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thegirlandthewardrobe · 10 months

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STUFF YOUR KINDLE DAY IS FRIDAY JUNE 30TH!!! (HUNDREDS OF FREE BOOKS)

There's going to be TONS of free romance books available on Amazon for download! The books can be also be downloaded/sent to Non-Kindle devices as well. The list of available books was released early and can be found here. I also took the time to scroll through some of the categories and compile a brief list of some of the books that I'm looking forward to downloading, in case anyone needs help choosing books😊 I also linked the Goodreads description for each and every book for those of you who want more info or reviews!

P.S. These are all spicy reads (with probably the exception of the YA ones), IYKYK😏

Happy Reading❤️

**=Reverse Harem/Why Choose

Young Adult Romance

Midnight Prince by Aisha Urooj

White by Angelina J. Steffort

Gravebriar by Casey L. Bond

Kingdom of Embers by Trina Copeland

Teaching the Teachers Pet by Sarah Sutton

Crimson Born by Amy Patrick

Her Dark Love by Isra Sravenheart

In the Dust by K.A. Gandy

Fire and Ice by Michelle Barrow-Belisle

Keeper of Dragons: The Prince Returns by J.A. Culican

Fantasy Romance

The Prince of Dragons by Tameri Etherton

Veiled by Michelle Areaux

Dragon Soul by L.J. Swallow

Empath's Lure by Jen Lynning

Wolf Shunned by Laurel Night

To Catch A Fae by Mila Young

Taming the Vines by Anita Primrose

The Gilded Survivor by Daniela A. Mera

Empath: The Tale of Flora and Cale by Meghan Shaltes

The Queen's Wings by Jamie K. Schmidt

Captured by the Fae by Vera Rivers

The Coven of Ruin by T.K. Tucker

The Lost Siren by Raven Storm

Death Wish by Harper A. Brooks

Maiden Flight by Bianca D'Arc

The Borderlands Princess by Ophelia Wells Langley

Blade and Rose by Miranda Honfleur

Princess of Thorns by Amberlyn Holland

The Captive and the Cursed by Alexa Saint

Lord of the Hollow Court by C.K. Beggan

**Queen of the Stars by Catherine Banks

**Captive Beauty by Cassia Briar

Queen of Roses by Brior Boleyn

**Psychotic by Elle Lincoln

Night Elves of Ardani by Nina K. Westra

The Gardener and the Water-horse by Mallory Dunlin

**Our Fae Queen by Traci Lovelot

Sun Serpent by Geneva Monroe

**Torn Apart by D.E. Chapman

Paranormal Romance

Never Say Never by Sarah Spade

**Daughter of the Sun by Laura Greenwood

**The Stalking Dead by Eva Chase

Forbidden Wolf by CR Robertson

**Splintered: Brookview Academy by A.J. Moran

**A Monstrous Claim: Part 1 by R.K. Pierce

Breaking the Lovers' Curse by Lore Nicole

The Dragon's Reluctant Sacrifice by Ines Johnson

**Monsters by Katie May

Night Revelations by Godiva Gleen

**Scarred Wolf by Elizabeth Blackthorne

**Vampire's Kiss by Atlas Rose

**Red by Tracey H. Kitts

**Dark Spirits by N.A. Jameson

Feral by Trish Heinrick

Her Primal Love by Rianne Burnett

**Magic Claimed by Charmaine Ross

**Life's a Witch by Skyler Andra

**Vampires Don't Give Hickeys by Holly Ryan

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comic-bastards · 1 year

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The Place That's Farthest From: 'Andor' and the Star Wars Legacy

By Justin Wood

The key component to longevity and the near-universal appeal of the Star Wars franchise has always been its simplicity. A student of international artistic influence, George Lucas distilled richer, headier works down to a pastiche of oblique references and mythological constants and a critical focusing by undersung contributors Brian De Palma and Marcia Lucas resulted in a tight, perfectly-accessible adventure film that seismically redefined how popular media was packaged and presented. Beyond simply being a defining achievement in special effects, the polished gleam of binary morality at its core stood in as a radical contrast to the storytelling environment of the 1970s with its grim post-Vietnam ambiguity and despair. 'Star Wars' was the Happy Meal waiting to happen. Its hero plucky and apolitical, motivated by primal narrative impulses of thirst for adventure and romance beyond his station, his opposition unsubtlely dressed by John Mollo by way of Hugo Boss in Gestapo uniforms, pop narrative shorthand later reused by Lucas and Spielberg in their Indiana Jones films. Only a few decades removed from the very real Third Reich, Lucas needed little world building to immediately communicate the partisan lines the audience would be asked to sympathize on. Some distant conception of a Galactic Senate is mentioned to be finally dismantled. An instantaneous Holocaust is bloodlessly committed. We don't need to see the state of the galaxy beyond the barren, untamed Tatooine, our imagination and familiarity with very recent history can fill in atrocities for us, allowing guilt free catharsis at the film's climactic Boom. 'Empire', despite its reputation for its startling dramatic left turn into a twistier universe with its branching storylines and iconic twist, never challenged that moral simplicity. Dramatic heft was carried by a greater sense of consequence and the peak of the trilogy's character writing resulting in heroes we were more concerned with but complexity never surpassed the cheeky scoundrel hearts of Han and Lando. Bewilderingly, Lucas's original conceived ending for 'Return of the Jedi' was to take a wild turn with Luke succumbing to the Dark Side, discarded for the most telling moment of binary morality in the trilogy: the redemption of space Nazi enforcer Darth Vader, unwriting a supposed lifetime of evil acts through the breakthrough of an ambiguously meager kernel of 'goodness' that emerges in an act of self-sacrifice.

Light side. Dark side. Even with Lucas's wildly accomplished contradiction of somehow muddling the nature of the Jedi by defining its Order, the binary was retained, undercutting any potential moment of reflection on the kinds of story Star Wars could be in depicting the fall of Anakin to Darth Vader. Later, during the cataclysmically divisive 'Last Jedi', Riann Johnson and the executive class at Disney were accused of an inanely comprehensive battery of motivations for the the dissatisfaction of audience members but couched in all of them was a sense that whatever ambitions the director had they had come at the cost of disrespecting the capital-L Legacy. Simplicity had seemingly been stripped away from a functionally basic world of heroes and villains. After years of imagining a Goku-like Force God Luke Skywalker crushing Star Destroyers like Coke cans, the historically subversion happy Johnson gave them a spiritually broken hut-dweller, drinking unpasturized giraffe milk and lecturing against the very binary heroism that had made the series successful. It excited some, disappointed others, and impossibly enraged the most vocal remaining. However, Johnson's failure was always that for all of his cheeky ruffling of a narrative construct he was foolishly expected to uncontroversially maintain, it ultimately amounted to no genuine confrontation of the status quo. 'The Last Jedi' teased ambiguity, stepping up to the edge of challenging the nature of Star Wars stories and then baldly whipping back to the Millennium Falcon popping TIE Fighters, a restored heroic Luke, and a happy ending that managed to say nothing and viscerally satisfy few. For all of the accusations of Johnson not understanding the brand, he in reality did the most to suggest that at a certain scale Star Wars was never going to fundamentally grow beyond its mythological simplicity. His failures arguably had more to do with an overabundance of respect limiting the scope of the film's imagination, not a deficit of it.

