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keanureevesisbae · 3 years

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The alluring charm of Henry Cavill - Chapter 10

Summary: After the livestream, Henry is trying to move on from this. However, that is harder than it seems.

Henry Cavill x Adelaide Park (ofc)

Wordcount: 4.4k

Warnings: None

A/N: The formatting of this chapter is a bit different than usual, but I felt this would be the best way to describe Henry’s feelings.

Masterlist // Previous chapter // Next chapter

1 hour after the livestream

Henry fucked up. Henry truly fucked up. After he watched Adelaide step into that cab, the tears so evident in her eyes, he pushed all the cameramen out of his sight and didn’t want the other contestants to ask him any questions about this.

And because Henry obviously has a mature and adult way of dealing with his emotions, he locks himself up in the bedroom. The same bedroom where he made all those memories with Adelaide. He remembers her sleeping as soon as she would hit the mattress. Her fingers grazing over his arm. Her sleeping body securely in his arms, her head on his chest and the soft good morning kisses when they slept in the tent during their last challenge.

He takes ahold of the pillow Adelaide slept on and as he sits on the bed, he brings it to his face. He pushes his nose into the fabric, as he can still smell the hints of her perfume, her skincare products and her shampoo.

Tears of frustration burn in his eyes, as he continues to remember the hurt in Adelaide’s eyes just now. All because of him.

He fucking hates himself.

Yes, he cannot and will not deny the fact he did talk poorly about her, however he regrets every syllable of it. He knows better now, so much better. Adelaide Park is amazing and has so much to offer. They were planing on getting to know each other even better after this stupid program had ended.

But that is all over now and it’s all is fault.

He hates this show, every single producer and editor who works here and his agency. Especially his agency. He wants to sue every single one of them who were involved in making that heinous compilation, the one blew everything out of proportion, but he needs to think this over, before he makes any rash decisions. Decisions that might only do more damage than any good.

Henry stands up from the bed, to grab his suitcase and starts packing. He needs to leave this place, go back to England, to his own place and think about this.

Adelaide specifically asked not to mention her or talk to her and he should honor her wishes. That is the least he can do after everything that happened.

However, he should release a statement of his own. He should leave his agency. He should reach out to her in another way than directly contacting her. He needs to know whether or not she is okay.

Well, she might not be okay, but he needs to know how she feels. That she knows he is sorry, because he is sorry.

Very sorry.

Fuck, he is such a loser for letting her go like this. Adelaide was totally right. He should’ve been honest with her. Told her about his earlier thoughts regarding her and why he participated in the first place, but also specifically tell her how he changed his mind.

About her, about them, about him playing James Bond.

Henry grabs his phone, so he can check when the first flight back to England is, but he stops mid unlocking his phone and stares at his background. A few days ago, he changed his wallpaper in a picture of the both of them, sitting on the couch. Adelaide’s arms wrapped around his neck, her cheek pressed against his and her eyes shine with happiness.

Henry growls out of frustration. ‘Fuck,’ he hisses between clenched jaws. He already misses her, only sixty minutes after the live stream. He needs to think about this, because he will do anything to clear her reputation, to make it up to her.

Simply because he cares about her and only her.

His Adelaide Park.

◎ ◎ ◎

1 day after the livestream

‘Pick up, pick up, pick up,’ Henry mutters impatiently when he has his phone pressed against his ear. He is back home, as he wanders through his house. He really needs her to pick up. He needs to talk to her.

‘Henry,’ he hears Angela say in a flat tone when she finally picks up. Okay, she is mad and rightly so. ‘How are you?’

‘Not good,’ he answers in all honesty, because lying to Angela Bassett is only asking for trouble really. ‘Please, don’t spare me. I know you saw the livestream, I know you think I fucked up.’

She scoffs. ‘Well, in that case: you truly messed this up. I can’t believe you did this, Henry. Adelaide Park has been nothing but an angel to you and I honestly thought you liked her.’

‘I do like her,’ he says in a defensive and louder tone.

She is not impressed with his tone. ‘And yet you still broke her heart. What a way to show her you care.’

He doesn’t need to get defensive. This is all his own fault and he deserves this. ‘I know. I’m a fucking idiot.’

‘That’s an understatement,’ she mumbles. ‘Tell me, what do you want from me?’

Henry lets out a deep sigh. ‘I don’t want to call her, because she told me not to talk to her. I want to respect that and I need to respect that, but I have to let her know at least one more time how sorry I am. I regret the words, I regret not being honest to her. I’ll accept whatever answer I get, but I need her to know how sorry I am.’

Angela doesn’t say anything and Henry fears he overstepped. Overstepped a lot.

‘Okay,’ she says, ‘I’ can do that. However, after this, you really need to reflect on this situation. You have broken her heart and ruined it for yourself. Get away from that abysmal agency you’re under contract with and share a statement on every social media platform you have.’

‘I’m already drafting something and I really want to leave that agency, I can tell you that.’

‘Good, because you need to clear your name. I don’t know if that is going to work, but you need to at least try.’

‘I know. Thanks Angela. I owe you.’

‘You sure do,’ she says and hangs up shortly afterwards.

Henry takes a seat on the stool at the bar and looks at the piece of paper on the counter, filled with scribbles and notes. He should make a neutral statement, where his sorry and remorse clearly comes through. He has seen the reactions on her pictures. Fans constantly tag him underneath her pictures and her underneath his and he sincerely hopes they stop doing that.

She doesn’t deserve this at all. She doesn’t need to be reminded of his actions on every social media platform she’s on.

He continues to scribble down words and eventual sentences he can use in his statement. Angela is right: he should do this.

He doesn’t know how long he is bend over the notebook, as he continues to write down a statement that actually satisfies him, but he gets pulled out of his thoughts when he sees the screenshot Angela has send to him.

And it’s what he expected. Adelaide doesn’t accept his apology (which he understands) and she tells Angela she doesn’t want to talk to him ever again, let alone see him. He opens up her Instagram, stares at her beautiful face. He misses her, but this is all his fault.

And Henry should live with that.

◎ ◎ ◎

2 weeks after the livestream

Henry stares at the screen on his laptop, as he checks out the announcement for the newest movie starring Adelaide and David Castañeda. He keeps wondering what would’ve happened if he actually had auditioned for it.

Wondering is all he does nowadays. Wondering how his life would look like now if he has just been honest with Adelaide. Wondering about them together, if the livestream went well, instead of exploded in the way it did.

He “broke up” with his agency and is currently looking at others, hoping to find himself a new and suitable one. One that wouldn’t do something like this. He always had a little bit of issues with the previous agency, but they offered him pretty decent jobs and he figured that was the most important thing. He never realized how much they interfered in his own personal life.

Henry closes his laptop. He barely left the house after he got back from Italy, except to do some groceries, so he wouldn’t starve to death. He is barely on his phone, just to let Angela, his family and friends know he is sort of doing okay. However he does turn down every invitation to hang out, simply because he can’t face anyone right now. He can barely face himself.

