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filmjoyreviews · 11 months

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REVIEW - Insidious: The Red Door - A Perfectly Fitting End to the Series

Insidious: The Red Door is the final installment in the franchise which started with James Wan's Insidious in 2010.

Insidious: The Red Door is Patrick Wilson's directorial debut after starring in the series as Josh Lambert. And he even sings in the film's credits in a collaboration with Ghost, showing everyone his many talents as actor, director, and singer.

Insidious: The Red Door is already a great conclusion to the Lambert family's story, but it's also a win for Patrick Wilson fans who long for him to sing in more of his films--especially after the iconic Can't Help Falling In Love scene in The Conjuring 2. The cover of Shakespears Sister's Stay is a perfectly fitting song for the Insidious series.

Insidious Chapter 2 ends with Josh (Patrick Wilson) and his son Dalton (Ty Simpkins) choosing to forget the Further--the dark realm to which they travel while astral projecting--and even with a nine year time jump, Insidious: The Red Door picks up where we left this plot thread, explaining the dangers of forgetting our past rather than working toward making peace with it and finding a healthy and safe path forward.

Forgetting has left Josh with a brain fog he can't explain--constantly feeling like there's something missing in his mind. This disconnect has made him grow distant from his family, causing a chasm in their once warm and hopeful home.

Insidious: The Red Door expands on the story set up in the first two Insidious films, and does a great job connecting everything together to tell an honest story of generational trauma.

Patrick Wilson's directing powerfully brings the Further back and it looks better--and spookier--than ever.

One of the film's most powerful moments comes when we revisit a scene from Chapter 2, but from a different perspective. Using unused footage from the earlier film brings this moment to life. It truly feels like we are experiencing a memory unfold from Dalton's point-of-view. The new and existing footage blends together seamlessly, creating a mesmerizing visual--and one where we can feel Dalton's emotions through seeing this damaging memory through his eyes.

Insidious: The Red Door is an extremely personal and emotional film, focusing on the strained relationship between Josh and Dalton. Patrick Wilson and Ty Simpkins give complex performances highlighting the trauma and lived experiences of their respective characters.

The dynamic between father and son makes for an interesting film exploring trauma as well as generational differences and how shared experiences can bring us closer together.

In addition to its metaphors of the further representing the Lambert's trauma and their attempts to forget, Insidious: The Red Door also succeeds in its moments of visceral and suspenseful horror.

The Insidious franchise has always done a great job with its well-crafted jump scares, and The Red Door is no exception.

Jump scares can sometimes be quick, relying only on the surprise to frighten us, but Insidious: The Red Door creates its scares through a haunting, build-up of suspense. These scenes of horror utilize shadows and light masterfully, and create even more suspense through repetition and unexpected scares.

As the camera pans to the same spot or the lights flicker, we are still surprised by the location within the frame or the timing of these scares among the repetitions.

The Insidious films always have an underlying humor, conveying horror tropes and embracing the natural camp of the horror genre.

Insidious: The Red Door takes the familiar trope of children creating creepy drawings and instead of making it a result of the hauntings, it becomes a part of Dalton's character and a major aspect of the plot. Dalton's childhood drawings of what he saw in the Further have resulted in him being a talented artist going to art school.

There is a fitting campy energy from taking this common trope and asking us, what if this child who could miraculously create creepy works of art is actually a talented artist.

The film's finale also embraces camp and absurdity--once again connected to Dalton's painting. This surreal ending with its metaphorical ties to the film's darker, serious themes recalls classic surreal horror moments such as John Trent (Sam Neill) in In The Mouth of Madness breaking through the pages of the novel of which he is a fictional character and later, watching himself on screen in a movie-within-a-movie adaptation or Heather Langenkamp--playing herself--reading the end of the screenplay in Wes Craven's New Nightmare.

The moments of campy horror create a great tone, but at times, the film relies on jokes, and these moments tend to fall flat. The natural humor comes from the film's exploration of horror tropes, but doesn't work when it comes to scenes of college frat comedy.

For a final film in a franchise, sometimes new characters are not given enough development or screentime, but that isn't the case with Insidious: The Red Door. Dalton's roommate and confidant Chris (Sinclair Daniel) is a great addition to the franchise.

Chris is a great character who adds to the film, creating wonderful moments of suspense, because we care what happens to her. Sinclair Daniel gives a great performance, capturing the character's unique personality and weirdness that fits with Dalton's. There is an easy chemistry between the two characters and we can't help but get attached to their budding friendship as Dalton uncovers the secrets hidden away in his mind with Chris's help and encouragement.

***

Patrick Wilson's directorial debut Insidious: The Red Door is a captivating exploration of generational trauma brought to life through Patrick Wilson and Ty Simpkins' performances and challenging dynamic. Insidious: The Red Door shines with its well-crafted jump scares, beautifully haunting cinematography, and blend of memory and reality.

#horror #insidious #insidious the red door #patrick wilson #ty simpkins #film reviews

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techstartro · 4 months

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#Cinema #Dune:ParteaII #Film #VerticalEntertaiment

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nxntiius · 1 year

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|| errright.. i can't update my side-pages at the moment bc apparently i be using "invalid" html or some shenanigans..

BUT ANYWAY

i will be going back to using adam as gabriel's dominant fc.

his vessels will change at random depending on threads/asks/etc..

Vessel list:

Adam Lambert

Josh Hartnett

Louis Tomlinson

Ben Whishaw

Leonardo DiCaprio

Chris Pine

Harry Styles

Nick Jonas

and/or whoever else i may think of later on. if you prefer one fc over another, pls say so.

i have re written gabriel's bio.. it is LONG AF, but until i can edit those pages i will have to figure out some other way to post it or share the google document i have it typed out on. unless i just make it a regular post and pin it for the time being... food for thought.

tomorrow i have to work -- but, after making a couple new icons for each of the fcs, i should be up and ready to go. ideally..

#|♚| ooc #|| i have to go to bed now..#|| hopefully i can get more fixed tomorrow.

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horrorinicons · 5 years

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please like or reblog if you use or save (:

#insidious #Patrick Wilson #Josh Lambert #icon #icons #insidiousicons

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lordendsavior · 3 years

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Warsaw-based knitter Paula – who goes by the name Kai Kotto – spied her sweater vest on the star. It was, she tells British Vogue, “one of craziest, most wonderful moments of [her] life.” She continues: “What I felt seeing one of the greatest fashion icons of our time in my design is just beyond my words...”

Harry’s stylist Harry Lambert – who is a champion of emerging talent – contacted Kozłowska on Instagram. “I’ve been admiring his work with Harry Styles, Emma Corrin and Josh O’Connor for such a long time!” says Kozłowska, adding that she “couldn’t be happier” to see the piece on Styles.

#love that for her <3 #harry looks

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agl03 · 4 years

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Thank you ET!