Disney+'s 'Andor' doesn't suffer from this problem. Whether intentional or not, by intending a more grounded and adult approach to telling a war story in the Star Wars universe, creator Tony Gilroy and crew have managed to produce a show that serves as a refutation of the franchise's approach to storytelling and perhaps even the health of the brand's audience's preferred taste in narrative. Consequently, it effortlessly ranks as one of the most interesting things to be made with the Star Wars brand.

On its most basic quality, 'Andor' succeeds by not requiring any familiarity with the film it serves as a direct prequel to, Garth Edwards 'Rogue One: A Star Wars Story', which featured reshoots by 'Andor's Gilroy. 'Rogue One' also dabbled in challenging the simplicity of the Star Wars universe's binary, with Rebel Intelligence Officer Cassian Andor desperately murdering a rebel contact to avoid exposure in the film's opening act, communicating that the film's grittier approach to the Rebel Alliance would be more in line with modern approaches to war espionage fiction and its grimly pragmatic operatives. In 'Andor' we meet the man behind the trigger in far more explicit detail but part of the reason why the show stands so confidently apart from the film it is leading up to is that Andor himself is only a wing of a larger story. As small events mutate into having larger consequences he unwittingly begins serving as a MacGuffin for distant powers with ambitions that only superficially are centered on him. While clearly part of the show fulfills the function of telling how a tribal scavenger from a forgotten moon became one of the unsung heroes behind the destruction of the Death Star, the show's real focus comes from depicting, for the first time on screen in detail, the texture of the galaxy in the claws of the Galactic Empire.

Indignant criticism has been mounted against 'Andor's pacing, accusing it of being intentionally boring to give it an artificial aura of maturity or padding for length. What is being felt is instead a deceleration of an adventure franchise to the speed of human life in a galaxy of dazzling intergalactic thrills. Characters eat breakfast cereal. They have casual late night hookups. They check in on elderly neighbors. They fret about their dysfunctional relationship with their daughters. In between very sparsely included set pieces of violent action the series keeps pinning moments of mundane existance to the spine of the show's central espionage plot. While frustrating for an audience raised on increasingly high bars for spectacle, these little moments fuel the heart of the show's tone. It gives character's with very little to begin with the last vestiges of agency they have to lose.

We meet Cassian Andor as he solicits a brothel trying to locate his long lost younger sister who he was separated from as a child. A simple and familiar cliché motivation for an antihero, Cassian is immediately knocked astray from this character goal by a corrupt back-alley police shakedown gone wrong that results in his priorities being reorganized to immediate survival. The vortex of escalating consequences he finds himself sucked into exposes him to a spectrum of ways in which the Empire's closing grip affecting the galaxy. Classically, the stories of Andor's adventures would all be morally instructive to the politically agnostic Cassian. The expectation is you'd see the puzzle pieces click in, that by witnessing the misery, despair, sacrifice, and the Empire's atrocities you'd see Cassian's moral rebirth, generating altruism and the construction of a heroic constitution in place of self-interest. You keep waiting for the thudding platitudes of hope and fighting for something greater and doing the right thing for its own merit but when they come they are only delivered by characters with ulterior motives or by characters distantly removed from the forces that actually influence their often bleak fates. Diego Luna, leading a comprehensively excellent cast, plays Andor as a survivor who has never known anything but the bootheel of malicious authority. His seething anger never fully overwhelms his cat-like instinct for self-preservation. 'Andor' slows down and shows us human life in a way Star Wars never felt obligated to before because it understands that the only way many people, especially those who already live on a knife's edge when it comes to resources and freedoms, can be pushed to confront evil is to truly be suffocated by it. In a brilliant turn midway through the season, Cassian participates in a heist of Imperial funds that gives him his escape from the boot-heel. Money, transport, luxury as long as it keeps his head low enough to avoid detection. His reward is a lengthy prison sentence but his arrest and conviction have nothing to do with his undiscovered participation in the heist; instead he is swept up as an innocent bystander by an viciously apathetic government for being on the wrong beach in the wrong moment. Not even money can save him from just not being Imperial enough.

Despite its grim and serious fantasy depiction of very real world expressions of authoritarianism, it is hard to argue that 'Andor' necessarily is a uniquely qualified piece of fiction to meaningfully speak on the perpetually relevant issue of real world fascism. Police oppression, prison labor, all represented with a with a seeming respect to its non-fictional victims. Regrettably however, the lingering Disney brand looming over the show's role, at the end of the day, as a product, will always hobble most of the ambition of the writers from being able to say what other qualified and personally invested artists haven't already on the subject. Despite this, with the many and thankfully not inappropriately included allusions to our global haunting by populist no-authoritarianism, 'Andor' does draw a stark and damning comparison to the brand that has come before it.

The realization comes when thinking about what story 'Andor' is leading up to. 'Andor's characters, across the class spectrums, are called on to make compromises, often awful personally devastating ones. The Rebels on the show do so out of the bleak knowledge that in one way or another they are seeing the galaxy become inhospitable to however they don't align with the monocultural Empire. Either through allusions to the present social climate or implicated through actions on-screen, characters are driven to sacrifice comfort, love, and humanity because the non-negotiable aspects of their birth, race, sex, and orientation will eventually doom them under the resource hungry and indifferent gears serving the Emperor. The struggle depicted here comes in stark contrast to the hero who is the eventual beneficiary of their grief: Luke Skywalker, a bored farmboy who dreamed of becoming an Imperial pilot before his magic genetics fated him to save the galaxy with all of the admiration and literal trophies involved. Contrasted with the cost incurred by rebelling inflicted on the characters of 'Andor', Luke's story reads like the propaganda film the New Republic would have made after winning the war to spin the way their victory was remembered.

The criticism here isn't necessarily that there is anything wrong with escapist entertainment or stories with non-comprehensive approaches to complex real world ethics. Entertainment and art is largely experienced as escapism and has a real role to play comforting, thrilling, and inspiring us in whatever way is most successful and demanding an instructive or social function from art as a justification for its existence is far more in line with the views of history's tyrants. Where the sting of 'Andor's portrayal stems from, intentionally or not, is that it is telling its story in a world that has always benefited from facism as trope without that portrayal taking any responsibility for the history it references. The work of Leni Riefenstahl and Adolf Hitler is used as props because of the inherit potency imagery related to the Nazis is, a result of their being one of the first autocratic beneficiaries of identity sculpting via modern media technologies making their personal branding uniquely iconic. For all of the language borrowed from the Nazis to depict evil, Star Wars was never going to make itself responsible for engaging with why the Nazis were a shorthand for evil. The victims of the Empire, unless immediately relevantly fridged for a specific character, are overwhelmingly vague. Star Wars couldn't be bothered to have anything to say about the evil it exploited the identity of. Star Wars, once again a fantasy toyetic pop brand, also didn't really have the right platform to stage any sort of ambitious criticism of real human evil either, but the present moment only exacerbates what was probably always the case: that exploiting the echos of dark history for escapist entertainment dilutes its meaning in exchange for comfort and profit.

