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Countries: USA 2019 9,2 / 10 Rene Auberjonois genre: Drama. Windows on the world song. Algum brasileiro ai.

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Windows on the world logo. Also take a look at the 'Iron Mountain' UN report. Windows on the world staff. Windows on the world wine pdf. Mark I would love to hear you have a conversation with Alan Watt.

U can tell that guy had a huge heart and perfect soul. I hope he didn't suffer at all

What a sweetheart of an Italian dad, may Rest In Peace. I was across river when they went down and I still get changed forever. Windows on the. Windows on the world menu. It's called the Nocebo effect (as opposed to the Placebo effect. It's why and how tobacco packaging and general cancer propaganda are actually curses on their users. Windows on the world 911 call. More jumpers came from the north tower becuase of less room above the imapct the smoke and heat and less space was a lot worse and not to mention how much longer the tower took to collapse. Also the north towers stairwells and elevator shafts above the 92nd floor were cut off so no one had a chance unlike in the south tower.

Windows on the world matches. Windows on the world piers corbyn. Brian Cox represents the worst of the scientific community. He's one of those know it all who isn't very smart and certainly doesn't have ounce of wisdom in him. What makes me so angry is that whatever happened or for sure didn't happen the way they say it did. Our own government did this to us. Never forget that 911 was an inside job. The people who go around saying that to question the official explanation is to terrorize the families of the victims a second time have a special place in hell waiting for them to go there and rot. If you haven't researched 911 being an inside job then you are neglecting your civic duties and are shamefully. These people were murdered by our own government. To all the families of the people who died I feel terrible. To know what they went through and to know some of them have found out the truth and have to live with that knowledge. To k bbn ow they have to live with the fact that they were played blood money and now have no recourse. They have to live with tragedy and carry a lie around. This comment will probably be deleted but it has to be said.

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Cox that grinning fraud ! face like a Cheshire cat. all the time sat in a classroom of children about 6and7 year olds and when these children asked him simple questions on scientific stuff the plonker could not answer them and just replied quite glibly ! I don't know that, or I can't answer that the useless lunatic, he gets paid plenty of shekels for his hoaxes, no there is no climate change as the narrative presents it because God's still in charge, unlucky for these globalist elites, they can all bugger off.
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Windows on the world wide. Liars lol. DEMOS The new democracy will work with a combination of Government open infiltration, and citizen groups taking direct action. Windows on the world 2019. So she's the one who planted the whole massacre you can see it in your eyes 😢. Who is the speaker please. This song is awful. Really nice i love it. RED ALERT RED ALERT Science will not save us from Science. We need to save ourselves from GLOBAL WARMING. If the U.N. had a plan it would start something like this. 1. The worlds total population would have to accept to not bring children into this world for the next 20 years. there are plenty of children that need love and a home ) 2. People that would like to end their lives should be legally and socially accepted.( euthanasia) a persons dignified right)😀 3. All wars must stop today. people get to go home to live in there own places ) 4. The automobile industry must stop producing Fossil Fuel Powered social vehicles ending 2017. people get to still have a job in the motor industry building alternative vehicles ) 5. All countries that can, will need to produce their own products (reducing ocean travel fuel burn) sustain a work force) 6. All global business will need to move investment to full blown Renewable energy supply. they and their investors still make money ) 7. All countries will need to grow billions of tons of Indian Hemp. The hemp will provide for a huge carbon store by making everything you can from it. Replacing all petrochemical products. (diversity will create contentment and PEACE and UNDERSTANDING. 8. Socially all drug addicts will be supplied with there drug of choice at a place of convenience. At a cost that will cover the cost. social rest,the end of the black market and the decline in overall drug use and deaths.) 9. The amounts of Fossil Fuels (burnt) in the countries that will still need them will be calculated so as to keep the atmosphere stable as the gasses are reduced. the second and third world people will still have their first world comforts and thus we all become one world people accepting all cultures.) Sounds great hey. 10. Understanding that there is a lot more to UNDERSTAND and DO to save LIFE. The Scientific COMMUNITY have a colossal job in helping to do this. We need all of us to DO this, ALL OF US. And the list goes on. (Patience and faith in one another) Imagine the UN achieving that, when they cant even stop the ethnic cleansing that happens daily.

Windows on the world chef. 🗣 Excellent 2 hours of Windows Regarding the amateur dramatics of these controlled group of privileged idiots! This show is a country * mile above the rest on YouTube! Respect and ssalutations Mark from Tottenham London UK❗️👏🏽👏🏽👏🏽.

Windows on the world 9/11 victims. With the onslaught and evolving situation regarding schools striking on Fridays, that too falls nicely in place for government and local authorities, A 4 day week no wonder the teachers are all in favour of this. On the golf course by 10,and the council saves a packet. Windows on the World, despite the fact that it takes place in the weeks following the 9/11 terrorist attack in New York, is a film that is urgently for our time. It is a hero's journey of a son trying to find his father in that grief-stricken landscape and the characters stand in for the millions of immigrants, legal and illegal, who contribute in their everyday lives, to the American landscape. The film seeks to counter the narrative that's all-too-prevalent in today's political and media landscape by telling a story set in America's biggest and most diverse city, at its darkest time. The script by playwright and novelist Robert Mailer Anderson (who also produced the film) is wise and completely engaging; he creates indelible characters who are ultimately inspiring and uplifting. Edward James Olmos gives what he considers to be the performance of a lifetime, and the rest of the cast is terrific as well-with a special shout-out to Glynn Turman. The direction, by Olmos's son Michael, is sure-handed, getting terrific performances from his cast, including his father, in this father-son story, and it's beautifully lensed. The music, including jazz and a title track written by Anderson, is pitch-perfect, supporting the story without getting in the way. This film should be seen by everybody-and I'm sure it will be in mainstream distribution soon, as this is a time when, although the major studios may have turned their backs on substance, terrific indie films like this one have many other possible venues. If you can't see it at a film festival, like I did, keep a keen eye out for it. Terrific and inspiring.

Windows on the world world trade center. This song is asking for a just mercy. how long must they cry? Thank you Black Moses. Windows on the world kevin zraly.

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Windows on the world jimmy buffett. Windows on the world complete wine course. RIP Orio Palmer and all who we lost that day... Hitting the nail on the head about the Australian bushfires and failing to clear areas to stop fires spreading. Flooding is being caused ON PURPOSE in the UK for the same reason - th CREATE problems and push people into smart cities. Road grates are always blocked when I cycle and guess what happens when it rains heavy? Yes - roads and larger areas flood! The stopping of dredging rivers has highered the riverbeds, leading to FLOODING! As for the flood defense walls, they are merely shoving the water further downstream to flood another area, quite often areas away from the 'smart city' areas. come on people, it's obvious what is going on.

Windows on the world victims. Windows on the world wine. Windows on the world party. Windows on the world menu 2001. Windows of the world. Windows on the world restaurant new york. “They were very calm” Damn if it was me id be faintin. Windows on the world pics. Windows on the world shenzhen. Windows on the world trade center. Windows of the. Windows on the world (2019. Brian Cox is the Justin Bieber of science. Windows on the world movie. Windows on the world kevin zraly audiobook.

Windows on the world the man who saw the future. Windows on the world afrl. Windows on the world book. Windows on the world 911. Windows on the world ny. I went home to see those Nokia quarterly results from CNN. Then there was this surreal moment and drama for rest of the day. And couple of days after it. Windows on the world movie review. Windows on the world. Windows on the world youtube. Windows on the world 9/11.

Windows on the world menu for sale. Boy boy the imagination of peoples minds can truly make them lose their minds! I hope no one believes this mess, especially if you go by the scriptures of Moses account in the Bible. Windows on the world mark windows.

 

 

 

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  1. description - A home schooled teenager begins to suspect her mother is keeping a dark secret from her
  2. country - USA
  3. Thriller
  4. directed by - Aneesh Chaganty

Running status enquiry. ITS BEEN 2 WEEKS I HAVE BEEN SEARCHING FOR THIS SONG LEGIT I FINALLY FOUND IT. Lindsay delivers a great smile and a great joke that went over hostess' head. Run from reality. We love links to digital freebies. Free pointless fun stuff, free iOS and Android apps, free games, music, video, eBooks, software, and anything else free. If it's a temporarily 100%-free giveaway with no purchases of anything needed, it belongs here!

 

Nobody: CS:GO players: Please rise for our national anthem 00:29. It's run and... Run dmc aerosmith walk this way. Runnin pharcyde. Run 3 unblocked. Thanks so much for watching! The best comment gets pinned! within 24hr. Running early death. Run adp. Run you. Runadppayrolllogin. If you speed the song to 1.50, it sounds like the Thomas And Train theme song. Run to the hills iron maiden. Run away txt. Run the race movie. Runkeeper. Running status. Run to the hills. Running wild. Run daughter. Run song. Legends say that bieber doesn't give his heart to anyone 😂😂. Runsignup. RUN - Sakthi UNMAIL KOZAI. SHAALINIKKUM SAKTHIYIN VISHAYATHIL THALAI YIDA ENDHA URIMAIYUM ILLAI. Oru ilam pennin aasaiyai purindhu kollaadavan Aanpillaiyaaga irukka mudiyaadhu. Sakthi rasigarglin veruppai sambaadhithu kollgirar. Kadhaiyil maattram thevai. Divya eamaara koodadhu Shalini mookarukkap pada vendum. RUN SERIAL SUPER.

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Attacking Bernie again. Run 3 cool math games. Everybody talkin 'bout the song and the metaphors and i'm over here like The art style is amazing. Runescape. KINGS OF THE UNDERGROUND 💯. Runeterra. Run the gauntlet. Press J to jump to the feed. Press question mark to learn the rest of the keyboard shortcuts log in sign up 1 1 Posted by 1 month ago comment 100% Upvoted Log in or sign up to leave a comment log in sign up Sort by no comments yet Be the first to share what you think! u/sayraysunshine Karma 1 Cake day December 4, 2019 help Reddit App Reddit coins Reddit premium Reddit gifts Communities Top Posts Topics about careers press advertise blog Terms Content policy Privacy policy Mod policy Reddit Inc © 2020. All rights reserved.

Run to you bryan adams. Although free, we need everyone to register for insurance reasons. The event will take play at Yellow Springs Brewery. The run will start and finish behind the Brewery on the Little Miami Trail. The route takes runners up (north) on the trail to Jackson, proceeds west to Polecat, then south back to the Little Miami Trail via the trail spur on Polecat. The route will be marked with cones/arrows on the evening of the event. We have started to gather some awesome giveaways and so far we have 4 Noxgear vests to giveaway, 3 RoadID gift cards with enough to purchase your own RoadID, and a free entry to the Big Hoopla 4 Miler on March 15th. We're working on adding more so come join us maybe walk away with a sweet item! Participants MUST wear reflective gear or run with a light. The country roads outside of Yellow Springs are very dark at night. Even with a full moon it is imperative you are illuminated so traffic can see you as roads are FULLY OPEN to cars for this. This is simply a group run on open roads so with live traffic you MUST be visible. We also recommend runners and walkers purchase a Noxgear vest, they are fantastic and keep you incredibly illuminated at night!

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  • Author: Laura Bowen
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Tomatometer - 8,8 / 10 / creator - Louisa May Alcott / audience Score - 18706 votes / 2 h, 15 Minutes / / Greta Gerwig. Movie online little women 2017. Wow this really opened my eyes to what goes on behind the scenes. Im so excited imma cry. Start listening with a 30-day Audible trial. Choose 1 audiobook and 2 Audible Originals absolutely free. Visit or text thetake to 500 500. Support The Take on Patreon: Subscribe to keep up with our latest videos, and let us know what you want to see next.

Little women 2018 movie online. Ehhh. I think it was just a very weak year, and she had the seniority and box office power. I hope Jo and Laurie end up together because theyre so cute together! Timothèe and Saoirse are perfect for this movie. She was so good. Love books more than new movie, 1994 movie is much better than new movie. Lousa May Alcott, Mujercitas. Now, these little women. How little are they? I mean are they like scary little. 😂. Gorgeous Film.

Ok but has anyone watched this trailer so many times that they've memorized it. or is that just me

I just saw this. It's absolutely wonderful. Timmy saying you are beautiful is everything 😭. Lmao idk why but i ship Saoirse and Florence. Is it weird that I am disturbed by the historical inaccurate hair. MY HEARTTT. Movie Online Little women's health. They actually act like siblings tho i love it. Movie Online Little women's history. Critics Consensus With a stellar cast and a smart, sensitive retelling of its classic source material, Greta Gerwig's Little Women proves some stories truly are timeless. 95% TOMATOMETER Total Count: 380 92% Audience Score Verified Ratings: 18, 176 Little Women Ratings & Reviews Explanation Tickets & Showtimes The movie doesn't seem to be playing near you. Go back Enter your location to see showtimes near you. Little Women Videos Photos Movie Info Writer-director Greta Gerwig (Lady Bird) has crafted a Little Women that draws on both the classic novel and the writings of Louisa May Alcott, and unfolds as the author's alter ego, Jo March, reflects back and forth on her fictional life. In Gerwig's take, the beloved story of the March sisters - four young women each determined to live life on her own terms -- is both timeless and timely. Portraying Jo, Meg, Amy, and Beth March, the film stars Saoirse Ronan, Emma Watson, Florence Pugh, Eliza Scanlen, with Timothée Chalamet as their neighbor Laurie, Laura Dern as Marmee, and Meryl Streep as Aunt March. Rating: PG (for thematic elements and brief smoking) Genre: Directed By: Written By: In Theaters: Dec 25, 2019 wide Studio: Sony Pictures Cast News & Interviews for Little Women Critic Reviews for Little Women Audience Reviews for Little Women Little Women Quotes Movie & TV guides.