While he continues to attend his own pity party, he has checked what Adelaide has been doing and from the looks of it, she is doing great. She is absolutely glowing and obviously dealing much better with this than he is. She has been putting on a brave face for years now, so dealing with this seems like a piece of cake to her.

At least, that’s what it looks like to the public. During Tommy Hilfiger collaboration, she had this calm glow over her and the reactions underneath the pictures told her so as well.

Later the newest movie announcement with her, David, Reese Witherspoon and Paul Rudd was made. After that announcement, she has been pretty active on Instagram again and he has seen the pictures pop up at his explore page. He resists the urge to check her stories, but decides it would be for the best he doesn’t do that, simply because he feels like he shouldn’t intrude like that.

Fuck, he wishes he would feel better, but he doesn’t. Deep down he feels like he should forgive himself and at least try and move on, but he can’t seem to find the strength to forgive himself for his actions.

His fans reacted well to his statement and lots of people said reality tv can make everything look worse than it actually is. While it was definitely made worse than it actually was, he still feels bad and realizes he shouldn’t be as easily forgiven as he is now.

Henry is still thinking about suing the program, but he decided to just drop it. He doesn’t even have the energy to think about a lawsuit, let alone actually do it.

There is one thing to be happy and grateful about: Adelaide seems to do okay and for now, that is all that actually matters to him.

◎ ◎ ◎

1 month after the livestream

The 8seconds event Adelaide attended for her collaboration with them, might’ve been the worst things that happened to either of them since the livestream. Henry did look up the event, because he just wants to continue to see how she is doing. He saw the moment the journalists could ask questions and especially the second one journalist asked if Adelaide had spoken to Henry after the statement and what she thought of it. Her face never showed any emotions and she simply thanked everyone for their time and walked off.

Almost as if it was a diversion planned beforehand, David Castañeda posted a picture on his Instagram of her and the attention was immediately shifted away of the awkward matter. People are now speculating whether or not the two of them are dating and while Henry thinks that is not the case, you simply never know. The public at least is already shipping them and Henry would lie if he didn’t think the two of them would be a great match.

Henry finally managed to drag himself out of his own house and he is now at his parents. He did ask them if they couldn’t ask about Adelaide, since he would like to forget about the situation and so far, they thankfully honored his wishes.

She continues to feed him with extra little cupcakes and cookies and normally he would politely decline, but now he eats like he hasn’t eaten for days. He goes to the gym a whole lot nowadays, to get his mind of the whole Adelaide situation, so he doesn’t really care.

‘Okay, dear, I know you are still sad, but it has been four weeks,’ his mom says, as she places her hand on his shoulder, giving him a reassuring squeeze. So much for not mentioning Adelaide. ‘You released the statement, you let go of your old management and you are keeping your side of the bargain. You are not texting her, you are not mentioning her. Yes, you hurt her, but you have learned from this.’

‘I know, I know.’ He rubs his face and looks up at his mom. ‘I just can’t believe I did this.’

‘Me neither,’ his dad mumbles. ‘I thought we taught you better than that.’

This hurts, but Henry deserves this. ‘You did.’

His dad sits up straight on the couch and stares at him, without even saying anything to him. No matter how old Henry is, that still makes him nervous. ‘You better have learned from this, Henry, because I’m rather disappointed in you.’

◎ ◎ ◎

2 months after the livestream

◎ ◎ ◎

5 months after the livestream

Henry managed to get his life kinda back to how it was pre-Adelaide. He has found himself a new agency and a wonderful agent, Julia, who managed to get him a great new role in a sci-fi movie. The filming process went great and he loved to be on set again.

Right now he is on his first press tour for the movie he did before the Celebrity Project ‘The Royal Heist’ with Anne Hathaway as his co-star.

Of course he still thinks about Adelaide, he thinks about her quite often as a matter of fact. He watches her interviews, he sometimes sees a picture of her on his Instagram explore page. Sometimes it’s a picture she posted herself, sometimes it’s a picture posted by David or someone else from the crew or a fan account.

It’s hard sometimes, not to think about her. Occasionally he wakes up un the middle of the night, thinking about her and seeing her laugh flash in front of his eyes. He realizes that of course he misses her, but it’s for the best they both move on without one another. From the looks of it, she is absolutely glowing and for that he is forever grateful. He feared she would blame herself, maybe completely hide herself, but she doesn’t. She has flourished and is not afraid to show it to the entire world. During her interviews she seems relaxed and makes a joke every now and then.

Henry sits next to Anne, as they are about to answer some questions about the new movie. The two of them joke around a bit, as Anne just recently discovered the wonders of Snapchat filters. It’s nice to have fun and not feel guilty as he did before. When he witnessed Adelaide having fun and being happy again, he felt it was okay for him to do so as well.

The questions about the movie are pretty basic, but after a while the interviewer seems less nervous than when he started. However, him feeling more confident, might have given him the impression he can actually ask questions he really shouldn’t be asking.

‘After the Celebrity Project, have you and Adelaide Park cleared the air with one another?’

Henry clenches his jaw. He wants to say a lot to this man. How he should mind his own fucking business, how Henry is going to rearrange his face for asking such thing, but then he remembers what Adelaide wanted from him.

He managed to do so for five months and he will not quit. Not now. ‘I thought my agent told you before hand I will not answer any Celebrity Project related questions.’

The interviewer doesn’t seem to care and continues to ask questions about how Adelaide was in real life, what they did when the camera’s were off and what he would do to make it up to the actress.

While he is nearly exploding with rage and anger, Anne manages to divert the conversation and when the end is near, Henry doesn’t thank the interviewer. He simply gets up to go outside for a fresh breath of air. The second he is outside, he takes a deep breath. Turned out he maybe wasn’t over Adelaide as much as he thought he was.

Henry grabs his phone and does something he hasn’t done for a while now. He goes to her account and checks the pictures. He sees the amount of David Castañeda related posts, so he goes to the actor’s page, where he sees excess of Adelaide pictures. She looks radiant and beautiful.

‘You okay?’ Anne asks, as she walks out of the building to stand next to him.

‘Yeah, I’m okay,’ he says, closing off Instagram and pushing his phone back into his pocket. ‘I made a promise and I wanted to keep that one.’

‘You did,’ she says with a smile. ‘Really, don’t let that idiot get to you. Weirdly enough, this is his job and you did well. As a thank you for diffusing the situation, you can buy me a coffee later today. Now, let’s go back inside. I’m wearing a flimsy bra and I don’t want the entire world to know I’m freezing.’

◎ ◎ ◎

8 months after the livestream

It has been eight whole months after the livestream and Henry finally thinks he is actually over the entire situation. The Royal Heist is nominated for an award, just like he was for his role in the movie. The rude interviewer three months ago was the last one to bring up Adelaide and thankfully he was, because Henry might’ve thrown some punches if someone asked about it.

