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winxclubxd · 4 years

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Hi, I’m Bloom Sparx. Leader of the Winx Club of Dimension Alpha. We are not the same Winx that you may be familiar with. There are multiple Winx Clubs throughout the dimensions and overall multiverse. Here are the differences.

Winx Club/ Dimension Rai- These are the “main” Winx Club that are most prevalent in pop culture.

Winx Club/ Dimension WOW- Our paler counterparts from World of Winx, This Winx Club are spies who moonlight as talent scouts.

Winx Club/ Dimension S8- These are the Winx Club who went through the events of Winx Club Season 8. Also, they look like sexy mutant salamanders with down syndrome.

Winx Club XD/ Dimension Alpha- That’s us. The debatably hotter version of the WOW Winx. While the other Winx Clubs are considered to be LAWFUL GOOD, the Winx Club XD are CHAOTIC GOOD-NEUTRAL. They are such a massive aberration from the other Winx Clubs, they need their own section.

Bloom Sparx- That would be me. I’m admittedly a jerkass, but I have a good heart, but it’s buried under my arrogance, my vindictiveness, my pettiness, and brutality, although I think the accusations are a bit overblown. People from Dimension Beta, I was like Logan Paul and Conner McGreggor in the other Bloom’s body. Also, as the fairy of the dragon-flame, my body has become tanned after a while, hence, the sexy tan.

Stella Flare- Yeah... this Stella is a major creep, and exhibitionist. She is also the pettiest, and most easily triggered. Still, when push comes to shove, she’ll do what is right! Much like myself, her sun powers tanned her body overtime.

Flora Lymphea- Flora is the 2nd most mentally stable of the group, she is great at botany...which she can then use to supplement her bondage fetish. Also, let's just say that the thing that attracted her to Helia was his boyish looks.

Musa Melody- Pretty much the same across the board, but she is limited in terms of bars(rap skills).

Tecna Zenith- A Twitch streamer and in possession of the salt to fill the 7 oceans. When gaming, she is quick to anger, often flying into bouts of uncontrollable, profanity laced rage.

Aisha Layla- A most level headed of the group, though that is not saying much.

History of Winx Club XD

The story of the Winx Club XD is similar to that of Winx Club Rai. I was, and still am an avid fan of MMA and Pro-Wrestling. It really resonated with me, especially complimented by my many fights with Mitzi. They got so bad, the school organized a sanctioned a fight so we wouldn't kill each other. I won that fight, so I was no stranger to violence. When I met Stella, I discovered I Dragon Flame. Eventually, I fused her magic into her strong style, to create MAGICAL STRONG STYLE. This came in handy when I fought the Trix. The Winx and the Trix fought multiple times, and the two groups came to begrudgingly respect each other. Our feud eventually culminated in a massive war that nearly destroyed Magix. This would mentally weaken me just enough for Darker to brainwash me into DARK BLOOM. I may have been able to come through, but Dark Bloom never died, she simply went to sleep. This caused a shift in attitude for me as well as the rest of the Winx. When the evil sorceress, Baltor came for them, they became significantly more ruthless in battle. Kicking enemies in the faces, and breaking necks. This period was notable for Stella Flare’s brutal, bloody and emotional brawl against Chimera, and Bme defeating Baltor by shanking her through the heart, Goku-Black style.

About one year later, the new enemy, a group of female wizards, called the JET BLACK CIRCLE, returned to target the last fairy on earth, Roxy.

The best way to describe this dimension’s Roxy, is to imagine Vegan Gains, and Jon Moxley inside of Roxy’s body. She has a potential even bigger than her knife collection. Whether or not she’s actually used any of them, she will neither confirm or deny. When the Jet Black Circle targeted her, she the not hesitate go to immense extremes. This is also the point where Bloom’s darker personality began to shine through. Imagine Logan Paul, Jake Paul, and Conner McGreggor in Bloom’s body. Meanwhile, Stella got into several fights with Mitzi.

Sometime after defeating the Circle, the Winx Club XD’s collective ego began to flare up, eventually helping Aisha’s cousin, Nereus deal with his evil twin sister, Tritanna, who was being manipulated by Daphne’s old friend turned enemy, POLITEA.