Marvel'sAgents of S.H.I.E.L.D. is gearing up for one epic final mission.

The timeline-bending adventure returns for its seventh and final season on May 27, and ET is exclusively debuting the poster, which previews the team's upcoming adventures as they attempt to defend space and time from the Chronicoms.

The epic key art, from artist Kyle Lambert, shows each member of the S.H.I.E.L.D. team outfitted in different types of retro gear, alongside an image of a shuttle launch, an early automobile and a '50s-style diner, as well as the team's time-hopping Zephyr One ship.

Agent Phil Coulson (Clark Gregg), newly resurrected, looks dapper in a fedora and trenchcoat, while Daisy Johnson (Chloe Bennet) and Jemma Simmons (Elizabeth Henstridge) sport mid-1900s fashions and hairstyles -- with Simmons channeling Captain America: The First Avenger–era Peggy Carter in a big way.

Agent May (Ming-Na Wen) and Yo-Yo (Natalia Cordova-Buckley) appear to be costumed for later decades -- with Yo-Yo looking '70s-ish and May appearing uncharacteristically formal in a dress and jewelry -- while Deke (Jeff Ward) is giving off major Josh Brolin-in-Goonies vibes. Mack (Henry Simmons) and Fitz (Iain De Caestecker) are also pictured alongside their teammates, but with fewer context clues in their ensembles.

To capture Agents of SHIELD's final season, Marvel specifically looked to achieve several things in the unique poster Lambert created: 1) depict iconic time periods in which the characters find themselves in and also want to reflect the high stakes consequences of bending the laws of space and time in-order to help save the planet and attempt reconnect their team, 2) utilize illustration techniques to help tell the interwoven stories of our characters who find themselves traveling through space and time, and 3) capture the costumes and sets created.

ET spoke with Bennet at the premiere of her animated film, Abominable, at the Toronto International Film Festival last September, where she opened up about saying goodbye to the show and her character after seven seasons.

"I think they did a really good job with the ending," she said. "It was really sad to say goodbye to those characters... It feels like a bit of a graduation.

#aos spoilers #turns out i just need to get sick and take lots of fever naps #look at all the pretties #all the pretties #eeeeeee

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wellthatwasaletdown · 3 years

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“It’s a fake article apparently.” The quotes from the parody account are fake, but there is real article about Harry Lambert in The Times.

https://www.thetimes.co.uk/article/meet-harry-lambert-the-a-lists-secret-style-weapon-8ml3q06jl

Meet Harry Lambert, The A List’s Secret Style Weapon

Whether it’s Harry Styles’s internet‑breaking cardigan or Emma Corrin in head‑to‑toe Miu Miu, he’s the stylist responsible for the hottest celeb looks of the moment. So how did a former River Island shopboy become the man influencing the way we dress today?

In February 2020 Harry Lambert was helping Harry Styles get ready to perform on NBC’s Today show. Lambert, an affable, bright-eyed 34-year-old, had been Styles’s stylist for a good five years by then, helping the One Directioner develop a distinct visual brand — and yet Styles still wasn’t quite sure why Lambert was so insistent that he wear a bright, multicoloured patchwork cardigan by JW Anderson.“I remember him saying, ‘OK, I love it, I just don’t know why we’re wearing it for rehearsals,’” Lambert relays from his east London studio. But the stylist had “a weird feeling”, he says with a little smile. “I was like, ‘Wear it for rehearsal — I promise you.’”The choice of the garment, and the knowledge of when and where to wear it, sums up Lambert’s gifts neatly. Pictures of Styles promptly went viral, so much so that the cardigan became a TikTok craze, with fans trying to replicate the knit at home. By the end of the year the V&A had announced it was buying the original, since it said so much about fashion in 2020. “It makes me a bit giddy, I guess,” says Lambert, to think that this moment he concocted will sit in a national collection for ever.

Right now Lambert can lay claim to being one of the most influential stylists in the world. The Styles collaboration is of course his calling card: a parade of eye-raising and/or mouthwatering outfits that have progressed from a much-memed floral suit at the American Music awards in 2015 to a couple of feather boas at this year’s Grammys and a Gucci women’s handbag at the Brit awards last month. His few other celebrity clients (it’s an elite bunch) include Emma Corrin, who, in the absence of any awards ceremony red carpets to be seen on following her star turn as Princess Diana in The Crown last November, took to Instagram to showcase a series of exciting, adventurous looks; and also her Crown co-star Josh O’Connor. It’s no surprise that, along the way, Lambert has become a name in his own right: his Instagram account boasts more than half a million followers. And to think — the Topman in his hometown of Norwich turned him down for a job as a teenager because “I wasn’t cool enough”, he giggles. He got one instead at River Island, where he was occasionally allowed to style the mannequins in cardigans of a somewhat less avant-garde calibre.Lambert, dressed in shorts, T-shirt and a plaid shirt, is sitting in his whitewashed studio surrounded by clothes racks for each client and mementoes from friends. He was an up-and-coming stylist, with lots of edgy editorial work and a long stint working for Topman’s head office on his CV (the brand did eventually hire him), when industry insiders introduced him to Styles in 2014. The 1D megastar was setting out his solo stall (1D would officially split in 2015) and Lambert brought racks filled with pieces by JW Anderson, Saint Laurent and future long-term collaborator Gucci on the hangers. He got the job the next day.“Harry has always been interested in fashion essentially,” Lambert says. “You could kind of tell already from the way he was dressing and the decisions that he was making with brands. So there’s never been, like, a battle. Everything with Harry is super-collaborative and it’s always been, it sounds cheesy to say, heavenly, but … !”

The two are clearly mates — they call each other Susan and Sue (Lambert is Susan), and a poster from Styles, signed “To Lamby” (his other nickname), has pride of place on Lambert’s desk. From the way he tells it, neither has blinked when it comes to the sexy, campy, gender-twisting work that has made Styles stand out from his peers. Indeed, other boy band veterans — Robbie Williams or Justin Timberlake — never tried anything this visually brave. But Lambert is clear that this isn’t just him dressing a marionette: “I think it’s part of his, you know, part of his character — it’s part of him. I never want it to feel like he’s wearing a costume, I never want to feel like something is wearing him. We’re not doing it for lols — it should feel like part of the performance or part of the whole, you know?”Lambert admits to finding online critique culture overwhelming, but he points out, slightly apologetically, that most them, for him, have been good (no doubt partly thanks to the millions of Styles superfans). “I’m lucky that I have a lot of positive feedback. But when I see something that is negative, you remember that so much more than the positive things. I used to be like, ‘Social media doesn’t bother me,’ but it does kind of f*** with your head.” Still, he’s all for it: “What’s worse — being so boring that nobody talks about you?” As for Corrin, they actually met at a Styles gig and the two became friends before she asked him to work with her for the media blitz for The Crown. “There’s something about her energy that’s just so infectious,” he raves today. Many have loved her appearances in fashion-forward London brands such as Knwls (a stringy black sheer party number, showcased in a lift), or more eccentric insiders like new-era Schiaparelli and Miu Miu. For Lambert, who loves to champion up-and-coming British brands such as Maximilian, SS Daley or his good friend Harris Reed, it was a no-brainer. “There’s a tendency sometimes for young actresses or young talent to make them look older or more ‘mature’. People are trying to hurry them along.” Corrin may be a leading lady already, “but she’s young too, and cool”, he reasons. “We didn’t want it to feel stuffy.”