He runs his hand over his black velvet jacket, before Anne stands next to him and says: ‘Maybe you should frown a little less.’

‘I’m not frowning,’ he says with a smile. ‘Just concentrated.’

‘Thus frowning.’

The two of them are guided by some very nervous assistants, who are managing the photo opts. And while he is slightly distracted by Anne and her embarrassing stories about other red carpets events, the commands of the paparazzi are becoming louder and louder and it gains his attention.

‘Adelaide, look over here! You look beautiful!’ Henry stretches out his neck and sees Adelaide Park, looking beautiful as ever.

The white dress she wears hugs her figure nicely and the matching heels create the illusion her legs are endless. Her long blonde hair, probably lengthened by extensions, is pulled together in a fancy ponytail.

Henry thought he was doing pretty well over the past months, thinking he was over her, but seeing her in real life… It makes him realize him being over her was all pretend. He can’t forget her.

Adelaide Park is the love of his life.

Fuck, what a moment to come to that realization.

He watches closely as David Castañeda stands next to her as he joins her. He plays her love interest in the movie, the man that has been all over her Instagram and the same man who she has done multiple interviews with. David looks like a nice guy, who seems a great friend to Adelaide.

David places his hand on her waist and together they pose for the camera. It’s weird seeing her like this. This at ease with someone else. When Henry met her, she was tense with stress, but that all disappeared. Of course he kept track of her, mostly to see how she was doing.

And she was blossoming and still is.

Henry watched their new movie, ‘Warm Up Period’ and it was an amazing romantic comedy, one of the best he has ever seen. Adelaide sure has a way of acting in these types of movies. It was all part of the job of course, he knows that, but he couldn’t push away those jealous thoughts he experienced when he watched their more intimate scenes. It’s all pretend—he knows that—but he could feel their connection through the screen. The way David touched her bare back, how the camera zoomed in on the goosebumps on her skin, the kisses they shared.

It was enough to make him green with jealousy.

‘You haven’t heard one single bit of what I was telling,’ Anne Hathaway concludes and he quickly looks at her. ‘You’re still not over her, aren’t you?’

He doesn’t know what to say. ‘I’m just happy to see she’s doing good,’ he eventually says, while still looking at her. Maybe she senses that someone is gawking at her, because she looks to the side, but he quickly looks away.

That’s what she wanted from him. If he saw her before she saw him, he should walk away.

◎ ◎ ◎

Afterparties aren’t really Henry’s thing, but he feels obligated to stay, especially after he won ‘Best Actor’. Other actors congratulate him as he makes his way through the hall and he puts on a brave face, but in all honesty: he is feeling miserable.

From a distance, he sees Adelaide standing all by herself. He could simply do it, he thinks to himself. He could walk up to her and talk to her. If she doesn’t want him there, he’ll understand and walk away.

Reluctantly, he walks up to her and when he is close enough for her to hear him, he takes a deep breath. He really is going to do this… ‘Hi Adelaide,’ he gently says to her.

She looks up, her eyes enlarging when she realizes it’s him. From up close she is even more beautiful. She looks breathtakingly gorgeous with blonde hair, but he misses the way her light brown hair made her look. It reminds him of a time where things were simpler and better.

Adelaide blinks a few times and says: ‘Hi,’ in a soft tone.

He missed hearing her voice. ‘If you don’t want to talk to me, just say so. I was just wondering how you’ve been.’

She clears her throat, as she studies his face. ‘I’m good,’ she answers and he lets out a sigh of relief. ‘How are you?’

‘I’m okay,’ he says, but his voice is telling otherwise. He is not okay, he is an utter mess. He just became a bit better at hiding it over the past couple of month.

She must sense that too, because she frowns for a split second. ‘Congratulations,’ she tells him and it sounds sincere. Of course it sounds sincere, the words come from Adelaide herself, the embodiment of sincerity. ‘The movie was really good and you deserved to win best actor. You were great.’

‘Thank you,’ he says. Henry can’t believe he used to be so comfortable around her and now he’s getting heart palpitations simply by looking at her. ‘You look amazing, Adelaide.’

She nods. ‘Thank you.’ She takes a sip of her champagne and purses her lips for a brief moment, probably thinking about what she can say. ‘I heard you turned down James Bond.’

Henry nods. ‘Yes, I did. I didn’t want to be part of that franchise.’

‘Was it because of me?’ she asks.

He sighs. ‘Well, I think you were part of my decision. I think I should thank you.’

Adelaide simply nods. ‘Right.’

Henry knows he shouldn’t do it, but he can’t stop himself. ‘Adelaide, I’m so terribly sorry for everything I did. I know I hurt you and it pains me every single day to know I betrayed your trust. Trust I didn’t even deserve in the first place.’

She simply shakes her head. ‘Please don’t do this, Henry. It’s all okay.’

‘No, it’s not okay,’ he tells her, taking a step closer to her, while still maintaining an appropriate distance from her. She doesn’t step back and from the looks of it, she actually is open to what he has to say to her, so he better make it worth while. ‘You had every right to be as mad as you were and I totally understand. I was just hoping that maybe we can talk about it, clear the air, so we can be in the same room together.’

Adelaide blinks her eyes a few times. ‘Really?’

‘Really,’ he confirms. ‘And if you don’t want to, I respect that. Just wanted to at least have suggested the idea to you.’

She nods. ‘Okay, just not here.’

‘Of course not,’ he quickly says. ‘How about we do coffee tomorrow? I know a nice place around here. They have nice cappuccino’s. If you want to of course. Maybe you want to meet up somewhere else, that’s fine with me.’

She shakes her head. ‘Coffee tomorrow is good,’ she says. Her eyes are brighter than the first few moments he started to talk to her. That’s a good sign, right?

Henry nods, as he counts his blessings, thankful that she actually agrees to this idea. ‘Good, good.’

Her co-star David walks over to the two of them and stands next to Adelaide. ‘Hi,’ he says when his eyes fall on Henry, holding out his hand. ‘Congratulations, man. I loved the movie and you were great. Very well deserved.’

‘Oh, thank you,’ he says with a smile, because David’s friendliness is contagious.

David places his hand on Adelaide waist. ‘Ready to go? Our limo is ready.’

Adelaide tears her gaze away from Henry and meets David’s eyes. She smiles at her co-star, in a way only she can do. This shouldn’t make him jealous, not after all these months they spend apart.

But seeing her this close to someone other than him, confirms what he thought earlier that night.

He missed her more than he originally figured.

‘I am,’ she tells David. ‘Henry, I’ll see you tomorrow then. You still have my number?’

As if he would erase her number. Ever. ‘I do.’

‘Text me a time and address and I’ll be there.’ She sends him a soft smile, before turning around. She walks off to the exit with David, his hand still in the dip her waist.

Henry stares after the pair, as his blood boils with rage and jealousy.

But he shouldn’t be. He can’t be.

