story, which is by James Cameron, borrows liberally from William Gibson throughout (with an icky soupçon of Michael Powell's PEEPING TOM), but by keeping the setting to the then very near future, it remains topical and largely avoids reducing the cyberpunk trappings to a series of rote aesthetic gestures in the manner of the R. Talsorian CYBERPUNK games. However, a bunch of important narrative elements just don't gel (Lenny, whom Fiennes plays as a sort of musty wet dishrag of a man, is not at all convincing as an ex-cop, and the idea that Mace is still carrying a torch for him is hard to credit), and it's often really ugly (in particular a horrifying rape/snuff sequence that's upsetting to watch even if you're forewarned).
Worse, the film then catastrophically undermines its own political throughline with a preposterous and infuriating cop-out ending that betrays the filmmakers' white liberal equivocation about policing and race. CONTAINS LESBIANS? Only in a brief and obvious performative simstim sequence. VERDICT: Intermittently compelling — particularly Bassett, who is magnificent in every respect and by far the best thing in the movie — but its sheer nastiness and the cowardly ending tend to overshadow its virtues. CWs apply for graphic sexual violence and police brutality.
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