As we creep into the 2020s, autocracies are presenting themselves again to the people of the world as a too quickly dismissed alternative to the unwieldy, hypocritical democracies that served as the scales of power during the post-World War II era. Appeals to traditionalism, renewing the sapped spirit of masculine vigor, sweeping away the complicated trappings of progressive identity politics and negotiation in favor of a binary world right at home in Lucas's original mythos. Disney, like most corporations operating at a scale akin to small nations, is inextricably complicit both in donations to candidates and causes aligned against oppressed communities as it is their cooperation with how their product is distributed abroad, clipped and censored to the tastes of despots. Its understandable that the anxiety surrounding this would encourage the appeal of escapist pop fiction, but when it dresses up in the same armbands as worn by the men at your door without asking any questions of itself, it dismisses its responsibility to the cruelty those allusions draw potency from in a way it has less of a right to. And when, bewilderingly, a show like 'Andor', that eschews self-referential brand building in favor of telling a more adult story in its comic book landscape does so, it can only reflect back at its foundation just how poorly and insubstantially the simplistic language of its world has served us. What began with George Lucas and crew crafting a film with bluntly simple allusions for the sake of storytelling convenience had his choices drawn out over multiple decades as a financially valuable franchise. Star Wars didn't have to point back to the source of its evil, it could just reference itself, turning the word 'stormtrooper' into a child's backpack, thinning the already fragile thread linking the history it exploits to its profitable use of it. With 'Andor', Tony Gilroy and team has crafted a story that put the Nazi back in the Imperial uniform and while it certainly can't be championed as brave it at the very least takes some responsibility for the story it tells in our present moment in history.

#Star Wars #Justin Wood #Disney #Andor #TV

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mercaritee · 18 days

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Raven Johnson National Champion 25 guard South Carolina Gamecocks t-shirt

Raven Johnson National Champion 25 guard South Carolina Gamecocks t-shirt, hoodie, tank top, longsleeve

The film revolves around a love story set in Deauville, the Raven Johnson National Champion 25 guard South Carolina Gamecocks t-shirt Furthermore, I will do this seaside resort where Mademoiselle Chanel opened her first boutique in 1912 and launched her Haute Couture creations in 1913. In those moments when love flares up explosion, Anouk Aimée’s protagonist appeared with a CHANEL handbag that was later revealed to be in the actress’s personal collection. The campaign was led by Inez & Vinoodh. The setting and dialogue are repeated almost image by image and word by word. Among them, we must mention the star Penélope Cruz, a living legend of the film world and CHANEL ambassador since 2018. She is paired with actor Brad Pitt, a famous American actor, the man who brought Her unique elegance and generosity is enough to make any girl feel moved. Amid the emotional scene of both, the black quilted CHANEL 11.12 handbag takes center stage as a timeless symbol.

Between two men and women, in a classic luxury restaurant, the Raven Johnson National Champion 25 guard South Carolina Gamecocks t-shirt Furthermore, I will do this legendary bag symbolizes the moment in life when we have the courage to affirm our deepest desires. . The bag inspires women to finally become the hero of their own lives. The line “Excuse me, do you have a room available?” It carries hidden meanings, emotions and is unusually lively, making viewers’ hearts beat faster. It is a story about desire and freedom. In the original film, it was Jean-Louis Trintignant who posed the question. Coming to this inspired remake, Penélope Cruz asks the waitress, played by Rianne Van Rompaey.

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hectorwedn525 · 2 years

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What Sports Can Teach Us About Uwatchfree Marathi

A further flicks that may be releasing this year is the 'X-Gentlemen Origins: Wolverine'. It truly is Just about the most talked about movies that is predicted to hit box offices on very first May well 2009. This film has become directed by Gavin Hood. This charming film capabilities Hugh Jackman, Kodi Smit-McPhee, Liev Schreiber, Danny Huston, Ryan Reynolds, Taylor Kitsch, Lynn Collins, Monaghan, Daniel Henney and lots of additional. One more among the newest Hollywood motion pictures is definitely the 'Star Trek' that's Probably the most awaited film of the 12 months. It truly is all established to hit cinema theatres on 8th May possibly 2009. It's been directed by J.J Abrams. People have higher expectations from this movie, mainly because it characteristics Hollywood biggies such as Zachary Quinto, Leonard Nimoy, Anton Yelchin and a few Other individuals.

Among the other most recent Hollywood flicks, one of the extraordinary one will be the 'Brothers Bloom'. It is amongst the extremely awaited films of the calendar year which can http://edition.cnn.com/search/?text=uwatchfree be set to launch on 15th Might 2009. This movie has actually been made by Ram Bergman and James D. Stern. It's been hugely appreciated for its direction. It has been properly-directed by Riann Johnson. This Film makes certain impressive casting as its characteristic with Rachel Weisz, Adrien Brody, Mark Ruffalo and Robbie Coltrane.

youtube

So, this yr you have lots of uwatchfree in selections of taking pleasure in Hollywood forthcoming motion pictures which can be currently creating wave on the earth of enjoyment. Most of these films happen to be directed and made by some of the most proficient people today from the Hollywood field. Also, the star Solid of these films is simply remarkable. So, observe these forthcoming most recent movies and commit your high quality time in a unique way.

Over time, the Swahili language has increasingly uncovered its place within the Intercontinental film industry. Although some movies simply just characteristic small transcripts of Swahili, there are Some others which wholly attribute Swahili as the principle language Utilized in the dialogues involving the characters. Under can be a examine many of the award successful and critically acclaimed motion pictures that have showcased using Swahili language inside their transcripts.

The Last King of Scotland

While this movie was dependant on a fictional account with the life of Ugandan dictator Idi Amin, the first language spoken by African people in The final King of Scotland was Swahili. Having said that, English is the primary language from the movie. From the film, Forest Whitaker performed Idi Amin and spoke a lot of Swahili when he was Talking to other African figures. In the scenes where by Swahili is spoken, English subtitles are provided to empower non-Swahili speakers to understand exactly what the characters are expressing. For his role, Forest Whitaker gained the top Primary Actor Award on the 2007 Oscars amongst other accolades.

Nowhere in Africa

Nowhere in Africa is really a German movie unveiled in 2001 which includes a wide range of dialogue inside the Swahili language. Other languages showcased With this movie are German and English. This movie was tailored from an autobiographical novel of a similar identify penned by Stefanie Zweig. The novel was based upon a real lifetime Jewish household which immigrated to Kenya to start out farming throughout the 2nd Earth War to be able to escape the wrath on the Nazis in Germany. Directed by Caroline link, the film starred Julianne Kohler and Merab Ninidze. This movie also acquired an Oscar for the ideal Foreign Language Film in 2002, amongst other awards and important acclaim.

From Africa

From Africa is an Academy Award-profitable movie according to the novel of the same identify and created by Isak Dinesen - also referred to as Karen Blixen. In 1985, the film was tailored from the novel by director Sydney Pollack and starred Meryl Streep as Karen Blixen, with Robert Redford actively playing Denis Finch-Hatton. Because the movie was situated in Kenya and its most important characters were Kenyan settlers, there is a great deal of use on the Swahili language featured in the dialogue from the film. This is especially found in conversations among the leading people and African people, representing Kenyans who normally experienced not learnt the English language with the 1930s, which is the time period through which the film is about.

