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why-this-kolaveri-machi · 5 years

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Grand Titans Rewatch: 1.01

so! i only really got into the show around the 6th episode, which means that while i was intrigued by the first five, i didn’t really pay a lot of close attention the first time ‘round. so i’m going to try and rewatch the entire series over the next several weeks and bring you Thoughts, because um. well. I Will Have Them.

SPOILERS for pretty much the entire series, though i will be covering only the pilot episode in this post. let’s see how this goes.

1. i’m just such a sucker for eerie dreamscapes, so i’m definitely biased when i say that this is a promising start. what’s really intriguing, though, is rachel dreaming of dick’s past well before she’d met the guy. after eleven episodes, the extent and even the very nature of rachel’s powers is still nebulous; this ability to dream about people she hasn’t even met only comes up this once, as far as i remember. (again, my initial viewing was superficial, so i might’ve missed it coming up/referenced again.)

1.5. a doylist explanation for this? hint at a special relationship between rachel and dick right off the bat, set the tone for the rest of the series, establish a character-development-by-dreamscape precedent, give us a gander at the origin story of the most iconic character in the ensemble, and set the broader arc of the season—an acceptance of and an ascent out of inner darkness—in motion with these two characters.

an in-universe search for an answer is potentially more interesting, however: why should these two be connected? i like to think that trigon’s influence started here, pushing rachel further and further down the path that would lead her to free him. i mean, handwaving aside the comic-booky implausibility of trigon foreseeing the exact pattern of random events that would lead to the moment rachel pulling him out of the mirror in 1.10 (he’s an interdimensional being! i don’t know! *flails hands*), i like the symbolism of it: both batman and trigon as phantom fathers that rachel and dick run away from, only to be pushed together. this is not to imply any broader equivalency between trigon and bruce wayne, of course; but it goes some way in explaining why this dick is especially traumatised and brutal, and why it would’ve had to be an especially traumatised and brutal bruce wayne that taught him everything he knows.

1.6. HAH at the ‘flying’ in the ‘flying graysons’ sign fizzling out just before the rope snaps, tho! so corny but also so upsetting.

(‘so corny but so upsetting’ – a valid tagline for titans)

1.8. oh but the set-up around rachel is so intriguing, tho! this is both the greatest strength and the greatest pitfall of the show: each of its characters can occupy a genre show of their own; because the first three episodes focus so heavily on rachel, it seems like the tone of the show changes when the titans finally get together, and like a lot of interesting, painstakingly slow set-up for rachel is just dropped and wasted.

2. the first glimpse we get of dick grayson is in the rearview mirror of his car. FUCK. i’m going to start a count.

MIRRORS, MIRRORS EVERYWHERE: 1

Ok. things i love about this little two minute introduction to dick grayson:

a) look at this broody asshole. i love him so much.

b) right away we have this push-pull re: his robin identity. he hates it, resents it, but can’t quite let it go. his officer grayson persona isn’t enough for all the evil in the world, even if it means losing control and falling farther and farther down a spiral of self-loathing.

c) he’s so damn mired in crime and tragedy, tho: officer grayson by day, vigilante robin by night. MAKE A FRIEND, DICK. GET A BEER, DICK.

(so true to character, tho: a suffering dick grayson is usually a determinedly self-isolated dick grayson.)

d) AMY ROHRBACH! i refuse to believe they’d just unceremoniously kill off such an iconic character. i fully expect to see her in s2.

e) “you do your thing. i’ll do mine.” a poorly functioning dick grayson picking up unhealthy coping cues from his mentor.

f) i love how implicit it is that gotham is a carnival of unending horror among the officers in the precinct, and probably every other city in america.

3. the clawmarks on rachel’s mother, tho! fuck, i wish they’d carried over more of this eeriness in the second half of the season. oh, and also:

MIRRORS, MIRRORS EVERYWHERE: 2

i realise why we had to get a move on with the plot, but i can’t help but wonder if we could’ve gotten an even slower build-up to rachel’s powers, because honestly? i know you’re lying, i always know when you’re lying, and the vicious slut! in the school bus window? actually more unsettling than watching rachel liquefy some baddie from the inside.

(tho. um. don’t get me wrong. that’s plenty disturbing, too.)

4. conflicted!brooding!vigilante!dick, here to chase away the images of dead women splayed over living room floors with bullet holes in their heads.

4.5. the fight scene was brutal, sure—but to be fair, most of batman/robin’s fights teeter on the fine line between causing enough damage to keep the bad guys down for a bit and outright brutality. it’s difficult to bring that to life on screen (in a series that touts to inject grittiness/realism into proceedings, no less) and portray a robin who’s definitely crossing some lines without going into some real brutal territory.

4.6. so far i’m loving how economical the storytelling is when it comes to dick—how quickly it’s established, then underscored, how being robin is so important to him and the last thing he wants. his curdling resentment at the thugs immediately looking for batman the moment they see him, and his inability to move on from being the other half of batman-and-robin. he feels compelled to play both parts at once when he’s fighting, and he hates it. all of these things are playing out right underneath stretched-too-thin skin, jagged and awful and ugly.

4.65. and the editing and sound choices keep emphasising how this is not dick in his natural state—how, in a lot of ways, robin is not his natural state anymore.

4.8. dick, brooding in his open-plan apartment, broodily listening to vinyl records and cleaning his armour of blood, while brooding. did i mention that i love this asshole?

(i don’t know where the bruises came from, considering that it seemed like the thugs couldn’t get a single hit in during the fight.)

MIRRORS, MIRRORS EVERYWHERE: 3

4.9. a dick timeline: the zucco thing happened, what, two years ago? robin hasn’t been seen in over a year. and dick moved to detroit a month ago. hmmmm.

5. rachel’s alter-ego-self as a manifestation of her powers continues to be fascinating. as is the fact that that alternate self appears less and less as she grows more accepting of what’s inside her and learns to control her abilities.

5.25. so, what, was sally a part of the cult that wants to kidnap rachel specifically, or just a Bad Person in general?

5.5. “you got that thing for helping kids” – i love that dick has this reputation barely a month into his time in this department. like. this guy is broody and closed-off and clearly traumatised, but hey, he’s good with kids!

MIRRORS, MIRRORS EVERYWHERE: 4

5.8. “you’re the boy from the circus” is super-dramatic and all, but how did rachel recognise adult!dick when she’s only seen kid!dick in her dreams? and also, why did she dream of dick at all?

5.99. side note: officer!dick’s hair is the best. it never gets better than this for the rest of the season at least until he becomes trigon’s demon acolyte.