Being a stylist is a star turn in itself now. In the glory days of the Noughties Rachel Zoe styled the likes of Nicole Richie and Lindsay Lohan in a very Zoe way (big sunglasses, bigger bags, gladiator sandals and anything boho). She has been followed by the likes of Karla Welch, who has put clients such as Tracee Ellis Ross and Elisabeth Moss in considered yet still fashion-forward choices, and the other current hot favourite Law Roach, who earned the respect of the entire world for decking out Céline Dion in Vetements. Lambert’s contribution is to blur not only genders, a bit, but also the distinction between “editorial” (traditionally edgy, fashy) and “red carpet” (which is to say glossy, a bit staid).Lambert finds most red-carpet dressing fearsomely dull, to be clear: “I really cannot see another black tie! Just no. No, thank you.” The last “iconic” red-carpet moment was, he thinks, Rihanna’s omelette dress at the Met Ball, and that was 2015. In fact what has really got him buzzing is RiRi’s latest series of outfits papped as “she comes out of restaurants, goes up escalators … it looks so good”, he says. “It’s better than most of what’s on the red carpet!” Back in Norwich, Lambert had no clue what a stylist was when he was growing up. The child of a policeman dad and a nurse mum, he had an extensive interest in clothes but no knowledge of fashion per se. It was only when he went to study photography at the University for the Creative Arts Rochester, in Kent, that he was alerted to it. He interned at fashion magazines during his summer holidays, then started working for a senior menswear stylist, and then the position at Topman came up. He speaks fondly of home — he says his dad is quite a “flamboyant” dresser, actually — but admits it took everyone a minute to suss out what he does. “Even up until five years ago my parents would tell people, ‘He’s a stylist,’ and they’d say, ‘Oh, he does hair?’

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aion-rsa · 3 years

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Insidious: Is The Further Real?

https://ift.tt/39C1Z8d

“The Further is a world far beyond our own, yet it’s all around us, a place without time as we know it,” Elise Rainier (Lin Shaye) explains in the 2011 occult horror film Insidious. “It’s a dark realm filled with the tortured souls of the dead, a place not meant for the living.” Director James Wan saw the astral world through the eyes of fear. It was how he was able to evoke the most terror from the nether regions of soul and thought.

Horror films have made a spiritual ghetto out of the universe which lies between dream, sleep and death. They focus on the malevolent realm of incubi, succubae and the Red-Lipstick-Face Demon. The map to the Further is not limited to shadowy studies. Many mystical practices are divided into black and white magic out of fear and superstition, but there can be room for both.

Insidious starts off like a fairly typical haunted house movie. It opens shortly after Renai (Rose Byrne) and Josh Lambert (Patrick Wilson) move into a spooky new house with their three children. When the property progresses from ominous to hazardous, the family move into an even spookier house, fire their real estate broker, and contact an astral travel agent. The psychically gifted supernatural expert, Shaye’s Elise, explains the hauntings are not a feature of the multiple houses, but the results of a family member embarking on nocturnal astral projection missions which he believes are dreams.

The concept that the soul can leave the body during dream states is ancient. But for all the purported cosmic intelligence culled from out-of-body incidents, practitioners have found no way to scientifically measure if a spirit leaves or enters a body. It is a concept rejected by scientists but beloved by filmmakers and other artists.

In the film, the first person to put the notes together is Renai, the mother of young Dalton (Ty Simpkins), who falls into a mysterious coma early in the first act. Renai, who is a songwriter, experiences two initial contacts. The first comes in a box of missing sheet music. Musicians have always been pioneers when it comes to gray areas of society and spirituality, and rockers chose to embrace the Further. George Harrison melodically rhapsodizes about the extracorporeal aspects of certain Hindu practices in the Beatles’ song “The Inner Light.” The Moody Blues harmonize on the idea that “Thinking is the best way to travel” on their 1968 album In Search of the Lost Chord, itself a musical blueprint for transcendental journeying. Through sonics, these artists ventured happily into the transformative aspects of the Further. Among true believers, “the Further” is also called Liṅga Śarīra, Akasha, and prana. But it’s probably best known as the astral plane, a shallow tag in itself.

“The term ‘astral plane’ is a poetic description, at best, or more accurately a misnomer,” says Zeena, a Tibetan tantric Buddhist yogini, and iconic occult authority and artist. “When our consciousness pierces the veil of our ordinary, everyday scope of perception, there are infinite other realities one might experience, not just one ‘astral plane.’”

In Insidious, the paranormal hunting psychic Elise explains that Dalton is a “traveler,” who was born with the ability to pierce that veil.

“Everybody possesses the potential for astral projection,” Zeena says. “It’s a natural part of being human, just as many other metaphysical or paranormal experiences can naturally occur. But the ability to actualize it is relatively rare, and the effects from the occurrences vary greatly depending on many factors.”

Rebecca Halladay, an occult writer, scholar, and lifelong practitioner and witch, describes astral projection as “working on the Inner Planes of consciousness. In terms of ‘dimensions,’ this would be considered [fifth-dimensional] or above. Journeying is work within the physical, Earthly realm, which is [three-dimensional].”

Certain practices are believed to bridge these dimensions.

“Astral projection during deep states of unconsciousness like sleeping, fainting, or coma, could be achieved by a master of such techniques,” Zeena says. “For one who’s trained most of their life in the esoteric method of willed astral projection, and has become highly skilled in the ability to focus the mind under all circumstances, then deep states of unconsciousness wouldn’t impede their ability.”

The cinematic spiritualist doesn’t believe Dalton fell into a coma because he slipped off a ladder in a creepy attic. Elise believes the boy, being only a child, couldn’t tell the astral projection from a dream and had no fear about going too far.

“The Further looks like your surroundings, but a different lighting shade of it,” says Emi Rose, a psychotherapist and founder of Paragon Solstice. “You can see yourself.”

Rose finds that “Insidious depicts the astral plane in similar levels. It is similar in respect to the idea of a ‘physical’ mirror image of your waking life. Your surroundings around you as you sleep are remarkably similar. The difference is the state of consciousness you are now in can shape and change that experience that exists out of time and space.”

Because of the familiarity and relative comfort of these projected surroundings, Dalton gets lost in his adventures, leaving only a lifeless body behind. Elise, a veteran soul-traveler herself in the movie, is ever mindful of the dangers.