Other box Place of work hits that have designed usage of Swahili include things like Lion King (1994), Mighty Joe Young (1998), George with the Jungle, Madagascar (2006), and Inception (2010).

#uwatchfree #uwatchfree tv #uwatchfree in #uwatch movie free #uwatchmovie #uwatchfree marathi #uwatch free movie in #uwatch tv movies #Youtube

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neutral-milk-resort-and-spa · 7 years

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#riann johnson #star wars #the last jedi #luke skyalker #mark hamill

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haroldgross · 3 years

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New Post has been published on Harold Gross: The 5a.m. Critic

New Post has been published on http://literaryends.com/hgblog/a-pastiche-of-pixelated-drama-aka-more-tv/

A Pastiche of Pixelated Drama (aka more TV)

So here’s that next round of TV this winter that I promised. Actually, some of them were worth the wait, though none are a runaway must-see.

Equalizer This one really surprised me. The writing and chemistry are there right out of the gate. The rhythm needs some work, but the creative team is doing justice to the core of the original story while updating it for the current times. Queen Latifah (Ice Age: Collision Course) is a force to be reckoned with, but with the heart that made the first iteration of this story work so well. And it’s already been renewed for a second season.

Resident Alien Alan Tudyk (Rogue One: A Star Wars Story) is just fun to watch, even when the scripts aren’t entirely up to snuff. But though the show sort of stumbles out of the gate, it is quickly finding its feet with the help of Sara Tomko and Elizabeth Bowen (Upload). It may never be a classic, but it tackles some unexpected storylines and keeps it all fun, if improbable and, at times, predictable.

Clarice Rebecca Breeds nails Clarice at the early point in her career, just post Buffalo Bill. The show embraces the Silence of the Lambs plot (though closer to the movie than the book) and spins it out to show us Clarice in the years between that story and the follow-on Hannibal. It seems only fair as Harris wrote up Hannibal’s whole journey eventually. It’s time to see Clarice’s. Helping her along are Lucca De Oliveira and Caitlin Stryker, both of whom add nice emotional and occupational support to the struggling Clarice. To be fair, they’ve diminished Clarice more than a little for their own dramatic purpose, but the core of her is still there. If there is a weakness in this show it is down to the insufferable boss character created by Michael Cudlitz. That isn’t Cudlitz’s fault, but the show’s. Unless he becomes and remains a bit more competent and human, I’m out. That dynamic just isn’t interesting to me.

Debris A strong, if somewhat handwavy start to the series sets up an X-Files vibe with a bit more emotional touchpoints. It will remain to be seen if they maintain the interesting plots and overall arc without it getting either silly, stupid, or too outrageous to support. At least the production values are pretty good and Riann Steele (Crazyhead) and Jonathan Tucker (Charlie’s Angels) make for an interesting combination.

Young Rock There is little doubt what Dwayne Johnson (Jumanji: The Next Chapter) is attempting to do with this show; he tells you up front. But political ambitions aside, the question is whether it’s a good show. The answer is mixed. The story is amusing and touching, and it opens a world that the greatest majority of the audience will have no connection to, making it interesting. However, the structure is odd and I can’t quite see how it will sustained for more than a few episodes. That said, the cast is solid and it is certainly something different and new. I’m giving it a couple more episodes to see if it can find its legs and keep me interested.

Superman & Lois I’ll give them credit, they found a new story to tell rather than rehashing what we’ve seen before a million times. And the casting was done well too with Tyler Hoechlin (Palm Springs) and Elizabeth Tulloch (Grimm) in the title roles. But, like most DC and all CW shows, I can already see my boredom kicking in. The melodrama and the predictability, even with the new twists expanding on the set-ups from the tie-in shows, is beginning to weigh heavily from the 3rd episode. I suspect I’m out in one or two more unless I see something to really invest in. I know I’m going to be in the minority here, but I’ve struggled with the DCU TV shows for years now. Very few manage to tickle my fancy. But I’ll try to keep an open mind and give it at least a little more of a chance.

Snowpiercer (series 2) Well, damn them. At the end of season one I was ready to walk away, but I wanted to see where they would go. And, as it turns out, they managed to avoid the obvious and boring track they appeared to be on. By the second episode, everything shifts and new possibilities make it all much more interesting. And, it has to be noted, Sean Bean (Wolfwalkers) has created one of the creepiest characters I’ve seen in a long time. Jennifer Connelly (Alita: Battle Angel) continues to deliver a nicely shaded performance, and the addition of the very capable Rowan Blanchard (A Wrinkle in Time) adds some good tensions. Alison Wright (The Accountant) is also getting to do a lot more this round, deepening her character and bringing a sort of redemption to her story.

Pretty Hard Cases A Canadian comedy detective show in the vein of 911. If you enjoy The Baroness Von Sketch series, this one’s for you. If you are at all middling about broad comedy, it isn’t.

#3stars #adaptation #biography #Comedy #Dark Comedy #Mystery #popcorn #Science Fiction #Suspense #TV Review

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morkhan · 4 years

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TROS Spoiler free thoughts.

It is truly astounding how they managed to create a movie that seems to please exactly no one. What was that Luke meme from TLJ? "Impressive. Every word of that sentence was wrong." I suppose the equivalent here would be "Impressive. Every second of this movie was wrong."

Like, it's just so abundantly clear that Disney had no vision, no overarching idea or theme they were striving for with the sequel trilogy. From what I can tell, they didn't even have an outline. There was zero consistency or integrity. Every movie in the new trilogy is a hard pivot from the movie before, drastically overcorrecting for every perceived criticism in a desperate bid to be loved by all. The end result is the worst thing a story can be; nothing. It's a tale with no point, no consistent theme, no identity of its own. It has nothing to say except "please like us! It is very important that you like us and continue to give us money!"

There was so much wasted potential here with the way Disney handled this. Almost anything else would've been better.

Giving Abrams the entire trilogy would've been better, because at least then it would've been a consistent story. Probably a little safe and samey, but good, dumb, popcorn fun.

Letting Riann Johnson follow through on his pivot would've been better, because at least then it would show that Disney had some balls. There were some radical ideas introduced in TLJ that could have opened up really cool avenues of storytelling in the Star Wars universe.

Hell, even just sticking with the formula and getting a completely different director for the third movie would've been better, because at least it would've shown some artistic integrity. It would've shown that Disney had a vision of some kind for this trilogy, that it was willing to let people play in its sandbox because it was the responsible adult supervising and ensuring no one made too much of a mess.

Instead, they did the worst possible thing and pivoted from their pivot. They hired the old director to walk back the story from the new director, who himself walked back the story from the old director. The result is a story that walks back and forth, takes a lot of turns, and ultimately goes nowhere. The sequel trilogy will now forever be remembered as the product of two competing visions that basically just canceled each other out.

There is nothing more pathetic than watching the biggest media company in the world buy one of the most beloved IPs in all of cinema and then run it into the ground because they didn't know what to do with it.

