selenak

Expand Cut Tags

No cut tags

American Born Chinese (TV Series, either miniseries or first season): Charming, based on a comic I haven't read, and that rarity, neither Marvel nor DC. Follows two boys, one of whom is actually a god (well, the son of one), and in supporting (but not main) roles has much of the cast of Everywhere all at once. (Including Miichelle Yeaoh as the Goddess of Mercy.) I liked it very much, though I think one mistake the writers made was ( spoilery in nature ). But anyway, the main narrative combines the "misfit in highschool" narrative with some well placed social criticism and mythology elements with a light touch, and I liked it a lot.

The Offer (miniseries): Since Strange New worlds starts its second season next week and since they have Discovery and the other Treks as well, I gave in and added Paramount + to my subscriptions. Another thing Paramount + has is The Offer, a miniseries about the making of The Godfather. Based, as the credits inform you, on producer Al Ruddy's memories of producing The Godfather, and boy, is that apparant. ( Spoilers were entertained but not in love with this miniseries and missing some bite. )

Current Mood: cheerful
Current Location: Munich

Watched recently: The documentary "Audrey", about Audrey Hepburn, chiefly produced, it seems by her son and granddaughter. It's definitely on the hagiographic side. Mind you, it's not that I don't believe them Audrey Hepburn was a wonderful person, I believe this completely, and the film certainly gets across both radiance she had and the famous fashion sense. There's plenty of interview material gathered from Audrey Hepburn herself over the decades in various media, and in addition from the above named two family members, we hear from some friends, and on the professional side from Peter Bogdanovich. But leaving aside the choice of movies to show excerpts from (mainly Roman Holiday, Breakfast at Tiffany's, My Fair Lady) left out some of the most interesting ones (The Children's Hour, A Nun's Story, Robin and Marian), I don't think the film trusts its subject enough. Everyone who gets to speak says how wonderful Audrey was, and how gifted. The closest the movie comes to including criticism is when one of the narrators tells us that "some people" thought Audrey had "stolen" the part of Eliza Doolittle from Julie Andrews, how Jack Warner (whose decision this casting actually was) didn't believe Ms Hepburn could do her own singing and therefore had her dubbed by Marnie Nixon, which devastated her. And as you can see, the criticism here is rightfully aimed at Warner. Here's a controversial idea: Emma Thompson some years ago very controversially said Audrey Hepburn as Eliza was way too twee for her, nothing to do with her singing, she meant the performance. Include this critique, let someone argue against it, and presto, a non-hagiographic scene.

(Though what I really would have liked best was someone interviewing Shirley MacLaine and getting some quotes on her and Audrey Hepburn working on "The Children's Hour" together.)

Where the film excels is Audrey Hepburn's harrowing childhood and youth. There, too, was a gap, but I suspect it might be unsolvable, if we don't have a statement from AH herself on the subject. The circumstances are these: both her parents were fascists. Mom wrote an article of how Hitler was the most wonderful, Dad joined the Black Shirts. Both, who were already divorced at the time, agreed on sending child!Audrey to the Netherlands with the last air plane from England when the war started, believing the Netherlands would remain neutral and safe as is WW I. Of course, next thing you know, the Netherlands are occupied by the German army. Young Audrey witnesses the full brutality of German occupation, smuggles Resistance messages in her shoes and along with most of the country is severely malnutrioned when the war ends. Her much later work for UNICEF is directly connected to this.

So, of course, I was burning to know whether she ever confronted her parents post war re: their fascism. But there was nothing about this in the rest of the movie. There was plenty of how the fact her father had left the family when Audrey was six caused her life long abandonment trauma, especially since he never bothered to contact her again, and she only found him once more via the Red Cross in the 1960s, at which point he still didn't want a relationship but did accept her financial support. Which she gave. The movie had a lot to say about this sense of being unloved, not worthy of love, influenced her relationship with men, but nothing, nada, zero, whether her being a victim of and fighter against fascism vs both parents being fascists ever came up, and the storyteller in me was frustrated by this. However, like I said: perhaps she never talked about it (as opposed to talking about how she never wanted her children to lack a parent the way she had), in which case the movie could not tell me.

What I also was curious about was the total absence of her second son, Luca, both in the sense of him not being interviewed and him not being talked about once it's established he existed. What's not said always tends to make was intrigued as what's said.