Eventually, she and Daphne were resurrected. This brought forth a vicious rivalry, as Bloom and Selina fought it out. After a couple more years, the Winx learned MYSTIC MODE, the act of fusing the powers and abilities into their base forms, and their solo forms being reformatted as super forms.

After a couple more years, I fought Sailor Moon in a dream match in the Tokyo Dome , but came up short, but I did win the rematch one year later. On the same night, Aisha came up short against Takera Matsuda for the IWGP Women’s Championship.

Around this time, the Winx Club XD became regarded as the ‘Female Bullet Club’. Right now, these young bucks, calling themselves the Rainbooms are challenging us. We about to see if they measure up.

#winx club #au #alternate universe

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njawaidofficial · 7 years

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Jayne Mansfield: The First Reality Star?

New Post has been published on http://styleveryday.com/2017/06/29/jayne-mansfield-the-first-reality-star-2/

Jayne Mansfield: The First Reality Star?

On the 50th anniversary of her death, a look back by a Broadway actor at what a generation of stars (and Kardashians) owes the shrewd and extravagant trailblazer.

For broadcast journalist Elaine Stevens, now 68, it feels like it happened only yesterday. In fact, it happened exactly 50 years ago today.

Stevens answered the door to her parents’ Gulfport, Mississippi home. Her fiance, Ronnie Harrison, stood before her. Describing him today, Stevens still sounds 18: “He looked like Matthew Modine or Ralph Fiennes.” The couple was planning to elope three days later; Stevens was carrying their child. “The last thing he said to me was, ‘Will you always love me?’ And I said, ‘Of course I will. I’ll always love you.’”

That was the last time they ever saw each other.

Two hours later and 500 miles away, another woman, Vera Peers, awoke in a panic. Her daughter, Jayne Mansfield, had appeared to her in a dream. Standing atop a large, white stairwell, she was screaming, “Mama, I have a story to tell you. You have many steps to go. I’m at the top now, but I’ll be waiting for you.”

Vera awoke to the shriek of a police car’s wheels at her front door.

Jayne Mansfield, 34, movie star, mother and mother of invention, was gone, dead from a car crash on Highway 90 in Slidell, Louisiana en route to New Orleans. Also killed with her were her attorney, Sam Brody, and their driver, Stevens’ fiance, Ronnie Harrison. All three children in the car — Mickey Jr., Zoltan and Mariska Hargitay — survived.

***

Jayne Mansfield was nobody’s fool. The world’s smartest dumb blonde appeared in 27 films (only a handful of them memorable). But her bid for immortality lives on in a thriving, “famous-for-being-famous” culture she helped to create.

Before stars could reach millions of followers in 140 characters and 60 seconds or less, Twitter’s equivalent had a name: Hedda Hopper. Facebook, too, had one: Louella Parsons. These, along with a dozen other syndicated Hollywood power brokers, formed a mainline to the heart of the American people. And Jayne was their pied piper, adept as any modern-day social media maven at keeping herself in the public eye.

In fact, if it weren’t for Mansfield then, there would likely be no Kardashians today.

***

Mansfield’s leverage of the press was never more potent than in 1957, when she seemed poised to take over the world.

Borrowing the test-driven public persona of Marilyn Monroe, Mansfield beat out Monroe herself in popularity polls. She had four major features under her belt, and Twentieth Century Fox estimated her worth at $40,000,000 ($350,000,000 today). Mansfield’s name was “magic at the box office,” Parsons wrote.

On tour with Bob Hope, Mansfield brought 100,000 servicemen to their feet (co-star Neile Adams remembers her “in a bikini in Alaska in 20-degree weather”). Mansfield’s impact on men was likened to that of Elvis Presley’s on women, leaving riots in her wake. She had, as columnist Walter Winchell put it, “the world in the palm of her little pink hand.”

So why is Jayne Mansfield barely remembered today?

The answer may lie in a single item that appeared in Hopper’s column at the turn of 1957: “Jayne Mansfield is pushing ahead too rapidly.”

In fact, she was pushing 60 years ahead of her time.