#Star wars #the rise of skywalker #episode 9 #sw:tros

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tuseriesdetv · 3 years

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Guía de series: Estrenos y regresos de marzo 2021

Este mes, por variar un poco, os queremos dar suerte para encontrar alguna serie nueva que merezca la pena. Alguna parece destacar, pero es mejor no hacerse demasiadas ilusiones.

¡Feliz marzo!

Leyenda:

Verde: series nuevas.

Negro: regresos de otras series.

Naranja: miniseries o series documentales.

Amarillo: tv movies, documentales, especiales o pilotos.

Morado: season finales.

Púrpura: midseason finales.

Calendario de series

1 de marzo: Debris (1T) en NBC

2 de marzo:

The Flash (7T) en The CW

New Amsterdam (3T) en NBC

PRU (1T) en BBC Three

3 de marzo: Murder Among the Mormons y Moxie en Netflix

5 de marzo:

Nevenka y Sentinelle en Netflix

Wynonna Earp (4bT y última) en Syfy

Raya and the Last Dragon en Disney+

Coming 2 America en Prime Video

7 de marzo: Good Girls (4T) en NBC

8 de marzo: Bombay Begums (1T completa) en Netflix

9 de marzo: Delilah (1T) en OWN

10 de marzo:

Bloods (1T completa) en Sky One

Caïd (1T completa) y Last Chance U: Basketball en Netflix

11 de marzo: Genera+ion (1T) en HBO Max

12 de marzo:

The One (1T completa), Paradise P.D. (3T completa), Love Alarm (2T completa) y Yes Day en Netflix

Cherry en Apple TV+

15 de marzo: The Lost Pirate Kingdom en Netflix

16 de marzo:

Mayans M.C. (3T) en FX

Waffles + Mochi (1T completa) en Netflix

17 de marzo: Under Suspicion: Uncovering the Wesphael Case y Operation Varsity Blues en Netflix

19 de marzo:

The Falcon and the Winter Soldier (1T) en Disney+

Sky Rojo (1T completa) y Country Comfort (1T completa) en Netflix

21 de marzo:

Genius: Aretha en NatGeo

Line of Duty (6T) en BBC One

22 de marzo: Breeders (2T) en FX

24 de marzo:

¿Quién mató a Sara? (1T completa) en Netflix

Genius: Aretha en NatGeo

25 de marzo:

Sulla Stessa Onda en Netflix

Superstore (series finale) en NBC

The Unicorn (2T finale) en CBS

26 de marzo:

The Mighty Ducks: Game Changers (1T) y Besos al aire (1T) en Disney+

Invincible (1T completa) y La templanza (1T completa) en Prime Video

The Irregulars (1T completa) y A Week Away en Netflix

Solar Opposites (2T completa) en Hulu

Libertad en Movistar+

Into the Dark (2T finale) en Hulu

27 de marzo: Tina en HBO

28 de marzo: City on a Hill (2T) en Showtime

31 de marzo: Godzilla V. Kong en HBO Max

Estrenos de series

Debris (NBC)

Un agente de la CIA (Jonathan Tucker; Kingdom, Westworld) y una agente del MI6 (Riann Steele; The Magicians, In the Flesh), de continentes distintos y mentalidades distintas, deberán trabajar juntos e investigar a contrarreloj los restos de una nave espacial alienígena destruida que tienen efectos misteriosos en las personas que los encuentran. Con Scroobius Pip (Taboo, The Letter for the King), Norbert Leo Butz (Bloodline, Fosse/Verdon), Gabrielle Ryan (Bonding, The Haves and the Have Nots) y Sebastian Roché (The Originals, Fringe).

Escrita y producida por J.H. Wyman (Fringe, Almost Human).

Estreno: 1 de marzo

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PRU (BBC Three)

Comedia centrada en cuatro adolescentes muy distintos que estudian en una Pupil Referral Unit, una escuela para alumnos en exclusión e intentan pasar el décimo curso entre caos, violencia, travesuras y faltas de asistencia. Protagonizada por Pia Somersby (Excluded), Jaye Ersavas, Michael Boahen, Kosar Ali (Rocks), Kerry Godliman (After Life, Adult Material), Tom Moutchi (Famalam) y Umit Ulgen (Doctor Strange).

Escrita por Alex Tenenbaum y Nathaniel Stevens y dirigida y producida por Teddy Nygh. Cuatro episodios.

Estreno: 2 de marzo

Bombay Begums (Netflix)

Cinco mujeres ambiciosas de la India dirigen sus destinos a través de los obstáculos que surgen tanto en sus vidas profesionales como en las personales mientras intentan liberarse de los grilletes de la sociedad. Protagonizada por Pooja Bhatt (Zakhm), Shahana Goswami (A Suitable Boy), Amruta Subhash (Sacred Games, Selection Day), Plabita Borthakur (Breathe: Into the Shadows) y Aadhya Anand (Utter 2016: One Hour To Daylight).

Creada y dirigida por Alankrita Shrivastava (Made in Heaven, Lipstick Under My Burkha). Seis episodios.

Estreno: 8 de marzo

Estreno en España: 8 de marzo en Netflix España

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Delilah (OWN)

Una abogada con principios y testaruda de Carolina del Norte (Maahra Hill) hace todo lo posible para criar sola a sus dos hijos, Maia (Kelly Jacobs) y Marcus (Braelyn Rankins), y también a su sobrino Dion (Khalil Johnson) y mantener fuertes los lazos con su familia, sus amigos y su fe mientras busca sin cesar justicia para los que más la necesitan cuando los ricos y poderosos harán cualquier cosa para detenerla. Con Jill Marie Jones (Girlfriends, Ash vs. Evil Dead), Susan Heyward (Orange Is the New Black, Powers), Ozioma Akagha (Runaways), LaMonica Garrett (Designated Survivor, Arrow), Lyriq Bent (She's Gotta Have It, Rookie Blue), Michel Curiel (Sistas), Nigel Gibbs (The Shield, Breaking Bad), Candace B. Harris (The Single Life), Joe Holt (The Walking Dead: World Beyond, Scandal), Saycon Sengbloh (Scandal, In the Dark), Amanda Tavarez (Cake), Joseph Callender, Leonard Harmon y Gray Hawks.

Drama creado y producido por Craig Wright (Greenleaf) y dirigido por Charles Randolph-Wright (Greenleaf) y Cheryl Dunye (Queen Sugar, David Makes Man). Produce Oprah Winfrey (Greenleaf, Queen Sugar).

Estreno: 9 de marzo

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Bloods (Sky One)

Comedia sobre dos paramédicos del servicio de ambulancias del sur de Londres que tendrán que lidiar con las llamadas y los momentos incómodos pero también con su propio compañero. Protagonizada por Samson Kayo (Timewasters, Truth Seekers) y Jane Harrocks (Absolutely Fabulous) junto a Julian Barratt (Truth Seekers, Flowers), Adrian Scarborough (Miranda, Gavin & Stacey), Aasiya Shah (Raised by Wolves, Unforgotten), Sam Campbell, Lucy Punch (A Series of Unfortunate Events, Motherland) y Kevin Garry (Famalam).