All this nitpicks not withstanding: as a love declaration to Audrey Hepburn and evidence she could lit up the screen, both when acting and as herself in interviews, this film certainly worked, as well as showing her being a brave and compassionate person who chose to channel the terrible things she witnessed and experienced by helping others. Just one thing I blame the director for which really did not work: the three ballet dancers supposed to represent Audrey's inner self at different points in her life. (She had wanted to become a ballet dancer, not an actress, and had studied for it.) They came across not as poetic imagery, but, dare I say it, twee.

Current Mood: contemplative
Current Location: Bamberg

Or, another entry in this particular genre where a lot of talent comes together to produce something with much ambition and affection which ends up, alas, as something of a dud. IMO, mileage may vary, etc. I'm told David Fincher produced and directed his father Jack Fincher's screenplay to honor him, which is a lovely filial gesture, but imo a better honor might have been some resolute trimming and rewriting. Which, you know, happened to Herman Mankiewicz' original script for the movie later called Citizen Kane. A lot. (Not just by Orson Welles, who as opposed to what this movie claims did deserve his co-writing credit, but also by John Houseman, whose presentation in Mank as an shy pedantic fusspot endlessly saying "but Mank, you can't!" is a far greater reality distortion than anything else. But actually the biggest problem with Mank is not how accurate, or not, it is, but that it ends up as a meandering collection of anecdotes roughly held together with the "Mank writes Citizen Kane and has flashbacks" framing narration which go in all directions and manage to hint at a great many stories about 1930s and 1940s Hollywood, each of which might have been a good subject for a movie. But together they just feel like a whole lot of crammed footnotes in search of an editor.

( As, poor Mank, I knew him )

Current Mood: disappointed
Current Location: Munich

This morning's "yay" moment quickly followed by "what the hell?" moment: apropos the Emmy nominations, seeing that Watchmen got nominated a lot (yay!), and Hollywood did, too, in the limited series categories - and then seeing the Better Call Saul nominations in the drama series category. And the lack of same. Rhea Seahorn, who's been consistently great through five seasons and in the last season has been beyond awesome, got snubbed again. Meanwhile, Giancarlo Esposito got nominated as Gus in the supporting actor category. (He's been solid, but Gus really is a static cameo character on BCS.) This reminds me of when after season 3, which was Michael McKean delivering a terrific performance as Chuck McGill, the BCS actor who got nominated for best supporting was... Jonathan Banks as Mike (who in that particular season really did not have much to do). By now, the only way this is explainable to me is by concluding none of the Emmy nominators actually watched Better Caul Saul. They're just going by Breaking Bad nostalgia and nominating the actors they remember from there for the performances given in the earlier series.

But really. Rhea Seahorn. You have to be blind, deaf and dumb to ignore what she's done.

Otoh, like I said, Watchmen getting so much love is wonderful, and I hope the entire team wins. (Though Jeremy Irons can lose to Jeremy Pope, who got nominated as Archie in Hollywood. Not that Irons didn't have a great time scenery chewing as Adrian Veidt, but it's hardly the best he's ever done, and he's got his accolades.) I don't envy the jurors having to decide between Louis Gossett Jr., Jovan Adepo and Yahya Abdul-Mateen II (who were all nominated as best supporting in a limited series for their respective Watchmen roles - Gossett and Adepo even for the same character at different points of his life!), though, and hope they won't cancel each other out. (In which case Team Hollywood would benefit, as Jim Parsons as Henry Wilson and Dylan McDermott as Ernie were nominated in the same category as well.)

Reading the list of nominations also reminded me I really must watch Unorthodox, and not just because it's partially a home team effort. When I watched Maria Schrader's Stefan Zweig movie, I was hoping she'd continue with directing, and I've been hearing a lot of good things about Unorthodox.

Current Mood: indescribable
Current Location: Bad Wiessee

Hollywood turns out to be a thoroughly charming miniseries, a "what if?" that unabashedly provides us with a left turn in cinematic and social history via the lives of some fictional and some rl based characters in, well, Hollywood of the late 1940s. It starts out in a very Wilderian cynical "Hollywood on Hollywood" vein - complete with Billy Wilder homage: Schwab's is a key location, the gate of the fictional ACE Studios is very much the Paramount Gate (as seen in Sunset Boulevard, Gloria Swanson is namechecked twice, and Patti LuPone, who played Norma Desmond in the musical version of Sunset Boulevard and wears very similar costumes here, here plays anothe silent movie actress whose career ended with sound who early in the series buys herself the favours of a handsome young man. But her character, Avis, has a very different story to Norma's, and the way her story is different is symptomatic for the way the entire series is different, and far from being cynical, turns to be incredibly optimistic and wish-fulfilling in the best sense. It also is a series that manages to be both utterly in the now in the way it chooses its characters and looks at them, in a way that unfortuantely would not have happened back then, and delivering a traditional Hollywood ending (which is not so coincidentally the title of the finale).