***

Less than three years before her meteoric rise, Mansfield, 20, left Texas for Hollywood with husband Paul and their first child, baby Jayne Marie, in tow.

Growing up, Vera Jayne Palmer was a violin and piano prodigy; her instructors felt she would someday conquer Carnegie Hall. She spoke five languages and boasted an IQ of 163. At one of three colleges she would attend, Jayne (she dropped the “Vera”) studied chemistry, abnormal psychology and drama — a seeming recipe for success in Hollywood.

In Dallas, where she lived for a time with her husband, Jayne studied with Baruch Lumet — celebrated Yiddish Theatre actor and father of director Sidney Lumet — who directed her in a “perfect” performance of Death of a Salesman. The Seagull was one of her favorites, and she longed to play Blanche DuBois.

Texas journalist John Bustin, who had known Mansfield since her theatrical debut in Austin Civic Theatre’s Ten Nights in a Bar-room in 1951, wrote of her potential in 1954: “She might prove bigger than, say, Jane Russell in a couple years.”

***

In January 1955, Mansfield scored a plus-one to a press junket for Howard Hughes’ Underwater starring Jane Russell. Outfitted in a skintight red lamé swimsuit, Mansfield dove into a pool and, according to journalists, “had the genius to permit her bathing suit to split open.”

Overnight, Mansfield’s image was plastered across America as “Marilyn Monroe, king-sized.” In a Person to Person interview broadcast live before 20 million, Edward R. Murrow inquired about the wardrobe malfunction — to which Jayne replied innocently, “I don’t remember the incident.”

“Ever since Underwater, the press just adopted her,” says Ray Strait, 93, Mansfield’s former press secretary and biographer. Actually, it was Mansfield who hacked the system: Tapping into a sweet spot of marketing known as “optimal newness,” she presented a brand that was an ideal blend of both originality and derivation — a replica of Monroe who went just a bit further.

***

Warner Bros. signed her briefly, marketing her as their “threat to Marilyn Monroe.” She tested for Rebel Without A Cause (Natalie Wood got the part), booked small roles (including an echo of Monroe’s breakout role in Asphalt Jungle in a film called Illegal) and posed for Playboy.

Paul Mansfield, recognizing that he would always be second choice to his wife’s career, filed for divorce and custody of their daughter. Jayne claimed Paul was jealous of her Chihuahua — and won. It turned out that flying solo worked to her advantage.

While men had always fancied Mansfield, women now sympathized with her. She became, ostensibly, the first sex symbol to wipe Freud’s “Madonna-whore complex” from the psyche of millions of American men. After all, who could fault a single mother who posed nude for Playboy “to pay for milk and food for the baby”?

***

Mansfield kept her last name but lost her Warner’s contract. It wasn’t long, though, before lightning struck again.

Headlines blared “Marilyn Monroe Is Due for Surprise” when Mansfield conquered Broadway in 1955’s Will Success Spoil Rock Hunter? Aping Monroe, she snagged a Theatre World Award and raves for her performance as a blonde movie queen. Her costar Orson Bean, 88, recalls fondly: “It became a hit because of Mansfield and all the publicity. She is the only performer who was on the cover of Life magazine twice in one year!”

Indeed, every day became Underwater for Jayne. In addition to managing motherhood, a melange of pets and a full-time show schedule, she orchestrated three to five personal appearances, photo shoots, interviews and endorsements per day. “I’m serving a kind of internship here,” she said. Actually, she was building an empire.

***

With Monroe sitting strike at Fox (she sought greater creative and financial control over her work), it wasn’t long before the studio sent scouts to size up Mansfield. Fox gave her a powerful launch, producing Mansfield’s most significant body of work — The Girl Can’t Help It, the film version of Will Success Spoil Rock Hunter? and The Wayward Bus — in the first year of her contract. With strong reviews and respectable box office sales, Mansfield earned a Golden Globe Award, fulfilling Parsons’ prophecy that, in 1956, it would be “Mansfield to win, Loren to place, Monroe to show.”

Fox had signed Mansfield as a bargaining chip in the face of Monroe’s insubordination. But what the studio hadn’t counted on was that their new star would display a defiance all her own.