Besides, the most important thing is: he is going to talk with Adelaide Park, face to face. He quickly looks over the crowd, to see if he can find Anne, so he can say his goodbye and go to his hotelroom to prepare, because this might be his only chance to make things right between him and Adelaide.

#henry cavill #henry cavill x ofc #henry cavill x oc #henry cavill x asian ofc #henry cavill x adelaide park #adelaide park #asian ofc #the alluring charm of henry cavill #henry cavill fandom #Henry cavill fanfic

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dweemeister · 3 years

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Soul (2020)

2020 dashed the best-laid plans, disrupted dreams, and brought disease. For almost one full year now, COVID-19 has upended society the world over, and taken the lives of almost two million as of the publication of this review. The pandemic, as contemporary readers may notice, has taken its toll on the film industry too. If you are reading this in the distant future, Soul is the first film that I have written in which its release date was delayed and its distribution altered because of the pandemic (from June 19 to Christmas). Pete Docter’s first directorial effort since becoming the chief creative officer of Pixar is part of a phenomenon which may or may not last past the pandemic. Soul, like a few other high-profile releases in 2020 and early 2021, debuted simultaneously in reduced-capacity theaters and streaming, via Disney+. The film itself is middling Pixar. But given the studio’s high quality – albeit sullied over the last decade with underwhelming sequels and glaring missteps from some non-sequels – it is still something worth celebrating.

Joe Gardner (voiced by Jamie Foxx) works part-time as a middle school music teacher in New York City, but quietly harbors dreams of pursuing his dream of becoming a jazz pianist. Taking an opportunity to audition for professional jazz saxophonist Dorothea Williams (Angela Bassett), Joe receives an offer to play with Dorothea’s band. Ecstatic, speaking giddily on his cell phone on the musical adventure that awaits that evening, Joe has forgotten to look wherever the hell he is walking. As a result, he falls down a manhole, Looney Tunes-style. He awakens as a fluorescent blue-green blob, his soul on a stairway to heaven. No, not yet, Joe says. He runs backwards, but ends up in the “Great Before” – a place where unborn souls are endowed the traits (in the form of a badge) that will direct, but not predestine, the course of their lives. In a case of mistaken identity, the Great Before’s leaders assign Joe to 22 (Tina Fey) as her counselor. 22 has been stuck in the Great Before for eons, fostering a cynical view of human existence that has confounded her previous counselors (“You can’t crush a soul here. That’s what life on Earth is for.”). If you are asking whether or not Joe will be the one that shows 22 life’s beauty, you clearly have never seen a Pixar movie before.

The English-language film’s voice cast also includes Graham Norton as a sign twirler extraordinaire, Rachel House, Alice Braga, Richard Ayoade, Donnell Rawlings, Questlove, and Daveed Diggs. Veteran actress Phylicia Rashad plays Joe’s mother (who disapproves of his dreams of playing jazz professionally). This is the first Pixar movie without a character voiced by John Ratzenberger.

22 and Joe will prematurely escape to Earth, but the plot is unnecessarily complicated by a body swap and a tired trope of modern animated features: a non-white character accidentally spending more than half the film in the body of an animal. The Emperor’s New Groove (2000) and The Princess and the Frog (2009) are among the highest-profile examples of the trope. Like Cuzco and Tiana in those past films, Joe is not white – and, automatically, is someone the likes of whom has very little history of starring in a mainstream American animated feature. To see him lose his bodily agency for almost the entirety of the film is frustrating. The screenwriting team (Docter, Mike Jones, and Kemp Powers) declines to explore Joe’s racial identity, instead favoring the hero’s journey (Pixar has never deviated from this template, but that has not prevented them from making great films) and the predictable pratfalls often present in Pixar’s movies. Soul’s body-swapping comedy not only brushes away any such exploration of racial identity, but relegates the film’s jazz (an African-American creation) as ornamentation, overcomplicates the narrative structure, and interferes with its messaging. None of these issues existed in Coco (2017) – an unabashedly Mexican glimpse into the culture surrounding Día de Los Muertos and Mexican regional folk music all while retaining its primary themes.

Soul shares the introspective spirit of Docter’s previous film, Inside Out (2015). The lack of external adversity in both films allow us to better understand the passions of the main character. Joe’s conflict stirs from within – his dreams and expectations against practicality and unexpected realities. More prevalent than in Inside Out, Soul’s moments without dialogue poignantly depict those contradictions and unmitigated thrills. In Joe’s case, his near-total dedication to jazz is celebrated – never excessively mocked by 22 or any other character. But his passion, the film says (and as revealed through 22’s temporary occupation of his body), cannot alone quench the fullest expression of his humanity. The film is at its best in two types of contradictory moments. The first type occurs while Joe is playing his piano; the other appears when the film stops for several seconds to admire a minor detail, overlooked by everyone passing by except 22, along New York’s streets. In the latter, the film is allowed to take a breath, allowing just the ambient noise to play in the sound mix – the rustling foliage in the wind, the light traffic of one-way streets, the whoosh of passing subway cars. It is the closest Pixar has ever come to refuting Alfred Hitchcock’s flawed, oft-quoted statement that the movies are, “like life with the dull bits cut out.” For it is in some of life’s mundanities that 22 sees life as worth living. It is life’s mundanities that lie at the heart of Soul’s most powerful moments.

With the assistance of a legion of cultural consultants, Soul is, in spurts, a casual, intentionally unremarkable foray into New York’s black community and a faithful depiction of jazz performance. Animation history has long caricatured black roles in various ways, so the Pixar animators took pains to faithfully render hairstyles and varying skin tones to highlight the diversity of appearance in African-American communities. Many reviews of Soul will justly extol the background art, but plaudits must also go to the character design of the numerous African-American supporting figures across the entire film. It endows the film with an authentic vitality that I cannot envision happening in a film released by a studio concentrating on CGI animated features. A short scene to a barbershop underlines this laudable attention.

As a pianist and violinist, one of my personal pet peeves while watching movies is when an actor is fake-playing an instrument – it can be comically, pathetically obvious. I am certainly not the only one, as I’m sure some orch dorks, band geeks, and other instrumentalists might attest. Animated movies are not spared our eyes and ears. Soul, however, represents a glorious break from expectation. In a film already boasting photorealistic backgrounds and uncanny lighting effects, Joe’s piano playing is some of the most “realistic” I have seen in an animated film. His posture and muscular movement made me forget, momentarily, I was watching an animated movie. Perfectly rendered, too, are his fingering patterns (for the sake of consistent character design, Joe has elongated fingers). This musical accuracy extends to all other musicians in the film, too. It is glorious to behold as a musician. Soul could easily have cracked jokes at the expense of Joe’s passion. That the film affirms his love for jazz, all while tempering his desires (through 22, his mother, and other factors), is a high-wire balancing act that triumphs.