Movie online little women 2. Movie online little women watch. Little Women First volume of Little Women (1868) Author Louisa May Alcott Country United States Language English Series Little Women Genre Coming of age Bildungsroman Publisher Roberts Brothers Publication date 1868 (1st volume) 1869 (2nd volume) Media type Print Pages 759 Followed by Little Men Little Women is a novel by American author Louisa May Alcott (1832–1888) which was originally published in two volumes in 1868 and 1869. Alcott wrote the book over several months at the request of her publisher. [1] [2] The story follows the lives of the four March sisters—Meg, Jo, Beth, and Amy—and details their passage from childhood to womanhood. It is loosely based on the lives of the author and her three sisters. [3] [4]: 202 Scholars classify it as an autobiographical or semi-autobiographical novel. [5] [6]: 12 Little Women was an immediate commercial and critical success, with readers demanding to know more about the characters. Alcott quickly completed a second volume (titled Good Wives in the United Kingdom, although this name originated from the publisher and not from Alcott), and it was also successful. The two volumes were issued in 1880 as a single novel titled Little Women. Alcott wrote two sequels to her popular work, both of which also featured the March sisters: Little Men (1871) and Jo's Boys (1886). The novel addresses three major themes: "domesticity, work, and true love, all of them interdependent and each necessary to the achievement of its heroine's individual identity. " [7]: 200 According to Sarah Elbert, Alcott created a new form of literature, one that took elements from Romantic children's fiction and combined it with others from sentimental novels, resulting in a totally new format. Elbert argues that within Little Women can be found the first vision of the " All-American girl " and that her various aspects are embodied in the differing March sisters. [7]: 199 The book has frequently been adapted for stage and screen. Development history [ edit] In 1868, Thomas Niles, the publisher of Louisa May Alcott, recommended that she write a book about girls that would have widespread appeal. [4]: 2 At first she resisted, preferring to publish a collection of her short stories. Niles pressed her to write the girls' book first, and he was aided by her father Amos Bronson Alcott, who also urged her to do so. [4]: 207 Louisa confided to a friend, “I could not write a girl’s story knowing little about any but my own sisters and always preferring boys”, as quoted in Anne Boyd Rioux's Meg Jo Beth Amy, a condensed biographical account of Alcott's life and writing. In May 1868, Alcott wrote in her journal: "Niles, partner of Roberts, asked me to write a girl's book. I said I'd try. " [8]: 36 Alcott set her novel in an imaginary Orchard House modeled on her own residence of the same name, where she wrote the novel. [4]: xiii She later recalled that she did not think she could write a successful book for girls and did not enjoy writing it. [9]: 335- "I plod away, " she wrote in her diary, "although I don't enjoy this sort of things. " [8]: 37 By June, Alcott had sent the first dozen chapters to Niles, and both agreed these were dull. But Niles' niece Lillie Almy read them and said she enjoyed them. [9]: 335–336 The completed manuscript was shown to several girls, who agreed it was "splendid. ” Alcott wrote, "they are the best critics, so I should definitely be satisfied. " [8]: 37 She wrote Little Women "in record time for money, " [7]: 196x2 but the book's immediate success surprised both her and her publisher. [10] Explanation of the novel's title [ edit] According to literary critic Sarah Elbert, when using the term "little women", Alcott was drawing on its Dickensian meaning; it represented the period in a young woman's life where childhood and elder childhood were "overlapping" with young womanhood. Each of the March sister heroines had a harrowing experience that alerted her and the reader that "childhood innocence" was of the past, and that "the inescapable woman problem" was all that remained. [7] [ page needed] Other views suggest that the title was meant to highlight the unfair social inferiority, especially at that time, of women as compared to men, or, alternatively, describe the lives of simple people, "unimportant" in the social sense. [11] Plot summary [ edit] Part One [ edit] Four sisters and their mother, whom they call Marmee, live in a new neighborhood (loosely based on Concord) in Massachusetts in genteel poverty. Having lost all his money, their father is acting as a pastor in the American Civil War, far from home. The women face their first Christmas without him. Meg and Jo March, the elder two, have to work in order to support the family: Meg teaches a nearby family of four children; Jo assists her aged great-aunt March, a wealthy widow living in a mansion, Plumfield. Beth, too timid for school, is content to stay at home and help with housework; Amy is still at school. Meg is beautiful and traditional, Jo is a tomboy who writes; Beth is a peacemaker and a pianist; Amy is an artist who longs for elegance and fine society. Jo is impulsive and quick to anger. One of her challenges is trying to control her anger, a challenge that her mother experiences. She advises Jo to speak with forethought before leaving to travel to Washington, where her husband has pneumonia. Their neighbor, Mr. Laurence, who is charmed by Beth, gives her a piano. Beth contracts scarlet fever after spending time with a poor family where three children die. Jo tends Beth in her illness. Beth recovers, but never fully. As a precaution, Amy is sent to live with Aunt March, replacing Jo, while Beth is ill and still infectious. Jo has success in earning money with her writing. Meg spends two weeks with friends, where there are parties for the girls to dance with boys and improve their social skills. Theodore "Laurie" Laurence, Mr. Laurence's grandson, is invited to one of the dances, as Meg's friends incorrectly think she is in love with him. Meg is more interested in John Brooke, Laurie's young tutor. Brooke goes to Washington to help Mr. March. While with the March parents, Brooke confesses his love for Meg. They are pleased but consider Meg too young to be married. Brooke agrees to wait. He enlists and serves a year or so in the war. After he is wounded, he returns to find work so he can buy a house ready for when he marries Meg. Laurie goes off to college. On Christmas Day, a year after the book's opening, the girls' father returns from the war. Part Two [ edit] (Published separately in the United Kingdom as Good Wives) Three years later, Meg and John marry and learn how to live together. When they have twins, Meg is a devoted mother but John begins to feel left out. Laurie graduates from college, having put in the effort to do well in his last year with Jo's prompting. Amy goes on a European tour with her aunt. Beth's health is weak and her spirits are down. When trying to uncover the reason for Beth's sadness, Jo realizes that Laurie has fallen in love. At first she believes it's with Beth but soon senses it's with herself. Jo confides in Marmee, telling her that she loves Laurie but she loves him like a brother and that she could not love him in a romantic way. Jo decides she wants a bit of adventure and to put distance between herself and Laurie, hoping he will forget his feelings. She spends six months with a friend of her mother in New York City, serving as governess for her two children. The family runs a boarding house. She takes German lessons with Professor Bhaer, who lives in the house. He has come to America from Berlin to care for the orphaned sons of his sister. For extra money, Jo writes stories without a moral, which disappoints Bhaer. He persuades her to give up poorly written sensational stories as her time in New York comes to an end. When she returns, Laurie proposes marriage and she declines. Laurie travels to Europe with his grandfather to escape his heartbreak. At home, Beth's health has seriously deteriorated. Jo devotes her time to the care of her dying sister. Laurie encounters Amy in Europe, and he slowly falls in love with her as he begins to see her in a new light. She is unimpressed by the aimless, idle and forlorn attitude he has adopted since being rejected by Jo, and inspires him to find his purpose and do something worthwhile with his life. With the news of Beth's death, they meet for consolation and their romance grows. Amy's aunt will not allow Amy to return with just Laurie and his grandfather, so they marry before returning home from Europe. Professor Bhaer goes to the Marches' and stays for two weeks. On his last day, he proposes to Jo. Jo accepts. When Aunt March dies, she leaves Plumfield to Jo. Jo and Bhaer turn the house into a school for boys. They have two sons of their own, and Amy and Laurie have a daughter. At apple-picking time, Marmee celebrates her 60th birthday at Plumfield, with her husband, her three surviving daughters, their husbands, and her five grandchildren. Characters [ edit] Margaret "Meg" March [ edit] Meg, the eldest sister, is 16 when the story starts. She is referred to as a beauty and manages the household when her mother is absent. She is long brown-haired and blue-eyed and has particularly beautiful hands. Meg fulfills expectations for women of the time; from the start, she is already a nearly perfect "little woman" in the eyes of the world. [12] Before her marriage to John Brooke, while still living at home, she often lectures her younger sisters to ensure they grow to embody the title of "little women". [13] Meg is employed as a governess for the Kings, a wealthy local family. Because of their father's family's social standing, Meg makes her debut into high society, but is lectured by her friend and neighbor, Theodore "Laurie" Laurence, for behaving like a snob. Meg marries John Brooke, Laurie's tutor. They have twins, Margaret "Daisy" Brooke and John "Demi" Brooke. The sequel, Little Men, mentions a baby daughter, Josephine "Josy" Brooke, [14] who is 14 at the beginning of the final book. [15] Critics have portrayed Meg as lacking in independence, reliant entirely on her husband, and "isolated in her little cottage with two small children". [7]: 204 From this perspective, Meg is seen as the compliant daughter. According to Sarah Elbert, "democratic domesticity requires maturity, strength, and above all a secure identity that Meg lacks". [7]: 204 Others believe that Alcott does not intend to belittle Meg for her ordinary life, and portrays her in loving detail, suffused in a sentimental light. [16] Josephine "Jo" March [ edit] The principal character, Jo, 15 years old at the beginning of the book, is a strong and willful young woman, struggling to subdue her fiery temper and stubborn personality. [17] [18] The second oldest of four sisters, Josephine March is the boyish one; her father has referred to her as his "son Jo, " and her best friend and neighbor, Theodore "Laurie" Laurence, sometimes calls her "my dear fellow, " while she alone calls him Teddy. Jo has a "hot" temper that often leads her into trouble. With the help of her own misguided sense of humor, her sister Beth, and her mother, she works on controlling it. It has been said that much of Louisa May Alcott shows through in these characteristics of Jo. [19] Jo loves literature, both reading and writing. She composes plays for her sisters to perform and writes short stories. She initially rejects the idea of marriage and romance, feeling that it would break up her family and separate her from the sisters whom she adores. While pursuing a literary career in New York City, she meets Friedrich Bhaer, a German professor. On her return home, Jo rejects Laurie's marriage proposal, confirming her independence. After Beth dies, Professor Bhaer woos Jo at her home, when "They decide to share life's burdens just as they shared the load of bundles on their shopping expedition. " [7]: 210 She is 25 years old when she accepts his proposal. The marriage is deferred until her unexpected inheritance of her Aunt March's home a year later. According to critic Barbara Sicherman, "The crucial first point is that the choice is hers, its quirkiness another sign of her much-prized individuality. " [20]: 21 They have two sons, Robin "Rob" Bhaer and Theodore "Teddy" Bhaer. Jo also writes the first part of Little Women during the second portion of the novel. According to Elbert, "her narration signals a successfully completed adolescence". [7]: 199 Elizabeth "Beth" March [ edit] Beth, 13 when the story starts, is described as kind, gentle, sweet, shy, quiet and musical. She is the shyest March sister. [21]: 53 Infused with quiet wisdom, she is the peacemaker of the family and gently scolds her sisters when they argue. [22] As her sisters grow up, they begin to leave home, but Beth has no desire to leave her house or family. She is especially close to Jo: when Beth develops scarlet fever after visiting the Hummels, Jo does most of the nursing and rarely leaves her side. Beth recovers from the acute disease but her health is permanently weakened. As she grows, Beth begins to realize that her time with her loved ones is coming to an end. Finally, the family accepts that Beth will not live much longer. They make a special room for her, filled with all the things she loves best: her kittens, her piano, Father's books, Amy's sketches, and her beloved dolls. She is never idle; she knits and sews things for the children who pass by on their way to and from school. But eventually she puts down her sewing needle, saying it grew "heavy. " Beth's final sickness has a strong effect on her sisters, especially Jo, who resolves to live her life with more consideration and care for everyone. The main loss during Little Women is the death of beloved Beth. Her "self-sacrifice" is ultimately the greatest in the novel. She gives up her life knowing that it has had only private, domestic meaning. " [7]: 206–207 Amy Curtis March [ edit] Amy is the youngest sister and baby of the family, aged 12 when the story begins. Interested in art, she is described as a "regular snow-maiden" with curly golden hair and blue eyes, "pale and slender" and "always carrying herself" like a proper young lady. She is the artist of the family. [23] Often coddled because she is the youngest, Amy can behave in a vain and self-centered way. [24]: 5 She has the middle name Curtis, and is the only March sister to use her full name rather than a diminutive. [25] She is chosen by her aunt to travel in Europe with her, where she grows and makes a decision about the level of her artistic talent and how to direct her adult life. She encounters "Laurie" Laurence and his grandfather during the extended visit. Amy is the least inclined of the sisters to sacrifice and self-denial. She behaves well in good society, at ease with herself. Critic Martha Saxton observes the author was never fully at ease with Amy's moral development and her success in life seemed relatively accidental. [24] However, Amy's morality does appear to develop throughout her adolescence and early adulthood, and she is able to confidently and justly put Laurie in his place when she believes he is wasting his life on pleasurable activities. Ultimately, Amy is shown to work very hard to gain what she wants in life, and to make the most of her success while she has it. Due to her early selfishness (when her friends knew she would not share any pickled lime) and attachment to material things, Amy has been described as the least likable of the four sisters, but she is also the only one who strives to excel at art purely for self-expression, in contrast to Jo, who sometimes writes for financial gain. [26] Additional characters [ edit] Margaret "Marmee" March – The girls' mother and head of household while her husband is away. She engages in charitable works and lovingly guides her girls' morals and their characters. She once confesses to Jo that her temper is as volatile as Jo's, but that she has learned to control it. [27]: 130 Somewhat modeled after the author's own mother, she is the focus around which the girls' lives unfold as they grow. [27]: 2 Robert March – Formerly wealthy, the father is portrayed as having helped a friend who could not repay a debt, resulting in his family's genteel poverty. A scholar and a minister, he serves as a chaplain in the Union Army during the Civil War and is wounded in December 1862. After the war he becomes minister to a small congregation. Professor Friedrich Bhaer – A middle-aged, "philosophically inclined", and penniless German immigrant in New York City who had been a noted professor in Berlin. Also known as Fritz, he initially lives in Mrs. Kirke's boarding house and works as a language master. [21]: 61 He and Jo become friends, and he critiques her writing. He encourages her to become a serious writer instead of writing sensational stories for weekly tabloids. "Bhaer has all the qualities Bronson Alcott lacked: warmth, intimacy, and a tender capacity for expressing his affection—the feminine attributes Alcott admired and hoped men could acquire in a rational, feminist world. " [7]: 210 They eventually marry and raise his two orphaned nephews, Franz and Emil, and their own sons, Rob and Teddy. [28] Robin and Theodore Bhaer ("Rob" and "Teddy") – Jo's and Fritz's sons, introduced in the final pages of the novel, named after the March girls' father and Laurie. John Brooke – During his employment as a tutor to Laurie, he falls in love with Meg. He accompanies Mrs. March to Washington D. C. when her husband is ill with pneumonia. When Laurie leaves for college, Brooke continues his employment with Mr. Laurence as a bookkeeper. When Aunt March overhears Meg accepting John's declaration of love, she threatens Meg with disinheritance because she suspects that Brooke is only interested in Meg's future prospects. Eventually, Meg admits her feelings to Brooke, they defy Aunt March (who ends up accepting the marriage), and they are engaged. Brooke serves in the Union Army for a year and is sent home as an invalid when he is wounded. Brooke marries Meg a few years later when the war has ended and she has turned twenty. Brooke was modeled after John Bridge Pratt, her sister Anna's husband. [29] Margaret and John Laurence Brooke ("Daisy" and "Demijohn/Demi") – Meg's twin son and daughter. Daisy is named after both Meg and Marmee, while Demi is named for John and the Laurence family. Josephine Brooke ("Josy" or "Josie") – Meg's youngest child, named after Jo. She develops a passion for acting as she grows up. Uncle and Aunt Carrol – Sister and brother-in-law of Mr. They take Amy to Europe with them, where Uncle Carrol frequently tries to be like an English gentleman. Florence "Flo" Carrol – Amy's cousin, daughter of Aunt and Uncle Carrol, and companion in Europe. May and Mrs. Chester – A well-to-do family with whom the Marches are acquainted. May Chester is a girl about Amy's age, who is rich and jealous of Amy's popularity and talent. Miss Crocker – An old and poor spinster who likes to gossip and who has few friends. Mr. Dashwood – Publisher and editor of the Weekly Volcano. Mr. Davis – The schoolteacher at Amy's school. He punishes Amy for bringing pickled limes to school by striking her palm and making her stand on a platform in front of the class. She is withdrawn from the school by her mother. Estelle "Esther" Valnor – A French woman employed as a servant for Aunt March who befriends Amy. The Gardiners – Wealthy friends of Meg's. Daughter Sallie Gardiner later marries Ned Moffat. The Hummels – A poor German family consisting of a widowed mother and six children. Marmee and the girls help them by bringing food, firewood, blankets, and other comforts. They help with minor repairs to their small dwelling. Three of the children die of scarlet fever and Beth contracts the disease while caring for them. The eldest daughter, Lottchen "Lotty" Hummel, later works as a matron at Jo's school at Plumfield The Kings – A wealthy family with four children for whom Meg works as a governess. The Kirkes – Mrs. Kirke is a friend of Mrs. March's who runs a boarding house in New York. She employs Jo as governess to her two daughters, Kitty and Minnie. The Lambs – A well-off family with whom the Marches are acquainted. James Laurence – Laurie's grandfather and a wealthy neighbor of the Marches. Lonely in his mansion, and often at odds with his high-spirited grandson, he finds comfort in becoming a benefactor to the Marches. He protects the March sisters while their parents are away. He was a friend to Mrs. March's father, and admires their charitable works. He develops a special, tender friendship with Beth, who reminds him of his late granddaughter. He gives Beth the girl's piano. Theodore "Laurie" Laurence – A rich young man who lives opposite the Marches, older than Jo but younger than Meg. Laurie is the "boy next door" to the March family and has an overprotective paternal grandfather, Mr. Laurence. After eloping with an Italian pianist, Laurie's father was disowned by his parents. Both Laurie's mother and father died young, so as a boy Laurie was taken in by his grandfather. Preparing to enter Harvard, Laurie is being tutored by John Brooke. He is described as attractive and charming, with black eyes, brown skin, and curly black hair. He later falls in love with Amy and they marry; they have one child, a little girl named after Beth: Elizabeth "Bess" Laurence. Sometimes Jo calls Laurie "Teddy". Though Alcott did not make Laurie as multidimensional as the female characters, she partly based him on Ladislas Wisniewski, a young Polish émigré she had befriended, and Alf Whitman, a friend from Lawrence, Kansas. [4]: 202 [6]: 241 [24]: 287 According to author and professor Jan Susina, the portrayal of Laurie is as "the fortunate outsider", observing Mrs. March and the March sisters. He agrees with Alcott that Laurie is not strongly developed as a character. [30] Elizabeth Laurence ("Bess") – The only daughter of Laurie and Amy, named for Beth. Like her mother, she develops a love for art as she grows up. Aunt Josephine March – Mr. March's aunt, a rich widow. Somewhat temperamental and prone to being judgmental, she disapproves of the family's poverty, their charitable work, and their general disregard for the more superficial aspects of society's ways. Her vociferous disapproval of Meg's impending engagement to the impoverished Mr. Brooke becomes the proverbial "last straw" that actually causes Meg to accept his proposal. She appears to be strict and cold, but deep down, she's really quite soft-hearted. She dies near the end of the first book, and Jo and Friedrich turn her estate into a school for boys. Annie Moffat – A fashionable and wealthy friend of Meg and Sallie Gardiner. Ned Moffat – Annie Moffat's brother, who marries Sallie Gardiner. Hannah Mullet – The March family maid and cook, their only servant. She is of Irish descent and very dear to the family. She is treated more like a member of the family than a servant. Miss Norton – A friendly, well-to-do tenant living in Mrs. Kirke's boarding house. She occasionally invites Jo to accompany her to lectures and concerts. Susie Perkins – A girl at Amy's school. The Scotts – Friends of Meg and John Brooke. John knows Mr. Scott from work. Tina – The young daughter of an employee of Mrs. Kirke. Tina loves Mr. Bhaer and treats him like a father. The Vaughans – English friends of Laurie's who come to visit him. Kate is the oldest of the Vaughan siblings, and prim and proper Grace is the youngest. The middle siblings, Fred and Frank, are twins; Frank is the younger twin. Fred Vaughan – A Harvard friend of Laurie's who, in Europe, courts Amy. Rivalry with the much richer Fred for Amy's love inspires the dissipated Laurie to pull himself together and become more worthy of her. Amy will eventually reject Fred, knowing she does not love him and deciding not to marry out of ambition. [31] Frank Vaughan – Fred's twin brother, mentioned a few times in the novel. When Fred and Amy are both traveling in Europe, Fred leaves because he hears his twin is ill. Inspiration [ edit] The attic at Fruitlands where Alcott lived and acted out plays at 11 years old. Note that the ceiling area is around 4 feet high For her books, Alcott was often inspired by familiar elements. The characters in Little Women are recognizably drawn from family members and friends. [3] [4]: 202 Her married sister Anna was Meg, the family beauty. Lizzie, Alcott's beloved sister who died at the age of twenty-three, was the model for Beth, and May, Alcott's strong-willed sister, was portrayed as Amy, whose pretentious affectations cause her occasional downfalls. [4]: 202 Alcott portrayed herself as Jo. Alcott readily corresponded with readers who addressed her as "Miss March" or "Jo", and she did not correct them. [32] [33]: 31 However, Alcott's portrayal, even if inspired by her family, is an idealized one. For instance, Mr. March is portrayed as a hero of the American Civil War, a gainfully employed chaplain, and, presumably, a source of inspiration to the women of the family. He is absent for most of the novel. [33]: 51 In contrast, Bronson Alcott was very present in his family's household, due in part to his inability to find steady work. While he espoused many of the educational principles touted by the March family, he was loud and dictatorial. His lack of financial independence was a source of humiliation to his wife and daughters. [33]: 51 The March family is portrayed living in genteel penury, but the Alcott family, dependent on an improvident, impractical father, suffered real poverty and occasional hunger. [34] In addition to her own childhood and that of her sisters, scholars who have examined the diaries of Louisa Alcott's