6. KORY!

6.5. so… did the car accident cause the amnesia? do we ever find out why exactly she couldn’t remember anything about who she is? she doesn’t look injured; just dazed.

6.6. her passport was issued in 2014—so she’s been here a while, searching, researching. or not, because it’s probably a fake-ass document. stop reading so much into this, emmram!

MIRRORS, MIRRORS EVERYWHERE: 5

6.8. her super-convenient amnesia means she’s forgotten her identity but not human language, mores or customs. i like this extra layer of… alien-ness? that this brings to her: so now she’s not only a stranger to the rest of the world, but to herself. again, so many interesting things are set-up here that the show never really follows through with for the rest of the season—imagine re-discovering kory’s identity along with her, piecemeal, rather than an impersonal infodump near the end of the season!

6.9. also given that portrayals of starfire (at least those that i’ve seen/read) make liberal use of the ‘born sexy yesterday’ trope, i rather like this take—she’s already learned everything she needs to know about assimilating into human society, and it’s a question of rediscovering that knowledge instead of having some dude patronisingly mansplain the world to her.

6.95. why did she snap that russian dude’s neck, tho. that’s just brutal. i’d forgotten about this.

7. i like to think here that when dick says i’ll find someone who can help you, he’s not just thinking of law enforcement, but also of people in the super-community—psychics, or telepaths, or somebody who has experience with both. there’s still so much about dick that’s kept in the dark for most of the season, but given the length of time he’s been with batman and the easy familiarity with which he talks about other heroes in the finale’s dreamscape, i’m going to assume that he’s more than well-connected.

7.5. but he’s shuttered himself away for so long, and robin’s return has been far from well-received. i like this little moment where he steps outside and just… lets himself be overwhelmed. just for a bit.

7.7. i like that amy says “sidekick” first instead of “partner”. on-the-nose, but i like it!

7.8. the glibness of he and i had different ideas of how to do the job is making me laugh. oh, dick.

i guess the idea of batman sours quite a lot when you’ve spent most of your life as his partner. i get that he’s projecting losing his own sense of self to a role he just isn’t cut out for onto bruce, but it’s sad anyway.

7.9. gosh i just want these two to bond. i don’t care how you do it Show but bring back amy next season, yeah?

MIRRORS, MIRRORS EVERYWHERE: 6

8. is there any particular significance to the repeated security-cam footage shots we’re getting in this episode?

(gosh, i love the cinematography so much in this scene.)

8.4. so… kory had to use some sort of russian mob and come all the way to vienna to find rachel?? why??? are we ever going to find out?

8.5. on a happier note, i love love this version of starfire’s ‘innocence’. like. she’s baffled, almost apologetic about it, but she isn’t going to take any shit about it, either. also, the music when she uses her powers for the first time, man. FUCK.

9. aaaaand there’s the liquefying-a-guy’s-insides bit. i both love and hate this show’s self-indulgence.

9.5. i gotta say, this episode makes a lot more sense on rewatch than it did the first time ‘round. i remember being so confused by evil!cult!guy, but then again, i was pretty distracted at the time. i only really picked up the show because i was so amused by the over-the-top reactions fans had to the trailer. now look at me, writing 2k+ word reviews dissecting its every moment. *shakes head*

10. *rachel stares at dick’s porsche*

“this is yours?”

“family heirloom.”

“… from the circus?”

“not the one you’re thinking.”

I LOVE EVERYTHING ABOUT THIS EXCHANGE.

10.5. i love these two Dramatic Kids.

11. beast boy cameo! just to assure us all that yes, he is in this show, and that, yes, he is the Best of them all.

12. you guys, this episode is so much more fun that i remember it being. you’ve got an amnesiac interstellar super-spy in kory, a straight-up supernatural horror story in rachel, and a psychological case study whatever genre batman’s supposed to be in dick. each of them could easily fill their own show, but i love that titans wants to connect them with something more than just a team falling together just because.

#titans #meta #dick grayson #koriand'r #rachel roth #a byronic cupcake #badass strawberry truffle #a gothic cookie #grand titans rewatch 2k19

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architectnews · 3 years

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arch8 Re-Vision competition 2021

arch8 Re-Vision Design Competition, 2021 Contest, Architectural Prize News

arch8 Re-Vision Design Competition 2021

1 July 2021

arch8 Re-Vision Competition

RE-VISION

We laughed, we cried, we raged against the dying of the light, which was the ending of our favorite shows. Sitcoms have been there since the dawn of tv… From a CRT television to a flat-screen to our laptops to all-powerful OTT platforms, sitcoms have come a long way. But there is always that one show, that one sitcom you can watch over and over. Whether it’s before you go to bed, during your meals, or after finishing the most boring assignment ever.

The one with a character you admire, the one whose dialogues are like your second language, you got the idea… Right! We’ve seen it so often that we are aware of all the details. So what if we tell you that now you can change it and show people your perspective. Show them how it could have been if these sitcoms were shot in this day and age with you as their interior designer. So now, you’ll have the same people as before but with the needs of today’s world.

Whenever we propose a design for our clients, we try to incorporate every requirement of them. But our ideas are based more on our experiences and less on the profiles of the users. Because well, for God’s sake we just met them!! So if we are provided the possibility of knowing our client inside out, can we now propose the best-suited design for them? (Of course, we can!)

Having said that, ARCH8 is here with yet another competition for you all, this time an interior designing competition. We shortlisted 3 most famous sitcoms of all time: Friends, Big Bang Theory, and How I Met Your Mother.

Re-design any one of the following apartments:

1. Monica and Rachel’s apartment 2. Joey and Chandler’s apartment 3. Sheldon and Leonard’s apartment 4. Ted and Marshall’s apartment

You can download the .cad files of floor plans at arch8.in

Character Sketch

A little something to help you out.

1. MONICA: Monica is a chef in her early 30s. She is obsessive about things being clean and in order. (‘ Things shouldn’t be just ‘health department’ clean, they should be ‘Monica clean.’) She likes to host gatherings and invite people over for dinners and parties. She is the ‘mother ‘ of the group and can be sometimes dominative.

2. RACHEL: She has switched jobs from being a waitress to an executive at Ralph Lauren. All her friends come to her for fashion advice. She likes to shop. Rachel is very careless (as she says,” I shouldn’t be allowed to make decisions anymore.”) She is funny, spirited but pretty self-involved. She does not easily get along with other women (“That’s OK, Girls tend to not like me”).

3. CHANDLER: Chandler is a funny guy (Jokes are his ‘thing’). Chandler works in statistical analysis and data reconfiguration but nobody knows where he works (he’s a ‘transponster’). Chandler’s generally embarrassed by his parents, his job, and his relationship status. His sense of humor helps him cope with all of these problems. He is notoriously sarcastic. He is the highest-earning member of his friends’ circle.