Soul’s score is split in two: Trent Reznor and Atticus Ross of Nine Inch Nails fame (2010’s The Social Network, 2020’s Mank) compose for the scenes in the Great Before and jazz pianist Jon Batiste composes for the scenes in New York. Anyone who has read in my past reviews about my thoughts about film music are probably guessing that I dislike Reznor and Ross’ compositions for film. They would be correct. So far in their nascent film scoring careers, Reznor and Ross’ ominous synths for David Fincher’s movies sound too much like background droning, minimalist aural wallpaper. Their scores – all texture and little else – have no life outside the contexts of the movies they appear in. In Soul, Reznor and Ross develop a soothing synth sound that is some of their most melodic film music yet. It sounds like Jerry Martin’s music for the less interesting moments from the early Sims and SimCity soundtracks. Still, the score – even in its best moments, such as the lustrous cue “Epiphany” – suits the portions of the film it appears in. Perhaps Reznor and Ross are finally making progress towards understanding how melodic structure can dramatically reshape a film’s drama.

Down on Earth, Soul plays the music of Jon Batiste, perhaps best known as the bandleader of his band Stay Human on The Late Show with Stephen Colbert. Not all of Stay Human’s members were selected to perform for the score, as Batiste chose a handful of musicians from outside his band. The jazz score is mostly original, but includes variations on four pre-existing songs: “Space Maker” (Walter Norris), “Cristo Redentor” (Duke Pearson), “I Let a Song Go Out of My Heart” (Duke Ellington), and “Blue Rondo à la Turk" (Dave Brubeck). Batiste’s jazz influences are too many to name for a review not solely dedicated to the score, but suffice it to say that Batiste intended his part of the film score to serve as a soft introduction to viewers who might not be accustomed to jazz. In this half, Batiste captures the bustle of New York City with his signature floating piano solos. Backed by tremendous saxophone lines, percussion, and double bass, this is a decidedly acoustic affair in marked contrast to the music of Reznor and Ross. The musical contrast is profound, easing the viewer into Soul’s occasionally chaotic narrative structure. By film’s end, though, despite Batiste’s end titles cover of The Impressions’ “It’s All Right” (a wise selection in no small part due to its lyrics), I wanted more from the jazz half of the score and wished it was held greater prominence in the film. Am I unashamedly asking for someone to hire Jon Batiste and give him the freedom to compose an unconstrained jazz score? Of course!

In a year where straight-to-streaming movie releases have dominated the American film industry, Soul ranked third in viewership behind Thomas Kail’s live stage filming of Hamilton (2020) and Patty Jenkins’ Wonder Woman 1984 (2020). Has Pixar righted its inconsistent form apparent over the 2010s decade? Can they ever recover the alchemy that reeled off consecutive pop culture touchstones and wondrous films for fifteen years (1995’s Toy Story to 2010’s Toy Story 3, excluding Cars)? Soul might not be the fair winds needed to steer Pixar from its worst habits, and it is unfair to place such a burden on this film. That fifteen-year run might also never be matched again. For what Soul represents to Pixar’s rather monochromatic leadership and narrative groupthink, it is a fascinating step outside the familiar.

My rating: 8/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

#Soul #Pete Docter #Pixar #Jamie Foxx #Tina Fey #Graham Norton #Phylicia Rashad #Donnell Rawlings #Questlove #Angela Bassett #Trent Reznor #Atticus Ross #Jon Batiste #Mike Jones #Kemp Powers #My Movie Odyssey

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picturelockshow · 6 years

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"Black Panther" Review: Why Representation Is Key!

Any thoughtful critic would tell you that there are some films that you just don’t know where to start in writing your review. You may need to see the film more than once. You need the time to live with the film in your mind to find the words to describe it eloquently in written form. Black Panther is one of those movies for me. It’s a cinematic experience that, having seen it twice before penning this, is equally powerful on repeat viewings.

Following T’Challa (Chadwick Boseman) after the events of Captain America: Civil War, the film picks up with him returning to Wakanda as king. So in short, the film is about a young man ascending to the throne and dealing with the weight of that. Yet, writers Ryan Coogler and Joe Robert Cole, give us something more. It’s a movie that analyzes what a person is made of. What really makes a king, a leader, or a person great? Similarly, what makes us bad, evil, the villain?

Wakanda is the most technologically advanced nation on Earth. Hidden in plain sight, it’s main resource, vibranium, has allowed the nation to evolve leap years ahead of the rest of society. Yet, there are those who want to get their hands on the precious metal. As an old and new enemy comes on the Wakandan radar, T’Challa fights to make the best decision for his people and the world as a whole.

The casting in this film is absolutely perfect. Andy Serkis as Ulysses Klaue is a man you wouldn’t want to even let your kids say hello to. Danai Gurira’s General Okoye is fierce, intelligent, strong, and has a beautiful spirit that pops out at just the right times between upholding her duties to the throne that she takes seriously. Lupita Nyong’o is another stand out as Nakia, T’Challa’s love interest and friend. Nakia is not diminished to just a romantic interest in this film. She’s a fighter for justice who would prefer to live outside of Wakanda, making a difference with people who are impoverished, over enjoying the spoils of her royal bloodline. Michael B. Jordan’s Erik Killmonger is the first villain we’ve seen that we could get behind, at least understand and earnestly believe his motives. His calm, intellect and patience in execution of the long game is what makes him so dangerous. It creates an equally powerful enemy that T’Challa has to go up against and sets the stage for serious stakes! T’Challa’s sister, Shuri (Letitia Wright), brings the humor in some scene stealing moments. The chemistry between Boseman and Wright is totally believable as a family unit!

That was just the main characters in the film. You’ll certainly enjoy Winston Duke’s M’Baku as the funny but beast of a leader of the Jabari tribe. Everywhere you look, there’s black star power in Angela Bassett, Forest Whitaker, Sterling K. Brown, John Kani and more. Writer/director Ryan Coogler was the right person for the job. His use of the camera is masterful. His angles stress the magnitude of the environment when necessary, and singles in on intimate moments appropriately. Knowing what to put in the frame and equally what not to show is a skill not all directors have. Watching his set ups and reveals after an additional viewing proves that he’s one of the great directors working today! (I may have to write a separate analysis review as to avoid spoilers here, but Coogler doesn’t play.)

The costume design from Ruth Carter is exquisite! Black Panther is a film in which it’s costume and wardrobe is like wallpaper, done well you won’t notice it but tacky wallpaper sticks out like a sore thumb. The colors, designs for different tribes, and materials are incredible. The production design is a beautiful imagining of an advanced civilization in Africa. Everyone came to WORK on Marvel’s first black superhero film in the MCU.

Black Panther represents Marvel’s showcasing of a lesser known character, who after this film will be a global favorite (for those who didn’t know the comic character). It also represents the showcasing of a predominately black cast and afro-futuristic story. It represents! In some ways, the importance of this film is the cinematic representation of a black super hero is on par with Barack Obama becoming president. Whoa! Did I say that? I did. Until this film, we haven’t had a black super hero who is as intelligent, rich, and powerful as his white counterparts. We haven’t seen a King and a hero like this. We haven’t seen black women who are equally elegant, poised, and intelligent as they are strong, skilled in combat, independent yet team players. Can movie characters be role models? They may not be the type you can talk to in the flesh, but they certainly are displayed as examples that little black boys and girls can be inspired by.