mother, Abigail Alcott, have surmised that Little Women was also heavily inspired by Abigail Alcott's own early life. [27]: 6 Publication history [ edit] The first volume of Little Women was published in 1868 by Roberts Brothers. [35] The first printing of 2, 000 copies sold out quickly, and the company had trouble keeping up with demand for additional printings. They announced: "The great literary hit of the season is undoubtedly Miss Alcott's Little Women, the orders for which continue to flow in upon us to such an extent as to make it impossible to answer them with promptness. " [8]: 37 The last line of Chapter 23 in the first volume is "So the curtain falls upon Meg, Jo, Beth, and Amy. Whether it ever rises again, depends upon the reception given the first act of the domestic drama called Little Women. " [36] Alcott delivered the manuscript for the second volume on New Year's Day 1869, just three months after publication of part one. [9]: 345 Versions in the late 20th and 21st centuries combine both portions into one book, under the title Little Women, with the later-written portion marked as Part 2, as this Bantam Classic paperback edition, initially published in 1983 typifies. [37] There are 23 chapters in Part 1 and 47 chapters in the complete book. Each chapter is numbered and has a title as well. Part 2, Chapter 24 opens with "In order that we may start afresh and go to Meg's wedding with free minds, it will be well to begin with a little gossip about the Marches. " [36] Editions published in the 21st century may be the original text unaltered, the original text with illustrations, the original text annotated for the reader (explaining terms of 1868–69 that are less common now), the original text modernized and abridged, or the original text abridged. [38] The British influence, giving Part 2 its own title, Good Wives, has the book still published in two volumes, with Good Wives beginning three years after Little Women ends, especially in the UK and Canada, but also with some US editions. Some editions listed under Little Women appear to include both parts, especially in the audio book versions. [38] Editions are shown in continuous print from many publishers, as hardback, paperback, audio, and e-book versions, from the 1980s to 2015. [38] [39] This split of the two volumes also shows at Goodreads, which refers to the books as the Little Women series, including Little Women, Good Wives, Little Men and Jo's Boys. [40] Reception [ edit] G. K. Chesterton notes that in Little Women, Alcott "anticipated realism by twenty or thirty years", and that Fritz's proposal to Jo, and her acceptance, "is one of the really human things in human literature. " [41] Gregory S. Jackson said that Alcott's use of realism belongs to the American Protestant pedagogical tradition, which includes a range of religious literary traditions with which Alcott was familiar. He has copies in his book of nineteenth-century images of devotional children's guides which provide background for the game of "pilgrims progress" that Alcott uses in her plot of Book One. [42] Little Women was well received upon first publication. According to 21st-century critic Barbara Sicherman there was, during the 19th century, a "scarcity of models for nontraditional womanhood", which led more women to look toward "literature for self-authorization. This is especially true during adolescence. " [20]: 2 Little Women became "the paradigmatic text for young women of the era and one in which family literary culture is prominently featured. " [20]: 3 Adult elements of women's fiction in Little Women included "a change of heart necessary" for the female protagonist to evolve in the story. [7]: 199 In the late 20th century some scholars criticized the novel. Sarah Elbert, for instance, wrote that Little Women was the beginning of "a decline in the radical power of women's fiction", partly because women's fiction was being idealized with a "hearth and home" children's story. [7]: 197 Women's literature historians and juvenile fiction historians have agreed that Little Women was the beginning of this "downward spiral". But Elbert says that Little Women did not "belittle women's fiction" and that Alcott stayed true to her "Romantic birthright". [7]: 198–199 Little Women' s popular audience was responsive to ideas of social change as they were shown "within the familiar construct of domesticity". [7]: 220 While Alcott had been commissioned to "write a story for girls", her primary heroine, Jo March, became a favorite of many different women, including educated women writers through the 20th century. The girl story became a "new publishing category with a domestic focus that paralleled boys' adventure stories". [20]: 3–4 One reason the novel was so popular was that it appealed to different classes of women along with those of different national backgrounds, at a time of high immigration to the United States. Through the March sisters, women could relate and dream where they may not have before. [20]: 3–4 "Both the passion Little Women has engendered in diverse readers and its ability to survive its era and transcend its genre point to a text of unusual permeability. " [20]: 35 At the time, young girls perceived that marriage was their end goal. After the publication of the first volume, many girls wrote to Alcott asking her "who the little women marry". [20]: 21 The unresolved ending added to the popularity of Little Women. Sicherman said that the unsatisfying ending worked to "keep the story alive" as if the reader might find it ended differently upon different readings. [20]: 21 "Alcott particularly battled the conventional marriage plot in writing Little Women. " [43] Alcott did not have Jo accept Laurie's hand in marriage; rather, when she arranged for Jo to marry, she portrayed an unconventional man as her husband. Alcott used Friedrich to "subvert adolescent romantic ideals" because he was much older and seemingly unsuited for Jo. [20]: 21 In 2003 Little Women was ranked number 18 in The Big Read, a survey of the British public by the BBC to determine the "Nation's Best-loved Novel" (not children's novel); it is fourth-highest among novels published in the U. S. on that list. [44] Based on a 2007 online poll, the U. National Education Association named it one of "Teachers' Top 100 Books for Children". [45] In 2012 it was ranked number 48 among all-time children's novels in a survey published by School Library Journal, a monthly with primarily US audience. [46] Influence [ edit] Little Women has been one of the most widely read novels, noted by Stern from a 1927 report in the New York Times and cited in Little Women and the Feminist Imagination: Criticism, Controversy, Personal Essays. [47] Ruth MacDonald argued that "Louisa May Alcott stands as one of the great American practitioners of the girls' novel and the family story. " [48] In the 1860s, gendered separation of children's fiction was a newer division in literature. This division signaled a beginning of polarization of gender roles as social constructs "as class stratification increased". [20]: 18 Joy Kasson wrote, "Alcott chronicled the coming of age of young girls, their struggles with issues such as selfishness and generosity, the nature of individual integrity, and, above all, the question of their place in the world around them. " [49] Girls related to the March sisters in Little Women, along with following the lead of their heroines, by assimilating aspects of the story into their own lives. [20]: 22 After reading Little Women, some women felt the need to "acquire new and more public identities", however dependent on other factors such as financial resources. [20]: 55 While Little Women showed regular lives of American middle-class girls, it also "legitimized" their dreams to do something different and allowed them to consider the possibilities. [20]: 36 More young women started writing stories that had adventurous plots and "stories of individual achievement—traditionally coded male—challenged women's socialization into domesticity. " [20]: 55 Little Women also influenced contemporary European immigrants to the United States who wanted to assimilate into middle-class culture. In the pages of Little Women, young and adolescent girls read the normalization of ambitious women. This provided an alternative to the previously normalized gender roles. [20]: 35 Little Women repeatedly reinforced the importance of "individuality" and "female vocation". [20]: 26 Little Women had "continued relevance of its subject" and "its longevity points as well to surprising continuities in gender norms from the 1860s at least through the 1960s. " [20]: 35 Those interested in domestic reform could look to the pages of Little Women to see how a "democratic household" would operate. [7]: 276 While "Alcott never questioned the value of domesticity", she challenged the social constructs that made spinsters obscure and fringe members of society solely because they were not married. [7]: 193 " Little Women indisputably enlarges the myth of American womanhood by insisting that the home and the women's sphere cherish individuality and thus produce young adults who can make their way in the world while preserving a critical distance from its social arrangements. " As with all youth, the March girls had to grow up. These sisters, and in particular Jo, were apprehensive about adulthood because they were afraid that, by conforming to what society wanted, they would lose their special individuality. [7]: 199 Alcott's Jo also made professional writing imaginable for generations of women. Writers as diverse as Maxine Hong Kingston, Margaret Atwood, and J. Rowling have noted the influence of Jo March on their artistic development. Even other fictional portraits of young women aspiring to authorship often reference Jo March. [50] Alcott "made women's rights integral to her stories, and above all to Little Women. " [7]: 193 Alcott's fiction became her "most important feminist contribution"—even considering all the effort Alcott made to help facilitate women's rights. " [7]: 193 She thought that "a democratic household could evolve into a feminist society". In Little Women, she imagined that just such an evolution might begin with Plumfield, a nineteenth century feminist utopia. [7]: 194 Little Women has a timeless resonance which reflects Alcott's grasp of her historical framework in the 1860s. The novel's ideas do not intrude themselves upon the reader because the author is wholly in control of the implications of her imaginative structure. Sexual equality is the salvation of marriage and the family; democratic relationships make happy endings. This is the unifying imaginative frame of Little Women. [7]: 276 Adaptations [ edit] Stage [ edit] Scene from the 1912 Broadway production of Little Women, adapted by Marian de Forest Katharine Cornell became a star in the 1919 London production of de Forest's adaptation of Little Women Marian de Forest adapted Little Women for the Broadway stage in 1912. [51] The 1919 London production made a star of Katharine Cornell, who played the role of Jo. [52] A one-act stage version, written by Gerald P. Murphy in 2009, [53] has been produced in the US, UK, Italy, Australia, Ireland, and Singapore. [ citation needed] Myriad Theatre & Film adapted the novel as a full-length play which was staged in London and Essex in 2011. [54] Marisha Chamberlain [55] [56] and June Lowery [57] have both adapted the novel as a full-length play; the latter play was staged in Luxembourg in 2014. Isabella Russell-Ides created two stage adaptations. Her Little Women featured an appearance by author, Louisa May Alcott. Jo & Louisa features a rousing confrontation between the unhappy character, Jo March, who wants rewrites from her author. [58] [59] A new adaptation by award-winning playwright Kate Hamill had its world premiere in 2018 at the Jungle Theater in Minneapolis, followed by a New York premiere in 2019 at Primary Stages directed by Sarna Lapine. [60] Film [ edit] Little Women has been adapted to film seven times. The first adaptation was a silent film directed by Alexander Butler and released in 1917, which starred Daisy Burrell as Amy, Mary Lincoln as Meg, Ruby Miller as Jo, and Muriel Myers as Beth. It is considered a lost film. Another silent film adaptation was released in 1918 and directed by Harley Knoles. It starred Isabel Lamon as Meg, Dorothy Bernard as Jo, Lillian Hall as Beth, and Florence Flinn as Amy. George Cukor directed the first sound adaptation of Little Women, starring Katharine Hepburn as Jo, Joan Bennett as Amy, Frances Dee as Meg, and Jean Parker as Beth. The film was released in 1933 and followed by an adaptation of Little Men the year after. The first color adaptation starred June Allyson as Jo, Margaret O'Brien as Beth, Elizabeth Taylor as Amy, and Janet Leigh as Meg. Directed by Mervyn LeRoy, it was released in 1949. Gillian Armstrong directed a 1994 adaptation, which starred Winona Ryder as Jo, Trini Alvarado as Meg, Samantha Mathis and Kirsten Dunst as Amy, and Claire Danes as Beth. [61] The film received three Academy Award nominations, including Best Actress for Ryder. A contemporary film adaptation [62] was released in 2018 to mark the 150th anniversary of the novel. [63] It was directed by Clare Niederpruem in her directorial debut and starred Sarah Davenport as Jo, Allie Jennings as Beth, Melanie Stone as Meg, and Elise Jones and Taylor Murphy as Amy. [63] A 2019 adaptation directed by Greta Gerwig starred Saoirse Ronan as Jo, Emma Watson as Meg, Florence Pugh as Amy, and Eliza Scanlen as Beth. The film received six Academy Award nominations, including Best Picture. [64] Television [ edit] Little Women was adapted into a television musical, in 1958, by composer Richard Adler for CBS. [65] Little Women has been made into a serial four times by the BBC: in 1950 (when it was shown live), in 1958, in 1970, [66] and in 2017. [67] The 3-episode 2017 series development was supported by PBS, and was aired as part of the PBS Masterpiece anthology in 2018. Universal Television produced a two-part miniseries based on the novel, which aired on NBC in 1978. It was followed by a 1979 series. In the 1980s, two anime series were made in Japan, Little Women in 1981 and Tales of Little Women in 1987. Both anime series were dubbed in English and shown on American television. In 2012, Lifetime aired The March Sisters at Christmas (directed by John Simpson), a contemporary television film focusing on the title characters' efforts to save their family home from being sold. [68] It is usually rebroadcast on the channel each holiday season. [69] A 2018 adaption is that of Manor Rama Pictures LLP of Karan Raj Kohli & Viraj Kapur which streams on the ALTBalaji app in India. The web series is called Haq Se. Set in Kashmir, the series is a modern-day Indian adaptation of the book. Musicals and opera [ edit] The novel was adapted to a musical of the same name and debuted on Broadway at the Virginia Theatre on January 23, 2005 and closed on May 22, 2005 after 137 performances. A production was also staged in Sydney, Australia in 2008. [70] The Houston Grand Opera commissioned and performed Little Women in 1998. The opera was aired on television by PBS in 2001 and has been staged by other opera companies since the premiere. [71] There is a Canadian musical version, with book by Nancy Early and music and lyrics by Jim Betts, which has been produced at several regional theatres in Canada. There was another musical version, entitled "Jo", with music by William Dyer and book and lyrics by Don Parks & William Dyer, which was produced off-Broadway at the Orpheum Theatre. It ran for 63 performances from February 12, 1964, to April 5, 1964. It featured Karin Wolfe (Jo), Susan Browning (Meg), Judith McCauley (Beth), April Shawhan (Amy), Don Stewart (Laurie), Joy Hodges (Marmee), Lowell Harris (John Brooke) and Mimi Randolph (Aunt March). Audio drama [ edit] A radio play starring Katharine Hepburn as Jo was made to accompany the 1933 film. Grand Audiobooks hold the current copyright. A dramatized version, produced by Focus on the Family Radio Theatre, [72] was released on September 4, 2012. See also [ edit] Hillside (later renamed The Wayside), the Alcott family home (1845–1848) and real-life setting for some of the book's scenes Orchard House, the Alcott family home (1858–1877) and site where the book was written; adjacent to The Wayside References [ edit] ^ Longest, David (1998). Little Women of Orchard House: A Full-length Play. Dramatic Publishing. p. 115. ISBN 9780871298577. ^ Sparknotes: literature. Spark Educational Publishing. 2004. p. 465. ISBN 9781411400269. ^ a b Alberghene, Janice (1999). Alberghene, Janice M. and Clark, Beverly Lyon (eds. ). Autobiography and the Boundaries of Interpretation on Reading Little Women and the Living is Easy. Little Women and the Feminist Imagination: Criticism, Controversy, Personal Essays. Psychology Press. p. 355. ISBN 9780815320494. CS1 maint: uses editors parameter ( link) ^ a b c d e f g Cheever, Susan (2011). Louisa May Alcott: A Personal Biography. Simon and Schuster. ISBN 978-1416569923. ^ Cullen Sizer, Lyde (2000). The Political Work of Northern Women Writers and the Civil War, 1850–1872. Univ of North Carolina Press. p. 45. ISBN 9780807860984. ^ a b Reisen, Harriet (2010). Louisa May Alcott: The Woman Behind Little Women. Macmillan. ISBN 9780312658878. ^ a b c d e f g h i j k l m n o p q r s t u Elbert, Sarah (1987). A Hunger for Home: Louisa May Alcott's Place in American Culture. New Brunswick: Rutgers University Press. ISBN 0-8135-1199-2. ^ a b c d Author Madison, Charles A. (1974). Irving to Irving: Author-Publisher Relations 1800–1974. New York: R. R. Bowker Company. ISBN 0-8352-0772-2. ^ a b c Matteson, John (2007). Eden's Outcasts: The Story of Louisa May Alcott and Her Father. New York: W. W. Norton & Company. ISBN 978-0-393-33359-6. ^ Smith, David E. James, Edward T. (ed. "Notable American Women 1607–1950: A Biographical Dictionary, Volume 1". Notable American Women 1607–1950: A Biographical Dictionary, Volume 1. Harvard University Press: 29. ISBN 9780674627345. ^ Alcott, Louisa May (2010). "Foreword". Little Women. Collins Classics. HarperCollins UK. p. vi. ISBN 9780007382644. ^ Hermeling, Ines (2010). The Image of Society and Women in Louisa May Alcott's "Little Women". GRIN Verlag. p. 8. ISBN 9783640591220. ^ Caspi, Jonathan (2010). Sibling Development: Implications for Mental Health Practitioners. Springer Publishing Company. p. 147. ISBN 9780826117533. ^ Alcott, Louisa May. Little Men. p. Chapter 2. Baby Josy had a flannel petticoat beautifully made by Sister Daisy ^ Alcott, Louisa May. Jo's Boys. p. Chapter 1. ^ "Characters Margaret Meg March Meg the eldest sister is sixteen when the story".. Retrieved 2018-11-07. ^ Alcott, Louisa (August 1, 2013). search of mentions of Jo March. Simon and Schuster. ^ Acocella, Joan (2018-08-20). "How "Little Women" Got Big". ISSN 0028-792X. Retrieved 2019-02-25. ^ "Louisa May Alcott: The Woman Behind Little Women, The Character of Jo March". American Masters. December 12, 2009. Retrieved August 4, 2018. ^ a b c d e f g h i j k l m n o p q Sicherman, Barbara (2010). Well Read Lives: How Books Inspired A Generation of American Women. Chapel Hill: The University of North Carolina Press. ISBN 978-0-8078-3308-7. ^ a b Keith, Lois (2001). Take Up Thy Bed and Walk: Death, Disability and Cure in Classic Fiction for Girls. Taylor & Francis. ISBN 9780415937405. ^ Apter, T. E. (2007). The Sister Knot: Why We Fight, why We're Jealous, and why We'll Love Each Other No Matter what. p. 137. ISBN 9780393060584. ^ Alcott, Louisa May (1880). Little Women: or, Meg, Jo, Beth and Amy. Cambridge, Massachusetts: John Wilson and Son. Retrieved 2010-05-31. ^ a b c Saxton, Martha (1977). Louisa May Alcott: A Modern Biography. Macmillan. ^ Alcott, Louisa May (1880). Little Women, or Meg, Jo, Beth and Amy. p. 213. Retrieved May 13, 2015. Curtis. ^ Hollander, Anne (2000). Feeding the Eye. University of California Press. p. 233. ISBN 0520226593. ^ a b c LaPlante, Eve (2013). Marmee & Louisa: The Untold Story of Louisa May Alcott and Her Mother. ISBN 9781451620672. ^ Masse, Michelle (1999). "Songs to Aging Children: Alcott's March Trilogy". In Alberghene, Janice M. p. 338. CS1 maint: uses editors parameter ( link) ^ Alcott, Louisa (2000). The Portable Louisa May Alcott. Penguin. p. 1854. ISBN 9781101177044. ^ Susina, Jan (1999). "Men and Little Women Notes of a Resisting (Male) Reader". pp. 161–70. CS1 maint: uses editors parameter ( link) ^ Seelinger Trites, Roberta (2009). "Journeys with Little Women". In Betsy Gould Hearne, Roberta Seelinger Trites (eds. A Narrative Compass: Stories that Guide Women's Lives. University of Illinois Press. p. 15. ISBN 0252076117. CS1 maint: uses editors parameter ( link) ^ Sicherman, Barbara (1995). "Reading Little Women: The Many lives of a Text". In Linda K. Kerber, Alice Kessler-Harris, Kathryn Kish Sklar (eds. U. History as Women's History: New Feminist Essays. University of North Carolina Press. p. 253. ISBN 9780807866863. CS1 maint: uses editors parameter ( link) ^ a b c Keyser, Elizabeth Lennox (2000). Little Women: A Family Romance. University of Georgia Press. ISBN 9780820322803. ‘I am Jo, in the principal characteristics, not the good ones. ’ ^ "Alcott: 'Not The Little Woman You Thought She Was ' ". NPR. December 28, 2009. Retrieved August 22, 2013. ^ Cheney, Ednah Dow, ed. (1889). Louisa May Alcott: Her Life, Letters, and Journals. Boston: Applewood Books. p. 190. ISBN 978-1-4290-4460-8. ^ a b Alcott, Louisa May (August 19, 2010) [1868]. "Little Women". ProjectGutenberg. Retrieved April 9, 2015. ^ Alcott, Louisa May (April 1, 1983) [1868]. ISBN 978-0553212754. Retrieved March 27, 2015. ^ a b c Louisa May Alcott. "Little Women" (Part 1 ed. Fantastic Fiction. Retrieved March 27, 2015. ^ Louisa May Alcott. "Good Wives (Little Women) (1869)" (Part 2 ed. "Little Women series". Goodreads. Retrieved March 27, 2015. ^ Chesterton, G. (1953). "Louisa Alcott". A Handful of Authors. ^ Jackson, Gregory S. (2009). The Word and Its Witness: The Spiritualization of American Realism. Chicago: The University of Chicago Press. pp. 125–56. ISBN 978-0-226-39004-8. ^ Boyd, Anne E. (2004). Writing for Immortality: Women Writers and the Emergence of High Literary Culture in America. Baltimore: Johns Hopkins University Press. p. 72. ISBN 0-8018-7875-6. ^ "BBC – The Big Read". BBC. April 2003. Retrieved December 12, 2013. ^ National Education Association (2007). "Teachers' Top 100 Books for Children". Retrieved August 22, 2012. ^ Bird, Elizabeth (July 7, 2012). "Top 100 Chapter Book Poll Results". School Library Journal "A Fuse No. 8 Production" blog. Retrieved August 22, 2012. ^ Alberghese, Janice M. and Clark, Beverly Lyon, eds. (1999). "Little Women Leads Poll: Novel Rated Ahead of Bible for Influence on High School Pupils". p. xliv. CS1 maint: uses editors parameter ( link) ^ MacDonald, Ruth M. (1983). Louisa May Alcott. Boston: Twayne Publishers. 95. ^ Alcott, Louisa May; Kasson, Joy S. (1994). "Introduction". Work: A Story of Experience. New York: Penguin Books. p. ix. ISBN 014039091X. ^ Isaac, Megan Lynn (2018). "A Character of One's Own: The Perils of Female Authorship in the Young Adult Novel from Alcott to Birdsall". Children's Literature. 46: 133–168 – via JSTOR. ^ "Little Women". Internet Broadway Database. Retrieved December 28, 2018. ^ Cornell, Katharine (September 1938). "I Wanted to Be an Actress". Stage. New York City: Stage Magazine Company, Inc. p. 13. Retrieved December 28, 2018. ^ Murphy, Gerald P. Lazy Bee Scripts. Retrieved July 27, 2015. ^ Stephens, Connie (Winter 2011). Myriad Theatre & Film, bringing the classics to life. London, UK. Retrieved 14 May 2016. ^ "Little Women". Marisha Chamberlain. Retrieved 6 May 2016. ^ Chamberlain, Marisha. "Little Women (full length)".. Retrieved September 9, 2015. ^ Lowery, June (Fall 2014). "Little Women (Les Quatre Filles du Docteur March)". Berliner Grundtheater Group. Retrieved January 31, 2016. ^ Heimberg, Martha (2019-07-21). "TheaterJones | FIT Review: Jo & Louisa | Festival of Independent Theatres".. Retrieved 2019-09-26. ^ Jul 26; 2019 | 1 (2019-07-26). "Pitching another FIT". Dallas Voice. Retrieved 2019-09-26. ^ "Little Women, 2019 Season". Retrieved 24 October 2019. ^ 1994. "Little Women (1994) by IMDB".. Retrieved 2017-05-09. ^ "Casting Call". Little Women, a modern adaptation. Retrieved February 14, 2017. ^ a b Busch, Anita (April 27, 2017). "Lea Thompson To Star in New Feature Adaptation Of 'Little Women ' ".. Retrieved June 23, 2018. ^ Eldredge, Kristy (27 December 2019). "Opinion | Men Are Dismissing 'Little Women. ' What a Surprise". The New York Times. Retrieved 27 December 2019. ^ Mercer, Charles (September 21, 1958). "Beth Lives in TV musical of "Little Women " ". Chicago Tribune. Retrieved February 23, 2017. ^ Little Women (1970) on IMDb ^ Little Women (2017) on IMDb ^ "The March Sisters at Christmas TV Show". Retrieved April 16, 2016. ^ The March Sisters at Christmas on IMDb ^ Morgan, Clare (November 11, 2008). "Stakes are high for Kookaburra's sister act". The Sydney Morning Herald. Retrieved 3 December 2019. ^ Adamo, Mark (2007). Mark Adamo Online. Retrieved December 3, 2019. ^ "Little Women (Audio Drama) by Focus on the Family Radio Theatre on iTunes". iTunes. Retrieved 2015-11-16. External links [ edit] Little Women at Project Gutenberg Lesson plans for Little Women at Web English Teacher "Top 100 Children's Novels #25". School Library Journal Blog. Retrieved 2012-05-20. 1945 radio adaptation of novel at Theatre Guild on the Air at the Internet Archive Little Women public domain audiobook at LibriVox Rudin, Shai (2019). "The Hidden Feminist Agenda and Corresponding Edification in the Novel Little Women by Louisa May Alcott". Childhood, Vol. 3. pp. 115–132.