***

Like other sex symbols of her era, Mansfield was encouraged to date within the studio’s stable and not have children, a mandate to which she agreed — initially: “Too many Hollywood stars are getting married too fast,” she quipped in 1956. “I’ll devote myself to work during this seven-year contract. After that, I can have four kids. This town was built on glamour, not babies.”

A little over a year later, however, she married former Mr. Universe Mickey Hargitay. Despite her proclaimed wish for “a quiet, dignified” wedding, 90 percent of her guests were newspapermen — and an estimated 8,000 spectators turned up after she revealed the locale, the glass-paneled Wayfarers Chapel in Rancho Palos Verdes, in the papers.

In short order, the second of Mansfield’s five children was on the way. Her embrace of motherhood set a precedent for other leading ladies, becoming an expression of her femininity rather than a deterrent. Nevertheless, pregnancy did not sit well with the Fox image factory, and it cost Mansfield roles.

***

As Monroe came back into the fold at Fox, Mansfield bucked the studio’s publicity machine and engineered stunts to gain traction. One event in particular branded her in public memory.

“The party was in full swing when Jayne arrived,” recalls Mitzi Gaynor, “gorgeous and at her most platinum. It was one of those oh-so-showbiz moments when the whole room seems to stop for an instant. She sensed it, seized the opportunity and the rest is history.”

The soiree at Romanoff’s, celebrating Sophia Loren’s American debut, became something of a coming-out party for Mansfield’s decolletage instead. While Mansfield denied any premeditation — or even awareness — of the spillage, friend and fellow contract player Robert Wagner remembers differently. He laughs when recalling how he spotted the “sweet and marvelous” star, whom he often accompanied to premieres, from his car at a red light en route to the party. “I see her in her car, and she’s putting rouge on her nipples!”

The girl couldn’t help it.

***

Fox was beside itself. Stars were meant to be unattainable; a movie ticket was the price of access. Mansfield, however, “would open a cracker box if she thought it would get the press there,” recalls Strait. “She had to have that spotlight all the time.”

The consequences of this pursuit began to reveal themselves in the columns of those who’d helped launch her career: “She has been far too accessible to every lensman, scribe and high school reporter,” barked columnist Dorothy Kilgallen.

If the studio couldn’t shake her of the habit, it could punish her — and did. At $200,000 per picture, Fox loaned Mansfield out to studios overseas while retaining her services at $1,250 per week. The quality of her films diminished, as did her cachet.

***

Fond of telling reporters, “If you’re going to be a movie star, you should live like one,” Mansfield fulfilled the fantasy by purchasing a Sunset Boulevard palazzo in 1958 and re-christening it “The Pink Palace.” She actually preferred purple, but since Columbia chief Harry Cohn had already dubbed Kim Novak “the lavender blonde,” Mansfield exhibited her branding genius — again. “Now I had a gimmick,” she declared, replete with matching pink car, furs and poodle.

With the Palace came mounting expenses, and Jayne’s business acumen kicked into high(er) gear.

As one of Las Vegas’s first — and highest-paid — female headliners, she earned $200,000 for 10 weeks of work: Fox’s loan-out fee for an entire motion picture. She built an adjunct career leveraging her notoriety in exchange for cash, food and furnishings for her family and menagerie of pets — to the tune of $10,000 per ribbon cutting. A 1961 Associated Press headline trumpeted her ingenuity: “She has found a way to capitalize on fame which may create an entirely new kind of star. There’s not much to the part, but the pay is spectacular.”

“To merchandise her popularity outside of films, she did exactly what she should’ve done,” notes Derek Thompson, author of the bestselling Hit Makers: The Science of Popularity in an Age of Distraction. “As tastes changed at the gatekeeper level, she went directly to the people. She was innovative because she had to be.” For Mansfield, the motivation was simple: “I turned $2,000,000 worth of publicity into $300,000 cold cash. That was my objective. It still is.”

Once again, she hacked the system.

***

And then in 1962, the world changed. Marilyn Monroe was dead — and with her passing, the era of the blonde bombshell was over.

The day of Monroe’s death, a tiny item ran in the papers indicating that Mansfield had been dropped from Fox. The perfect storm that had brought her to the studio had now taken her from it.