4. JOEY: Joey is an actor whose work can be seen in the show “Days of Our Lives”. He is a child at heart and a foodie (Joey doesn’t share food). He likes all the kitsch art. He never gets in a serious relationship. He is dim-witted but good-natured. He likes to play foosball and is a big fan of ‘Baywatch’.

5. SHELDON: Sheldon is a theoretical physicist. He lives his life with rules and regulations and is obsessed with logical reasoning. He is interested in comic books and science fiction. Sheldon comes off as a stereotypical nerd and really has no qualms about it (but he is not crazy, his mother got him tested). He is socially awkward and likes to spend most of his time at home and at work.

6. LEONARD: He is an experimental physicist. He is a huge fan of Star Wars, science fiction, and comic books. Leonard is extremely nerdy and mainly associates with people who fit this description (“12 years after high school and I’m still at the nerd table.”). He also plays the cello. He is lactose intolerant. He lives in the apartment by Sheldon’s rules and regulations.

7. TED: Call him an architect, a hopeless romantic, or a know it all, you can say that he’s the embodiment of it all. Since college, Ted has been in many toxic relationships where he was considered an outcast or “not traditionally cool” i.e dorky. Interests… telling stories, falling in love, believing in destiny, avoiding confrontation, Renaissance Faires, crossword puzzles, Star Wars, breakfast foods, show tunes, girls who play bass guitar, giving “the best” gifts, and reading serious literature. (Random girl: What made you want to be an architect? Ted: Well you know, the soul of an artist, hands of a master craftsman… it was inevitable)

8. MARSHALL: Though he is arguably the kindest member of the group, he never shies away from a spirited debate, usually shouting “Lawyered!” if (well, “when”) he wins. A lawyer who’s madly in love with his partner in crime, Lily (his fiance). Creator of a funk band called “The Funk, The Whole Funk, And Nothing But The Funk”, he is a 6’4, supernatural (i.e Bigfoot, loch ness monster, and ghost) nerd and a foodie with a passion for star wars and playing (and winning) board games.

SUBMISSION REQUIREMENT

The Proposal to be presented on One Landscape Oriented A1 Sheet. Proposals may be presented using any technique of your choice (sketches, diagrams, 3D visualizations, model photos, CAD drawings, etc.) Team code (UIC) to be mentioned on the Top Right-Hand corner of the sheet. The proposal MUST NOT include ANY INFORMATION (name, Organization, School, etc.) that may give away your identity. All text must be in ENGLISH, with a MAXIMUM of 150 WORDS for project explanation. All dimensions should be imperial or metric units.

SUBMISSION FORMAT

841MM X 594MM Submit in .jpeg format of file size not more than 5Mb. Submit your entry at: [email protected] The subject of the mail: Your UIC (XXXXX) Name of the file uploaded: Your UIC (XXXXX)

*Participants Teamcode (UIC) will be provided by ARCH8 once you have completed the registration process.

REGISTRATION DETAILS

Indian National / Foreign National

Early-bird Registration 1st July – 15th July ’21 350 Inr / 7 US$

Standard Registration 16th July – 31st July ’21 420 Inr / 10 US$

Late Registration 1st Aug – 15th Aug ’21 540 Inr / 15 US$

NOTE: A team can have up to 3 members. The amount is non-refundable. Late registered participants will receive 5 extra days for submission.

ELIGIBILITY CRITERIA

Anyone can participate irrespective of profession or qualification, and present their ideas. Participants can submit multiple entries but that would require multiple registrations. A team can have up to 3 members.

TIMELINE

Registration deadline: 15th August 2021 Submission deadline: 20th August 2021 The submission deadline for all the participants who registered between 1st August and 15th August is 25th August 2021 Result announcement: 30th August 2021

*All the Deadlines are 23:59 – 24:00 IST (INDIA) The following dates can be a subject of modification, if necessary.

PRIZES

Total cash prize worth 15,000 INR.

Winner: Cash prize of INR 7500 + Acknowledgement on our website and social media + publication of the participants’ interview (Video) on website + 40% discount on your next architecture competition + certificate of achievement

1st Runner-up: Cash prize of INR 4500 + Acknowledgement on our website + publication of the participants’ interview (Video) on website + 30% discount on our next architecture competition + certificate of achievement

2nd Runner-up: Cash prize of INR 3000 + Acknowledgement on our website + publication of the participants’ interview (Video) on website + 20% discount on our next architecture competition + certificate of achievement

10 Honorable mentions: Acknowledgement on our website + 10% discount on our next architecture competition + certificate of achievement

Participation certificate for all the participants.

EVALUATION CRITERIA

The competition aims to explore how participants think through the basic functionality of spaces of the house, meaningful conceptualization behind design, thoughtful aesthetics, and expressive presentation.

Entries will be evaluated based on the following criteria:

1. ORIGINALITY 2. INNOVATION 3. PRESENTATION

FAQs

1. What is the nature of the competition? ‘RE-VISION’ is an open idea design competition challenge that is open for students, professionals & any individual with a creative mind.

2. Who can participate in the competition? Architecture students, Architects, Interior Designer, Civil engineers & anyone with creativity can participate in the competition.

3. How many members can be a part of a team? A team can have a maximum of 3 members. You can also participate individually.

4. Will every participant get a certificate of participation? Yes, every participant who submits a panel will receive an e-certificate.

5. What should be done in case a payment mode is not available in a particular country? We request the participants to write about the issue at [email protected] to get other payment options in such a case. We will send all possible payment methods.

6. How will a team get its Unique Identification Code? The Unique Identification Code ( UIC ) will be mailed to your registered e-mail address within 24 hrs after completing the registration process. There is only one UIC code for all the team members of a team.

7. What is the use of a Unique Identification Code? All the participants are requested to use their UIC at the top right corner of your submission as it is your identity for the competition-related processes.

8. What to do if a participant does not receive the UIC after making payment? In such cases, the participants are asked to mail their payment receipt [email protected].

9. Does the 150-word limit include legends & one-liners in the sheet? No, the 150-word limit is for the proposal explanation only and it does not include the legends & one-liners on the sheet.