She's is such an amazing actress, can't wait to see what she'll do next. Little women 2019 movie online. Basically how it was at the time. Matt is surprising Briana with guests at her wedding. 🥴 😬😳 probably not a great idea 😬😬😬. Careful, Jo! This guy could be a psycho. Greta Gerwig's adaptation of the novel "Little Women" is a colorful collage in motion that throws light onto the raw aspects of relationship dynamics. Its gutsy yet blithe. She dismantles the audience's apparent perception of various events that happen as the film progresses and helps them reconstruct a fresh perspective of how things could possibly be. And in order to do this, the director resorts to a beautifully executed non-linear narrative that is embellished with fabulous flashback scenes that wonderfully blend together with the scenes that take place in the film's present timeframe.
A plethora of legends including Meryl Streep have acted in this film but my favorite performances were those by Saoirse Ronan and Florence Pugh. Saoirse was phenomenally exuberant and her performance plays a massive role in helping cement this film as an exotic romantic coktail. Pugh on the other hand skilfully interplays between being somebody shrouded in disdain to being somebody at the epitome of pragmatism. Her dynamic with Saoirse's character creates a sort of tautness that beautifully enhances the film's narrative.
Watch this film as soon as you can.

Movie online little women songs. Movie online little women song. What I love even more about this was that this wasn't in the final script, and barely even minutes before this scene Greta gives Florence a scrap piece of paper with this speech written on it. Fantastic movie and actors. Movie Online Little women online. Katherine Newton? Is this another “Little Womans” movie. Movie online little women cast. Movie Online Little women health. Literally only watching this for timothee. I think Saoirse's mother was very patient with George Clooney, I probably would have pushed him if he stepped on my dress. so yes, I'm rude.

Movie online little women trailer. Sign up to get the latest news on your favorite dramas and mysteries, as well as exclusive content, video, sweepstakes and more. *** START *** The plugin meta info in hide_title: 0 mp_sf_type: None flipcard: 0 listicle: 1 show_numbers: 0 mp_sf_list: a:14:{i:0;s:15:"mp_sf_list_item";i:1;s:15:"mp_sf_list_item";i:2;s:15:"mp_sf_list_item";i:3;s:15:"mp_sf_list_item";i:4;s:15:"mp_sf_list_item";i:5;s:15:"mp_sf_list_item";i:6;s:15:"mp_sf_list_item";i:7;s:15:"mp_sf_list_item";i:8;s:15:"mp_sf_list_item";i:9;s:15:"mp_sf_list_item";i:10;s:15:"mp_sf_list_item";i:11;s:15:"mp_sf_list_item";i:12;s:15:"mp_sf_list_item";i:13;s:15:"mp_sf_list_item";} closing_paragraph: Watch Maya Hawke as Jo, Jonah Hauer-King as Laurie, Katherine Newton as Amy, plus Emily Watson, Angela Landsbury, and Michael Gambon as seen on MASTERPIECE in Little Women on PBS Passport, an added member benefit. mp_sf_list_0_mp4_video: mp_sf_list_0_image: mp_sf_list_0_title: Feature Film: 1917 mp_sf_list_0_description: This British silent film, with former Gaiety Girl Ruby Miller as Jo, is the first-ever adaptation of Little Women to the big screen. It is considered lost. mp_sf_list_1_mp4_video: mp_sf_list_1_image: 7198 mp_sf_list_1_title: Feature Film: 1918 mp_sf_list_1_description: Shot in and around Alcott's home in Concord, Massachusetts (it also showed Ralph Waldo Emerson's home), this silent American film starred Dorothy Bernard as Jo. mp_sf_list_2_mp4_video: mp_sf_list_2_image: 7199 mp_sf_list_2_title: Feature Film: 1933 mp_sf_list_2_description: The first Little Women "talkie", starring Katherine Hepburn and directed by George Cukor, was enormously popular with critics and at the box office. A film truly of its moment—the Great Depression—it resonated with audiences in its portrayal of simplicity, frugality, and the resilience of the spirit. Did You Know? • To create one of Jo's dresses, Katherine Hepburn had the costume designer copy a dress worn by her grandmother in a tintype photo. • Actress Joan Bennet, playing a 12-year-old Amy at age 23, was pregnant when she took the role! She hid it from most of the producers. mp_sf_list_3_mp4_video: mp_sf_list_3_image: 7200 mp_sf_list_3_title: Feature Film: 1949 mp_sf_list_3_description: In glorious Technicolor, this immensely popular feature film adaptation was packed with glittering stars. (Thank you, studio system! ) June Allyson, already a legitimate star by the time she took the role of Jo March, rose to fame as a "girl next door" type in a series of MGM films, while Janet Leigh, perhaps most famous today for her role as the doomed shower-taker in Psycho, was Little Women 's Meg March. Margaret O'Brien, who began her career as a child actor and was known as the best crier on the MGM lot—a skill she put to work starring alongside Judy Garland in Meet Me in St. Louis —was Beth March; and Elizabeth Taylor, between her breakout performance in National Velvet and her first mature role in A Place in the Sun, sported a blonde wig as Amy March in her final adolescent role. • In the film, Beth carries around a basket that is actually the same one carried by Dorothy in The Wizard of Oz! • June Allyson, playing 15-year-old Jo at age 31, was pregnant during filming, and was only 11 years younger than Mary Astor, who played Marmee. mp_sf_list_4_mp4_video: mp_sf_list_4_image: 7201 mp_sf_list_4_title: Feature Film: 1994 mp_sf_list_4_description: Nominated for three Academy Awards, directed by a woman, and featuring an ensemble of powerhouse actresses, the 1994 Little Women starred Winona Ryder as Jo March, Kirsten Dunst as young Amy and Samantha Mathis as older Amy, Trini Alvarado as Meg, Claire Danes as Beth, and Susan Sarandon as Marmee. And that's just the women: Christian Bale was Laurie and Gabriel Byrne was Professor Bhaer! Acclaimed for its timelessness, warmth, and performances, it's considered a challenger to the 1933 version as the best film adaptation. • Like a Who's Who of '90s young actresses, the role of (young) Amy was auditioned for by Natalie Portman, Christina Ricci, and Thora Birch. Alicia Silverstone auditioned for Beth. mp_sf_list_5_mp4_video: mp_sf_list_5_image: 12389 mp_sf_list_5_title: Feature Film: 2019 mp_sf_list_5_description: This Greta Gerwig reboot brings the star power to Concord, Massachusetts—and straight to your hearts—with a cast that will hook everyone from the Greatest Generation to Gen Z: none other than Meryl Streep plays Aunt March; Saoirse Ronan is Jo; Hermione Emma Watson is Meg; Florence Pugh is the worst March sister Amy; and Eliza Scanlon is Beth. Plus, Timothée Chalamet is Laurie! • Emma Stone was originally slated for the role of Meg but had to bow out to film The Favourite. • Greta Gerwig both directed the film and wrote the script. mp_sf_list_6_mp4_video: mp_sf_list_6_image: 12388 mp_sf_list_6_title: Television: On MASTERPIECE on PBS mp_sf_list_6_description: Giving the beloved story three full episodes, MASTERPIECE's 2018 Little Women transported viewers into Jo's journey and the March family's embrace with immediacy and a youthful, vibrant spirit. With Maya Hawke ( Stranger Things) as Jo, Jonah Hauer-King ( World on Fire, The Little Mermaid) as Laurie, Katherine Newton ( Detective Pikachu) as Amy, plus Emily Watson ( Chernobyl), Angela Lansbury ( Murder, She Wrote, The Manchurian Candidate), and Michael Gambon, Little Women made great use of its iconic and its rising stars. See for yourself: Watch Little Women on PBS Passport, an added member benefit! • In a perfect instance of Hollywood meets Little Women, Jo is played by Maya Hawke, whose father, Ethan Hawke, starred with Winona Ryder, Jo March in the 1994 feature film, in the 1994 Gen X comedy-drama Reality Bites.. 's Winona Ryder, who is a part of the iconic ensemble of Stranger Things —which Maya Hawke joined in its third season! mp_sf_list_7_mp4_video: mp_sf_list_7_image: mp_sf_list_7_title: Television: Japanese Animated Series mp_sf_list_7_description: 1981 This Japanese anime series, Wakakusa no Yon Shimai or Four Sisters of Young Grass, was based on a 1980 animated Japanese TV special, and ran for 26 episodes. 1987 Another Japanese Little Women anime, Ai no Wakakusa Monogatari or Love's Tale of Young Grass, was very loosely derived from Alcott's book and includes many original characters. Later dubbed in English, it ran on HBO as Tales of Little Women in 1988. It is available to stream on Amazon Prime. mp_sf_list_8_mp4_video: mp_sf_list_8_image: 7202 mp_sf_list_8_title: Television: 1978 mp_sf_list_8_description: In a feat of casting that rivals Charlie's Angels in its '70s-ness, this NBC two-parter starred Susan Dey ( The Partridge Family) as Jo; Meredith Baxter Birney ( Family Ties) as Meg; Eve Plumb ( The Brady Bunch) as Beth; and Ann Dusenberry as Amy. Plus William Shatner ( Star Trek 's James T. Kirk!!!! ) is Professor Bhaer. mp_sf_list_9_mp4_video: mp_sf_list_9_image: mp_sf_list_9_title: Television: 1939-1970 mp_sf_list_9_description: 1939 This early television version of Little Women for NBC-TV was based on the 1912 Broadway play written by Marian de Forest. It is considered lost. 1946 The book was again adapted for American television with Margaret Hayes as Jo, and was directed by Ernest Colling. It too is considered lost. 1949 This now-lost CBS "Ford Theatre Hour" production starred Meg Mundy as Jo. A young June Lockhart ( Lost in Space) played Amy. 1950 This two-part adaptation from Westinghouse's "Studio One Hollywood" in 1950 stars Nancy Marchand (Tony Soprano's mom Livia! ) as Jo March. Part one was called "Little Women: Meg's Story" and part two, titled "Little Women: Jo's Story", is available on Amazon under the wrong title, which mistakenly represents it as a restored version of the 1918 film. 1950 The BBC's first Little Women was a television adaptation of a play based on Alcott's book by Winifred Oughton and Brenda R. Thompson, airing in six titled episodes from December, 1950-January 1951. 1958 A televised musical version of Little Women for CBS-TV came to the screen via a slew of mid-century Broadway luminaries, including Richard Adler ( The Pajama Game, Damn Yankees) doing music and lyrics. Florence Henderson ( The Brady Bunch) played Meg March, and Margaret O'Brien reprised her role of Beth from the 1949 feature film. Yet the production was considered a dud, compressing the story to one hour, and—strangely—omitting Beth's death. Fan reactions ranged from puzzled to angry, and one viewer told the ad agency producing the film, "We're going to let Beth live and kill Dick Adler! " Still, the score won critical praise and the cast recording is still available. 1958 A six-episode presentation of Little Women by the BBC. 1970 The BBC's 1970 nine-part Little Women TV series received low marks for being low-budget, bland, and cast with actresses too old for their roles, clad in bad wigs, and struggling with their American accents. Heidi Thomas, writer of the upcoming Little Women on MASTERPIECE, remembers watching the series as an eight-year-old and being appalled by Amy's stumble into a small ornamental pond rather than crashing through a frozen lake. mp_sf_list_10_mp4_video: mp_sf_list_10_image: mp_sf_list_10_title: On Stage: 1912 Broadway Play mp_sf_list_10_description: Little Women was still in copyright when American theatre director and actress Jessie Bonstelle began campaigning Alcott's heirs, nephews Fred Pratt (the book's "Daisy") and John Alcott (the book's "Demi") for rights to adapt the novel for the stage. After eight years and Pratt's death, Alcott's consent (granted in memory of his aunt's fondness for the stage) made possible Bonstelle's 1912 Broadway production of Little Women, adapted by Marian de Forest. mp_sf_list_11_mp4_video: mp_sf_list_11_image: mp_sf_list_11_title: On Stage: 1969 Ballet mp_sf_list_11_description: An hour-long Little Women ballet, starring 63 children and featuring dramatic monologues delivered by mid-century award winning stage and screen actress Geraldine Page, aired live on NBC's "NBC Children's Theatre. " The performance can be found on YouTube. show_featured_image: 0 letter_format: 0 question_answer: 0 mp_sf_list_12_mp4_video: mp_sf_list_12_image: 7207 mp_sf_list_12_title: On Stage: 1998 Opera mp_sf_list_12_description: Workshopped and premiered by the Houston Grand Opera in 1998, composer Mark Adamo's first opera, Little Women, won critical praise, and has been staged in over 20 productions, one of which aired in 2001 on PBS' Great Performances. mp_sf_list_13_mp4_video: mp_sf_list_13_image: 7208 mp_sf_list_13_title: On Stage: 2005 Broadway Play mp_sf_list_13_description: A new Broadway musical premiered in 2005, starring Sutton Foster ( Younger, Bunheads) as Jo and Broadway actress Maureen McGovern as Marmee. Foster received a Tony Award Best Actress in a Musical nomination for her performance. *** END **********************************************************************.