The day after Monroe’s passing, it was reported that Mansfield was separating from Mickey Hargitay, whom many considered to be her Rock of Gibraltar. She told reporters before telling him.

***

If Mansfield had hacked the system in the ’50s, she would crash it in the ’60s. She had spent years “out-Monroe-ing Monroe.” Now she was determined to out-Mansfield Mansfield.

After telling columnist Earl Wilson that “nudity just doesn’t mix well with motherhood,” she starred in Promises, Promises — breaking ground as the first major star to appear in a nude scene onscreen. While Mansfield’s appearance in the film kicked open doors that would be entered by countless actresses after her, it also ruptured a social contract she had worked hard to maintain — that of “accidental exposure.”

Again, there was method to her madness: Contradiction, by design or caprice, had been her call-in-trade since the dawn of her career. It was typical for Mansfield to tell reporters “I’m through with cheesecake” before crossing a busy intersection in a leopard-print bikini, causing a three-car pileup. “I’m done with publicity,” she alerted the press at a Catholic funeral service held for her pet Chihuahua, Galina.

There was likely a genuine desire behind all of these statements — but there was also an intrinsic understanding that when audiences grow habituated to a product, that product grows obsolete. The solution, then, was dishabituation — the deliberate disturbance of audience expectation. Madonna may have mastered it, but Mansfield started it.

***

A funny thing happened after Promises, Promises. Jayne had shown audiences more and now they expected more — at a lower price. While she continued making films, touring with a nightclub act and even starring in plays, public interest shifted almost entirely from the roles she played to the person she had become. Referring to herself as “a goldfish,” Jayne’s medium, at last, became her message.

“She can sell newspapers and magazines, attract millions of television viewers and draw crowds everywhere she goes,” wrote a Canadian journalist, “but at the movies, she’s a big bust… It could be that the public got so much of Jayne Mansfield for free that paying for the same privilege was too much.” Another critic asked, “She acts? Who cares?”

***

Mansfield told Parsons in 1956, “I want to be a great actress.” But shortly afterward, she told rival columnist Sheila Graham, “The real stars are not good actors or actresses. They’re personalities.” The conflict illustrated by these statements was one with which Mansfield wrestled for the entirety of her career.

On a whistle-stop promotional tour for the film adaptation of Will Success Spoil Rock Hunter?, Jayne began telling journalists that, more than anything, she wanted to play Hamlet. They thought she was joking.

After meeting Mansfield in 1957, Love Boat and Mary Tyler Moore Show star Gavin MacLeod, 86, recalls a fortuitous encounter with Ben Bard, director of new talent development at Fox. Bard — who had molded stars as diverse as Alan Ladd, Mickey Rooney and Olivia de Havilland — told MacLeod in no uncertain terms, “Jayne Mansfield was the best Hamlet I ever saw.”

***

Mansfield once said of herself and television, “we were meant for each other.”

Co-stars from her earliest appearances, from Carol Burnett to Jamie Farr, remember her with great fondness, and she remained a prolific presence on talk shows in later years. Hairdresser-cum-song stylist Monti Rock III, who appeared with Mansfield on a memorable episdoe of The Merv Griffin Show, remembers the “extraordinary, incredible lady” who took him under her wing: “She taught me about the importance of the press,” he recalls. “It took someone like Jayne to help me understand who I was: I was famous for being famous.”

Notes P. David Ebersole who, with Todd Hughes, co-directed the upcoming documentary, Mansfield 66/67, “She really was the first star to create the idea that the public needed to know who you are — not just the public persona, but behind closed doors.”

Toward that end, in 1965, Mansfield produced and starred in a pilot playing an actress who wants to do Shakespeare — but settles for playing Jayne Mansfield instead. Part sitcom, part proto-reality show, The Jayne Mansfield Show seemed a natural fit for the actress who had already surrendered a good portion of her private life to public consumption. Thirty years ahead of its time, it was quietly shelved by NBC.

***

“By today’s standards, her act was extremely tame,” recalls Stevens, whose fiance died with Mansfield in that fatal car crash. “But at that time, she was like the original Lady Gaga. She had a brand, and it was called ‘Jayne Mansfield.’ And, like most women of her day, she did what she had to do to keep her family fed.”