RULES AND REGULATIONS

1. In case you still have questions related to the briefs and the competition, please send them to [email protected] 2. It is possible to amend or update any information relating to your registration including the names of team members once registered, mail us your query at [email protected]. 3. Participant teams will be disqualified if any of the competition rules or submission requirements are not considered. 4. Team code (UIC) is the only means of identification of a team as it is an anonymous competition. Hence, a submission with its UIC will be disqualified from the competition. 5. The official language of the competition is English. 6. The registration fee is non-refundable.

arch8 Re-Vision Competition image / information received 300621

arch8 Architecture Competitions

arch8 Lock-Unlock Competition arch8 Lock-Unlock Competition

arch8 Street-a-float Design Competition 2021 Street-a-float Design Competition 2021

arch8 studio Competition arch8 studio Competition

Architectural Contests

Architectural Competitions : links

Architecture Competitions

Archiol A4TC Architecture Thesis Competition Archiol A4TC Architecture Thesis Competition

CUBE Design Competition 2021 CUBE Design Competition 2021

REVERENCE: Memorial Structure Design Competition REVERENCE: Memorial Structure Design Competition

Comments / photos for the arch8 Re-Vision competition 2021 page welcome

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marypsue · 6 years

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guess who hasn't been following the new Jean Grey comics beyond the occasional tumblr search and yet still has Thoughts: The Fic

...

That which is dead cannot grow.

It's the first observation, the simplest. That which is dead cannot grow, can only decay.

That which lives must grow. Must expand. Must change. Must, if it wishes to continue to live, evolve.

And as it grows, that which lives must learn.

...

The figure hovering above the lawn is imposing for only a moment, a flash of flame that quickly compresses itself down into a slender, human shape. A tangle of brilliant hair, fanned out behind her, is the only remnant of her former, fiery image.

She looks familiar, to some like an old friend, to others like a glimpse of a future, long-awaited, long-dreaded, that may yet come to pass. When she alights on the lawn, she leaves scorched footprints in the emerald grass behind her.

The others gathered on the lawn shift, reflexively, into defensive positions, but she pays them no attention. Her shockingly orange eyes focus for a moment on the imposing face of the school before her, before she finally acknowledges the determined - and frightened - faces around her, the raised fists, the readied attacks.

"Don't," she says, and her voice is the roar of forest fires, the deep, oppressive silence of ocean trenches, the shrieks and howls and calls of both predators and prey. It should never have emerged from such a human-seeming mouth.

She gives one more look around, at the startled people gathered on the lawn, and says, in a voice just a little less like the wind through fields of tall grass and the rush of waterfalls and the rattle of a startled snake, "I'm here to talk."

...

Rachel's mother once told Rachel that she'd always be able to find her in the Phoenix Force. It was cold comfort, when the Phoenix Force was what had taken Rachel's mother from her.

No. That was too soft for what the Phoenix Force had done. It killed Rachel's mother. Burned her out from the inside.

So Rachel doesn't trust things that have her mother's face. Not the teenage girl who claims to be her mother, displaced in time, and definitely not this imposter with eyes like living flame. Jean Elaine Grey is dead, and she's not coming back.

"I know," the thing with Rachel's mother's face says, turning to stare directly through Rachel. Rachel hadn't even noticed the psychic intrusion, hadn't had a chance to resist. "I...won't claim to be her."

It almost sounds...sad?...as it says, "I've learned better than that."

"You mean you figured out it wasn't going to work," the boy who's supposed to be Rachel's father - from the past, or an alternate past, or something - blurts. The Phoenix glances in his direction, and a fond smile starts to cross its familiar face before slipping away again.

“No,” it says. “And then, yes.”

It turns back to Rachel.

Rachel doesn't move, staring it down. It stares back.

"What do you say," it says, "when you regret the pain your action has caused someone, but do not regret the action?"

"Usually real people are sorry," Rachel snaps.

The Phoenix' orange eyes don't track across Rachel's face, but she still feels as though her expression is being intently studied, picked apart.

"I'm...sorry," it says, almost experimentally. And then, "Hm."

Storm finally seems to find her voice. She sounds as composed, as certain, as ever, but Rachel can hear the turmoil seething under the surface. Rachel can't blame her. She's only ever known her mother as, well, her mother. She can't imagine what this must be like for anyone who was Jean Grey's friend. "You say you're here to talk. So, talk. What do you want?"

For a moment, the only movement on the lawn is the Phoenix's illusion of wild hair.

"Forgive me. I haven't been a person long," it says. Rachel could spit. "But I think..."

It glances over at Rachel as it says, "I want to say I'm sorry."

Before Rachel can respond, before anyone can respond, it smiles, and uncoils into a burst of bright flame, and then into nothing.

It's the strangest thing, though. For that split second before it dissolved, Rachel could swear it looked...relieved.

...

Jean is meditating.

She's picked up the habit in an effort to protect her mind from the intrusion of the Phoenix Force. If she's being completely honest with herself, she's not certain it's doing anything at all in that department, but when you're a telepath living in a large communal dormitory, it's nice (if almost unimaginably difficult) to try to quiet your brain down for half an hour or so every day. She's finally starting to get good at tuning out the rest of the school's backdrop of constant low-key psychic distress. (With this many teenagers in one building, it never really stops.)

Which is why she doesn't realise she's not alone in her room until she opens her eyes and her older self is sitting across from her, legs folded in a mirror image of her pose, watching her carefully with fiery orange eyes.

Jean sucks in a breath.

Her doppelganger hasn't done anything yet, doesn't do anything when it notices Jean's eyes opening, sees that Jean sees it. It's not an enormous fiery bird screaming about how she can't win and can't escape. It's not an overwhelming feeling of irresistible, uncontrollable power, of chaos. It's just a mirror image of her, only older, sitting perfectly still and, apparently, waiting for her to react.

Jean licks her lips, which suddenly feel impossibly dry. Like her throat. She doesn't dare blink.

"May I show you something?" her other self says.

...

In the beginning, there was nothing.

Pure, perfect, dead. Emptiness. Void. Nothing changing. Nothing growing. Nothing but nothing, forever.

And then, something. Something exciting quantum particles, causing them to collide. And out of the resulting explosion, a universe. Atoms, elements, energy. Stars.

Planets.

The odds against life developing are astronomical. And yet, everywhere it can, in whatever form it needs to take, up it springs. Life with silicate nerves and quartz bodies. Life that dwells in seas of ammonia and feeds on brainwaves. Life that has no physical form, but exists as a superintelligent shade of the colour blue. And every time one form fails, falls to dust, another appears to take its place. Ambulatory life forms feed on other ambulatory life forms, feed on photosynthesizing life forms, which in turn feed on the nuclear energy of an impossibly distant sun. Everything is interwoven, stealing energy - stealing life - from each other. Wherever life exists, it strives. And it exists. Everywhere.

It's chaos. But it also has a rhythm to it - a syncopated one, to be sure, wild and loud and raucous, but a rhythm. There is a kind of logic to it all. There's only so much energy to go around.