It all amounts to a very literal translation of eastern philosophical contemplations. The Buddhist meditation practice Maraṇasati is constant remembering that death can strike at any time. Thukdam is a Buddhist phenomenon in which a realized master’s consciousness remains in the body despite physical death. While this isn’t what is happening with the young Dalton, he is plugged into medical sensors which, during at least one frightening pop-up, flatline.

Practitioners and researchers are divided on whether it is possible to slip away and die during astral travel.

“There is a risk that could happen if done incorrectly,” Zeena tells us. Kristna Saikia, who is a metaphysics and meditation teacher and filmmaker, as well as a fellow astral travel facilitator, disagrees.

“No one dies in Astral travel,” Saikia says “There is a silver cord which is always connected with our etheric body. When you astral travel, you are always aware of what is happening in the earthly dimension with your body. It’s an intentional out-of-body experience. You can come back to your physical body whenever you decide.”

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In Wan’s film, tormented souls vie against demonic forces for the chance to possess Dalton. Possession is a horror film mainstay, and Insidious offers an interesting alternative arc to the usual spectral evictions enforced by Hollywood. But is it possible for an entity to take over a body during an astral trip?

“If done incorrectly, yes,” Zeena tells us. It is also something which can be done with intent. “In ceremonial magic, this is the entire purpose of entering the Inner Planes,” says Halladay. “During the Rite of Isis, the Priestess goes into the Inner Planes to invoke the Goddess Isis to bring her into the Earthly realm. Now can an entity ‘possess’ a physical being while on the planes? I would have to say it is absolutely possible.”

It turns out Dalton isn’t the only traveler in the Insidious family. He gets it from his father, who was terrorized by the spirit of an old woman during his childhood. Josh suppressed the memory, but Elise opens old wounds and new ones for the patriarch. She hypnotizes Josh, triggering his long-resting phantasmal dislocation, and sends him into the Further to find his son and bring him back.

Zeena confirms people can be guided through the experience, but insists “it’s a very delicate process requiring a qualified teacher from reputable metaphysical lineages that specialize in that. And even then, astral projection, or directing one’s consciousness, is not the main goal, but rather a way to gauge preparedness for more advanced training on the path toward spiritual enlightenment. When done improperly, the results of attempting astral projection simply for experimentation, entertainment, or curiosity can be disastrous.”

The film presents a cinematically dark alternative to the physical plane, a netherworld of unlocked doors and an overarching feeling of dread. Insidious doesn’t imply the Further is Hell, but it does look like one of the many highways AC/DC bypassed.

“They gave the darker energies too much power in the movie,” says Emi Rose. “In the astral plane, we always have a balanced choice to engage on a subconscious or conscious level. On a conscious level you can power your will, create scenarios.”

Josh’s first encounter in the Further is with the Crying Woman, not the most inviting of hosts. Citizens in Insidious’ cinematic spectral realm include the spirits of a family doomed to relive their violent deaths on a spectral loop; a long-haired, leather jacketed ghoul with a sex-fiend tongue; and a mischievous little boy. At its center is the Lipstick-Face Demon. It is tall with horns, pointed ears, snake-eyes, spidery fingers, and hooves for feet. Its skin is black as the night sky, its eyes are blacker holes.

“When one has a mind-expanding experience through any number of means, whether astral projection, meditation, or psychedelics, one encounters infinite types of beings,” Zeena says. “Recently deceased beings; beings we knew in a former incarnation but recognize in their new reincarnated state; celestial beings; demons and hell beings; mythological or magical beings; Buddhas and Bodhisattvas; Gods and demigods.” They’re all among the usual suspects.

But what you encounter is also contingent on who you call. “It all depends on the law of polarity,” Saikia says. “If you project fear, you will encounter energy vampires and evil entities.”

Halladay agrees that there are other entities in the astral planes, but says “I have never personally met other travelers, only those I have astralled with.”

The Red-Faced Demon never speaks in the film. It has, however, spoken with Josh’s mother, Lorraine (Barbara Hershey), in her dreams, which also appear to be of a special class: lucid dreaming.

“Astral traveling is a combination of Insidious and Inception,” quips Emi Rose. Inception is technically about lucid dreaming, Leonardo DiCaprio’s character Dom is technically-aided to enter dreams to steal information or implant ideas. It is often mistaken for astral travel, but not usually weaponized in the way that film presents it. Reddit’s rogue “Astral Army” community claims they combine astral travel and remote viewing to post out-of-body surveillance reports on popular conspiracy theory obsessions like Area 51.

The different practices are often mistakenly considered interchangeable, but are quite different.

“With astral projection, one is sending one’s consciousness–either in part or fully–away from their body to a designated place or realm, in this world or others, for a particular purpose,” Zeena explains. “Remote viewing is when consciousness remains in the body but one can view anywhere else from afar. These two phenomena are also different from the involuntary experience colloquially known as OBE (out of body experiences), which usually spontaneously occurs in conjunction with trauma, near death experiences, or extreme stressors or ecstasy.”

In the overall arc of the Insidious franchise, the Further is much vaster than originally imagined, and the source and tool of mystical workings.

“There is a difference between Occultist practices and some, though not all, Esoteric Traditions,” says Halladay. “Occultists, past and present, generally accept astral projection as a regular part of their practice. Eurocentric pagan traditions do not make it a part of their regular practice.”

Though a fan of the film, Rose thought “Insidious focused too much on the shadow side of the astral plane. The movie portrayed the astral world as a scary dark place with only negative entities waiting to take over your body. So many more things occur in our dream world that we can conceive beyond bad scenarios. It is where we can conduct unfinished business, live out fantasies, replay or create scenarios, and travel to places we cannot do in our waking life.”

Late 18th century occult orders Golden Dawn and the Theosophists believed they could journey to other worlds, heavens and hells, and astrological spheres through etheric travel. In the 1999 book, Astral Dynamics, Robert Bruce calls it the “Real Time Zone,” and says it is the non-physical dimension-level closest to the physical. The New Age movement actively promotes the brighter, more enlightening aspects of the Further, to the point where the practice is on the precipice of mainstream thought.

Insidious isn’t the first film to venture beyond physical realms, but its ongoing franchise is proof the inner universe is expanding.

Insidious is streaming on Netflix now.