Movie online little women movies. Die Regisseurin Greta Gerwig hat Louisa May Alcotts Klassiker "Little Women" liebevoll verfilmt – die Geschichte fünf junger Frauen im Kampf gegen Rollenbilder. 25. Januar 2020, 14:23 Uhr Editiert am 25. Januar 2020, 14:23 Uhr DIE ZEIT Nr. 5/2020 10 Kommentare Eliza Scanlen, Emma Watson, Florence Pugh, Saoirse Ronan (v. u. n. o. ) und ihre Filmmutter Laura Dern © Sony Pictures Entertainment Jo March rennt. Ihr dunkelblaues, knöchellanges Kleid fliegt über den Gehweg der Stadt New York. Ihre rotblonden Haare sind zerzaust, die Wangen gerötet. Unter dem Arm hält sie eine Mappe aus Leder, in der sie ihre Kurzgeschichten aufbewahrt. Eine hat sie eben an einen renommierten Verleger verkauft, der ihr weitere abnehmen würde. Ihr Rennen, das versteht man sofort, ist Ausdruck einer Aufbruchsstimmung. So beginnt Little Women, die neueste, bereits für sechs Oscars nominierte Verfilmung des gleichnamigen Romans von Louisa May Alcott aus dem Jahr 1868. Greta Gerwig hat das Drehbuch geschrieben und Regie geführt. Als verkündet wurde, dass Gerwig den Roman adaptieren werde, musste man ehrlich gesagt an dieses amerikanische Sprichwort denken: "Wenn es nicht kaputt ist, reparier es nicht. " Wie oft lässt sich ein Text aus dem 19. Jahrhundert neu interpretieren? Ist nicht bereits jeder Winkel des Klassikers ausgeleuchtet worden? Und kann es nach Winona Ryders Auftritt in Gillian Armstrongs Verfilmung von 1994 eine bessere Besetzung für Jo March geben? Andererseits wurde der Stoff in den vergangenen hundert Jahren von sieben Filmschaffenden – unter anderem von George Cukor mit Katharine Hepburn (1933) – adaptiert. Warum sollte Gerwig nicht einen achten Versuch unternehmen dürfen? Little Women (Kinostart am 30. Januar) erzählt die Coming-of-Age-Geschichte der vier March-Schwestern Meg, Jo, Beth und Amy, die während des Sezessionskrieges in Neuengland aufwachsen und nicht unterschiedlicher sein könnten: Jo, gespielt von dem irischen Jungstar Saoirse Ronan, ist unangepasst, Meg fügsam, Beth zurückhaltend und Nesthäkchen Amy egoistisch. Der Vater ist ein abwesender Held, die Mutter sowohl Vorbild als auch mahnende Vorwarnung. Er kämpft an der Front für ein gerechteres Land. Sie kämpft als alleinerziehende mittellose Frau um eine bessere Zukunft für ihre Töchter, jenseits gängiger Geschlechterrollen. Unterstützt wird die Familie von einer wohlhabenden Tante. Liebster Spielgefährte der Schwestern und wichtigste Konstante auf ihrem Weg zum Erwachsensein ist der Nachbarsjunge Laurie. Der Reiz des Romans (und Grund für die vielen Verfilmungen) liegt in dem hohen Identifikationspotenzial und dem für seine Zeit überraschend feministischen Ton des Bestsellers. In gewisser Weise ist Louisa May Alcott die amerikanische Jane Austen. In ihrem Roman stellt sie all jene Fragen, denen sich bis heute kaum eine Frau entziehen kann: Wer definiert Weiblichkeit? Was passiert, wenn Kinderträume plötzlich auf gesellschaftliche Konventionen prallen? Wie hoch ist der Preis, den man für individuelle Freiheit zu zahlen bereit ist? Ist die Ehe ein Versprechen oder ein Kompromiss? In den bisherigen Verfilmungen wurde Little Women stets chronologisch erzählt: Aus vier Mädchen werden Frauen, Gattinnen, Mütter. Das bedeutete oft, beim langsamen Stutzen ihrer Flügel zusehen zu müssen. Am Ende jedenfalls – so schreibt es die damalige Zeit vor – sind alle vier Schwestern verheiratet. Greta Gerwig beginnt ihren Film in der Mitte der Geschichte, in einem Moment, der fast schon willkürlich wirkt, so als hätte sie zufällig irgendeine Seite des Buches aufgeschlagen. Tatsächlich lag in der Vorhersehbarkeit die größte Gefahr der Neuverfilmung. Wieso, fragt man sich verwundert, lebt Jo March unverheiratet in New York in einem Gästehaus voller Männer und verdient ihren Lebensunterhalt mit dem Schreiben von Kurzgeschichten? Es braucht Gerwigs liebevoll inszenierte Rückblenden, um zu verstehen, wie Jo zu einer unabhängigen Frau wurde und welche Hindernisse sie dafür überwinden musste. Seitennavigation Nächste Seite "Ich bin jeden Tag meines Lebens wütend".

I can't even imagine being half as eloquent and poised as Saoirse. Movie Online Little women and children. Ich freue mich so unendlich auf diesen Film😍. Watch little women movie online 2019.

 

She's amazing. Movie online little women episodes. Movie online little women book. I love the fact that both Eliza and Florence are Capricorns, they're so Down to Earth and chill and yet they are funny. a lot of caps energy. Won 1 Oscar. Another 70 wins & 181 nominations. See more awards » Learn more More Like This Comedy | Drama Romance 2 3 4 5 6 7 8 9 10 8 / 10 X Noah Baumbach's incisive and compassionate look at a marriage breaking up and a family staying together. Director: Noah Baumbach Stars: Adam Driver, Scarlett Johansson, Alan Alda Biography 6. 8 / 10 A group of women take on Fox News head Roger Ailes and the toxic atmosphere he presided over at the network. Jay Roach Charlize Theron, Nicole Kidman, Margot Robbie War 8. 4 / 10 April 6th, 1917. As a regiment assembles to wage war deep in enemy territory, two soldiers are assigned to race against time and deliver a message that will stop 1, 600 men from walking straight into a deadly trap. Sam Mendes Dean-Charles Chapman, George MacKay, Daniel Mays A young boy in Hitler's army finds out his mother is hiding a Jewish girl in their home. Taika Waititi Roman Griffin Davis, Thomasin McKenzie, Scarlett Johansson 7. 7 / 10 A faded television actor and his stunt double strive to achieve fame and success in the film industry during the final years of Hollywood's Golden Age in 1969 Los Angeles. Quentin Tarantino Leonardo DiCaprio, Brad Pitt, Crime 7. 5 / 10 American security guard Richard Jewell saves thousands of lives from an exploding bomb at the 1996 Olympics, but is vilified by journalists and the press who falsely reported that he was a terrorist. Clint Eastwood Paul Walter Hauser, Sam Rockwell, Brandon Stanley Thriller 8. 6 / 10 In Gotham City, mentally troubled comedian Arthur Fleck is disregarded and mistreated by society. He then embarks on a downward spiral of revolution and bloody crime. This path brings him face-to-face with his alter-ego: the Joker. Todd Phillips Joaquin Phoenix, Robert De Niro, Zazie Beetz Action Adventure Fantasy The surviving members of the resistance face the First Order once again, and the legendary conflict between the Jedi and the Sith reaches its peak bringing the Skywalker saga to its end. J. J. Abrams Carrie Fisher, Mark Hamill, Adam Driver 7. 9 / 10 An aging hitman recalls his time with the mob and the intersecting events with his friend, Jimmy Hoffa, through the 1950-70s. Martin Scorsese Al Pacino, Joe Pesci Horror Mystery 7. 1 / 10 A couple travels to Sweden to visit a rural hometown's fabled mid-summer festival. What begins as an idyllic retreat quickly devolves into an increasingly violent and bizarre competition at the hands of a pagan cult. Ari Aster Florence Pugh, Jack Reynor, Vilhelm Blomgren 8. 1 / 10 American car designer Carroll Shelby and driver Ken Miles battle corporate interference and the laws of physics to build a revolutionary race car for Ford in order to defeat Ferrari at the 24 Hours of Le Mans in 1966. James Mangold Matt Damon, Christian Bale, Jon Bernthal 7. 4 / 10 Based on the true story of a real-life friendship between Fred Rogers and journalist Lloyd Vogel. Marielle Heller Tom Hanks, Matthew Rhys, Chris Cooper Edit Storyline In the years after the Civil War, Jo March lives in New York and makes her living as a writer, while her sister Amy studies painting in Paris. Amy has a chance encounter with Theodore, a childhood crush who proposed to Jo but was ultimately rejected. Their oldest sibling, Meg, is married to a schoolteacher, while shy sister Beth develops a devastating illness that brings the family back together. Written by Jwelch5742 Plot Summary Add Synopsis Details Release Date: 25 December 2019 (USA) See more » Also Known As: Little Women Box Office Budget: $40, 000, 000 (estimated) Opening Weekend USA: $16, 755, 310, 29 December 2019 Cumulative Worldwide Gross: $204, 989, 746 See more on IMDbPro » Company Credits Technical Specs See full technical specs » Did You Know? Trivia With her role as Jo March, this is the second time that Saoirse Ronan has portrayed one of Katharine Hepburn 's iconic roles (she played the title character in Mary Queen of Scots (2018)). She also shared a common bond with Winona Ryder, who played Jo in the 1994 version of Little Women (1994). Ronan also played Abigail Williams in the 2016 Broadway revival of "The Crucible, " the same role that Ryder played in the 1996 film. See more » Goofs (at approx. 01:09:50) When Beth says ".. before anyone knew or paid you" to Jo, her mouth is not moving. See more » Quotes Meg March: I can't believe today is my wedding day! Jo March: Me neither. What's wrong? Nothing. Jo... We can leave. We can leave right now. What? I can make money: I'll sell stories, I'll do anything - cook, clean, work in a factory. I can make a life for us. But, Jo... And you, you should be an actress and have a life on the stage. Let's run away together. [... ] Crazy Credits The Columbia Pictures logo is the 1990s version, paying homage to Little Women (1994), the previous adaptation of the novel, which the studio had also worked on. See more » Soundtracks Sheep May Safely Graze from "The Birthday Cantata, No. 208" Written by Johann Sebastian Bach Arranged by Colin Fowler See more » Frequently Asked Questions See more ».

Movie online little women download. She literally looks like she could play a teenager in a movie and she is turning 30.

 

 

 

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audience Score: 5023 votes. 6,5 of 10 Stars. Genre: Horror, Sci-Fi. year: 2019. countries: USA. runtime: 111 minutes. Lmao is that a reborn baby. Color out of space nicolas cage. Color out of space clip. Color out of space foundflix. Color out of space film. The colour out of space h p lovecraft. Cant wait to watch this while high. Color out of space csfd. Color Out of space telescope. Color out of space. Mad respect. This is my fav Lovecraft story.

Color Out of space invaders. I swear I saw this 7 months ago But the upload date says 1 month ago Now why does that feel like a Mandela affect right now. This movie is 100% the movie they wanted to make.
I have read some Lovecraft but this was not one of the ones I have read.
From the trailer I thought it would be similar to the 2000 Japanese horror film Uzumaki where people are menaced by the geometric concept of spirals. I thought people in this movie would be menaced by the color Pink. And they more or less are, but it is just so much more. So much more.
The cast does a really great job the whole time.
Tommy Chong is very Tommy Chong, and yet adds levels to it not seen in That 70's Show or the Cheech and Chong movies. I have met people like this character.
Nicolas Cage is a very Nicolas Cage father. The mother, the kids and the Water Surveyor are all great.
They keep calling the young son Jack Jack. So thinking about the Incredible superhero baby is a happy thought to hold on to in a reality warping horror movie.
The colors and effects are all spot on and great. Other reviews I have seen have likened it to a 1982 movie by John Carpenter and that comparison is apt.
The January 22nd 2020 screening I went to included a video at the end from the Hollywood Premiere where Oswald Patton spoke with Nicolas Cage and Richard Stanley about the movie and Stanley said this was the first of a series of Lovecraft films from him. The next being The Dunwich Horror, which is great news. This movie was amazing and I am super down for more.

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I always felt that Nick Cage would be a perfect Lovecraft protagonist. Is it as good as Die, Monster, Die. Color out of space music. Color Out of space science. Thats definitely purple... Color out of space explained. Color out of space 2019 trailer reaction. Is it a commentary on Sam Neill that he has starred in 3 films that carry HP Lovecraft's cosmic horror. It's early to call movie of the year, but this one set the bar pretty high for me that's for sure. I recognize I'm slightly biased because there are very few things I love more than Lovecraftian horror and this movie absolutely nails that style perfectly in my humble opinion, even more so than I expected it to, easily the best I've seen of the Lovecraftian genre in years. It changes a lot of things and modernized the original story in some ways as you said, but honestly it was even more crazy and scary than the original due to the changes and there's truly some disturbing and grotesque parts in the movie which didn't happen in the original story. Also Nick Cage had some incredible moments that I can only describe as pure unadulterated CAGE. All in all an amazing movie and after watching it twice in the same day, I'm content on calling it a 5/5 for its style and can't recommend it enough personally. So I'd say it's my fave Lovecraft adaptation honestly.