Creada por Kayo (Famalam, Sliced). Seis episodios.

Estreno: 10 de marzo

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Caïd (Netflix)

Un director de videoclips intenta grabar a Tony (Abdramane Diakite), el carismático e impredecible líder de una banda de narcotráfico que quiere triunfar en el mundo del rap. Este trabajo revela la cara oculta del tráfico de drogas y una sangrienta guerra entre bandas. Con Jean-Toussaint Bernard (The Tunnel, Missions), Mohamed Boudouth, Sébastien Houbani, Idir Azougli, Julien Meurice, Abdillah Assoumani y Romain Vissol.

Escrita por Nicolas Peufaillit (Les Revenants) y dirigida por Nicolas Lopez y Ange Basterga. Diez episodios de diez minutos de duración.

Estreno: 10 de marzo

Estreno en España: 10 de marzo en Netflix España

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Genera+ion (HBO Max)

Dramedia sobre un grupo de estudiantes de instituto cuya exploración de la sexualidad moderna pone a prueba creencias profundamente arraigadas sobre la vida, el amor y la familia en una comunidad conservadora. Protagonizada por Chloe East (Liv and Maddie, Kevin (Probably) Saves the World), Lukita Maxwell (Speechless), Nathan Stewart-Jarrett (Misfits, Utopia), Justice Smith (The Get Down, Pokémon: Detective Pikachu), Martha Plimpton (Raising Hope, The Real O'Neals), Alicia Coppola (Why Women Kill, Shameless), Nathanya Alexander (Nobodies, Ocean's 8), Uly Schlesinger (Divorce), Haley Sanchez, Nava Mau, Chase Sui Wonders (Betty), Mary Birdsong (Succession), Patricia De Leon (Mayans MC), Anthony Keyvan (Alexa & Katie), Diego Josef (Goliath), J. August Richards (Council of Dads), John Ross Bowie (Speechless), Marisela Zumbado (The Affair), Sydney Mae Diaz (High Fidelity) y Connor Chavez (Ballers).

Creada por Zelda Barnz, de 18 años, y su padre Daniel Barnz (Won't Back Down, Cake), que también dirige. Producida por Lena Dunham (Girls).

Estreno: 11 de marzo

Estreno en España: 11 de marzo en HBO España

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The One (Netflix)

Thriller psicológico en el que un test de ADN basta para encontrar a tu pareja ideal, la única persona de la que estás genéticamente predispuesto a enamorarte apasionadamente, sin tener en cuenta la sexualidad, la raza, la edad o la ubicación. MatchDNA, la empresa fundada por la ambiciosa e impulsiva CEO Rebecca (Hannah Ware; Boss, The First) y su mejor amigo James (Dimitri Leonidas, Riviera), que dejó su trabajo en el mejor momento de la compañía, llama la atención de Kate (Zoë Tapper; Liar, Nightflyers), una escéptica inspectora de la Policía Metropolitana. Completan el reparto Amir El-Masry (Industry, Jack Ryan), Stephen Campbell Moore (The Wrong Mans, War of the Worlds), Wilf Scolding (Game of Thrones), Diarmaid Murtagh (Vikings, Devils), Lois Chimimba (Trust Me, A Discovery of Witches), Eric Kofi-Abrefa (Humans, Harlots), Pallavi Sharda (Beecham House, Les Norton) y Gregg Chillin (A Discovery of Witches, Da Vinci's Demons).

Adaptación de la novela de John Marrs (2017). Creada, escrita y producida por Howard Overman (Misfits, Future Man). Ocho episodios.

Estreno: 12 de marzo

Estreno en España: 12 de marzo en Netflix España

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The Falcon and the Winter Soldier (Disney+)

Nuevo capítulo del universo Marvel en el que Falcon (Anthony Mackie; Altered Carbon, Detroit) y el Soldado de Invierno (Sebastian Stan; Once Upon a Time, Political Animals) protagonizan su propia serie con una aventura global que pone a prueba sus habilidades y su paciencia. Completan el reparto Emily VanCamp (Revenge, Brothers & Sisters), Daniel Brühl (Good Bye Lenin!, The Alienist), Wyatt Russell (Lodge 49, The Good Lord Bird), Desmond Chiam (Now Apocalypse, The Shannara Chronicles), Miki Ishikawa (The Terror, Hit), Noah Mills (The Enemy Within, The Brave), Carl Lumbly (Alias, Supergirl) y Danny Ramirez (On My Block, Assassination Nation).

Escrita por Malcolm Spellman (Empire, Truth Be Told), Josef Sawyer (SEAL Team), Michael Kastelein (Truth Be Told) y Derek Kolstad (John Wick, Die Hart) y dirigida por Kari Skogland (The Handmaid's Tale, The Loudest Voice). Seis episodios.

Estreno: 19 de marzo

Estreno: 19 de marzo en Disney+ España

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Country Comfort (Netflix)

Comedia multicámara en la que Bailey (Katharine McPhee; Smash, Scorpion), una joven sureña aspirante a cantante de country, pierde el control de su vida personal y toma un trabajo de niñera de los cinco hijos de un tosco vaquero (Eddie Cibrian; Take Two, CSI: Miami). Con Ricardo Hurtado (School of Rock, Malibu Rescue), Jamie Martin Mann, Pyper Braun, Shiloh Verrico (Lingua Franca, Crown Vic), Griffin McIntyre (Return of the Mac), Eric Balfour (Haven, Six Feet Under) y Janet Varney (You're the Worst, Stan Against Evil).

Creada por Caryn Lucas (The Nanny, Miss Congeniality) y dirigida por Kelly Park (Punky Brewster, Alexa & Katie). Diez episodios.

Estreno: 19 de marzo

Estreno en España: 19 de marzo en Netflix España

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Genius: Aretha (NatGeo)

La tercera temporada de Genius contará la vida de Aretha Franklin (Cynthia Erivo; Harriet, Bad Times at the El Royale). Conocida activista por los derechos civiles y un prodigio del gospel que aprendió por su cuenta a tocar el piano sin saber leer partituras, es una de los artistas con más discos venidos (más de 75 millones durante toda su carrera) y es considerada la reina del soul y la mejor cantante de los últimos 50 años. Completan el reparto Courtney B. Vance (American Crime Story, FlashForward), Malcolm Barrett (Timeless, Preacher), Patrice Covington, Rebecca Naomi Jones (Sex&Drugs&Rock&Roll), Kimberly Hébert Gregory (Vice Principals, Devious Maids), David Cross (Arrested Development, Unbreakable Kimmy Schmidt), Marque Richardson (Dear White People, True Blood), Pauletta Washington (She's Gotta Have It), Steven Norfleet (Watchmen, Good Girls), Omar J. Dorsey (Queen Sugar, When They See Us), Shaian Jordan, Antonique Smith (Luke Cage, Shots Fired), Tina Fears y T.I (Ant-Man, Boss).

Creada por Suzan-Lori Parks (The United States vs. Billie Holiday). Ocho episodios.