And life is not...not an entity. Certainly not anything like a god, deliberately choosing worth or lack thereof to determine which form of life will be successful and which will fail, where its energy should flow next. Not even, exactly, a force. It is not discrete or distinct from the universe it flows through. It is not ruthless, or powerful, or vicious, or selfish, or fair or unfair. It simply is.

And it does what it does.

Poets and philosophers have called humanity 'the universe experiencing itself'.

The first time life burns out a star to divert its energy while wearing a human form, there is no thought behind it, no calculation, no cruelty. It simply does what it does. The energy has to come from somewhere. The exploding heart of that sun and the lives of all those millions who orbited it have not been destroyed, merely converted to another form. It's simple physics.

Simple physics thinks nothing of it. Simple physics doesn't think at all.

But Jean Elaine Grey, a tiny speck of sand dislodged from the bed of the massive river of the universe, can't contain the full horror of it in her little mind. All of those lives. All of those individual, distinct lives.

Life, the seed of the thing that was and will be the Phoenix is used to. It is not equipped to handle lives.

It is not equipped for anything to do with being alive at all.

It reacts...badly.

...

The thing in the form of Jean's older self is still watching her, when the trance breaks. Jean is horrified to feel the unmistakable stiffness of drying tears on her cheeks.

She shakes her head.

"None of that makes it right," she says.

"I am learning that," the Phoenix agrees. " 'Right' is a human concept. Like 'justice' and 'love'. I have very little experience with it."

Jean has no idea how to respond to that, so she doesn't.

"Most of my experiences come from you." The Phoenix's illusion of lips quirk upwards in an ironic smile, and it says, "In a way. It appears Time is trying out a few new ideas, as well. And, much like me, getting them wrong."

Jean bites down on her lower lip. The situation feels much too serious to laugh.

"Is that your pitch, then?" she asks, once she's stuffed down the urge to snicker. "I should let you in because I make you a better person?"

The Phoenix shifts, grimacing as it unfolds its legs.

"No," it says. "You made me a person. If I understand the human perspective correctly, it is now up to me to make me a better person. Which is why I'm here."

It reaches out. Jean leans back, but the Phoenix's gloved hand still settles against the dead centre of her chest. There's an answering flicker of warmth from between Jean's lungs.

Jean struggles to draw breath.

"You have a seed of my power in you," the Phoenix says. "You always have had it."

"Tell me something I don't know," Jean snaps. To her surprise, the Phoenix smiles.

"You're not the only one," it continues, and then, before Jean can interrupt again, "Everyone else on every world does too."

Jean shakes her head.

" 'Life Itself'," she says, softly, to herself. "You're in everything living."

The Phoenix nods its illusory head, once, smiling. Jean presses a hand to her forehead.

"But - why me, then?" she asks, and is uncomfortably aware she's whining.

The Phoenix gives her a blank look. "Why not you?"

Jean has nothing to say to that.

"So you understand why I can't take the Phoenix Seed from you," it says. "But - I think Time wishes to give you a second chance. I know I do."

Its face grows serious for a moment, a shadow passing behind its eyes before it says, "I owe you a debt of gratitude. But...I am sorry. And if I can help you, in any way, in your fight against your fate, then I will."

Jean realises, with a start, that it's starting to fade before her eyes. She doesn't think, just reaches out and grabs the Phoenix's arm. It doesn't feel like flesh under her fingers, just tingles, like her palm is falling asleep.

"Wait," she says. "Why are you doing this?"

The Phoenix smiles at her, enigmatically, with her own face.

"You humans aren't the only ones who can evolve," it says.

And then it’s gone, leaving nothing behind but a faint warmth in Jean’s chest.

#this is mary's fic tag #jean grey is mine now #/#//#///#xmen #cleanin' out my drafts doot doodly do #what the heck is accurate characterisation #what the heck is knowing the source material

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The Funny Thing About Rachel Brosnahan

There’s a moment in the second season of The Marvelous Mrs. Maisel when the title character, a 1950s housewife turned up-and-coming stand-up comic, has to work a new type of room. Until now, she’s peddled her jokes mostly to pals at parties and small crowds at the cramped Gaslight Cafe—manageable groups, filled with friendly and slightly drunk faces. This time, though, she’s up against her biggest audience yet—an awareness that hit Rachel Brosnahan, who embodies Miriam “Midge” Maisel with an almost eerie precision, like a particularly sharp punch line. “As I got up onstage to perform that scene,” she says, “I realized that it was also bigger than anything that I was used to. And then I had the realization that it’s only going to get bigger and bigger—and more and more horrifying.”

Brosnahan is laughing when she tells this story, but she’s at least slightly serious about how scary it is for her to do comedy—even now. That’s because, as she’ll tell you herself, Brosnahan is emphatically not a comedian. She is, however, an actress—old-school, Method-trained, perhaps just the teensiest bit Type A. As a kid, she spent hours crafting a PowerPoint presentation in hopes of persuading her parents to let her get a dog. And as a 28-year-old, she channels that same energy into research. While preparing to play the title character in Amy Sherman-Palladino’s criminally charming comedy, Brosnahan didn’t just immerse herself in the work of Joan Rivers and Phyllis Diller and Jean Carroll and Carol Burnett. She also made a habit of attending open mikes, so-called “bringer” shows, where wannabe comics must deliver a certain number of spectators if they want to secure a spot onstage.

Brosnahan didn’t get that dog until right before she went to college, but the care she took for Mrs. Maisel paid off immediately. The series, which Amazon has already renewed through its third season, is delightful, a candy-colored screwball throwback that easily stands out among television’s dour biggest hits (Hulu’s The Handmaid’s Tale, HBO’s Westworld, FX’s dearly departed The Americans). Season One debuted last November 29; less than two weeks later, the series earned two Golden Globe nominations, for best comedy and for Brosnahan’s performance. It won both. At the Emmys, it will compete with 14 nominations, including outstanding comedy series and Brosnahan for outstanding lead actress in a comedy series.

Photograph by Erik Madigan Heck. For additional information, visit vf.com/credits.

All that, and Brosnahan still hasn’t performed stand-up outside the confines of a soundstage. “I think that would prevent me from ever being able to do this job,” she says. “I’d be so traumatized.” Instead, when she goes to comedy shows, she dedicates herself to being the world’s most supportive spectator. “Having even had a taste of what it’s like,” says Brosnahan, “I am the one laughing the loudest at everybody’s jokes in the back, because I want them to feel seen and heard and encouraged.”