Who are you? It’s a question that is asked multiple times throughout the film and in various ways. Knowing yourself and who you are is huge. This film subtly pushes the importance of knowing who you are, where you come from, and charting your path to greatness. Sometimes that takes seeing someone like you do something that you want to do but never thought possible. (Don’t read this next portion if you don’t want a spoiler, but this example doesn’t have any importance to the overall plot of the film.) Those possibilities and the beauty of sparking a young mind is encapsulated in the closing scene of the film when a young inner city kid is exposed to a Wakandan aircraft. As he looks at the aircraft he takes moment and connects the dots between T’Challa being its owner. For anyone who doesn’t understand why this film is so important from a cultural level, that’s why. When a barrier can be broken, or a glass ceiling shattered, that means everything to the person who has been held back. Everyone should have the opportunity to dream and strive to see their dreams realized!

There is no wasted space in this film...except maybe the ubiquitous Stan Lee appearance. The film hits a perfect pace and tone, and has a great balance of suspense, humor and action. It’s Marvel’s best at bat in my opinion, and how it represents is just icing on that cake. Ok. You’re finished reading, get to the theater ASAP! Talk to me in the comments section if you’ve seen it!

Rating: A

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topbeautifulwomens · 5 years

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#Michael #Beach #instalike #beauty #cool #face #lip #lit #makeupgeek #memes #soccergirl #soul

Michael Beach very first forayed into acting in higher school when a friend talked him into auditioning for a school play. He secured entry and graduate from New York’s famed Julliard School and from there he performed in several off-Broadway and regional theater plays. Eventually he made his way to Los Angeles starring in theater productions “Ascension Day” and “Much Ado About Nothing”.

Breaking into films Beach has worked with acclaimed directors such as Tony Scott, James Cameron, Robert Altman and Mike Figgis. Beach splashed into menacing roles such as Pluto in Billy Bob Thornton crime-drama One False Move (1992). In a conflict of critique, many fans considered his role as the cheating husband John in 1995’s Waiting to Exhale (1995) opposite Angela Bassett and Whitney Houston as his breakout role. On the other hand, critics panned the movie for its syrupy overzealous tones. Beach moved to a a lot more meatier, albeit typecast, role as the cheating husband in 1997’s hit Soul Food (1997) opposite Vanessa Williams and Vivica A. Fox about a loved ones dealing with death and family survival. Directed by George Tillman Jr. and developed by Kenneth ‘Babyface’ Edmonds, the film received rave reviews from critics.

Alternatively switching from television to film, Beach stars as Monte “Doc” Parker an idealistic paramedic on NBC’s “Third Watch” (1999). He as well had a recurring role for a handful of seasons on NBC’s Emmy Award-winning drama “ER” (1994), portraying Jeanie Boulet’s (Gloria Reuben) husband who had contracted the HIV virus and passed it on to her. Stretching his Julliard training Beach sandwiches mainstream films such as A Family Thing (1996) with Robert Duvall and James Earl Jones with independent films. Beach co-starred in his friend’s Eriq La Salle’s cable movie Rebound: The Legend of Earl ‘The Goat’ Manigault (1996) (TV) opposite Don Cheadle. The two will group together for La Salle’s upcoming Crazy as Hell (2002). Beach also starred in indie director and TV star Tim Reid’s Asunder (1998) with Blair Underwood.

Name Michael Beach Height 5' 9″ Naionality American Day of Birth 30 October 1963 Place of Birth Roxbury, Massachusetts, USA Famous for

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besthomegallery-blog · 6 years

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Black Panther Movie Wallpaper for Desktop Background

I share you this Black Panther movie wallpaper to give you more choice to customize your desktop background. Feel free to use this cool wallpaper of Black Panther character. A wallpaper which designed in 4K resolution. You will get this wallpaper in 3840×2160 pixels by downloading it in original resolution. 4K resolution is a popular pixels configuration of a picture which usually used for large…

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#Black Panther Movie Wallpaper #black panther wallpaper

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namgix · 2 years

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♡︎ — athena grant

𝗹𝗶𝗸𝗲 𝗼𝗿 𝗿𝗲𝗯𝗹𝗼𝗴 𝗶𝗳 𝘆𝗼𝘂 𝘀𝗮𝘃𝗲𝗱 ♡

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lovelyladiesedits · 1 year

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#angela bassett lockscreens #angela bassett wallpapers #angela bassett #lockscreens #wallpapers #lockscreen #actresses wallpapers #actresses lockscreens #florence pugh #florence pugh lockscreens #florence pugh wallpapers

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namgix · 2 years

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♡︎ — gunpowder milkshake

𝗹𝗶𝗸𝗲 𝗼𝗿 𝗿𝗲𝗯𝗹𝗼𝗴 𝗶𝗳 𝘆𝗼𝘂 𝘀𝗮𝘃𝗲𝗱 ♡

#gunpowder milkshake #myedit #lockscreens #wallpapers #gunpowder milkshake lockscreens #gunpowder milkshake wallpapers #gunpowder milkshake edit #gunpowder milkshake edits #karen gillan lockscreens #lena headey lockscreens #carla gugino lockscreens #michelle yeoh lockscreens #angela bassett lockscreens

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namgix · 2 years

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♡︎ — angela bassett

𝗹𝗶𝗸𝗲 𝗼𝗿 𝗿𝗲𝗯𝗹𝗼𝗴 𝗶𝗳 𝘆𝗼𝘂 𝘀𝗮𝘃𝗲𝗱 ♡

#angela bassett #myedit #lockscreens #wallpapers #dailywoc #dailywoman #dailywomen #dailywomansource #wocedit #femalesource #angela bassett lockscreens #angela bassett wallpapers #angela bassett lockscreen #angela bassett wallpaper #angela bassett edit

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topbeautifulwomens · 5 years

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#Loretta #Devine #Biography #Photos #Wallpapers #photooftheday #beatmaker #dancehall #friday #modelingagency #modellife #modelsearch #skincareroutine #soul #supermodel

A year after earning her undergraduate degree from The University of Houston, Loretta Devine launched her career as a action director at the Black Arts Center in Houston, Texas. Her 1st acting experience arrived five years later in 1977 when she landed a musical role on the off-off-Broadway production of â€śGodsongâ€ť at the prestigious La MaMa Etc. company in New York City. Shortly thereafter, she moved on to Broadway with a part in the revival of â€śHairâ€ť (also 1977), and enjoyed her first enormous success as Lorell on Michael Bennett’s award-winning Broadway production, â€śDreamgirlsâ€ť (1981).