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sthefany16 · 2 months

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Somebody 🥺🥺

Hii, Somebody can you write a smut in which all the girls in Atlantis fall to their knees for the Oceano Master except Y/N and it kills him with rage. But everything changes when he corners you And take it to his room. With degradation kink, praise kink, hair pulling kink, choking kink, domination kink, facial fucking, pussy slaps, swallow cum,denial of orgasm for her, slaps, hair pulling, hard sex, age difference, height difference and swearing 🙏🙏❤️❤️

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hallaevak · 4 years

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50 songs that hit skam stans differently

1. last dance, scratch massive (fr s3)

2. i love you, riopy (fr s3)

3. tonight, lykke li (og s3)

4. i feel it coming, the weeknd/daft punk (og s4)

5. lover, where do you lived highasakite (og s1)

6. the message, nas (og s3)

7. bossy, kelis (og s1)

8. don’t worry, madcon/ray dalton (og s4)

9. kiss me, ed sheeran (og s4)

10. call your girlfriend (og + others, ICONIC s3 scene)

11. take me to church (og s1 + druck s3)

12. o helga natt, nils bech (og s3)

13. paradise, coldplay (og s2)

14. alejandro, lady gaga (es s1)

15. hurricanes, dido (es s2)

16. i follow rivers, lykke li / rizha (es s2)

17. in motion, coloring (fr s3)

18. faceless, obsimo (it s2)

19. evolve, anoraak (it s2)

20. woman, mumford & sons (druck s2)

21. sweet apocalypse, lambert (fr s3)

22. rebel rebel, david bowie (wtfock s3)

23. wildfire, SYML (wtfock s3)

24. stars, VIZE (wtfock s3)

25. down low, doja cat (au s1)

26. nattergal, gabrielle (og s3)

27. 5 fine frøkner, gabrielle (og s3)

28. hold your horses, nuit, (fr s5)

29. the good side, troye sivan (druck s3)

30. visions of gideon, sufjan stevens (druck s3)

31. perfectly wrong, shawn mendes (druck s2)

32. come out and play, billie eilish (es s2)

33. wanna be yours, arctic monkeys (it s3)

34. tell me what you see, matilde davoli (it s3)

35. faking the books, lali puna (it s3)

36. strangers, sigrid (nl s1)

37. forever young, alphaville (nl s2)

38. ivy, frank ocean (nl s2)

39. my my my!, troye sivan (au s1)

40. indestructible, robyn (au s1)

41. past lives, børns (wtfock s3)

42. love will tear us apart, susanna (og s4)

43. talk show host, radiohead (og s3)

44. head over heels, tears for fears (og s3)

45. in my mind, dynoro (wtfock s1 + s3)

46. trick r greet, josh a, iamjakehill (wtfock s3)

47. dynamite, sigrid (nl s1)

48. sunset lover, petite biscuit (wtfock s1)

49. space oddity, david bowie (wtfock s3)

50. hide n seek, imogen heap (i think most remakes use this music for s1??)

let me know if i missed any! this list is a lot of wtfock, skam france, and og, but just because i like the music of specific remakes/seasons doesn’t mean that i think they’re the best. their soundtracks are just good lol. i tried to include at least a couple of songs from each remake that i love as well <3 enjoy

#skam #skam france #skam nl #skam espana #skam italia #wtfock #druck #skam austin #skam music

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creativity-is-rebellion · 4 years

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More Top 20 Must-See Horror Movies

Especially now we are in isolation, who doesn’t crave a good horror movie to watch? To that purpose, I have created yet another top 20 must-see horror movies, along with why you should be watching them. So get into your comfy clothes and blanket, grab some popcorn, and settle in to watch these horror gems (WARNING: May contain spoilers).

1) Ginger Snaps (2000)

I first saw this movie when I was fifteen years old, and, watching it recently, I was still impressed how it handles the perils of transitioning from teenhood to womanhood. Ginger Snaps follows the story of two outcast sisters, Ginger (Katharine Isabelle) and Brigitte (Emily Perkins), in the mindless suburban town of Bailey Downs. On the night of Ginger's first period, she is savagely attacked by a wild creature. Ginger Snaps is a terrifying movie with good character development, acting is convincing and it has a fast-paced story line. If you're into well-done horror movies Ginger Snaps is the movie for you. It is one of the best modern werewolf movies I have seen.

2) Annihilation (2018)

Drawing on mythology and body horror, Annihilation is an intelligent film that asks big questions and refuses to provide easy answers. It is Sci-fi horror at its best, boasting a very intriguing and unique idea whilst entertaining the viewer throughout the film. Definitely a must-watch.

3) Green Room (2015)

A punk rock band becomes trapped in a secluded venue after finding a scene of violence. For what they saw, the band themselves become targets of violence from a gang of white power skinheads who want to eliminate all evidence of the crime. Influenced by exploitation movies of the 1970s (and punk music of the 1980s), this horror-thriller is rooted in a gripping, grisly kind of realism without resorting to lazy coincidence or stupidity. This is again a fresh take on horror and worth a view.

4) 1922 (2017)

I learned from a great film critic many years back that your own best judgement of a movie is best discovered when you realise that you are still thinking of it many days later. This Stephen King film stays true to the iconic master with all the tell-tale signs of a Kings classic: A haunting grimness that lingers throughout the movie, a tragedy and of course, outstanding performances. The mother that returns from the dead leaves you in a crazy suspense of whether it is simply a dream, a man’s demented insanity, or an actual reality. Thomas Jane’s performance was stellar and totally believable as a farmer in rural America in 1922. He actually takes you through the movie as if you were part of him and what is going on. The message that Stephen King leaves you with is dreadfully powerful of how greed can destroy all. Definitely worth the watch, especially for Stephen King fans.

5) Evil Dead (1981; remake 2013)

Both versions of this movie are great, but I have a special fondness for the original, which was Sam Raimi’s directorial debut. The camerawork is amazing for a low-budget film, and the creepy atmosphere is eerily accurate. We feel Ash’s pain when his friend, sister and girlfriend are one-by-one changed into Deadites, and the ending keeps you guessing, and wanting, a sequel. I am quite a fan of the Evil Dead franchise actually, and have just finished watching the TV adaptation Ash vs. Evil Dead. I’m savouring the last episodes, and am sad that it got cancelled. I look forward to more from this franchise, hopefully in the not-to-distant future.

6) Get Out (2017)

This film is unique, telling the tale of young black man who meets his white girlfriend’s parents for the first time. Jordan Peele’s film delivers a chilling satire of liberal racism in the US. More than just a standard-issue thriller, this brutal, smart movie is impeccably made, as well as surprising, shocking, and funny, while also offering a compassionate, thoughtful look at race. Expect only the very best a film has to offer, with a nasty twist at the end that you won’t see coming.

7) Hell Night (1981)

One of the best things about this movie which follows fraternity and sorority pledges who spend the night in a mansion haunted by victims of a family massacre is that it stars legendary Scream Queen of The Exorcist fame, Linda Blair. Other than that, prepare for a fun, wild ride, the way every good slasher movie should be.

