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#marc kelly
johnfdonovan · 7 months
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heaven + donnie darko 🐰🖤🌪️  
photographed at original film locations in los angeles by zamar velez with art direction by director richard kelly
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voguefashion · 8 months
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Princess Grace of Monaco wearing the "La Bayadère" dress by Marc Bohan for Christian Dior Spring/Summer 1967. 
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shesnake · 1 year
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“They kept asking me the same question. Where is Jessica Hyde?”
Utopia season 1 episode 1 dir. Marc Munden Created by Dennis  Kelly, first airdate January 15, 2013.
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stephenist · 5 months
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Rudy Rucker has posted free epub, mobi and webpage formats of the seminal sci-fi cyberpunk anthology ➡️ Mirrorshades. ⬅️
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blackwomenrule · 1 year
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gatabella · 24 days
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Princess Grace dances in Dior 'La Bayadere' gown, 1968
Maria Felix, Paris, 1968
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chicinsilk · 1 month
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US Vogue March 15, 1969
Marc Bohan for Christian Dior Spring/Summer 1969 Haute Couture Collection. Kellie Wilson in a long lilac chiffon dress. Silver sandals and makeup from Dior.
Marc Bohan pour Christian Dior Collection Haute Couture Printemps/Été 1969. Kellie Wilson dans une robe longue en mousseline couleurs lilas. Sandales argent et maquillage de Dior.
Photo Bert Stern vogue archive
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gracie-bird · 5 months
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Princess Grace and Cary Grant in 1971.
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c4utopia · 1 year
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Happy 10 Year Anniversary of Utopia 🐇
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johnfdonovan · 7 months
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heaven + donnie darko 🐰🖤🌪️
photographed at original film locations in los angeles by zamar velez with art direction by director richard kelly
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kellymagovern · 6 months
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Len - "Steal My Sunshine" [x]
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cantsayidont · 3 months
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Movies movies movies:
THE WITCH WHO CAME FROM THE SEA (1976): Disquieting, bloody psychological drama, directed by Matt Cimber (later the founder of G.L.O.W., and the basis for the "Sam Sylvia" character played by Marc Maron on the 2017–2019 G.L.O.W. TV series), about a disturbed young woman named Molly (Millie Perkins, wife of screenwriter Robert Thorn), whose horrifying history of childhood abuse causes her to sublimate sexual attraction into dissociative homicidal fits, when she isn't doting on her two young nephews or drinking herself into a haze. Vibes like an exploitation movie, but too arty and surreal to really qualify as one, and it doesn't ever feel quite like a horror movie despite the lurid subject matter; probably the closest comparison is Abel Ferrara's MS.45, with which it would make an apt double bill. Demands strong CWs for CSA and suicide, both of which are pretty rough, but it definitely makes an impression, perhaps most strikingly in the later scenes where Molly's seedy boss (Lonny Chapman) and bitchy coworker (Peggy Feury) begin to grasp how unhinged Molly has really become, leading to a disturbing finale. Too unsettling to easily recommend, hard to forget.
ALICE GOODBODY (1974): Lightweight, smutty exploitation movie, written, produced, and directed by Tom Scheuer, starring Sharon Kelly as a starstruck Hollywood waitress who loves old movies and movie stars (most of whom the people she meets in the industry have barely even heard of) and who is determined to get a small part in a new musical about Julius Caesar, even though it means sleeping with almost everyone in town. A kind of cheerful low-stakes sex comedy they don't make anymore: The situation is obviously sleazy, but not in any way that ever puts Alice in any particular jeopardy (she's in far more danger on set, where she keeps suffering different workplace accidents). The movie's central running joke is that the men whose favor she's supposed to be cultivating are at least as fixated on their own weird obsessions and neuroses as on sex, something Alice just has to sort of work around as best she can, which ends up making her sympathetic and even relatable. More likable than you'd think.
SPICE WORLD (1997): Delightfully dopey Girl Power homage to Richard Lester's A HARD DAY'S NIGHT, starring the Spice Girls, Richard E. Grant at his Richard E. Grantiest, and a cast of thousands. (Just picking out all the cameos and guest stars is half the fun.) This is what I think the Greta Gerwig BARBIE movie was going for: obviously a commercial product, and making no apologies for its mercantile ambitions, but self-aware enough and full of enough sly piss-taking to be thoroughly enjoyable even if you aren't in (or never had) a Spice Girls phase. Goes on a bit too long, but Grant's outfits alone are worth sticking it out for, and the bridge-jumping climax is very funny.
KALIFORNIA (1993): Mordant thriller starring a disconcertingly young-looking David Duchovny as Brian Kessler, a young writer who blows his advance for a new book about serial killers on an old convertible for him and his horny art photographer girlfriend Carrie Laughlin (Michelle Forbes, with disconcerting bangs) to drive across the country, photographing famous murder sites. Along the way, they pick up a couple of hitchhiking hicks, Early Grayce (Brad Pitt) and Adele Comers (Juliette Lewis), to help pay for gas, not realizing that Early is a paroled convict who's just murdered someone and has no qualms about dropping more bodies along the way. Tim Metcalfe's script (with obligatory '90s voiceover narration) scores some points early on in its depiction of Brian and Carrie's obvious classism and brittle middle-class hipster intellectualism, but the story ends up validating their prejudices rather than questioning them, which keeps the film from being entirely satisfying despite its effectiveness as a thriller. The cast is very good, with Pitt and Forbes the real standouts — Pitt plays Early as a man who draws no line between aw-shucks Southern congeniality and murderous rage, while Forbes makes Carrie's mix of ambition, appetite, and roiling intensity so vivid that you come away wondering what she's doing with Brian, who Duchovny plays as a somewhat gormless jackass. As for Lewis, suffice to say this would make an interesting double bill with NATURAL BORN KILLERS, released about a year later, where she plays a variation on the same damaged theme.
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theentitledsupreme · 7 months
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Kelly Rowland at New York Fashion Week 2023.
[Source]
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kevcreature · 4 months
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28:06:42:12 that. is when the world will end. 🌪
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myvinylplaylist · 10 months
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Dropkick Murphys: The Meanest Of Time (2007)
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Born & Bred Records
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chicinsilk · 5 months
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Her Serene Highness Princess Grace of Monaco wears an evening dress in white silk jersey, decorated with white ostrich feathers belonging to the Fall/Winter 1968-69 Haute Couture Collection by Marc Bohan for Christian Dior.
Son Altesse Sérénissime la Princesse Grace de Monaco porte une robe du soir en jersey de soie blanc, ornée de plumes d'autruche blanches appartenant à la Collection Haute Couture Automne/Hiver 1968-69 de Marc Bohan pour Christian Dior.
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