Estreno: 21 de marzo

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¿Quién mató a Sara? (Netflix)

Alejandro Guzmán (Manolo Cardona; Narcos, Covert Affairs) ha pasado dieciocho años en prisión porque fue acusado injustamente del asesinato de su hermana. Ahora que ha salido, quiere investigar el pasado, demostrar su inocencia, destapar todos los secretos de su familia, descubrir al culpable y vengarse. Con Ginés García Millán (Motivos personales, Periodistas), Carolina Miranda (Señora Acero), Claudia Ramírez (Lo imperdonable, Sin tu mirada), Eugenio Siller (¿Quién es quién?, Reina de corazones), Alejandro Nones (Cuna de lobos, La piloto), Ximena Lamadrid (On the Rocks), Leo Deluglio (Patito feo, La Doña), Andrés Baida (Control Z, Los elegidos), Ana Lucía Domínguez (Señora Acero, Las bandidas), Polo Morín (Gossip Girl: Acapulco, La reina soy yo), Luis Roberto Guzmán (Ingobernable, La mexicana y el güero), Fátima Molina (La Doña, Diablero) y Ela Velden (Gossip Girl: Acapulco, Diablero).

Escrita por José Ignacio Valenzuela (La familia de al lado, La hija pródiga) y dirigida por Bernardo de la Rosa (Control Z) y David Ruiz (La negociadora, La piloto).

Estreno: 24 de marzo

Estreno en España: 24 de marzo en Netflix España

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The Mighty Ducks: Game Changers (Disney+)

Continuación de la trilogía cinematográfica en la que volveremos a ver a Gordon Bombay (Emilio Estévez), un antiguo abogado defensor a quien obligaron a entrenar a un equipo de hockey en una condena de servicios a la comunidad. Esta vez, Alex (Lauren Graham; Gilmore Girls, Parenthood) ayuda a su hijo Evan (Brady Noon; Boardwalk Empire, Good Boys) a crear su propio equipo de hockey después de que le echaran de los Mighty Ducks. Les acompañarán Swayam Bhatia (Succession), Taegen Burns (The Right Stuff), Julee Cerda (Blindspot, Homeland), Bella Higginbotham (Troop Zero), Luke Islam, Kiefer O'Reilly (Home Before Dark, Legends of Tomorrow), Maxwell Simkins (The Sleepover, Bizaardvark), De'Jon Watts (The House with a Clock in Its Walls) y Dylan Playfair (Letterkenny, Some Assembly Required).

Creada por Steven Brill (The Mighty Ducks, Little Nicky), escrita por Josh Goldsmith (The King of Queens, What Women Want) y Cathy Yuspa (The King of Queens, What Women Want) y producida por Jordan Kerner (The Mighty Ducks, George of the Jungle). Diez episodios.

Estreno: 26 de marzo

Estreno: 26 de marzo en Disney+ España

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The Irregulars (Netflix)

Una banda de problemáticos adolescentes callejeros que resuelven los casos que luego se atribuye Sherlock Holmes (Henry Lloyd Hughes; Killing Eve, The Inbetweeners), un delincuente drogadicto, descubren una horripilante oscuridad que deberán derrotar. Protagonizada por Thaddea Graham (The Letter for the King, Curfew), Darci Shaw (The Bay, Judy), Jojo Macari (Harlots, Sex Education), McKell David (Snatch, Him), Sheila Atim (Harlots, The Feed), Mark Hugh-Williams, Harrison Osterfield, Clarke Peters (The Wire, Treme), Royce Pierreson (Line of Duty, The Witcher), Grant Crookes (Gentleman Jack, The Bay) y Ansu Kabia (World on Fire).

Escrita por Tom Bidwell (My Mad Fat Diary, Watership Down). Ocho episodios.

Estreno: 26 de marzo

Estreno en España: 26 de marzo en España

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#series tv #television

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artist-issues · 6 months

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I can never succinctly say what I want to say in defense of The Last Jedi. It’s definitely because I have bad communication skills. But it’s also because the arguments against The Last Jedi always seem so badly founded that I don’t know where to start. Like, if you don’t understand why Poe wouldn’t be told about the escape plan, do I need to explain 3-Act Structure to you? Or should we start with foreshadowing? Did you forget the first movie when he had the map but chose to make a reckless stand against Kylo Ren instead of living to fight another day? Or is your problem that you don’t understand character flaws? I can’t decide which misunderstanding led you here, so I just ramble about them all

#The last Jedi #the last Jedi defense #Poe Cameron #the last Jedi hate #the last Jedi spoilers #admiral Holdo #riann johnson #j.j. Abrams #Kylo Ren #Star Wars #Star Wars meta #me

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lilisouless · 6 years

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Finally watched the Last Jedi and my final veredic: it was not that bad

There were awesome things,i hate how mostly of them are killed off but the new characters (specialy the females) are awesome ,most females are awesome,except for Phasma they really messed up with it.And i don’t see why Leia had to be in a coma.

Luke was awesome , yes Mark has all the right in the world to be mad and think his character was handled wrong but i think a peaceful death after trolling his newphew was the right one for him. Yes, he was used as a tool to excuse Crylo´s turn to the darkside and i´ll hate RJ forever because of that , but is the intention that bothers me and Luke himself being tainted to kill him was not a bad idea itself.

I wouldn’t be able to kill my own family but other people (good people) would have if they knew they could save thousands of lifes.It wasn’t Luke´s fault ,it doesn’t justify what he did in anyway and i hope LucasFilms don’t pull a Darth Vader and reform him by the end.

Rey and Kylo´s relationship was one of the things i despised about the film.I genuily can’t understand Reylo shippers ,

Like,Reylos , do you even care about Rey (you know,the main character) ?

They see the fanpandering but leave all the elements that show why they shouldn’t be together. Ex: focus on the “we can rule together” but totaly ignore Kylo shutting down his chance to rememption and save the rebels.Take the fact that he didn’t wanted to blow up Leia´s ship as a sign that he could be saved but conveniently forget that after Snoke´s death he wanted to blow the cave were the resistance were hidden fully known that Leia was there.His feelings for Rey maybe romantic but that doesn’t make them healthy or good.

Like i literaly can not understand how they can still ship it after that movie that proved that Ben not only cannot be redemed now, he doesn’t WANT it and you can’t blame Snoke now.

Speaking of Snoke,i understand Serkins has a full agenda but it was disapointing how little he was ,all villains in the movie were lame. Hux was not comic relief in the previous ,i already said about Phasma and Snoke .Kylo Ren has to be one of the worst villains i´ve ever seen . Adam does his best but he can’t take him beyond a whiny teenager who got a lot of power.

The ending was great but i´m afraid what the movie can lead on. Protagonist centered ,morality that made us see how Anakin is considered a hero despite he being the one who caused the problem in the first place. Ben Solo and Kylo Ren ARE the same person and there is still people trying to paint him as a grey character so i think we need a Rouge One styled movie that shows all the jedis,rebels or civilians he had killed,maybe THEN people would stop pitting him.

I´m glad Rey hasn’t forgoten Han Solo and the shirtless scene? Unnesesary fanservice and i saw Rey´s reaction and she didn’t actually seemed distracted like everyone said,just any woman´s reaction to a guy without respect or limits.