What I mean with this is: this is a series where you have far fewer straight characters than gay or bi characters. Where the awful treatment rl actors of colour like Anna Mae Wong and Hattie McDaniels is featured, but where said treatment is also not written as inevitable. Where there are poc main characters who do get to fulfill their dream, and not just as an individual fate but very much written as a larger story of change. As I said, this is a show that asks "What if?", with one character achieving change triggering other changes as well. The credit sequence in which the various main characters help each other climbing up the HOLLYWOOD letters is an obvious symbolism of this, but it fits. This is a story where people form connections and help each other, have each other's backs. That this eventually is rewarded, not punished by the narrative makes it an old fashioned story. That the characters in question are gay, bi, poc, middle aged sexually active women who aren't defined by being someone's parent or villain, that because there are so many gay or bi characters the fact that one of them is an exploitative manager/agent (who, btw, is also one of the rl based characters) does not say anything about gayness but about this specific man (who, incidentally, could have easily been a caricature but in the hands of Jim Parsons isn't), that the series celebrates friendship and romance both instead defining its characters solely through one or the other, that practically the only character presented as irredeemable is a studio lawyer with minimum screen time - all of this is just wonderful to watch especially in the here and now.

And all the meta-ness of the film-within-the-series, the way the script changes through the story (and it's never simplified into a "true vision of the artist vs studio interference" story - some attempted interference would be bad, but some actually makes the story better) - all this is just so well done. On a shallow level, the cast and the costumes are gorgeous. Last time I saw something Ryan Murphy made based on Old Hollywood, it was Feud, which was great in a different way. The story it told about Joan Crawford and Bette Davis wasn't just about what the patriarchy did to them or their temporary success despite that, but also how they co-created their fates via some of their own choices when it did not have to be. Hollywood I feel is creatively connected to that because if Feud showed what was, Hollywood asks "what if? why not?" - and it lets its characters, both fictional and rl based, earn that happy ending, not via removing the struggles for them - is there ever struggle - but by giving each of them a few good choices in a way that helps the other.

Like I said: wish fulfillment. And I really need a story like this right now.

Current Mood: enthralled
Current Location: Bad Wiessee

Phew. All three tales of Yuletide done. This year, my assignment and one of the treats were in fandoms I've never written before, and the other treat was from a fandom of old. It's odd, in some years I can detect a common theme, as when I wrote about Marie and Skyler from Breaking Bad in one story, and Connie Corleone and her brothers from The Godfather in the other (dysfunctional siblings ahoi), but this year, I can't. They were all fun to write, though. Brushing up on the canons also invoked the urge to write meta, but I have too much rl stuff to do for that to happen right now, not to mention that it would give away the game. Maybe post Yuletide.

Meanwhile, check out an intriguing article about John Ford, John Wayne and the creation of a certain idea of masculinity that was artificial from the stort. Choice quotes:

"masculinity (like the Western) is a by-product of nostalgia, a maudlin elegy for something that never existed—or worse, a masquerade that allows no man, not even John Wayne, to be comfortable in his own skin.

And:

From Stagecoach through Liberty Valance, their last Western together, Ford rode Wayne so mercilessly that fellow performers—remarkably, given the terror Ford inspired—stepped in on Wayne’s behalf. Filming Stagecoach, Wayne revealed his inexperience as a leading man, and this made Ford jumpy. “Why are you moving your mouth so much?” he demanded, grabbing Wayne by the chin. “Don’t you know that you don’t act with your mouth in pictures?” And he hated the way Wayne moved. “Can’t you walk, instead of skipping like a goddamn fairy?”

Masculinity, says Schoenberger, echoing Yeats, was for Ford a quarrel with himself out of which he made poetry. Jacques Lacan’s definition of love might be more apt: “Giving something you don’t have to someone who doesn’t want it.” Ford was terrified of his own feminine side, so he foisted a longed-for masculinity on Wayne. A much simpler creature than Ford, Wayne turned this into a cartoon, and then went further and politicized it. There was an awful pathos to their relationship—Wayne patterning himself on Ford, at the same time that Ford was turning Wayne into a paragon no man could live up to.