8) Insidious Part 2 (2013)

I actually enjoyed this sequel more than the first movie, as it was less plodding and more action-packed, with an intriguing antagonist in the form of the mysterious “Bride in Black,” who turns out to be the evil spirit of serial killer Parker Crane, who, as we know from the previous movie (SPOILER ALERT) has taken over the body of Josh Lambert, and is fighting for control of his soul. I enjoyed seeing the return of Elise Rainier, who was (SPOILER ALERT AGAIN) killed off in the previous movie. James Wan directed this second helping even more masterfully than the first. A must-watch.

9) Sleepaway Camp (1983)

This is a campy slasher gem, where they cast real teenagers, which elevated the drama of the plot somewhat. Sleepaway Camp tells the story of a young girl named Angela who goes to Camp Arawak with her cousin Ricky. Once the two arrive at camp, a series of events/killings leads the campers to discover that there is a killer on the loose. Sleepaway Camp is not in any way intense or fast paced. However, even though many initially might look at as a “rip off” slasher film, the movie does get creative when it comes to the brutal killings and certain aspects to the film that no one saw coming. Including the jaw-dropping twist at the end. I’m not giving it away. You just have to watch it.

10) Cold Prey (Fritt Vilt) (2006)

This movie takes full advantage of its snowy, secluded set-pieces, using Norway’s harsh winter landscape to masterfully build tension and heighten the sense of isolation. As horror movies go, Cold Prey is a slow-starter, committing the first third of its running time to investigating the signs of violence scattered throughout the hotel, allowing the characters to theorise about what pernicious acts may have taken place before the hotel’s abandonment. It begins at the intriguing yet deliberate pace of a psychological horror film as the sequestered friends, initially inebriated and giggly, explore the hotel and sharing secrets, but the movie’s party-hard atmosphere bursts open at the 40-minute mark to reveal a black horror centre. Slick and stylish, Cold Prey is a genuine pleasure to watch.

11) The Hills Have Eyes (1977; remake 2006)

Even if it echoes a better film (namely, The Texas Chainsaw Massacre), the original movie is still an important one to view for lovers of the horror genre. This is a sometimes ghastly - and occasionally absurd - shocker that really gets under one's skin. Though many critics initially despised the original outing, it has since been called one of the best horror movies of the 1970s. Scary-movie specialist Wes Craven made this viscerally-violent feature on a low budget, and some horror connoisseurs call it his best. Ultimately the "normal" people strike back with a ferocious blood-lust they didn't know they had, and the question is how much a "civilised" person can be pushed before one becomes a savage. Are the Carters really all that much "better" than Jupiter and his spawn? That is a question that you, as the audience member, are required to ponder.

12) The Dawn of the Dead (2004)

This remake of George A. Romero's 1978 sequel to Night of the Living Dead soups up the zombies, cranks up the gross factor to 11, and has a lot of cheeky in-jokes about its predecessor. In comparison with the original, out are the shrieking blondes and rampaging looters, in are smart, controlled Ana (Sarah Polley as a believable nurse not afraid to wield a fire poker) and Kenneth (Ving Rhames), who is exactly the kind of cop you want walking beside you if you are facing scores of the undead.

The zombies are a bit spryer in this film, and the pregnancy of one of the main characters is not the life-giving promise it was in the first movie. But the ending is what differs most from the original. If you're a fan of the horror genre, then this flick is a welcome, if derivative, fright-fest in the school of Romero's classics.

13) The Cabin in The Woods (2011)

What starts out as another five-band teen getaway to a cabin in the woods ends up becoming a fresh take on the trope, with puppeteers behind what is taking place, in a twisted game of Choose Your Adventure. The ending is fittingly grim, but you won’t be disappointed. Definitely worth one hour and thirty-five minutes of your time.

14) The Babadook (2014)

The feature debut of writer-director Jennifer Kent is not just genuinely, deeply scary, but also a beautifully told tale of a mother and son, enriched with layers of contradiction and ambiguity. It presents grief as a demon, questions reality, and creeps out the viewer by making psychopathology seem like something that could happen to anybody. The style of the film is not teasing exactly - it's too sad and lonely - but there is certainly a hair-pulling mixture of glum laughter and vast apprehension. Is the demon real? Does it matter? That’s for you to judge. Either way, if it’s in a word, or if it’s with a look, you can’t get rid of the Babadook.

15) Suspiria (Original and the Remake - 1977 and 2019 respectively)

Suspiria is a baroque piece of esoteric expressionism that you enter - and exit - without understanding so much as feeling. It's always fascinating to watch; the thrills and spills are so classy and fast that the movie becomes in effect what horror movies seemed like when you were too young to get in to see them. Director Dario Agento works so hard for his effects -- throwing around shock cuts, coloured lights, and peculiar camera angles -that it would be impolite not to be a little frightened. This entry stands out as it is a visually beautiful horror movie, a bright fantasy that lives off its aesthetic. If you are a horror fan and haven’t seen this movie yet, then you’re not living right. The remake is also worth a watch, something that is oftentimes unique in the horror genre.

16) A Quiet Place (2018)

This gripping, clever monster movie is one of those rare genre treats that seizes on a simple, unique idea and executes it so perfectly and concisely that it elicits satisfying squeals of delight. It's directed and co-written by Krasinski, who's best known for his work in comedy but translates his experience in that genre to the expert building and releasing of tension here. A Quiet Place is, in many ways, like an extended classic horror movie sequence, such as famous ones in The Birds or Aliens, wherein the heroes must try not to disturb packs of resting monsters.

At the same time, Krasinski uses his quiet moments like music, ranging from moments of restful beauty -- including a father-son trip to a waterfall, where it's noisy enough that they can talk and even shout -- to moments of pause. A loud noise can cause a jump, but it's immediately followed by tension and dread: Will the creatures come this time? The real beauty is the movie's primal quality, based on the most basic elements of life, such as survival and protection of the species. No explanation is given for the monsters' existence; they, like us, are just here. Images of water, sand, bare feet, crops, and plant life serve to underline the theme of life itself. A few overly familiar horror movie clichés keep it from being perfect, but otherwise A Quiet Place is so good that it will leave viewers speechless.

17) The Exorcist (1973)

Once famously dubbed ‘the most terrifying movie ever made,” this movie is steeped in urban legend, especially concerning the unfortunate happenings that occurred when it was being made.

If you think your teen is ready for this shocking film, keep in mind that some audience members in the '70s reportedly fainted after seeing Dick Smith's grisly makeup effects on Blair. In some extreme cases, viewers even required psychiatric care. Also, the moans, snarls, and profane utterances from Regan (most are actually the dubbed-in voice of a well-known older actress, Mercedes McCambridge) amount to some of the most chilling audio ever done for film.

Thanks in part to Linda Blair's wrenching, Oscar-nominated performance, The Exorcist was a huge hit, earning back 10 times its $10 million budget (a then-lavish sum, outrageous for a "mere" horror flick). Movie historians cite it (along with The Texas Chainsaw Massacre) as the conclusive end of old-school spook shows featuring Dracula and Frankenstein and bobbing rubber bats. If you haven’t watched it yet, you may have your horror movie fan card revoked.

