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Disclosure Day out of context

I nuovi Nuzzo e Di Biase

isaac julien's looking for langston

Un po’ mi spiace per Sabrina Carpenter, stava facendo una bella carriera.

Rosa e Olindo, c’erano anche loro

Gus Van Sant's Twin Peaks portraits are a collection of Polaroid photographs taken in 1989. Although their aesthetic seems to capture the atmosphere of David Lynch's series, these photos were not created as an official on-set photoshoot, but as a casting tool for Van Sant's film, Drugstore Cowboy. Van Sant met with several members of the Twin Peaks cast to evaluate them for roles in his film. Among the actors photographed were Kyle MacLachlan, Sheryl Lee, Dana Ashbrook, and Sherilyn Fenn. Heather Graham was also photographed by Van Sant and subsequently cast as Nadine in Drugstore Cowboy, before joining the cast of Twin Peaks in the second season as Annie Blackburn. Between 1983 and 1999, Van Sant documented nearly every actor he met using a refurbished Polaroid camera that produced both a small print and a negative, allowing him to create contact sheets to compare the actors' faces. These shots have been collected in the photographic volume entitled "108 Portraits by Gus Van Sant".

teena marie you are so missed open.spotify.com/track/1wyzd…

Un incubo

Brigitte Nielsen, 1987 Photo by Helmut Newton

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Quella canzone di angelina e mengoni che se arrivi alla fine ti danno un premio

Just finished my rewatch of Damages! Patty Hewes is one of the greatest characters in the history of television.

Le “backstory” dei personaggi (la rava e la fava) sono una delle grandi piaghe dei racconti contemporanei

Gina Gershon explains why she didn't like Paul Verhoeven's "Showgirls" (1995) at first, but learnt to appreciate it over the years: "I couldn't watch "Showgirls" (1995) for years 'cause I was like, I was too, a little bit of PTSD, I think, in a very slight way, no disrespect to real PTSD, but I would get very tense and anxious when I thought about certain things and stories, and so I never really watched it again, and I would kind of use the excuse of like, 'Well,' and it was a real excuse, like, 'I can't deal with my accent, 'cause I had to lie about my accent. I thought the movie would be closer to one of [Verhoeven's] Dutch films, which are a little bit seedier, a little bit darker, and I think his American films, now that I've kind of studied it and I've stepped out of it, I mean, they're really interesting comments on America and fascism. Going 30 years later, 25 years later, a friend of mine, a writer friend, she said, 'No, you don't understand how great Showgirls is.' I'm like, 'I guess I really don't,' but when I saw it from afar, not being in it, and all of a sudden I'm like, 'Oh my god.' It was really a comment on ugly America and on capitalism and power struggles and dynamics and all those things. That r*** scene has to be there. It's the grossest thing in there and the powerful men, they're all protected and, you know, so that's why it's exciting when she kicks the guy's a$$. I thought it was gonna be a different movie than it was, but you know what? It's also an interesting lesson in, you know, when you get to the set or any situation really, you know, in your mind, you think what it is, but when you go there and it's not, then you have to assess and... You gotta make it make sense, but then I just changed my approach to the whole character, so that was kind of interesting. It was a good lesson." ("Gina Gershon Says Watching Her Performance in Showgirls Left Her Feeling 'Tense and Anxious': 'Like a Little Bit of PTSD'", Virginia Chamlee, People, 2026) P.S: Happy 64th birthday, Gina Gershon!

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Yes, and?