And also, some fanfiction, Orphan Black this time.

the eve of your labours: remember season 3, when Delphine, temporary in charge of Dyad, tried very hard to out-Rachel Rachel while Rachel was slowly recovering her speech and movements but was mentally all there (and ready for mindgames)? This story takes that to it's ultimate conclusion.

we'll still be running at the break of dawn: post-series encounter of Sarah and Rachel, the two clones who find it hardest to adjust to a time of peace.

Black Sails:

Give me a chance: Betsy the Walrus ship cat doesn't show up post s1 anymore that I recall, but fanfic sees no reason to follow suit, so every now and then a writer does something with her. In the case of this priceless little vignette, this results in Silver and Flint having one of Those Conversations. No, not the later season intense dark ones. One of the early season point blank hilarious ones. :)

Current Mood: exhausted
Current Location: Munich

Smart, wonderful review of Cleopatra, 1963 version, too often dismissed as campy extravaganza. (

amenirdis, this one is for you!) It was, of course, scripted and directed by Joseph Mankiewicz, who in this most recent list of 100 greatest screenwriters of all time makes it to No. 23 ("Says Phyllis Nagy: “There may be a more endlessly quotable screenplay than All About Eve, but I’ve yet to find it.”).

About that list: as per usual in such lists written in the English language (US edition), what they mean is "100 Greatest American Screenwriters", with the odd foreigner thrown in. They also confess right at the start: It’s worth noting that Hollywood’s traditional exclusion of women and people of color makes it extraordinarily difficult to truly qualify the best in the craft, but acknowledging today’s urgent need for more inclusive storytelling doesn’t negate the contributions of these 100 pioneers.

That said, it's very satisfying to see pioneer Frances Marion (first scriptwriter, either male or female, to win the Oscar, twice) acknowledged at No.20), and the (imo deserved) number 1 spot goes to an immigrant to whom the English language was something he only learned as an adult (which turned out to be one of the all time successful love stories between a writer and an adopted language), the late, great Billy Wilder. Some of the other choices (even keeping the US pov in mind) are bewildering, no pun intended, but such is always the case.

In terms of Hollywood history, though, it amuses me that Joe Mankiewicz' brother Herman only makes it to No.56 while Orson Welles lands at No.41. Pauline Kael would roll in her grave. As the list writers themselves put it: Once upon a time, a small firestorm might have ignited over placing Orson Welles on a list of great screenwriters. For years, his co-authorship of Citizen Kane was in dispute, with many claiming that the credit belonged almost entirely to the great Herman J. Mankiewicz. (Pauline Kael even wrote an explosive, brilliant, deeply problematic essay arguing so, only for much of her research to be discredited later.) But even if he hadn’t co-written Citizen Kane (which he absolutely did), Welles would have been one of the great screenwriters of the 20th century. He was certainly one of the great adapters, able to take everything from the most acclaimed classics (think The Trial) to the lowest-brow pulp (think Touch of Evil) and make it his own. His Shakespeare adaptations are gems of concision and imagination, balancing respect for the text with a willingness to innovate. Look at the incredible Chimes at Midnight, where he takes pieces of several of the Bard’s plays and turns them into something completely modern.

I'm totally with them in terms of Orson as an adapter. (Which, btw, Welles biographer Simon Callow argues is what he did with Citizen Kane, too - Hermann Mankiewicz' original script - with some imput from John Houseman - was over three hours long, and Welles did what he did with Shakespeare, Kafka, and whoever wrote Touch of Evil - he cut, edited, added, rewrote, until the script had the shooting shape.) It's what makes his version of The Trial infinitely more interesting than the far more literal, bland and justly forgotten version of Kyle McLachlan as Joseph K. much later, and makes Chimes at Midnight show up later adaptions of the Henriad such as The Hollow Crown as deeply conventional and pulling their punches by comparison.

On a book-to-film note, thanks to

chaila I've discovered Fall Equinox, a vid-athon wherein the vids in question are using book-based source material. I've only just started to watch my way through it, but check out Wherever I Go, a breathtaking exploration of the Gods in American Gods!