Changing the subject ,Poe ...Riann Johnson,anyone who makes me hate Oscar Isaac´s gorgeous face will gain my ethernal hate.Like who is this guy and why he is so arrogant and stupid? We already have a stupid whiny teenager in the movie ,why two?.

And i say teenager because both them act like they are but are full grown adults.

So.there were things i despised about the movie but i don’t think it wasn’t THAT bad , there were good things. The FinnRey hug? those guys give the best hugs.I know they wouldn’t be endgame because filmakers love playing the “platonic love is also important” card only when the couple is not two fully whites.But as long as those two are together i know they will care for each other because romantic or not what they have is true love.

I was disapointed how onesided was Finrose , when he didn’t kissed her back i was like “but why Finn? she´s cute!” and sadly no Stormpilot scenes (thought maybe that was a good thing,this Poe doesn’t deserve my sweet pure Finn)

#opinion only #not rant #the last jedi #it was not that bad #but neither that good #finnrey

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theworldinnews · 4 years

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Amanda Holden continues to host her Heart FM Breakfast Show from home amid coronavirus pandemic

[ad_1]

Amanda Holden opts for comfort in polka dot PJs as she continues to host her Heart FM Breakfast Show from home amid coronavirus pandemic

By Rianne Addo For Mailonline

Published: 08:51 GMT, 23 March 2020 | Updated: 09:11 GMT, 23 March 2020

She proved work comes first as she hosted her radio show live from home after UK Prime Minister Boris Johnson urged Brits to limit social…

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#Boris Johnson #Britains Got Talent #Coronavirus #dailymail #tvshowbiz

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denktanks · 5 years

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@ Rianne_vdLinden: Interessant draadje over de deal van Boris Johnson en waarom de EU daar zo veel problemen mee heeft 👇 Volgens deze man (hoofd van belangrijke politieke denktank in Londen), komt er geen deal voor 31 oktober. https://t.co/WSzqeRCRFs

Interessant draadje over de deal van Boris Johnson en waarom de EU daar zo veel problemen mee heeft 👇 Volgens deze man (hoofd van belangrijke politieke denktank in Londen), komt er geen deal voor 31 oktober. https://t.co/WSzqeRCRFs

— Rianne van der Linden (@Rianne_vdLinden) October 4, 2019

#denktank twitter

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fancastfaceclaims-blog · 7 years

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Masterlist

This list is growing and changing constantly but it’s everyone and anyone I’ve ever thought of for a fancast. Now this is very very long but it’s mostly here as a list of people I plan to post on as individuals and so that I don’t accidentally post the same person twice. The specifications next to some people are to help me because I usually have them in mind for a specific characters, Most of these people are for certain fancasts but some are just a reference in case I come across a character in the future who fits their appearance.

Guys:

Sven Csongar

Christopher Mason

Charlie Hunnam

Ulrik Munther

LB Smith

Connor Dowds

Jay Alvarrez

Victor Norlander

Diego Barrueco

Tom Webb

Dudly O’Shaugnessy

Ben Barnes

Aaron Taylor Johnson

Ezra Miller

Avan Jogia

Lucky Blue Smith

Gaspared Ulliel

Cody Saintgnue

Michael J. Williams (model)

Clement Becq

Travis Fimmel (young)

Finn Wittrock

Michael Vartan

Adam Kezewski

Larsen Thompson

Presley Gerber

Casey Wyman

Hartley Sawyer

Sean Bourke

Max Carpenter

Adrian Grenier

Toby Hemingway

Levi Meaden

Tom Hardy

Nolan Funk

Graham Rogers

K J Apa

River Phoenix

Johnny Lewis

Caspar Peteus

Emil Andersson

Matt Elrod

Rob Raco

Trevor Stines

Ace Young

John Schneider

Grant Cramer

Michael Grant Terry

Dane Dehaan

Bradley James

Miles McMillan

Robert Redford (young)

Elcin Sangu

Neil Jackson

Ross Lynch

Thor Knai

Joe Slaughter

Drew James

Samuel Larsen

Rob Mayes

Reider Larsen

Nico Tortorella

Ari Millen

Colt Prattes

Ben Robson

Jake Weary

Joe Cole

Finn Cole

Spencer Treat Clark

Ben KIindon

new

boyd holbrook

luke worrall (blonde)

alex pettyfer

cole monahan

joshua anthony brand

alexander ludwig

niclas gillas

conor mclain

charlie kennedy (model)

florian neuville

aaron bruckner

malcolm de ruiter

jude law

finn jones

tjin elbers

sam heugan

cameron monaghan

caleb landry jones

tyler hoechlin

tyler posey

daniel sharman

dylan obrien

neels visser

toby regbo

travis fimmel (blonde)

scott michael foster (blonde)

oscar isaac

jamie campbell bower

owen devalk

neil jackson

jesse spencer

hayden christensen

freddie stroma

justin gossman

viggo jonasson

logan flatte

chris zylka

drew van acker

matt barr

christopher egan

mitch hewer

andrew stetson

jeremy dufour

harry goodwins

sabastian sauve

paul boche

Girls:

Lydia Graham

Natasha Ramachandran

Kiki Misuhara

Alyssa Campanella

Rose Levy

Cintia Dicker

Molly Quinn

Emma Stone

Krisitn Parker

Nephi Garcia

Annalise Basso

Dasha Vinnograddik

Emily Didonato

Mackenzie Mason

Gage Golightly

Scarlett Rose Leithold

Ginny Gardner

Skyler Samuels

Yael Groblas

Natalia Vodianova

Caroline Silta

Katerina Martinovska

Alicia Witt

Ann Margret

Haley Bennett

Nicole Fox

Anna Arendshorst

Bridget Regan

Alexandra Breckenridge

Louise Cliff

Emma Roberts

Alexandra Daddario

Anna Christine Speckhart

Eleanor Tomlinson

Jessica Prez

Jourdan Dunn

Amber Skye Noyes

Barbara Meier

Megan West

Georgia May Jagger

Neelam Gill

Rachel Brosnahan

Madelaine Petsch

Rachel McAdams (red hair)

Katia Winter

Danielle Perry

Katheryn Winnick

Anjelica Kaylor

Rena Sofer

Alex Paxton-Beesley

new

luca hollestelle

asima sefic

raina hein

georgie henley

lily collins

madison stubbington

rose leslie

riley keough (red hair)

lindsay hansen

lara jean chorostecki

monica ollander (red hair)

sophie turner

aja warren

anastasia ivanova

anna tatton

clara paget (red hair)

daria sidorchuk

darya lebedeva

elena satine

ebba zingmark

holland roden

crystal reed

holliday grainger

evan rachel woods

karen gillan

jaqueline emerson

julia johansen

katarzyna konderak (red hair)

rachel hurd-wood (red hair)

heather marks (red hair)

felicity jones

rianne van rompaey

julia bergshoeff

bruna dapper

alice first

polica oganivecha (red hair)

sophia friesen

karen elson

anniek kortleve

julia hafstrom

angie everhart (young)

lily cole

judith bedard

georgie hobday

olga sherer

#fancast #faceclaim #dreamcast #model #models #actor #actors #actress #actresses #tv #movie #movies #tv shows #face claim #fan cast #dream cast #fandom

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