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This is like a clive barker wet dream

Color out of space book. Color out of space 2019 scene. NUCLEAR Bomb. This should've been done in black and white. Soooooooo it's a house that turns into a stripclub. Does anybody know how I can watch this for free.

And what if one day I search for this trailer and doesnt exist

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Color out of space poster. Color out of space easter eggs. Color out of space review. Why do all these Lovecraft adaptations take on this style? They all seem like they are made by the same person. This actually looks pretty good though. Color out of space torrent. Color Out of space station. Next i want a Shadow over insmouth movie, an At The Moutains of Madness movie, and a From Beyond remake! That's it. I would have a little fun with The Invisible Man if he was stalking me. I see Dad people. Didn't they already make this movie.


Mysterious colors unlike any seen on earth.
I don't think this quite captures the horror of a Lovecraft's story. Maybe if it were done in the 80's when people weren't so easily triggered by every little thing. This feels like it's been heavily censored.
Color out of space ost.

Devour our flesh and blood. Color out of space (2019. Color out of space final trailer. Color out of space 2019. Color out of space subtitles. Color Out of spades. 14:46. ha! I was so happy to see Tommy Chong. Blessings from Colorado. These movies look dope. Whoever curated these, thanks! I'd like to see most of these. Event Horizon is really GOOOOOD, but remember to watch at night in silence and darkness : o. Easily one of my most favorite Lovecraft tales... this story gets to me in a way most horror can't... this story, and from beyond excite a certain curiosity, namely the actual scientific possibility of studying things outside of the realm of our own subjective reality, that makes me fearful of what such studies could do to the general sanity of mankind. H.P. Lovecraft has, without a doubt, created my favorite style of horror writing.

Color Out of spades hq. Things could be about to get weird Movies are no longer for everyone. They haven’t been for a very long time. In the space of thirty six hours I watched the new Downton Abbey movie at the matinee in Lubbock, and then the midnight showing of Color Out of Space at the Fantastic Fest genre movie festival in Austin the next day. Believe me, the two films are not designed for the same audiences, though I enjoyed both. The very fact that that Color Out of Space had its U. S. premier at the largest “genre movie” festival in America emphasizes the point, and the reason I say this at the beginning of my review is because I don’t want some people going to Color Out of Space thinking that it is Downton Abbey … and that says something about audiences today. Disclaimer #1: I received free tickets to the showing from one of the Executive Producers, Stacy Jorgensen who works with SpectreVision, which produced the film. I was not paid (or even asked) to do a review. Disclaimer #2: Stacy Jorgensen is producing the film that is based on my novel Pennsylvania, which is absolutely NOTHING like Color Out of Space, is not in the same genre, and has a totally different director and production team. Disclaimer #3: I am a plain person with plain sensibilities. I wore my plain (Amish-like) clothes to the premier. I am capable of appreciating all kinds of art, even stuff I may not personally choose as my favorite. I can appreciate a well-plowed row just as I can appreciate the artistry and lines of a Rolls Royce, though I would never own a Rolls Royce. It’s a strange thing to hear in the world today, but you can appreciate the artistry of things you don’t personally like. Disclaimer #4: If I didn’t like the film I’d say so, and everyone who knows me knows that. Ok, we got that over with… Color Out of Space (or as my wife kept calling it “Colorado Space”) is a cosmic horror film that combines three stalwart cult fan aesthetics into one mind-blowing picture. As the cheerleader movie guy shouted before the film started “We got H. P. Lovecraft! ” (*shouts and applause, ) “We got Richard Stanley! ” (*shouts and applause, ) “and we got Nic Cage! ” (*biggest shouts and applause. ) Cult-film director Richard Stanley had not made a feature length movie since he was abused and fired (and harassed out of Hollywood) while attempting to make The Island of Dr. Moreau twenty years ago. That event became so famous that they have made movies about the making of that movie. Of course none of it was Richard Stanley’s fault, but as they say in Texas “that’s how baseball go. ” That’s definitely how Hollywood goes. Lovecraft fans have bemoaning the lack of a truly Lovecraftian adaptation of his works for years. Then, of course, there is Nic Cage. One of my favorite actors and one of the most misunderstood artists in Hollywood. He has his own cult following and it is well deserved. The point is, don’t go to a cult-hit cosmic horror flick designed for midnight audiences with the perfect concoction of cult-hit ingredients if you don’t want your senses assaulted by light, color, sound, and Nic Cage. As for me, I don’t like cosmic horror or having my senses assaulted, but I truly loved this movie. So forget everything I said before. Go watch it… then hate it or love it, I don’t care. Let me begin my review (proper) by repeating what my friend author Steve Statham said after watching the film with us. “This is NOT a B-movie. It is too wonderfully filmed and constructed for that. It is an art film. It is beautiful and visually stunning. ” Steve wrote one of the best alien short stories I’ve ever read ( Perfect Capture) and I’d love to see that story made by the same team who made Color Out of Space. This movie is one of the most beautifully shot, visually masterful movies I’ve ever seen. During the relatively placid first act of the movie I was completely floored by how beautiful the camera work and cinematography is. That portion of the film is more Dances With Wolves than cosmic horror freakshow. And it really drags you in. Some time is spent establishing the characters and their particular issues. Nic Cage is portrayed as a mostly sane loving father and husband trying to make a go at being an alpaca farmer. One of his children is a witch, and another one is a stoner. The third young child is there for other reasons I won’t divulge, but for the most part they are a loving family. Oh, and you heard that right. Nic Cage is an alpaca farmer. You already want to see this don’t you? If you don’t want to see Nicolas Cage milking an alpaca (and drinking the milk warm straight from the animal) and you don’t want to see Nicolas Cage singing the praises of the future of alpaca meat, do you really love movies? Oh, and not for nothin’ but there is a hydrologist in the movie who is trying to do a study on the water quality in the area. He’s kind of important later in the film. The second act establishes the inciting incident – a meteor crashes into the front yard and stuff starts to go weird. And here is where we begin to encounter the genius of Nic Cage. Now, I’ve read a ton of the reviews from this film, and maybe… I don’t know… 95% of them are glowing. A handful of idiot critics who understand nothing and only spew (usually wrong) popular myths as facts, will tell you that Nic Cage is just an oddball who can’t act who goes “full Nic Cage” and people are laughing AT him and not with him. Nothing could be further from the truth. Cage’s decisions in this film are on purpose. They are decisions. They are planned. And they are hilarious and they achieve their desired results. When the whole audience laughs at a line (then applauds at the end of the movie, ) this is not a happy accident. This is not The Room. When the mayor and the sheriff show up to ogle the meteor and Cage shouts “Time to milk the alpacas! ” that line was planned and is delivered perfectly in order to draw the laughter from the whole audience that it inevitably receives. You are in the presence of an artist even if you are too dumb to realize it. Without giving any spoilers, the third act is just batshit crazy. Full-on crazy. You know its coming when each of the family members begins experiencing the weirdness in their own way, and the surrealistic and psychedelic colors become a main character in the film. Cage descends into absolute madness, and it is wonderful to behold. What happens to the alpacas is worth the price of admission (even if I’d paid to get in. ) The gooey-gross body horror will satisfy the cosmic horror people in the crowd. The rest is a full-on assault on your senses and your grasp on reality. And here’s the deal… it’s not supposed to “make sense” in the traditional understanding of that phrase. That’s the Lovecraftian part of it. I’ve always had a problem with alien contact stories where there is an assumption that contact with alien “stuff” (even if it is unexplained) would be purely rational according to our understanding of science and story structure. Lovecraft understood that any such alien contact might result in something beyond our capacity to understand it linearly. THAT’S THE POINT. I want to scream at that tiny percentage of ivory tower critics that this is a cosmic horror picture with Nic Cage that is Lovecraft and Richard Stanley and you are watching it at midnight at a genre film festival surrounded by goths and people with face tattoos and three inch wide ear implants and Doc Brown haircuts and wearing cravats who just drank the bar at Alamo Drafthouse dry. What were you expecting? Why are you even here? My conclusion is that Color Out of Space is a work of art. It’s not for everyone, just like weird cubist-era Picasso is not for everyone. Some people who love Vermeer do not like Picasso, but some people like both, and both can be considered truly great artists even if you personally don’t like one of them. If you like something new and different that is designed for a very specific audience demographic even if you are not in that demographic, go watch it when it comes to theaters. If you don’t think its for you, then don’t go watch it. Viva la difference. Michael Bunker.

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Bio: Gamer and Man Utd supporter. I sleep a lot when I'm not awake.

 

 

 

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Download free dark light color. Amazing music 🥰🥰🥰🥰🥰. Have to mention the billing on he film is strange. Obviously the top billing should be listed as Jessica Madsen who carries the film. The film needed better character development of the ex husband and police and the conspiracy theorist
The cinematography and production is very good. Good, scary atmosphere.
Because the idea is good, it should have been more epic. instead, a movie that should have been a big hit and needs sequels, might nit get that chance. It relies too much on more standard scares and action, when it could have been more in depth with it's premise.
Jessica Madsen was very believable.

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2019 / genre Horror / / Lily Frazer / Country UK / Creator Rose Glass. Is that the breast feeding mom from game of thrones lol. Saint maud tiff.

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My man dev is BOOKED and BUSY and im here for it. Release Date Apr 10, 2020 Written and Directed by Rose Glass Starring Jennifer Ehle, Morfydd Clark Synopsis The debut film from writer-director Rose Glass, Saint Maud is a chilling and boldly original vision of faith, madness, and salvation in a fallen world. Maud, a newly devout hospice nurse, becomes obsessed with saving her dying patient’s soul — but sinister forces, and her own sinful past, threaten to put an end to her holy calling. Posters Related Films 2016 The Witch 2018 First Reformed.

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Saint maudez. Saint maud soundtrack. ▼▼▼▼▼▼▼ WATCH& DOWNLOAD ❉❉❉❉❉❉❉ writed by Rose Glass / Average Ratings 7, 7 of 10 star / Genre Drama / 2019 / Director Rose Glass / Story Saint Maud is a movie starring Morfydd Clark, Jennifer Ehle, and Lily Knight. Follows a pious nurse who becomes dangerously obsessed with saving the soul of her dying patient. Saint maud ending. Saint maud music. Saint maud movie trailer. A24 and Adam Sandler. I never thought Id see the day. I thought that was Rachel Mcadams in the thumbnail xD. Saint maud plot. Saint maud spoilers. Dur yur vont a sveetie. leetle prawwwwwwn. Saint maud trailer subtitulado. Saint maud cast. Saint madeleine catholic church. Year: 2020 Director(s): Rose Glass Writer(s): Rose Glass Region of Origin: UK Rating: R Color, 83 mins Synopsis: Follows a pious nurse who becomes dangerously obsessed with saving the soul of her dying patient. ( Source) Life is built upon a foundation of extremes. How we view the world inevitably hinges on perspective. This is the shifting ground that Rose Glass’ Saint Maud treads. Glass’ story explores how easily good intentions can lead to selfish gratification – how faith and delusion are oft times the same thing, and how religious fervor often masks deep trauma and guilt. This is a thriller matching the craft and surreal aplomb of early Polanski. It’s intimately paranoid, painting a portrait of religious conviction in the wake of tragedy. It’s also cheeky as hell, dragging both unwitting protagonist and viewer down a nightmarish journey of self discovery and awakening. A distant cousin to The Exorcist or Possession, Glass’ effort is a stylish and macabre, anchored by a heart-stopping performance from Morfydd Clark. In the aftermath of tragedy, a nurse named Maud (Morfydd Clark) is looking for a fresh start. She’s also comforted by a faith in Christ, longing for nothing more than purpose within his will and design. Her new hospice client ends up being a woman named Amanda (Jennifer Ehle), who was once a highly renowned dancer. As she confronts her mortality, Amanda seems to have made peace in her own ways. She also quickly takes to Maud, responding irreverently playful toward her devout leanings. The two easily form what seems like a promising bond, but Amanda’s lifestyle begins to question and test Maud’s faith. As Maud grows increasingly possessive and bent on saving Amanda’s soul, she’s lead toward an important decision. There are a lot of things going on in Glass’ film, but what stands out most is its sincere, non judgmental exploration of faith, and inevitably, the importance of empathy. Glass is able to have her cake and eat it too, splicing surreal moments of shocking gore, hallucinatory imagery and moments of unexpected humor. Still, Glass’ themes as serious as life and death. Maud’s portrait is suffocatingly intimate, confronting questions of spirituality and devotion that are rarely expressed with this amount of depth. Balancing Maud’s extremes and viewing them from both inside and out feels fresh and sincere. On a more technical side, the film is stylishly captured by Ben Fordesman, and Glass doesn’t waste a single frame or poetic composition. The film’s atmosphere drenches Maud and Amanda’s home in shadows, always driving Maud’s unravelling state of mind into the abyss. As things ramp up to an inevitable end, Maud’s journey ends on a jolt that feels earned and personal. Fittingly, Glass’ ideas are nothing without the transformative performances of Morfydd Clark and Jennifer Ehle. Taking center stage, Clark presents a spiraling woman clinging on to hope amidst fragility. It’s a testament to her skill, that she’s able to balance the film’s deadpan humor with absurdity and honesty. There’s something primal about her performance, and it’s because of her that we feel film’s mounting insanity in a way that cuts both viscerally and emotionally. Opposite, Jennifer Ehle subtly pulls Maud’s story off the rails. We view her a bit from the distance, never knowing if we’re seeing a warped perspective of her through Maud, or seeing the truth. Ehle walks this tightrope with powerful nuance. Together, these two crystalize the film’s complexity with relatable, razor-sharp focus. Saint Maud’s conclusion truly lingers past its reveal. The unsettling implications reinforce Glass’ commitment to a multi-faceted perspective, inviting needed conversation about what we’ve just seen. It’s far and away a horror film that isn’t just content with surface scares, but rather ideas that stick with us. 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I read the book and now after watching the trailer, i'm excited to see how the complex plot will be unfolded. Saint Maud Directed by Rose Glass Produced by Andrea Cornwell Oliver Kassman Written by Rose Glass Starring Morfydd Clark Jennifer Ehle Music by Adam Janota Bzowski Cinematography Ben Fordesman Edited by Mark Towns Production companies Escape Plan Productions Film4 Productions British Film Institute Distributed by StudioCanal Release date 8 September 2019 ( TIFF) 1 May 2020 Running time 83 minutes [1] Country United Kingdom Language English Saint Maud is a 2019 British psychological horror film written and directed by Rose Glass in her directorial debut. It stars Morfydd Clark and Jennifer Ehle. It had its world premiere at the Toronto International Film Festival on 8 September 2019. It is scheduled to be released in the United Kingdom on 1 May 2020 by StudioCanal. Plot [ edit] Hospice nurse Maud ( Morfydd Clark) has recently converted to Roman Catholicism and is concerned that she may be possessed when she becomes infatuated with Amanda ( Jennifer Ehle), a former dancer in her care. Cast [ edit] Morfydd Clark as Maud Jennifer Ehle as Amanda Lily Knight as Joy Lily Frazer as Carol Turlough Convery as Christian Rosie Sansom as Ester Marcus Hutton as Richard Carl Prekopp as Homeless Pat Noa Bodner as Hilary Production [ edit] The film was developed by Escape Plan Productions with funding from Film4. In November 2018, it was announced Morfydd Clark and Jennifer Ehle had joined the cast of the film, with Rose Glass directing from her own screenplay. [2] The film was fully financed by Film4 Productions and the British Film Institute. Release [ edit] The film had its world premiere at the Toronto International Film Festival on 8 September 2019. [3] [4] Shortly after, A24 acquired U. S. and StudioCanal U. K. distribution rights to the film. [5] [6] It also screened at Fantastic Fest on 19 September 2019, [7] and the BFI London Film Festival on 5 October 2019. [8] The film went on to receive a Special Commendation in the Official Competition section of the London Film Festival, with the jury president, Wash Westmoreland, saying “This dazzling directorial debut marks the emergence of a powerful new voice in British cinema. ” [9] It is scheduled to be released in the United States on 27 March 2020, [10] and the United Kingdom on 1 May 2020. [11] Reception [ edit] Awarding Glass the IWC film bursary, the director Danny Boyle described Saint Maud as "a genuinely unsettling and intriguing film. Striking, affecting and mordantly funny at times, its confidence evokes the ecstasy of films like Carrie, The Exorcist, and Jonathan Glazer’s Under the Skin. " [12] Katie Rife of The A. V. Club gave the film a B+, saying that the finale was shocking. [13] The review aggregator website Rotten Tomatoes reported that 91% of critics have given the film a positive review based on 22 reviews, with an average rating of 7. 87/10. The site's critics consensus reads, "A brilliantly unsettling blend of body horror and psychological thriller, Saint Maud marks an impressive debut for writer-director Rose Glass. " [14] On Metacritic, the film has a weighted average score of 83 out of 100 based on 5 critics, indicating "universal acclaim". [15] References [ edit] ^ "Saint Maud". Toronto International Film Festival. Retrieved 19 September 2019. ^ "Rose Glass' Saint Maud starring Morfydd Clark & Jennifer Ehle starts shooting". Channel 4. 19 November 2018. ^ Erbland, Kate (8 August 2019). "TIFF 2019 Announces Docs and Midnight Madness Slates, With Films From Alex Gibney and Takashi Miike". IndieWire. ^ D'Alessandro, Anthony (16 September 2019). "A24 Picks Up TIFF Midnight Madness Pic 'Saint Maud ' ". Deadline Hollywood. ^ Wiseman, Andreas (20 September 2019). "Toronto Hit 'Saint Maud' Closes UK & France Deals For Protagonist". Retrieved 20 September 2019. ^ "Saint Maud". Fantastic Fest. BFI London Film Festival. ^ "Monos, Atlantics and White Riot among prize winners at LFF 2019". What's Worth Seeing. 12 October 2019. Retrieved 13 October 2019. ^ Lattanzio, Ryan (December 17, 2019). " ' Saint Maud' Trailer: A24's Latest Horror Evokes 'The Exorcist, ' 'Carrie, ' and 'Under the Skin ' ". Retrieved December 17, 2019. Launching Films. ^ "Saint Maud Director Rose Glass wins £50, 000 film bursary". 1 October 2019. Retrieved 1 October 2019. ^ Rife, Katie (October 2, 2019). "Celebrated Auteurs, Freddy Krueger Drag, and Exploding Eyeballs: The Best of Fantastic Fest 2019". The A. Club. ^ "Saint Maud (2020)". Rotten Tomatoes. Fandango. Retrieved 22 December 2019. ^ "Saint Maud Reviews". Metacritic. CBS Interactive. External links [ edit] Saint Maud on IMDb Saint Maud at Rotten Tomatoes Saint Maud at Metacritic. Saint maud wiki. A24 GANG. Saint maud 2020. Is that merryl streep. ‘Saint Maud’ Trailer: A24’s Latest Horror Evokes ‘The Exorcist, ’ ‘Carrie, ’ and ‘Under the Skin’ 17 December 2019 Indiewire The debut film of writer/director Rose Glass, “ Saint Maud ” is the latest bold horror movie from A24, the studio that brought you Robert Eggers’ “ The Witch, ” and Ari Aster ’s “ Hereditary ” and “ Midsommar. ” Opening March 27, 2020 in the U. S., the film premiered at the 2019 Toronto International Film Festival. Watch the first trailer for the film below. Back when “ Saint Maud ” and Glass won a special film prize in the U. backed by the British Film Institute, in October from a jury led by Danny Boyle, he described Glass as “an extraordinary talent and powerful storyteller” and said the film was “a genuinely unsettling and intriguing film. 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Saint maud review. Saint maud poster. A24 A24 is adding to its impressive catalog of horror titles with its unsettling new film, Saint Maud. As with Midsommar, The Witch and Hereditary before it, Saint Maud looks like another winning film that strikes a balance between cinematic beauty and genuinely terrifying storytelling. The film follows Maud, a strangely devout hospice nurse who becomes fixated on saving her dying patient’s soul. What begins as a domestic drama shifts into a disturbing, psychological thriller with a sadomasochistic undercurrent, before culminating in what looks like a full-blown exorcism. A24 is steadily carving out an entirely distinct space within the horror genre. And in Saint Maud, writer-director Rose Glass seems to draw on the most frightening elements of titles like Carrie, and The Exorcist, whilst also doing some altogether new and scary. Watch the trailer below. Saint Maud opens March 27, 2020 Isabelle is an Australian writer based in Berlin. What To Read Next.