The same year she gained attention in â€śDreamgirls, Devine broke into film in a 1981 independent drama called â€śWill,â€ť starring Obaka Adedunyo, and followed it up with a small part as a school teacher named Ms. Benson on the science fiction â€śAnna to the Infinite Powerâ€ť in 1983. She, however, subsequently disappeared from the screen and was put back on the public attention in 1986 when she had multiple roles on the off-Broadway production of George C Wolfe’s â€śThe Colored Museum,â€ť from which she was praised for her performances. The same year, she also acted in the musical â€śBig Deal,â€ť by Bob Fosse.

1987 saw Devine make her TV series debut in the first season of NBC comedy â€śA Different World,â€ť where she played Stevie Rallen, the dorm director. Her first TV-movie was in the 1988 â€śThe Murder of Mary Phagan,â€ť a drama/history which starred Jack Lemmon. It was also in 1988 that Devine made his return to feature films when she had small parts in Richard Benjamin’s â€śLittle Nikitaâ€ť and Catlin Adams’ comedy, â€śSticky Fingers.â€ť She rounded out the decade by making two TV movies, the sequel â€śParent Trap IIIâ€ť and â€śHeart and Soulâ€ť (both 1989).

Entering the 1990s, Devine identified herself starring in her first television series, â€śSugar and Spiceâ€ť (1990), in which she portrayed a cost-free-spirit who joins her bourgeois sister (played by Vickilyn Reynolds) to raise their unparented nieces. The CBS sitcom, however, only had a short life, and throughout the decade, she continued to land guest starring or recurring roles in such series as â€śMurphy Brownâ€ť (1990), â€śReasonable Doubtsâ€ť (1992), Fox’s â€śRocâ€ť (1992-1993), â€śPicket Fencesâ€ť (1995), â€śTouched by an Angelâ€ť (1997) and â€śMoeshaâ€ť (1999). She also acted in a lot of TV films, including reprising her stage role of Janine in the PBS version of â€śThe Colored Museumâ€ť (1991), teaming up with Alfre Woodard in â€śFunny Valentinesâ€ť (1999, earned a Black Reel nomination for Network/Cable- Best Supporting Actress) and supporting Halle Berry in Berry’s Emmy-winning performance in â€śIntroducing Dorothy Dandridgeâ€ť (1999).

Meanwhile, on the big screen front, Devine opened up the 1990s in a supporting role as an employed woman in the drama/romance â€śStanley and Irisâ€ť (1990), along side opposite Jane Fonda and Robert De Niro, and then delivered a solid performance as the trustworthy sister on the indie-comedy â€śLivin’ Largeâ€ť (1991), for director Michael Schultz. A string of supporting roles followed, most notably as Christopher Martin’s mother in Randall Miller’s â€śClass Actâ€ť (1992), before she scored breakthrough screen role on Forest Whitaker’s â€śWaiting to Exhaleâ€ť (1995), scripted by Terry McMillan from his novel. Finely supporting Whitney Houston and Angela Bassett as Gloria ‘Glo’ Matthews, she was handed her first Image Award in 1996. This led to her next memorable role as Beverly on the Penny Marshall-directed â€śThe Preacher’s Wifeâ€ť (1997), which starred Denzel Washington and Whitney Houston and won Devine a second Outstanding Supporting Actress Image Award. Devine next could be seen in such little seen films as â€śThe Price of Kissingâ€ť and â€śLover Girlâ€ť (both 1997) and as Reese Wilson, a university security guard, in â€śUrban Legends,â€ť opposite Jared Leto and Alicia Witt, and Zenia, an affectionate caregiver of an Alzheimerâ€s patient, in the moving drama â€śDown in the Deltaâ€ť (both 1998). 1999 saw her in three films, including â€śThe Breaksâ€ť and â€śOperation Splitsville.â€ť

A voice-over actress at the Eddie Murphy-developed animated series â€śThe PJsâ€ť (Fox, 1999-2001), in which she starred as Muriel Stubbs, Devine’s television career gained much enhance when she won the supporting role of Marla Hendricks on the Fox hailed high school drama, â€śBoston Public,â€ť which ran from 2000 to 2005. As the fervent high school teacher, she picked up three Images for Outstanding Supporting Actress in a Drama Series (2001, 2003 and 2004) and two Golden Satellite nominations for Best Performance by an Actress in a Supporting Role in a Series, Drama (2003, 2004).

In addition to her TV series assignments, Devine went on to chase other projects. She reprised her role of Reese Wilson on the installment â€śUrban Legends: Final Cutâ€ť (2000), appeared as a doorwoman in the Mel Gibson-Helen Hunt comedy hit â€śWhat Women Wantâ€ť (2000), played the domineering mother, Marguerite, in the comedy â€śKingdom Comeâ€ť (2001), from which she netted an Image nomination for Outstanding Supporting Actress in a Motion Think about, and was cast as a social worker named Margaret Calgrove in the custody battle drama â€śI Am Samâ€ť (2001), which won star Sean Penn an Academy Award nomination for Best Actor. After having a recurring role on â€śHalf & Halfâ€ť (2003), Devine returned to the wide screen with triumph in â€śWoman Thou Art Loosedâ€ť (2004, as Cassey Jordan ) and the Oscar Best Picture winning film â€śCrashâ€ť (2005, as Shaniqua Johnson), which screened at the Toronto Film Festival in September 2004 and helmed and penned by Paul Haggis. She was nominated for an Independent Spirit for Best Supporting Female and an Image for Outstanding Supporting Actress in a Motion Picture for her work in the first feature and won a Black Reel for Best Ensemble and a Black Movie nomination for Outstanding Performance by an Actress in a Supporting Role for her work in the latter.

Following the cancellation of â€śBoston Public,â€ť Devine was cast as Miss Gladys, Malcolm Kingâ€s prophylactic financial secretary, on the comedy film â€śKing’s Ransomâ€ť (2005), with Anthony Anderson, and back to series TV to play M. Pearl McGuire on the Lifetime drama â€śWild Cardâ€ť (2004-2005) and Adele Webber on nine episodes of the ABC medical drama â€śGrey’s Anatomyâ€ť (2005-2007). She also had recurring roles on â€śGirlfriendsâ€ť (2005-2006), as Judge Jackson, and the CW sitcom â€śEverybody Hates Chrisâ€ť (2006-2007), as Tichina Arnold’s mother. Her a lot more recent film projects include â€śDirty Laundryâ€ť (2006), the big screen version of â€śDreamgirlsâ€ť (2006), in which she made a cameo appearance as a jazz singer, â€śLife Is Not a Fairytale: The Fantasia Barrino Storyâ€ť (2006, TV), where she received a 2007 Image nomination for Outstanding Actress in a Television Movie, Mini-Series or Dramatic Special, Christopher Duddy’s â€śCougar Clubâ€ť (2007, as Dolly), the Preston A. Whitmore II-directed/written â€śThis Christmasâ€ť (2007), from which she netted an Image nomination for her scene-stealing role of Shirley Ann ‘MaDere’ Whitfield. In â€śFirst Sundayâ€ť (2008), a comedy/crime film by director/writer David E. Talbert and starring Ice Cube and Tracy Morgan, Devine was cast as Sister Doris McPherson.