18) The Final Destination Franchise (2000 - 2011)

If I had to list all of the movies in the Final Destination franchise in order of quality, I would say 5, 1, 2, 3, and 4. Fourth instalment withstanding, the series is a formidable addition to the horror genre, as the invisible killer, Death Itself, stalks its victims and kills them off in creatively gruesome ways after they initially cheat death. The fifth addition contains an awesome twist at the end which in hindsight you should have seen coming throughout the entire movie. Pay close attention. The only downside is (SPOILER ALERT) that none of the characters throughout the series really survive.

19) Let the Right One In (Lat den Ratte Komma In) (2008)

Please watch the Swedish version, and power through the subtitles. This is a horror movie that is tragic on multiple levels, as it deals with a lonely and bullied boy who so happens to live next door to a pubescent vampire. When her benefactor dies, we see how the main character’s life will also unfold, and what lies in his future. A must-see film that is more than just your average horror movie.

20) Terrifier (2017)

This movie definitely gets back to basics by paying homage to the original slasher classics. Art the Clown, who we are originally introduced to in the 2013 movie All Hallow’s Eve (also worth a watch), is a vicious horror movie villain who kills just for kicks. He also subverts the horror movie trope by using a weapon which was previously considered off-limits to horror movie villains, especially those with supernatural abilites (mostly, anyway). This movie also contains one of the bloodiest deaths in recent horror movie history. I like the use of practical effects over the often-overdone CGI. What is Art the Clown? Deranged killer? Demonic entity? Who cares? Its all good fun. Watch it now on Netflix.

I’ll probably be back again some time in the future with a further 20 horror movies that are worth a watch, because there are so many of them. To everyone, take care during these uncertain times.

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rainydawgradioblog · 3 years

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RDR Essentials - Folk & Country (5/05)

RDR Essentials is a weekly newsletter of alternating genres that outlines key releases of the past month, upcoming events around Seattle and happenings in the specified music genre.

Made in collaboration between Rainy Dawg DJs and the Music Director.

Releases:

Church of Roswell - Here Comes Church of Roswell

Candi Carpenter and Josh Doyle are the duo that make up Church of Roswell. Here Comes Church of Roswell is their first EP, and it is brilliant musically and lyrically. Carpenter has performed at the Grand Ole Opry. She covers Dolly Parton songs, and she is very good at it. Doyle’s claim to fame is as a member of a British pop-punk band called The Dum Dums— in the early 2000s, they made a bit of a splash in England. The two couldn’t be more different and yet, somehow, they work by embracing the eclectic. Overall, Here Comes Church of Roswell is incredibly cohesive and it’s best listened to in order, where the songs flow with clear intentionality.

The EP opens with “Werewolf,” which, as lyrically devastating as it is, doesn’t sound downtrodden. Carpenter and Doyle’s comforting wash of harmonies shine on “Rocketeer” especially, where the two repeat the phrase, “Nothing is going to bring me down today.” The melody on “Rocketeer” is about as infectiously lighthearted and catchy as it gets. The themes of existentialism and outer space are some of Carpenter’s favorites to explore (see her solo track “The Astronaut” for ample proof of this).

Any fan of the kind of folk-rock popularized by the Lumineers will love the track “Love is a Killer.” This track has a clear, upbeat urgency, which “The Witcher” serves as a continuation of. “The Witcher” particularly highlights the enormous talent Carpenter and Doyle’s backing band, many of whom are also members of Jason Isbell’s acclaimed The 400 Unit.

As a listener, with the expansive “Canary” as the last track, you’re left wanting more. And congratulations, you’re now a congregant of the Church of Roswell.

— Michele Rubinstein

Ashley Monroe - Rosegold

Ashley Monroe is arguably more known as a member of the all-female supergroup the Pistol Annies than she is for her solo work, which is a real shame. Normally, Monroe is a masterclass in vulnerability and the confessional. She has never been afraid to branch out. While her latest (and highly anticipated) album isn’t a departure from her adventurous norm, it is a departure from her standout poignancy.

In Rosegold’s 10 synth-heavy tracks, Monroe lends much of her writing to cliché. With lines like “wind blowing waves in your hair” and “you're movin' mountains in me,” the song “Groove” best exemplifies this unfortunate decision.

Tracks like “Flying” and “See” emphasize that Monroe’s intention was to craft an airy, ethereal body of work and, while that is admirable, it has also resulted in an album almost devoid of substance.

“Til it Breaks” and “The New Me” are the standout tracks on this album. The only problem is that they’re the last few tracks. By the time I got to them, the disappointment had already set in. I still think Monroe is incredibly talented, but she’s got better albums under her belt than this one.

— Michele Rubinstein

Taylor Swift - Fearless (Taylor’s Version)

Okay… In a writeup of recent country releases there was NO way I wasn’t going to include Taylor Swift’s remastering of her 2008 Fearless album. Swift’s intention with her planned re-recordings is to regain control of her master recordings. The public stab at music manager Scooter Braun, who currently owns the original masters, is just a plus.

Fearless (Taylor’s Version) intrinsically invokes nostalgia that knows no bounds in its audience, much of whom were very young when Fearless was first released. The iconic opening line of “Love Story” — “We were both young when I first saw you…” — suddenly has a double meaning.

Predictably, the re-recordings sound much more polished than their original counterparts. It became clear from the get-go that this was not going to be Taylor Swift re-enacting her teenage self; instead, she would perfectly juxtapose the songs of her adolescence with her current vocal maturity. This is most evident on the track “Fifteen” where, at 31 years old, Swift reflects back on her freshman year of high school. Swift goes about the re-recording of “The Best Day” in a similar manner, and it’s deceptively simple sounding considering the complex topics that Swift is exploring. Somehow, Swift successfully evokes her adolescence more skillfully now than she did fresh out of it.

The album also includes six previously unreleased “from the vault” songs. Two of the six (“You All Over Me” and “That’s When”) include collaborations with Maren Morris and Keith Urban respectively. However, I’d argue that “Mr. Perfectly Fine” is the best of the six— As an upbeat, scream along in your car type break-up song, it’s reminiscent of Kelly Clarkson’s Breakaway era.

— Michele Rubinstein

Croy and the Boys - Of Course They Do

Croy and the Boys embody the ideals of traditional outlaw country music with a modern twist (Singer and guitarist Corey “Croy'' Baum identifies generally as an anarchist and anti-capitalist. I will leave it to you to decide if that is a traditional outlaw ideal or not.) Their latest release Of Course They Do is a six-track EP entirely made up of punk covers.

One of the covers (The Dicks’ song “Hate the Police”) is renamed “Croy Hates the Police,” but otherwise remains unchanged. The decision to cover punk songs is one I find particularly interesting, because punk songs tend to be both politically charged and poignant lyrically, but a lot of that is incoherent in the traditional punk sound. By stripping back punk songs, Croy and the Boys clearly emphasize that punk is more than a sound.