That’s true even when the comedians are practiced and the environs are significantly slicker. Case in point: this breezy June night, when she’s taking a break from Mrs. Maisel’s corsets and tongue-tripping monologues to catch a show at Caveat, a surprisingly roomy basement venue on Manhattan’s Lower East Side. Once, Midge Maisel may have visited this neighborhood to hunt for Judaica and discounted leather goods; now it’s a yuppie paradise where Russ & Daughters will add a schmear of goat’s-milk cream cheese to your everything bagel for just $4. In her jeans, leather jacket, and subtly chic gold-framed glasses—a far cry from Midge’s nipped waists and full, rustling skirts—Brosnahan fits right in.

“I’m late to every party. But when I arrive, I arrive.”

When comedians Dave Mizzoni and Matt Rogers take the stage, Brosnahan is the first person in the crowd to jump to her feet. (She’s not just being nice; the three of them went to N.Y.U. together, and other friends are in the audience tonight as well.) She laughs gamely and generously as the evening unfolds, even on the occasions when Mizzoni’s and Rogers’s very targeted references—the name of this program is “The Gayme Show,” and its tagline is “Exactly what you think”—whiz right past her.

Spending 16 hours a day surrounded by Eisenhower-era culture doesn’t leave a person much time to study the complete works of Frankie Grande (Ariana’s brother) or prolific YouTuber and Taylor Swift bestie Todrick Hall—or even to keep up with old co-workers. At one point, an extended riff on the new Ryan Murphy drama, Pose, ends with a pointed crack about series regular Kate Mara. Until she hears the joke, Brosnahan has no idea that Mara—who, like her, was a regular on House of Cards—is appearing on Pose or that Pose has already premiered.

“I don’t have a TV,” she says with a sigh. “I am living in 1957.”

If she woke up one morning and decided to become an expert on the life and times of pop-star-adjacent Instagram stars, though, there’s no question Brosnahan would excel. She may not be as brash as Midge Maisel, who memorably finishes her first impromptu stand-up performance by exposing herself to a crowd of roaring Beatniks, but she’s nearly as self-assured, and every bit as capable. She’s subverted expectations on bigger stages than this one, after all.

“I’m late to every party,” Brosnahan says by way of apology to Mara. “But when I arrive, I arrive.”

Before she read the Mrs. Maisel script, Brosnahan was planning to turn away from TV and toward theater and film. After, there was no question that Midge had to be hers.

Photograph by Erik Madigan Heck.

Objectively speaking, Brosnahan is being modest. She certainly didn’t arrive late to Hollywood: even before graduating from N.Y.U., in 2012, she was steadily booking bit parts on Gossip Girl, The Good Wife, and In Treatment. The roles were small but professional all the same, as essential to a budding acting career as a one a.m. open-mike slot is to a would-be Sarah Silverman.

“I’ve played Eating Disorder Girl, Girl, Call Girl—many types of girl,” she says, laughing. “That’s my type, all types of girl.” It’s a few hours before “The Gayme Show,” and Brosnahan is picking at a giant slice of carrot cake. Crowds of pastrami-seeking tourists have foiled our original plan to visit Katz’s Delicatessen; instead, we’ve settled into a squishy booth at the self-consciously retro Remedy Diner, a dead ringer for the vintage greasy spoons where Midge Maisel and her curmudgeonly manager, Susie (Alex Borstein), talk set lists over coffee and French fries.

Simple as these starter characters were, Brosnahan was savvy enough to see their value. Being last on the call sheet allowed her to listen, and observe, and take risks in a low-stakes environment before returning to the safe space of N.Y.U.’s Lee Strasberg Theatre & Film Institute—where she could “ask questions, and study, and try to get better. And then try it again.”

As her undergraduate career wound to a close, Brosnahan’s persistence led her to the ultimate “girl” role: a throwaway part in the first two episodes of a new political drama called House of Cards, that of a nameless prostitute. Her handful of lines included uninspiring utterances like “Excuse me” and “I mean, I’m kinky, but I don’t know if I’m the girl you’re looking for.”

Former show-runner Beau Willimon saw potential in Brosnahan’s raw, arresting performance and her immediate chemistry with actor Michael Kelly, who plays pathologically loyal future White House chief of staff Doug Stamper. Soon, he expanded Call Girl into a proper part, one that had an arc and a backstory and a name. One that would, a few years later, earn Brosnahan an Emmy nomination for outstanding guest actress in a drama. Kelly, who received his first Emmy nomination the same year, credits her work with elevating his own.

“I was sitting at the lunch table when Beau said, ‘I think we got to give you a name,’” Kelly recalls.

The one Willimon settled on, funny enough, was “Rachel,” which inspired some mild protest from Brosnahan: “I was like, What?! Why?! That’s so fucked up!”

“Rachel was not afraid to not fall apart. She was not afraid to be angry and to stay tough.”

It was, as was Rachel the character’s sorry existence, which began when she was caught beside a drunk-driving congressman and ended, two seasons later, in a shallow grave somewhere in the New Mexico desert. (No wonder Amy Sherman-Palladino likes to classify Brosnahan’s pre–Mrs. Maisel parts as “the girl that someone’s tied up and thrown in the back of a van.”)

But House of Cards also offered another education for Brosnahan—taught her the ins and outs of having a significant part on a prestige series at the dawn of the peak-TV era—and gave her an outlet to display the dark side of her sense of humor, if only among her peers when the cameras weren’t rolling. She and Kelly, her most frequent scene partner, grew close enough that even filming her final moments ended up being a blast; scroll back far enough on her Instagram, and you’ll find a sweet snapshot of the two of them contentedly spooning in the dusty hole that will eventually house Call Girl Rachel’s lifeless body.

Then there’s the matter of Fake Rachel’s dead-eyed head, a silicone model designed solely to be buried. “On my phone somewhere, there are some pictures of Michael and Beau and I making out with Rachel’s head,” Brosnahan says, sounding simultaneously sheepish and proud. “It’s really—it’s dark.”

Though she couldn’t have known it at the time, this was also decent practice for Mrs. Maisel—whose surface whimsy conceals more than a hint of bleakness. The series begins at the end of an era for Midge Maisel—née Weissman—who has spent the entirety of her young life meticulously ticking every box on a very strict, self-imposed rubric for feminine success. She’s a Bryn Mawr graduate with an alabaster complexion and a 25-inch waist; she’s given her husband, the feckless but amiable Joel (Michael Zegen), two children, a boy and a girl. She’s secured the community’s most prominent rabbi as a guest for her upcoming Yom Kippur break-fast. If there were any justice, Midge would spend the rest of her days tending to her picture-perfect family, indulgently accompanying Joel on his jaunts to Greenwich Village comedy clubs until the two of them got old and gray and ditched Manhattan for Longboat Key.