Currently, the 59-year-old actress portrays Patti on the ABC supernatural legal drama â€śEli Stonesâ€ť (2008-?), starring Jonny Lee Miller in the title role of the San Fransisco lawyer. She is scheduled to play Dr. Racine Marguerite on the comedy film â€śSpring Breakdownâ€ť (2008) and Miss Esther on Dan Neira’s drama, â€śTouchedâ€ť (2008).

Name Loretta Devine Height Naionality American Date of Birth 21 August 1949 Place of Birth Houston, Texas, USA Famous for

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topbeautifulwomens · 6 years

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#Loretta #Devine #Biography #Photos #Wallpapers #artist #babe #blackandwhite #bnw #dancehall #fashionphotography #haircut #likeforlike #polishgirl #punjabiwedding

Name Loretta Devine Height Naionality American Date of Birth 21 August 1949 Place of Birth Houston, Texas, USA Famous for

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topbeautifulwomens · 6 years

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#Lela #Rochon #Biography #Photos #Wallpapers #community #fashionstyle #flight #illustration #makeover #polishgirl #style #suicidegirl #usa #viralvideos

Lela Rochon entered the show business when she was still in college. She was featured in a music video for Lionel Richie, â€śAll Night Longâ€ť (1983), and from 1984 to 1986, she appeared in a series of Spuds MacKenzie beer TV commercials. A skilled dancer, she had extras in the musical film â€śBreakinâ€ť and its sequel, â€śBreakin’ 2: Electric Boogalooâ€ť (both 1984). Her 1st real acting job arrived when she landed a small role of Charlotte in the television film â€śA Bunny’s Taleâ€ť (1985), about feminist activist Gloria Steinem (played by Kirstie Alley) and her days as Playboy Bunny.

After completing her studies in 1986, Rochon could be seen making her feature acting debut in â€śFoxtrapâ€ť (1986), a low-budget step/drama starring and directed by Fred Williamson. Later that same year, she offered a volatile performance as a school instructor in the indie-comedy â€śStewardess School,â€ť by writer/director Ken Blancato. Rochon returned to TV by making guest appearances in such shows as â€śThe Facts of Life,â€ť â€śWhat’s Happening Now!,â€ť â€śThe Cosby Showâ€ť (all 1987) and â€śAmenâ€ť (1989) before starting a collaboration with Eddie Murphy in the blockbuster comedy â€śHarlem Nightsâ€ť (1989), where she played Sunshine.

The 5’9â€ť beauty opened the fresh decade by having episodic roles in the TV series â€ś21 Jump Street,â€ť â€ś227,â€ť â€ś1st & Tenâ€ť (all 1990), â€śThe Fresh Prince of Bel-Airâ€ť (1991), â€śRocâ€ť and HBO’s â€śTales from the Cryptâ€ť (both 1992). She as well supported Bud Spencer in the action made-for-TV film â€śExtralarge: Black and Whiteâ€ť (1991) and rejoined Eddie Murphy for the successful comedy/romance â€śBoomerangâ€ť (1992), in which she played Christie, an appealing and dog-loving girl with hideous corns on her feet. In 1993, she appeared as Vanessa the Pretty Nurse in Robert Townsend’s fantasy, â€śThe Meteor Man.â€ť

1995 saw Rochon include a season regular role of Shawn Wayans’ girlfriend, Lisa, on The WB sitcom â€śThe Wayans Bros.â€ť She left the show after six months in order to focus her calories on movies. Her bet before long paid off when the determine actress experienced her screen breakthrough as Robin Stokes in the Forest Whitaker-directed â€śWaiting to Exhaleâ€ť (1995), based on a novel by Terry McMillan. Costarring with Whitney Houston, Angela Bassett and Loretta Devine, Rochon’s performance received critical praise and she was handed an Image nomination for Outstanding Supporting Actress in a Motion Imagine and an MTV Movie nomination for Best Breakthrough Performance. The film became a storm hit in Hollywood.

Lured by the success, Rochon was flooded with a lot of offers. In 1996, she landed her first starring role in a TV film, â€śMr. and Mrs. Loving,â€ť where she was paired with Timothy Hutton to play a Southern interracial spouse in the 1960s who are incarcerated for crossbreeding. Also in that same year, she was cast as a government adjutant in the Chris O’Donnell/Gene Hackman starring vehicle â€śThe Chamberâ€ť (1996), adapted from the John Grisham book of the same name directed by James Foley. Rochon further showcase her versatility with her subsequent film roles like as an exotic terpsichorean in â€śGang Relatedâ€ť (1997, opposite James Belushi and Tupac Shakur), a firm vice president in Hark Tsui’s â€śKnock Offâ€ť (1998) and a schoolteacher in the biopic â€śWhy Do Fools Fall in Loveâ€ť (1998, with Halle Berry and Vivica A. Fox). She also starred as Sydney Banks in Monika Harris’ thriller â€śLegal Deceitâ€ť(1997), had a small role in the action/comedy â€śThe Big Hitâ€ť (1998, starred Mark Wahlberg), played the mother of the titular character in the ABC TV film â€śThe Ruby Bridges Storyâ€ť (1998) and offered small, but notable role as Vanessa Struthers, the girlfriend of Jamie Foxx’s Willie Beamen, in Oliver Stone’s â€śAny Given Sundayâ€ť (1999).

Entering the new millennium, Rochon costarred with Kyra Sedgwick and Rob Morrow as a buggy very best friend in the drama/romance â€śLabor Painsâ€ť (2000). She then joined the cast of the Lifetime original series â€śThe Divisionâ€ť in the recurring role of Inspector Angela Reide (2001). After a short break, she returned to feature film in 2004 in the romantic comedy â€śFirst Daughter,â€ť which starred Katie Holmes. The film marked Rochon reunion with â€śWaiting to Exhaleâ€ť director, Forest Whitaker. Two years later, she teamed up with John Diehl and Gregory Michael to star in the drama film â€śRunning Out of Time in Hollywood.â€ť

The 44-year-old actress will play Sharlene in the drama â€śBalancing the Booksâ€ť (2008), directed by Meir Sharony and written by Kathy Cotter. Among her costars in the upcoming project are Lea Thompson, Dina Meyer, Ernie Hudson, Ed Begley Jr. and Tess Harper.

Name Lela Rochon Height 5' 9″ Naionality American Date of Birth 17 April 1964 Place of Birth Los Angeles, California, USA Famous for

The post Lela Rochon Biography Photos Wallpapers appeared first on Beautiful Women.

source http://topbeautifulwomen.com/lela-rochon-biography-photos-wallpapers/

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