Current Mood: calm
Current Location: Munich

Having watched „American Crime: The People vs O.J. Simpson“ some months ago, I moved on to this year’s Ryan Murphy endeavour, „Feud: Bette and Joan”, several episodes of which were scripted by Tim Minear, aka he who was largely responsible for most of Darla’s episodes at Angel, for which I’ll eternally appreciate him. Now I had actually read the book this particular miniseries draws much of its material from, “Bette and Joan: The Divine Feud”, and among other things, it was interesting to see how Murphy and his team shaped the same raw material into a different type of story. The book is very gossipy, but in a way that doesn’t favour either woman about the other, and does point out when there are several conflicting accounts. Narratively, though, it feels like a collection of Bette Davis and Joan Crawford anecdotes, without overall themes or specific conclusions. The miniseries, otoh, goes for the the Sunset Boulevard (btw: there’s a great little reference to it during an escalating Davis/Crawford argument) approach of witty, biting and ultimately tragic Hollywood on Hollywood; if Bette Davis comes across as the more “likeable” of the two women, it’s ultimately Joan Crawford whose tragedy it is, and who has the most clear cut narrative arc, from her decision to find a project for herself and Bette Davis in the series opener to her death in the finale.

( You mean all this time, we could have been friends? )

Current Mood: calm
Current Location: Bad Wiessee

If the trailer for the newest cinema version of The Three Musketeers is anything to go by, Hollywood is letting Richelieu plot the end of the world this time around. Which would be news not just to the historical Cardinal, but also to the Dumas variation. I mean, on one level I feel for Hollywood scriptwriters. They're used to certain ideas about what constitutes a villain, and I assume the reason for the extreme silliness of the 90s Musketeers version (that's the one with Tim Curry as Richelieu) as well as for this more recent plot is that the original script conference went thusly (err, spoilers for Dumas' novel):

Producer: So, that Cardinal fellow is the villain of the piece, right? How does he die?

Scriptwriter 1: Err, he doesn't. Well and alive at the end of the novel.

Producer: Eh. So he's deposed as, what's it, Prime Minister of France?

Scriptwriter 2: They didn't have the job title then, but that's what it amounted to. No, actually, he's not. As much in power as ever.

Producer: What? So, how does the audience know our heroes have won?

Scriptwriter 1: They execute a woman and D'Artagnan gets a promotion.

Producer: .... Okay, that won't do. So anyway, what's this Richelieu guy up to? Wants the throne, does he?

Scriptwriter 2: Nope. Even if he wasn't a priest, he's only of provincial nobility, bourgois on his mother's side, and there are about a gazillion princely families with a claim to the throne if if Louis XIII. croaks it. Not to mention Louis' brother who did plot to get the throne all the time. Also, everyone of the high nobility hated Richelieu's guts and the king was the guy keeping him in power, so he was really, really invested in keeping Louis around.

Scriptwriter 1: But he's totally plotting against the Queen in the novel! That's a dastardly scheme, right? He's trying to expose her affair with a foreign head of goverment.

Producer: Eh. Is he the main villain or a journalist hack? What else?

Scriptwriter 2: Getting that foreign head of goverment killed so the Brits won't interrupt the siege of La Rochelle. That, err, works out. Also La Rochelle surrenders.

Producer: Guys, this is getting worse and worse. How are we going to sell assassinations of foreign politicians as villainous when everyone does it, including us? What else?

Scriptwriter 1: Err, that's it. Wait! He's anti duelling!

Producer: The spoilsport. Just out of curiosity, why?

Scriptwriter 2: Dumas doesn't say, but I read a biography and it seems his father and older brother died in duels. He thought they were an exceedingly stupid and dangerous past time the French nobility was really better off without.

Producer: .... Right. There's only one thing for it. Throw the book away and invent a completely new character. A proper villain who wants the throne and/or the end of the world. Otherwise everyone will accuse us of realism!

Now, nobody has ever accused the great Alexandre Dumas of being very faithfull to history and/or being realistic. But he did write fun novels, with more of a sense of humour than your avarage action movie allows (which is why the Richard Lester versions are my favourites), and he also happened to like his antagonist very much. I'll leave you with two passages from the novel.