And then Joel delivers his sucker punch. “I just don’t want this life, this whole Upper West Side, classic six, best seats in temple,” he tells Midge, after an embarrassing attempt at delivering his own jokes at the Gaslight. Oh, and he’s also been sleeping with his secretary, a skinny shiksa named Penny Pann. Sherman-Palladino and her husband and collaborator, Dan Palladino, asked every actress they considered for Midge to read three scenes in their audition, including the big breakup.

“Most of the actresses, great actresses, came in and broke down—fell apart, as sometimes you will when somebody walks out on your life,” Sherman-Palladino says. “And Rachel was not afraid to not fall apart. She was not afraid to be angry and to stay tough. Because the thing about that scene is it was not there to show her vulnerability. That scene was there to show that pain brought out the comic’s voice.”

Brosnahan in The Marvelous Mrs. Maisel.

Sure enough, shortly after Joel up and leaves—packing his things in Midge’s suitcase, a final insult to injury—Midge ends up back at the Gaslight, sloshed on kosher wine, and wanders onto the stage. Before she knows it, she’s telling a roomful of strangers every sordid detail of her wrecked marriage, but sculpting the story so it sounds amusing rather than pathetic. She heckles one dim-witted audience member; she interrupts her stream of consciousness to talk real estate with another. In the midst of explaining why she made a perfect wife, she announces that there’s no truth to “all that shit they say about Jewish girls in the bedroom᠁ There are French whores standing around the Marais district saying, ‘Did you hear what Midge did to Joel’s balls the other night?’ ” She doesn’t stop until the police show up to book her for public indecency and performing without a cabaret license, and even they can’t keep her from landing one last zinger as she gestures toward her exposed breasts: “You think Bob Newhart’s got a set of these at home? Rickles, maybe!”

The performance is spontaneous and exhilarating and very, very funny, everything that Joel isn’t—and from the moment she grabs the mike, it’s clear that both Midge and the actress playing her are going to be big, bright shining stars.

Sherman-Palladino, still best known as the creator of the fast-talking, culturally omnivorous Gilmore Girls, has no shortage of colorful descriptors for her newest muse. In her eyes, Brosnahan is simply not human: “She’s a space alien, or she’s some sort of magical creature, or—I believe I’ve described her before as a Tolkien character. She’s just, she’s just kind of not of this earth.” Then again, Brosnahan’s appeal as a performer may be even more elemental. “She’s a very smart girl, and she understands things—which is 90 percent of the job.”

Born in Milwaukee and raised in the Chicago suburb of Highland Park, Brosnahan was a shy and serious kid who spent much of her time immersed in fantasy—Harry Potter, Roald Dahl, the kiddie adventure novels of Enid Blyton. During the summers, which she spent with her mother’s family in England, she’d work her way through an entire carry-on bag filled with books before replacing them all with new volumes for the trip home.

Her family, she says, tends more toward the athletic than the arty. (They obviously have a creative side as well; one of her father’s sisters was the designer Kate Spade, who died in June.) Brosnahan herself is a snowboarder as well as a former high-school wrestler—a fact that greatly amused Sherman-Palladino—but also fell for acting at an early age: “Something about the transformational process just felt magical, like a lot of those books.”

It’s easy to picture Brosnahan as a thoughtful little bookworm, a Hermione Granger type with a slightly morbid edge. Even now, she speaks with the careful deliberation of someone who values and understands the weight of words; her diction is flawless, with crisply pronounced consonants and no trace of a midwestern twang. “You work with her on set, and then off set you’ll kind of chat with her—and then you’re occasionally reminded that she’s 28 years old,” says Dan Palladino. Sherman-Palladino had a rude awakening along those lines when she told Brosnahan that she resembled a more smiley Tracy Flick: “She’s like, ‘Who’s that?’ I’m like, ‘Election?’ She goes, ‘What?’ And I’m 100. I’ve officially—I just turned 100.”

“I’ve played Eating Disorder Girl, Girl, Call Girl—many types of girl,” Brosnahan says of her early roles.

Photograph by Erik Madigan Heck.

So perhaps it comes as no surprise that Brosnahan wasn’t the most obvious choice to play Midge, a gregarious macher who speaks as quickly as, well, a woman dreamed up by Amy Sherman-Palladino. David Oyelowo, who played Othello to Brosnahan’s Desdemona in New York Theatre Workshop’s 2016 production, said in an e-mail that his co-star was worried about Mrs. Maisel initially because she didn’t consider herself to be funny. (“She is of course saying this while we’re taking silly selfies backstage just before I had to go onstage and murder her,” he added.) Brosnahan isn’t even Jewish—though Highland Park itself was Jewish enough, she says, that she’s been to “hundreds of Bar Mitzvahs, Bat Mitzvahs. I could maybe Bat Mitzvah you.”

Going into her Mrs. Maisel audition, though, Brosnahan had two things working in her favor. The first was that she’d recently finished playing a Jewish wife and mother with a well-to-do background and an enviable wardrobe on the little-watched but very good WGN America drama Manhattan, set within the desert compound where American scientists raced to design and build the first atomic bomb. Sam Shaw, that show’s creator, remembers that Brosnahan originally wanted to play the role of physicist Helen Prins. She worried that Abby Isaacs, the part she ended up getting, “would become Wife No. 3, like signing on for seven years of making crudités or something,” he says. But while Abby was not the show’s lead, she wasn’t a background character, either. The part gave Brosnahan an opportunity to imbue a woman of a bygone era with real depth, and to learn how to navigate restrictive, period-appropriate shapewear. (“I have learned so much about undergarments,” she says, deadpan. “And I truly don’t understand how anybody survived the 50s.”)

The second thing working in Brosnahan’s favor was that she wanted the part of Midge Maisel. Like, really wanted it, maybe more than anything since her parents got her that dog. Before she read the Mrs. Maisel script, Brosnahan was planning to turn away from TV and toward theater and film. After, there was no question that Midge had to be hers. She’s the kind of character, Brosnahan says, that “I often don’t see represented on television—somebody who is unapologetically confident, who has an innate sense of self-empowerment, who isn’t afraid to pat herself on the back for accomplishing goals. And who’s unapologetically ambitious.” While Midge is charming and lovable, she’s also superficial and flighty and a breathtakingly terrible mother who measures her baby’s forehead when she’s worried it’s getting too big; a flawed, recognizably human person, rather than a plucky proto-feminist who conforms precisely to 21st-century ideals.