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When you have worked in the field of divorce for as long as I have you see some stuff. You hear some things you can never unhear: creative threats, barely-disguised statements of violence wrapped in many a choice word, bedroom secrets you can’t forget even with the help of gallons of alcohol. You see marriages fall apart daily. You see couples on the brink of collapse suddenly fall back in love, come back together and dismiss your services with a poorly written email and a cheap fruit basket. The processes can take hours, days, weeks and, yes, years. I’ll never forget my hardest case. The one that didn’t quite make sense. The one filled with such violence and horror it chills me to think of it still to this day, 20 years after closing the case and some caskets. My therapist says it’s important to share the hard cases. Usually I ignore her advice and daydream about who helps therapize a therapist-- we all need help in our fields, you now? But sharing this case finally makes sense. Maybe I can close the case within myself; get some deep, dreamless sleep and not wake up screaming in my bachelor bed. The case was weird from the start. I had just started at my third and final firm, settling into the divorce branch of lawyering and feeling like I’d found home. I was the low man on the totem pole and I grabbed more coffee than casework, but I didn’t mind that so much. Higher ups had passed on this one couple; so many had passed, in fact, that they ended up with me. They weren’t my first divorce case and they certainly wouldn’t be the last, but I was still unsure how to handle them with all the rumors circulating their “differences”. Professionals who hardly gave me the time of day were giving me their sympathy, warning me over pricey coffees about the “bat-shit crazy Cady couple”. No one would say what had them so spooked, of course. Just that the higher ups didn’t have time for the trouble that would come with the Cady case. So I was tasked with sorting out the couple’s business. They seemed normal at first glance and, really, I couldn’t see why they were getting divorced. Sidney Cady was a bright-eyed, gorgeous young woman who, while a bit soft spoken, was incredibly strong-willed and opinionated. Craig Cady was a handsome guy with deep dimples when he smiled, which he did quite often, at first. They held hands as they sat before me, Craig absently stroking Sidney’s knuckles in a gentle and loving way. They looked at me with gratitude and thanked me profusely. Apparently they had been kicked around every firm in the area. I felt sorry for how unprofessionally and unfairly they had been treated; God do I laugh at how sorry I felt now, how I wish I would have kicked them to the curb just as quickly as everyone else had. The first meetings went smoothly enough. They were organized and educated in the divorce process. They had paperwork, deeds and titles, certificates-- everything you shared on paper in a little folder labeled “Divorce”. We breezed through the firm’s charges and their own finances, and started in detail on a meeting schedule. The Cady’s told me they wanted the divorce absolutely final by the end of the year. Sidney got a little teary as I noted their request-- it only gave us two months, but with how organized and certain they seemed I knew I could make it happen. Then I asked the damning question. “I have to ask, ” I remember cheerfully and harmlessly (I thought) saying as they held hands in front of me. “ Why are you separating? ” You learn quickly not to ask that question in such a way when handling divorce. There’s a lot of he-said, she-said. A lot of secrets. Usually some form of abuse or another. Unless they want to handle their separation in a dirty way, airing out all that laundry and throwing each other under the bus, it’s really best to just not ask. But I did. “Because He says we have to. ” Craig stated, very simply. I noticed a tremor in Sidney’s lower lip when he said it, more tears glinting in her eyes. Ah, I thought. Another case of Narcisistic-Daddy-Doesn’t-Love-My-Husband. “No one controls whether you can be together or not. ” I told them. “That’s a whole other branch in the complicated lawyer system. ” I joked. Trying to lighten the mood doesn’t help when the conversation actually isn’t about a controlling parent. Trying to lighten the mood doesn’t help at all when you’re dealing with a couple who believe they’re being haunted by a jealous and All-Powerful Being. Sidney had fled the room in tears and I was left with the awkward task of apologizing to Craig. I told him I hadn’t meant to be rude or invasive, that we could carry on with the proceedings without further questions if that’s what they wanted. I remember how much Craig seemed to age in that short amount of time. His smile faded, his skin paled, his eyes went vacant and dark. A shake started in his hand, a shake he seemed barely aware of. I noticed how dark the shadows under his eyes were; I remember wondering if they had been there the whole meeting, and wondering if they were sleeping at all. When Craig finally broke the awkward tension in the room his voice was raspy and he sounded like an unhinged, ancient man. “We were highschool sweethearts. We’ve been everything to each other. And then we bought this damn house…” Craig had slammed his shaking hand into my desk. “We bought the damn house and He makes us do things. He won’t let us live while we’re still together. ” I heard it then, the unmistakable capitalization of “He”. Their Being. Their Reason-For-Divorce. I remember I sat there with my mouth wide open like some kind of fool, completely unable to say anything. I wanted so badly to tell Craig that ghosts or haunted houses weren’t real; that maybe he and Sidney just needed some help and a vacation. I said nothing. Sidney came shuffling back into the room with the same blank expression that Craig had. A young, once-happy couple with the faces of people who have completely given up. Totally defeated. I pulled myself together long enough to tell Sidney I was sorry for upsetting her. I told the Cadys that we would continue this in our next meeting. I promised them I would have everything finalized by the time they wanted. They said they were grateful, shook my hand with their own tremoring hands, and disappeared for a whole month. After attempting to contact them several times I gave up, almost relieved to be rid of them. I decided the firm had been right-- the couple was crazy. Everyone had been right to throw their case out and ignore their insanity. I could handle a controlling parent or an abusive husband, but a haunting? No. I helped on a few pressing cases for the firm. No one heard from the Cadys. No one spoke of them. I had almost forgotten about their weird requests when, suddenly, they reappeared while I was out for lunch. I came back and the office secretary bustled over to tell me that “they” were in my office. I had no idea who “they” were, but assumed she meant the couple I was currently walking through their divorce-- a hardened pair of criminals who realized that a life of monogamy and dishes just wasn’t for them. I walked quickly to my office with every intention of telling them that showing up outside of scheduled meeting times would cost them extra-- and then there “they” were. The Cady’s. Craig was wearing a grimy long-sleeved shirt that had seen better days. Hell, it had seen better years, but apparently not a washer. Sidney had dark sunglasses on and what looked like a bright red rash or a burn creeping up under the collar of her turtleneck. The city was typically blustery, but I remember that day as being sunny and overly-warm. Too warm to be bundled up in a tiny corner office waiting to surprise your unsuspecting lawyer. “Mr. and Mrs. Cady, ” I greeted them cautiously. Sidney visibly flinched at the use of Mr. “We know we don’t have an appointment and that we skipped out on the last one. ” Craig started. He talked quickly, almost in a manic state. I noticed purple scars on his hands and face-- deep and raised and nasty. The shadows under his eyes were monstrous and his eyes themselves were… well, have you ever looked into the void and had it look back at you, begging for help while it fades into nothing? A noise echoed through the room and I realized that Sidney was grinding her teeth. Viciously, loudly. Dragging her jaw back and forth in a tight, rage-fueled motion. I was glad I couldn’t see her eyes. “How may I help you? ” I asked, again cautiously. I wish I would have turned them away. I wish I hadn’t gotten sucked in. “When we finalize the divorce we’ll be splitting the house. If we both sign off on it, can we have the house burned down? ” Craig asked. Right off the bat. Right out of nowhere. He pulled their organized “Divorce” folder out and plopped it down in front of me. I absently flipped it open to the first few pages; a section detailing their house and their property, pictures included. “Um, arson is arson no matter how you cut it, Craig. ” I said, completely unsure what he was proposing. And confused-- the pictures of the house, the pictures I hadn’t paid much attention to at first, were stunning. Why in the hell would they burn down a gorgeous three-story home sitting on a healthy stretch of isolated land? “No. We wouldn’t be burning it down, not like that. I mean…” Craig was visibly frustrated and struggling to find the right words. I’d had couple’s burn each other’s property and threaten arson aplenty in the field, but asking permission first? “I mean, if we both signed off on it and if we used like the fire department or something, could we burn the fucker down? ” “Burn it down. ” Sidney had stopped grinding her teeth long enough to chime in, her voice dead-flat and emotionless. “I--” I was stunned. Speechless. “I would have to look into city ordinances. There would have to be a good reason, and it doesn’t look like the property is crumbling or a hazard to anyone’s safety--” “It’s killing us! ” Sidney shrieked. She had jerked upright so suddenly that her sunglasses had fallen slightly askew. An unmistakable pair of bruised-black eyes glared out at me. There was fire in Sidney’s eyes, at least. The woman was enraged, and maybe a little unhinged. “If the property is a hazard we could arrange for demolition I believe, yes. ” I said. “Again, with good reason, and I’d have to double-check ordinances... Is this something you want done immediately, is the house a priority? ” “It has to be after our divorce. ” Craig said. His voice was shaking. “We won’t be around to watch it burn. We can never see each other again once the ink dries, but I want that house turned into kindling if it’s the last thing I do on Earth. ” “Instead of liquidating assets and splitting profits, you want to just… burn it? ” I whispered. They both agreed. *** Over the final weeks of the year the Cadys would periodically appear and disappear at the oddest times and hours. They slowly revealed their story to me as we discussed their assets and filled out various paperworks. I’ll admit, I was so astonished by their claims that half of the time I forgot to bill the couple. I was haunted by their tale and unable to sleep as it was; keeping up with the Cady’s case and my other workload was taking its toll on me. I would come into work and hope they wouldn’t appear so I could get a night’s rest and my work done on time. There they would be, with another piece of the puzzle, always looking worse than the last time. It wasn’t just Sidney who came in looking like a punching bag, either. Sometimes Craig would be sporting a black eye or infected claw-marks on his skin. Once they both came in with a broken nose. They blamed their shared abuse on their Being: Sidney and Craig dated through high school and college. They had few downs, but all the ups one couple could have. They started careers in fields of their choosing, saved diligently and ate plenty of. 50 cent Ramen dinners and eventually bought the house of their dreams: an abandoned property on an overgrown patch of acreage in their hometown, a little spot on the map just a city over. A house they had both obsessed over since they were little. A passion project for the ages. They achieved their goal and started renovating the house and the land. As quickly as they cleared out the dust and the dirt, pried up loose floorboards and scrubbed away the weird graffiti in the basement, so quickly did their joy start to crumble. Sidney said it started with her being pinched in her sleep. She would startle awake, crying out in surprise and a little bit of pain, expecting to see her prankster husband going about seducing her the wrong way. Craig was never in their marital bed, however. Craig started sleepwalking the night they officially moved into the house. The Cadys told me he hadn’t slept in their bedroom the entire time they had lived in the house. He would crawl into bed with his loving wife and pray that that night would be the night he could just hold her tight enough to stay. No dice. Craig would stumble down to the freezing basement where they had tirelessly scrubbed away markings and graffiti. He claimed he would stand there, bare-footed and nearly-naked, for hours. Until Sidney would be pinched awake and come looking for him. They tried sleep specialists; perhaps they were both suffering from some sort of sleep condition neither of them had heard of? Sleep specialists didn’t help-- the Cadys claimed that when they slept in the hospitals or study rooms there was no sleep-pinching or sleep-walking. They showed me receipts of their doctors’ bills, showed me the results of the multiple tests and statements from the specialists. A severe insomniac myself, I even recognized a couple of the doctors names. They told me that the sleep issues were just the start; the couple quickly spiraled into madness and violence. Sidney was hearing a voice of a man; she said He would whisper to her all night long, while Craig was standing stock-still in the basement, and He would describe the ways that they would die. Craig was hallucinating. He kept seeing a tall form in the corner of his eye. Craig swore several times he even saw the man clearly-- and he said that the man winked at Craig and drew his finger across his throat in a slashing motion. Back to specialists they went. They needed sleep. They were snapping at each other, falling asleep at their jobs, being reprimanded and taking that anger home. Sidney said she had never been so angry and exhausted in her life. Craig admitted to violent fantasies where he murdered Sidney horribly and then himself. Their assets were hard to separate and divide-- both of the Cady's parents were dead. Sidney’s family had left her a hefty fortune and Craig’s parents had left him far from bad-off, too. They talked about how hard it was with no support; they had no surviving family and very few friends. When their erratic and irrational behavior started, the few friends they had disappeared, leaving Sidney to Craig and Craig to Sidney. Their motivation to talk to doctors and get help dwindled quickly. Their hallucinations got worse. The anger and violence escalated. At one point Craig had ripped up his dirty shirt and showed me a 2-inch long scar on his abdomen. They had laughed and kissed one another after Craig told me Sidney had stabbed him less than two months after moving into the house. They had tried to kill each other, kill themselves, and kill the house. They shared burn scars and horror stories. They stopped laughing and stopped smiling and got older and older the more they came to see me. And I started to believe them. They had proof of visiting specialists and psychiatrists. They had receipts from hiring exterminators, in case it was some kind of pest they were allergic to driving them crazy. They had receipts from hiring home inspectors to check for mold or gas leaks. They had a video of a priest blessing their home, and a video of Sidney chanting in a different language, and a video of Craig sitting on the edge of the roof with an axe and a beer in his hand. The Cadys then told me that when they couldn’t kill themselves in their house they attempted to do it outside. They put together a picnic of food, wine, and rat poisoning. They split the bottle of doused wine and, after falling into convulsions and vomiting, woke up in their bed with nothing more than splitting headaches. “We hadn’t felt that free in a year. ” Sidney told me, referring to the relief that came with simply stepping outside of the house. “You see why no one would take our case now. ” Craig had said sadly, dejected. “What I don’t see is how divorcing will fix this issue. It was nearly 8pm and we were still talking in my office, eating takeout and rehashing details I’ll never forget. “Can’t you just leave? ” They had both laughed at me bitterly, a false sound that sounded inhuman. “Don’t you think we’ve tried? We’ve tried to die, we’ve tried to kill, we’ve tried to burn the fucking house down. ” Sidney told me, revealing the angry red burn scars on her neck. “He won’t let us leave. But he keeps separating us in the house and pitting us against each other, this is all we can think of. ” “We were going to just move apart and never speak of it again, but neither of us can afford to not go through all the proper steps and channels, not with all the money we sank into the house and those specialists. That’s how we ended up here. Getting a proper divorce. And then we’ll never see each other again, but maybe we’ll survive. He sounded like he might have the faintest glimmer of hope, deep, deep down. The two of them had seemed so defeated I was pleasantly surprised. “I have only a little paperwork left to push through and then we’ll be done. You both can have happy and successful lives after this. ” They had looked at each other with such love and such sadness that it nearly broke my heart. I thought how sad and unfair it was that the couple before me didn’t get to stay together. They had suffered a bout of bad luck, or psychosis, or hell maybe a true haunting, and they were destroyed by it. “He has told both of us we don’t have much time left. ” Sidney told me. “This has to be done by next week. ” I told them it would be, of course. I was good at my job and I liked them, I wanted to help. They left that night and with slight smiles on their haggard, scarred faces. We had hope. *** Of course, life gets in the way. I hadn’t slept properly in months and my work was stacking up. My bosses were taking notice and were no longer excusing my “slacking off”. They wanted me to prioritize several other cases, and drop the “Crazy Cady” case or lose my job. I had other couples to help and rent to pay. I was muddled up and exhausted and I did as I was told. The Cady paperwork slipped from my mind and, suddenly, it was January 1st. I hadn’t received any calls or urgent emails. The Cady’s hadn’t shown up at the office, worse for wear or better off, or whatever happens when an apparent year-long curse is lifted. I got my work back under control and closed out the cases that had needed closing for a long, long time. I finally finished the Cady case and, having secured their signatures already, finalized the divorce. I tried to call them to have them come back to the office, discuss the final steps. Their numbers had been disconnected. I tried to email them and received an error message. I wrote them a handwritten letter and never heard back. My concern grew. I obsessively checked the news for the surrounding areas. I was constantly looking out for any hint of a couple that went bonkers and slaughtered each other. I started losing sleep and losing track of my job again. Finally, I reached out to an acquaintance who worked for the local PD. The pause on the other end of the line after I explained that I was worried for the Cadys was the longest of my life. He finally told me I should come down to his office, that he had something to tell me. *** I drove a town over and pulled into the police department with a heavy heart. Something had already told me that the Cadys were dead. I just didn’t know how, or when, or why. I still didn’t know if I fully believed their insane claims of hauntings and His presence. My friend, Bob, hustled me into his office and closed the door. He braced me for the bad news and asked if I wanted to see the case file. It was thick; too thick for a young couple that hadn’t gotten police involved during their domestic “differences”. I swallowed the lump in my throat and rifled through the file, glancing with growing dread at the horrific pictures buried within. “It’s the worst case we’ve seen here in decades, the worst case I’ve seen myself. ” Bob told me. He looked pale as he walked me through the crime scene and the case. He advised that I skip the autopsy pictures and, finally, told me the PD still had no answers. “There were no notes. There weren’t other fingerprints or footprints, there wasn’t any sign of forced entry. But the way they were killed, slaughtered … It was like some sort of Satanic sacrifice sort of ancient ritual that just isn’t supposed to happen anymore. ” Bob was visibly shaken. I took his advice and closed the folder before I got to the autopsy pictures-- the hundreds of pictures of blood splatter, brain matter, severed organs and the mutilated faces of the Cadys had been enough for me. Thick dark smoke had been seen on the 1st of the year and when the fire department arrived they found a brushfire singing the side of the house. And the Cadys slaughtered in their basement. The autopsy results put their death right after midnight of the 31st. “I went to school with them. The whole town knew they were going somewhere. They were too young to die, and no one should die like that. No one. ” I thanked Bob for his time and his honesty. I walked to my car in a daze and stared blankly at the divorce paperwork I had brought with me; some naive part of me had foolishly thought Bob would tell me the Cadys were fine, that I could see them and give them the good news. I cried on my way home, completely distraught by everything I had just learned and seen. *** I was one of the only ones who attended the joint funeral of Sidney and Craig Cady. It poured rain and the priest had little to say-- I recognized him from the videos of the house cleansing and blessing that the Cadys had shared with me. The Cadys, always organized and sensible, had taken care of their final will and testaments just after purchasing their first home together. Their caskets were gorgeous and the plot they had picked out was in a good place. They rested side by side. I stood at their grave long after the funeral ended with my doubts and my guilt. I remembered how I rooted for them to somehow stay together. I remembered how I didn’t really believe their claims at all, at first. And now I would be the only one to know the whole story, the only one left who knew what went on in their house. I remembered their request to make sure the fucker burned. It took a lot of paperwork, a few favors, several weird conversations and a lot of exasperated firemen, but eventually I honored the Cady’s request. The city issued a controlled burn of their property and condemned it, permanently. The rubble and ashes of their horror house would never be disturbed or built on again. I check in on the wreckage, and in on the Cadys, every now and again. I pulled myself together enough to keep my job, fall back in love with divorce work, and move up in the firm. I still obsess over their case, though. When I fall asleep I suffer from nightmares where I watch their slaughter and sometimes… sometimes I think I see a tall man in the corner of the room, basking in the blood of the crazy Cady couple.