My favorite track off of the EP is “Do They Owe Us A Living,” which was originally written by the band Crass over 40 years ago. While Croy and the Boys have updated some of the lyrics, the song’s underlying message is as relevant as ever. Baum describes how the song felt particularly “timely” to revisit in the midst of the pandemic, “watching as Washington debated whether to send us relief checks.”

And, by the way, the song’s answer to the question “Do they owe us a living?” is a resolute, repeated, “course they do.”

— Michele Rubinstein

Upcoming Releases:

Miranda Lambert, Jack Ingram, and Jon Randall - The Marfa Tapes (5/7)

I don’t think I could overstate how excited I am about this collaboration if I tried. The two singles released in anticipation of the album (“Geraldene” and “Anchor”) have, impossibly, only increased my excitement. Lambert, Ingram , and Randall have collaborated before: in 2016, they met on a front porch in Marfa, Texas, and wrote “Tin Man,” one of Lambert’s most devastating ballads. Last September, when the three met in Marfa again, The Marfa Tapes were written around a campfire. It’s clear that, if not for the pandemic, this collaboration would never have been released.

As popular as she is, I’d argue that Miranda Lambert’s talent and versatility as an artist is criminally underrated. Lambert regularly sells out arenas. As single take, live recordings ridden with perfect imperfections, The Marfa Tapes are an obvious departure from her polished, dramatic norm— though they do include a stripped back version of “Tin Man.”

Other standout singles released so far include the twangy “Geraldene” and an emotional ballad called “Anchor.”

Broken Hearts & Dirty Windows: Songs of John Prine, Vol. 2 (10/8)

I know I may be getting a bit ahead of the game by referring to an October release as an upcoming release. But, the two singles (covers of Prine’s songs “Paradise” and “I Remember Everything” by Sturgill Simpson and Brandi Carlile respectively) released from this one already make it clear that it’s worth building up your anticipation now.

This is the second volume of a compilation honoring the late singer-songwriter John Prine, who died of complications from COVID-19 last year. Prine’s independent record label Oh Boy Records has yet to release the album’s tracklist.

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helpersofindie · 7 years

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could i please get some suggestions for faceclaims ( male and female ) that are 35+ and have some resources, like a pack of gif icons or a gif hunt, to be used? poc and non poc mixed in would be perfect!!

hi anon! i’m putting this under the cut because it got very long. under the cut there are 189 female faceclaims 35 and up that have at least one gif hunt and gif icons in the tags, and 206 male faceclaims 35 and up that have at least one gif hunt and gif icons in the tags. i hope this helps you out!

female

ruth negga (35)

constance wu (35)

melissa fumero (35)

lesley ann brandt (35)

priyanka chopra (35)

rebecca hall (35)

dichen lachman (35)

natalie dormer (35)

sophia bush (35)

anna camp (35)

kelly clarkson (35)

lauren cohan (35)

natalia cordova buckley (35)

alison brie (35)

alyssa sutherland (35)

lisa schwartz (35)

bridget regan (35)

anne hathaway (35)

alexandra breckenridge (35)

meghan ory (35)

lizzy caplan (35)

cobie smulders (35)

chyler leigh (35)

mercedes mason (35)

clemence poesy (35)

lily rabe (35)

jenny slate (35)

kirsten dunst (35)

billie piper (35)

priyanka chopra (35)

romola garai (35)

emilie de ravin (35)

krysten ritter (35)

alicia keys (36)

elodie yung (36)

meghan markle (36)

fan bingbing (36)

janina gavankar (36)

jessica alba (36)

stephanie beatriz (36)

julia jones (36)

jenna dewan tatum (36)

adriana lima (36)

beyonce knowles (36)

nasim pedrad (36)

genevieve cortese/padalecki (36)

judie gonzalo (36)

caterina scorsone (36)

alexis bledel (36)

bethany joy lenz (36)

song hye-kyo (36)

natalie portman (36)

katharine isabelle (36)

vanessa ray (36)

christina aguilera (36)

alessandra ambrosio (36)

rachel bilson (36)

kareena kapoor (37)

sarah shahi (37)

hannah simone (37)

alaina huffman (37)

olivia munn (37)

kristen bell (37)

kristen connolly (37)

maimie mccoy (37)

laura jane grace (transgender)(37)

rachel miner (37)

laura prepon (37)

eva green (37)

minka kelly (37)

tegan quin (37)

sara quin (37)

zooey deschanel (37)

sarah drew (37)

bianca lawson (38)

rosario dawson (38)

yara martinez (38)

lee hyori (38)

karen david (38)

maggie q (38)

freema agymean (38)

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morena baccarin (38)

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kerry washington (40)

shakira (40)

lana parrilla (40)

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amber benson (40)

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liv tyler (40)

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ali larter (41)

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milla jovovich (41)

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angelina jolie (42)

charlize theron (42)

eva longoria (42)

marion cotillard (42)

christina hendricks (42)

sarah paulson (42)

sara ramirez (43)

eva mendes (43)

holly marie combs (43)

grace park (43)

jenna fischer (43)

alyson hannigan (43)

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kate beckinsale (44)

li bingbing (44)

lena headey (44)

vera farmiga (44)

alyssa milano (44)

sarah rafferty (44)

sofia vergara (45)

gwyneth paltrow (45)

angie harmon (45)

kirsten vangsness (45)

jennifer garner (45)

darby stanchfield (46)

amy poehler (46)

carla gugino (46)

shannen doherty (46)

winona ryder (46)

jennifer connelly (46)

madchen amick (46)

charisma carpenter (47)

rachel weisz (47)

taraji p henson (47)

gina torres (48)

lucy liu (48)

cate blanchett (48)

gina torres (48)

jennifer lopez (48)

ellen pompeo (48)

lucy lawless (49)

megan follows (49)

jorja fox (49)

gillian anderson (49)

lili taylor (50)

kate walsh (50)

leslie jones (50)

salma hayek (51)

helena bonham carter (51)

robin wright (51)

viola davis (52)

monica bellucci (53)

courteney cox (53)

famke janssen (53)

sandra bullock (53)

mariska hargitay (53)

calista Flockhart (53)

hulya avsar (54)

alex kingston (54)

ming na wen (54)

elizabeth mcgovern (56)

julianne moore (56)

susanna thompson (59)

angela bassett (59)

michelle pfeiffer (59)

jessica lange (68)

helen mirren (72)

maggie smith (82)

males:

jamie dornan (35)

arthur darvill (35)

matt smith (35)

sebastian stan (35)

dan stevens (35)

riz ahmed (35)

harry shum jr (35)

matt dallas (35)

jared padalecki (35)

cam gigandet (35)

paul welsey (35)

miguel angel silvestre (35)

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