( Alexandre Dumas, scheming politician fanboy at large )

Current Mood: geeky
Current Location: on the road

Oscars: I was happy for the films I had already seen, like The Cove or Up, was pleased for Christoph Waltz as I had liked him since Der große Reibach, was even happier for Katheryn Bigelow, and not "just" because of the gender breakthrough (took you long enough, academy!) - Near Dark, Strange Days, Blue Steel are all films I found very captivating to watch, and I'm going to see The Hurt Locker soon. But the moment I found most touching was when Mo'nique, in her acceptance speech, mentioned Hattie MacDaniel, and what she had to put up with "so I wouldn't have to". Because I remembered my last visit to Los Angeles, and how I heard, after visiting Rosedale Cemetary, that Hattie McDaniel - who won the Oscar for her performance as Mammy in Gone with the Wind - was buried there, which broke the color barrier on the previously segregated cemetery. Originall, she had requested burial at Hollywood Memorial (now Hollywood Forever), located just behind Paramount Studios, but that cemetery was also segregated in 1952 and refused to allow the burial. Today, the later cemetary who rejected her last wish for racist reasons has put up a monument in her honour:

http://img.photobucket.com/albums/v137/SelenaK/Reisephotos/HattieMcDaniel.jpg

And this was Hattie McDaniel's acceptance speech:

****

In other news, the amazing rozk has written an English version of the Heine poem Gedächtnisfeier which I posted yesterday, and it's here.

Also, new Babylon 5 fanfiction: Sisterhood offers a look at Delenn, her son David and a spoilery character, and is an amazing examination of Delenn's rejection of the Vorlons, the impact of the Vorlons on Minbari society and Delenn's relationships with her fellow Minbari.

Current Mood: calm
Current Location: Munich

Last entry from Los Angeles, as I fly back to Germany this afternoon. If the plane crashes, I hope it will be on an island with mystical qualities. Otherwise, I've had a fabulous final day, admiring nature, then fannish tv locations and then having an outrageous "only in Hollywood" experience, about which more below. But in chronological order:

bitterbyrden and self went to visit Aqua Dulce in Vasquez County, site of many a cinematic and tv desert scene. It looked gorgeous. Behold:

( Desert Pictures )

On our way back to Los Angeles, we noticed there was a complete traffic jam on the other side of the 101. Not surprising, really, because some nutter had decided to transport a complete house on the freeway, and it got stuck under a bridge. I kid you not. Sadly, there is no photo, but I'm told it did make the LA news. Meanwhile, after our nature admiration it was time to geek out some more and visit another film location. This one from Six Feet Under. I give you the home of the Fisher family:

( Fisher and Sons )

Now the thing about this city is, everyone seems to know someone who knows someone. A friend of

bitterbyrden's happened to know someone who made it possible that we not only participated in an event called Cinespia, i.e. an outdoor showing of the movie The Exorcist in no less a location than the Hollywood Cemetary itself, but also let us in VIP style ahead of the queue so we could amply explore said cemetary before the masses were let in (who turned out to be about 3000 people in the end). When I first heard about this plan, I said yes at once but I thought

bitterbyrden was kidding about the movie being shown in the actual cemetary, among all the Hollywood dead - surely movie festivals did not take place in cemetaries? She was, of course, completely sincere and serious. Here is photographic proof of an immensely memorable last evening:

( Ah, Hollywood! )

Current Mood: enthralled
Current Location: Pacific Palisades

More pictures, as I visited the home of Arnold Schönberg, aka He Who Invented Atonal Music, and the Universal Studios.

( All things Schönberg )

Today, I couldn't resist and visited the Universal Studios again. Expensive as ever, but it does spell Hollywood and Los Angeles for me, so....

( Universal picspam )

Current Mood: bouncy
Current Location: Pacific Palisades

Profile

selenak

April 2025

S	M	T	W	T	F	S
		1	2	3	4	5
6	7	8	9	10	11	12
13	14	15	16	17	18	19
20	21	22	23	24	25	26
27	28	29	30

Page Summary

American Born Chinese and The Offer
Audrey (Film Review)
Mank (Film Review)
This extraordinary being
Hollywood (TV Series)
finishing stories...
Hollywood History
Feud: Bette and Joan (review)
A Cascade of Cardinals
Oscars and Hattie MacDaniel, Heine, B5 rec
Goodbye to Hollywood
Of composers and film studios

Active Entries

Syndicate

Style Credit

Style: Starflower for Mobility by branchandroot
Resources: Rounded Star 005

Page generated Apr. 23rd, 2025 09:40 am

|

Entries tagged with hollywood

Expand Cut Tags

American Born Chinese and The Offer

Audrey (Film Review)

Mank (Film Review)

This extraordinary being

Hollywood (TV Series)

finishing stories...

Hollywood History

Feud: Bette and Joan (review)

A Cascade of Cardinals

Oscars and Hattie MacDaniel, Heine, B5 rec

Goodbye to Hollywood

Of composers and film studios