Stevens, author of the forthcoming memoir, Mermaid in the Window, still finds the events of 1967 “extremely painful.” After the crash, she was forced to give up her child for adoption. It would be more than 30 years before Stevens would see her daughter again. When the two reunited in 1999, “It was just remarkable seeing part of Ronnie walk the earth again.”

Stevens feels that reporters at the accident site were “a precursor to the paparazzi fascination with [Princess] Diana,” heralding a deeper dive into an era of no-holds-barred journalism in which Mansfield, regrettably, had a stake.

***

Mansfield’s film work never did engage the public in the way that Marilyn Monroe’s had (few ever would). While Marilyn was unattainable, Jayne was entirely available. There was little for audiences to chase, so Mansfield chased them instead.

A 1967 Los Angeles Times elegy concluded that her ingenuousness led her to confuse “publicity and notoriety, stardom and celebrity.” Joe Schoenfeld, then-editor of Daily Variety, added that Mansfield had “won what our culture has instructed her to achieve. And don’t sell her achievement short.”

In 1964, she even engaged in a publicity campaign called Jayne Mansfield For President. Who knows? In today’s world, she might have won.

Erik Liberman currently appears in Broadway’s War Paint and is co-author of the upcoming book Luminous Life (New World Library, 2018).

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njawaidofficial · 7 years

Text

Jayne Mansfield: The First Reality Star?

New Post has been published on http://styleveryday.com/2017/06/29/jayne-mansfield-the-first-reality-star/

Jayne Mansfield: The First Reality Star?

On the 50th anniversary of her death, a look back by a Broadway actor at what a generation of stars (and Kardashians) owes the shrewd and extravagant trailblazer.

For broadcast journalist Elaine Stevens, now 68, it feels like it happened only yesterday. In fact, it happened exactly 50 years ago today.

That was the last time they ever saw each other.

Vera awoke to the shriek of a police car’s wheels at her front door.

***

In fact, if it weren’t for Mansfield then, there would likely be no Kardashians today.

***

Mansfield’s leverage of the press was never more potent than in 1957, when she seemed poised to take over the world.

So why is Jayne Mansfield barely remembered today?

The answer may lie in a single item that appeared in Hopper’s column at the turn of 1957: “Jayne Mansfield is pushing ahead too rapidly.”

In fact, she was pushing 60 years ahead of her time.

***

Less than three years before her meteoric rise, Mansfield, 20, left Texas for Hollywood with husband Paul and their first child, baby Jayne Marie, in tow.

***

Mansfield kept her last name but lost her Warner’s contract. It wasn’t long, though, before lightning struck again.

***

Fox had signed Mansfield as a bargaining chip in the face of Monroe’s insubordination. But what the studio hadn’t counted on was that their new star would display a defiance all her own.

***

As Monroe came back into the fold at Fox, Mansfield bucked the studio’s publicity machine and engineered stunts to gain traction. One event in particular branded her in public memory.

The girl couldn’t help it.

***

With the Palace came mounting expenses, and Jayne’s business acumen kicked into high(er) gear.

Once again, she hacked the system.

***

And then in 1962, the world changed. Marilyn Monroe was dead — and with her passing, the era of the blonde bombshell was over.

The day of Monroe’s death, a tiny item ran in the papers indicating that Mansfield had been dropped from Fox. The perfect storm that had brought her to the studio had now taken her from it.

The day after Monroe’s passing, it was reported that Mansfield was separating from Mickey Hargitay, whom many considered to be her Rock of Gibraltar. She told reporters before telling him.

***

If Mansfield had hacked the system in the ’50s, she would crash it in the ’60s. She had spent years “out-Monroe-ing Monroe.” Now she was determined to out-Mansfield Mansfield.

***

Mansfield once said of herself and television, “we were meant for each other.”

***

In 1964, she even engaged in a publicity campaign called Jayne Mansfield For President. Who knows? In today’s world, she might have won.

Erik Liberman currently appears in Broadway’s War Paint and is co-author of the upcoming book Luminous Life (New World Library, 2018).

Source

#Jayne #Mansfield #Reality #Star

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