That’s catnip for a determined young actress—and for a viewing audience beaten down by a news cycle of ever mounting tragedy and violence, not to mention a TV landscape dominated by dreariness. Even the comedies sharing Emmy space with Mrs. Maisel (Atlanta, Barry) are as likely to punch viewers in the gut as they are to make them laugh. “It’s a pretty shit time to be alive, and this show’s like a little ant moving a rubber-tree plant,” says Alex Borstein, who plays Susie, the wannabe agent who persuades Midge to pursue showbiz in a serious way. “You want to see these two people succeed. It’s a breath of fresh air.”

That was especially true in November, when the series debuted its full first season just as the #MeToo movement was reaching its zenith. It was a moment when every Twitter refresh seemed to expose a new, horrifying story of sexual misconduct. And then came Mrs. Maisel, a burst of cleansing light—colorful, fast-paced, sunny as an old-fashioned musical, but without anyone breaking into song. Ironically, it’s one of the only female-oriented shows that was green-lighted by former Amazon Studios head Roy Price before he resigned last October, after being accused of sexual harassment himself. (Price has not commented on the allegations.) Though there’s some darkness at its core, Mrs. Maisel is, above all, the jubilant story of a talented woman who works hard, triumphing over the odds and her mediocre loser of a husband. It is, as Brosnahan points out, partly a fantasy. But what a fantasy.

Though there’s some darkness at its core, Mrs. Maisel is, above all, the jubilant story of a talented woman who works hard, triumphing over the odds.

Photograph by Erik Madigan Heck.

It’s impossible to know to what extent Mrs. Maisel’s exultant reception has been affected by fortuitous timing. Brosnahan grows more thoughtful than usual when asked whether she believes it was, noting that the show’s story would be inspiring no matter the surrounding context. But possibly, she continues, Mrs. Maisel had an even greater impact because it debuted at a time when “we’re talking about women finding voices they didn’t know they had,” and—her words coming faster now, and more emphatically—“young people finding voices they didn’t know they had. This is a theme of the moment.”

Brosnahan has given a lot of thought to The Moment and, more specifically, to its momentum—how her industry, and all industries, can parlay this surge of righteous anger into lasting change. Though she’s never been a particularly active social-media user, she’s backed away from Twitter, she says, “because it just feels like we’re all shouting into a vacuum, and I’m trying to focus more on taking those active statements out of Twitter and into the real world.”

As her star rises, Brosnahan has also found herself being more careful about the things she posts online—for practical reasons, as well as the understandable desire to keep her private life private. “As somebody who’s always felt like a pretty open book, I find myself being very protective of whatever the elusive real me is,” she says. Famous performers sometimes become celebrities first and actors second, a fate that would have robbed Brosnahan of her prized ability to disappear fully into a role. (That said, she does have a very cute Instagram largely devoted to her dogs: a Shiba Inu named Winston and a pit bull named Nikki.)

Brosnahan doesn’t just hope to keep her on-screen options open. She’d love to do another play in the near-ish future, to produce, to direct. She wants to see and make more stories that focus on the nuances of female friendship, like one of her current favorite shows, Issa Rae’s Insecure. She’s already developing a pilot with a couple of friends, one that focuses on young people in politics. Brosnahan doesn’t plan to star in the show, but perhaps it’ll be a stepping-stone to the next phase in her career—just as those “girl” parts led to House of Cards led to Manhattan led to Mrs. Maisel.

As of now, Brosnahan’s success hasn’t had a hugely measurable impact on her day-to-day life. She can walk her dogs in broad daylight without being swarmed; she can laugh at a comedian’s joke about Oprah without anyone around her recognizing that she actually knows Oprah. (Or at least said hello to Oprah from the stage after winning a Golden Globe.) The biggest shift, she says, is that people finally know how to pronounce “Brosnahan.” But if she keeps climbing the way Mrs. Maisel’s heroine certainly will, all this could change as well.

Remember, she admires Midge for being unapologetically ambitious. And when asked if she’d describe herself the same way, Brosnahan doesn’t hesitate: “Absolutely. Yeah. Yeah!” Then, after a brief, perfectly timed beat, the TV comedian turns to the magazine reporter and nails another punch line: “How about you?”

Clothing by Valentino; boots by Andreas Kronthaler for Vivienne Westwood. Throughout: hair products by Bumble and Bumble; makeup by Chanel; nail enamel by Zoya.

Get Vanity Fair’s HWD Newsletter

Full ScreenPhotos: Marvelous Mrs. Maisel Creator Amy Sherman-Palladino and Her Many Hats

January 7, 2018

Hats off to the Sherman-Palladinos, husband-and-wife writing team.

Photo: By Kevork Djansezian/NBC/Getty Images.

January 10, 2013

A top hat in her Bunheads days.

Photo: By Frederick M. Brown/Getty Images.

March 19, 2012

With Sutton Foster on the red carpet for Bunheads (hence the angelic blue bow, we assume).

Photo: By Heidi Gutman/Getty Images.

November 13, 2017

The higher the top hat, the closer to god.

Photo: By Steve Zak Photography/Getty Images.

November 09, 2017

And still squarely in Dickens’s world.

Photo: By John Stillwell/PA Images/Getty Images.

April 21, 2003

A rare sun hat in her Gilmore Girls days.

Photo: By Mathew Imaging/Getty Images.

May 24, 2017

And an even more rare tan hat on the set of Marvelous Mrs. Maisel.

Photo: By Bobby Bank/Getty Images.

PreviousNext

January 7, 2018

Hats off to the Sherman-Palladinos, husband-and-wife writing team.

By Kevork Djansezian/NBC/Getty Images.

January 10, 2013

A top hat in her Bunheads days.

By Frederick M. Brown/Getty Images.

March 19, 2012

With Sutton Foster on the red carpet for Bunheads (hence the angelic blue bow, we assume).

By Heidi Gutman/Getty Images.

November 13, 2017

The higher the top hat, the closer to god.

By Steve Zak Photography/Getty Images.

November 18, 2016

On the Netflix red carpet for Gilmore Girls: A Year in the Life. Recall the fantastical dance number in the last episode of that season, where top hats had an important role.

By Alberto E. Rodriguez/Getty Images.

October 29, 2016

Moving into Dickens territory here.

By Emma McIntyre/Getty Images.

November 09, 2017

And still squarely in Dickens’s world.

By John Stillwell/PA Images/Getty Images.

April 21, 2003

A rare sun hat in her Gilmore Girls days.

By Mathew Imaging/Getty Images.

May 24, 2017

And an even more rare tan hat on the set of Marvelous Mrs. Maisel.

By Bobby Bank/Getty Images.

Source: https://www.vanityfair.com/hollywood/2018/08/rachel-brosnahan-cover-story

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