Free Watch Nocna rodzina. Early squad 🤩🤩🤩🤩🤩 Love you Audrey 👑👑👑👑👑👑👑. Free Watch Nocna rodzinka.

 

I just wanted to be famous. Just like anyone else... Especially when I could get paid good money for playing “myself. ” After marrying Darcey, I’d done my part for reality T. V. I’d sacrificed my dignity for a chance to be on the telly. 90 Day Fiancé: Before The 90 Days made me a household name to both desperate housewives and dutiful husbands everywhere. My Instagram was constantly flooded from thirsty women. My “fame” helped me get invited to so many parties and events. My life now a B-list celebrity’s wet dream. Just like I’d always wanted. Coming from England, I had no idea how far the fame game went in the States. I mean I had no acting experience. But of course, that didn’t matter on a show like 90 Day Fiancé. I liked to think I was tall, dark, and handsome but instead, I was more tall, pasty, and handsome. I did well with the ladies, sure. But I also had fashion sense and wit to spare. Combine those with the blue eyes and I had Darcey hooked from the start… not that it took much effort on my part. While neither of us catfished, upon meeting Darcey, I realized we both liked our filters… I was a little chubbier at the first meeting. Darcey in similarly rough shape… But she was still pretty. Darcey had a mad radiance about her, and sometimes, that craziness could be attractive. Then again, we were both drunks so I guess that helped. Finances were never an issue either. And neither was work. What can I say, both of us came from well-to-do families. English high class meets All-American sass. And those TLC checks certainly helped. Darcey and I were a match made in trash T. Heaven. Along with this beautiful if maddening heiress, I now had a chance to snag the spotlight I always wanted. A real shot at stardom. To my relief, I wouldn’t need much help to secure attention either... not with dear old Darcy leading the way. I must say the Silva twins had this shit figured out. Both Darcey and Stacey played up the cameras like two pretty court jesters. They claimed to have acting “experience, ” but I took that nonsense with a grain of salt. What these twins did have though was an insatiable drive for fame… The same drive pulsating through my veins. The sisters also shared a competitive spirit when it came to chasing guys and flaunting their outrageous behavior for all the world to see. Perfect for these TLC freakshows. And the Silvas were naturals at it… well about as natural as one can get behind the layers of make-up and surgeries. Or whatever other formulas they could find in their ever-increasing need to look younger. Recently, Stacey got married. And over time, I began to suspect I’d chosen the wrong Silva dollar… You see, when I met Darcey I was ready for a committed relationship. But little did I know that I was about to be committed to an asylum rather than a stable girlfriend. I guess I should’ve been careful what I wished for… Being followed by cameras and crew was one thing. Living with Darcey Silva was another. Beyond the platinum blonde hair and demented but somehow charming smile, Darcey’s pendulum of emotions swung everywhere. There were moments where she begged me to propose. Moments she’d latch on to my bottom or crotch in public. Moments where she’d make her hugs into a hangman’s noose I’d never escape. Then there were the other times... The times she’d grow jealous over a woman eyeballing me. The tantrums Darcey would throw when I just wanted to stay home. And don’t even get me started on her incessant crying… Darcey’s waterfall had long been perfected and patented for the cameras. She could even cry on cue. Not to mention Darcey loved displaying that obsessed gaze of hers… That look TLC so often exploited. To this day, Darcey’s desperation still a huge selling point for 90 Day ’s success. Through the good and bad, I could always count on my darling to be drunk by noon. To somehow fit herself into those skin-tight clothes. And to top it all off, Darcey was still hung up on her ex Jesse. Jesse was a younger man in his twenties. A blonde Dutch fellow who was nice enough from all the “chance” encounters TLC arranged between us and him. He certainly checked off all of Darcey’s superficial boxes: muscles, abs, ass, stylish… foreign. Only this cub ran away from his cougar once Darcey had him shipped over to the States. I knew Darcey still hadn’t moved on. And neither had the show’s producers judging by how much they’d force Jesse into our lives and your living rooms. Apparently, the thirstier viewers couldn’t get enough of his bodacious body or smug arrogance. That being said, I didn’t have a problem with the guy… The problem was Darcey still did. In our brief meetings, Jesse would tell me as much. Particularly how a drunk Darcey would leave him vampire voicemails well after midnight. Apparently, she saw Jesse as another escape to a sweet, promising youth that’d left her long ago. Honestly, I cringed too much to be jealous. Hell, at this point, Jesse could have her back for all I cared. Certainly would’ve made my life easy now that I’d already secured my fifteen minutes of fame, ahem, love. But much to both my horror and excitement, Darcey and I were still a hit. So much so I had to end up marrying the wannabe actress. I can’t say I was too happy… but there was more money and fame to be made. Then of course, the inevitable happened: TLC wanted a spin-off. And now that we were married, my darling wife agreed to it without even asking me. Darcey’s desperation had prevailed again… Just my fucking luck… With filming starting soon, Darcey and I retreated to Atlanta, Georgia. A brief break before the chaos began. But I had other plans... a little surprise for Darcey. On Friday night, we checked into the Hotel Non Dormiunt. Somehow, Darcey found this brick behemoth. There were no reviews on-line, no history of the hotel existing whatsoever. But I let Darcey pick. Even when she was beyond drunk. And even when we drove past the city limits to find this place, I didn’t complain. Especially since it’d be the last hotel Darcey Silva would ever choose. The Non Dormiunt was expensive but at least the interior was prettier than the towering mausoleum it resembled outside. The lobby was spacious, clean. Full of glowing lamps giving off a reddish tint everywhere. Surrounded by painted portraits of people I’d never heard of. Down to the phonographs and telephone booths, the hotel looked to have been forgotten over time... Gone with the wind. And to no one’s surprise, there was plenty of room. “Anywhere except the seventeenth floor, ” the middle-aged receptionist told us. She was a black lady dressed in a skimpy purple uniform. The type of uniform best used for selling cigars rather than premium hotel rooms. Adjusting my thin glasses, I glanced over at Darcy. The tight black dress fit her well tonight. For once. Then again, maybe my own drunk buzz was distracting me. “Seventeenth floor? ” I said in confusion. “Yes, ” the receptionist said. She leaned in closer. “It’s out of order. ” Taking control, Darcy grabbed my arm. “Well, we’ll take something on the first floor. ” The bellboy was quiet on the way to room 114. The purple suit covered his body, the purple cap his hair and age. His short body screamed high school but the craggy face screamed mid-sixties. Darcey kept trying to make small talk to no avail. Both with me and the bellhop. Finally, we reached the room. To our relief, there was a minibar. One that would need to be restocked before Darcey and I checked out. I put our bags by the queen-size bed. Took a quick shot of Scotch. And then another one. Then scanned our home for the night... The room fit the Non Dormiunt’s aesthetic to a tee: classy, elegant. The warm air cozy… But the whole scene felt a bit off with the times. Sure, we had the bare minimum in electronics. Dim lamps, an unreliable air conditioning unit. The tombstone radio. Even a bulky T. that likely promised us HBO and pay-per-view. The bland white walls contrasted our colorful rugs. We had a stone fireplace... And those red Victorian curtains surrounding the bed were a good touch. As if on cue, Darcey pulled the curtains apart. Over and over. “This’ll be good for later, Tom! ” cried her obnoxious rasp. I did my best not to grimace. Instead, I just stepped away. As much as I wanted to walk out the room, I turned the lock, entombing myself with Darcey’s manic madness. “Of course, ” I replied. The repetitive swoosh of those curtains felt like knives jabbing me deeper and deeper. I ran my hands along my arm. Over the blue suit jacket. I stole a glance at our wide windows. At the darkness hovering outside. “Ooh, I can’t wait! ” I heard Darcey exclaim. My restless eyes faced the fireplace. The mantle above it had several miniature statues. Wide sculptures portraying a lynx and goat. All of them realistic enough. Maybe too realistic... Their snarling faces unsettled me. But amidst my rising nerves, I felt relief to see there was room for one more item up there. “We’ll have some privacy! ” Darcey said. Compelled, I walked up to the fireplace. There was a spot in the middle of the mantle. Just perfect… “I just wanna look pretty enough, ” Darcey rambled on. “I don’t want to look bad for you, Tom. ” Forcing a smile, I stopped at the mantle. “Nonsense, dear. ” With slick speed, I reached into my jacket pocket. The small candlestick felt heavy in my hand. The handle so firm. “You look fantastic. ” I could hear Darcey stagger toward me. Her heavy, carnal footsteps. “But Tom! ” said that cry I’d recognize anywhere. The cry of a dying, sex-starved coyote. And then I knew I had to act quick. In a split second, I placed the golden stick right there on the mantle. Right in that perfect spot. “I wanna be sexy for you! ” Darcey continued. I turned to see the drama queen get closer. The man-made Barbie doll shook her ass in a most hideous fashion. Her drunken smile bigger than those overemotional eyes. “Is this hot, babe? ” she asked. A rhetorical question she didn’t want the answer to. Fueled by ferocity, Darcey’s eager hands gripped my shoulders. Her colorful claws fastened deep into my flesh. Now I was face-to-face with her pretty mask. “I wanna have fun tonight, ” she cooed. “Just me and you, Tom. ” Like a hungry animal, Darcey leaned in close. Ready for that wet kiss… Until I held her back. I stumbled on my words. “I thought you were gonna call the manager? ” Darcey flashed that wicked smile. “Nobody answered. ” I stole a look at the windows. Took note of their locks… All I needed to know for my perfect plan. “Figures, ” I muttered. “Goddamn Southerners. ” “I did order room service, ” Darcey said. I faced her. “Room service? ” “Well, yeah. ” She let out a drunk chuckle. “I got hungry. ” Nodding, I looked back at the candlestick. My future murder weapon. My key to freedom. “Again... ” “I’ll pay for it! ” Darcey said. She ran a hand along my chest. “You know that. ” Her other hand grabbed a hold of my ass. “I hope you don’t mind, ” she said in a soft voice... An attempt at a seduction no one asked for. Battling my disgust, I leaned back against the mantle. “Right…” I looked into her beaming eyes. “You did tell them room 114? ” Darcey giggled. “Duh! That was like thirty minutes ago! ” I looked on at her. Dreading her demands… Especially the ones in the sack. “They take their time, I see, ” I quipped. “Mmm-hmm. ” Unable to control herself, Darcey leaned in for another kiss. The sudden movement possessed by passion. Trying to delay the inevitable torture, I stole a glance at the red door. “I mean how long does it take for room service to get to the first floor... ” Just inches away from my lips, Darcey grabbed my chin, making me face her. Deliberating on her own “kill. ” “You okay, Tom? ” she teased. “Here, let mama cheer you up. ” I played along. Left with no other choice, I felt on Darcey’s juicy buttocks then moved along to those breasts. Her boobs were hard to miss, after all. All the while, my other hand strayed toward that candlestick. My escape. I held the brass handle in a tight grip… Forced myself to keep fondling Darcey’s warm boobs. Even if the touch sickened me. Much like her moans… “Keep going, Tom! ” Darcey yelled. Shutting her eyes, she snatched my wrist. Guiding me to those breasts. “Oh, yes! ” Caught between disturbed and intrigued, I watched Darcey sway before me. Her eyes closed, her tongue hanging out. Darcey a blonde dog in heat. Permanently for that matter... Staying silent, my grip tightened on the stick. Ready to transform this night from agonizing to euphoric… Then I felt a cold touch near Darcey’s boob. A sharp edge. Padding that was all too dangerous. Startled, both Darcey and I confronted one another. Nervous expressions conquered us. Darcey’s eyes in heightened shock. “Oh! ” I yelled. Drawing my hand back, I fell against the mantle. I struggled to stay smooth… especially with the candlestick still in my grasp. “I’m sorry! ” Darcey said. With trembling hands, she patted down her huge boobs. Her focus stuck on her chest. “I’m sorry, Jesse. ” I cracked up. Now I held on to the stick even tighter. Felt even more sadistic excitement rush through me. “Oh, Jesse? ” Shivering from stage fright, Darcey faced me. “Oh, Tom. I didn’t mean it like that-” “Where did Jesse come from? ” I interrupted with a smug smile. Man, I was going to enjoy killing Darcey… especially when she was this embarrassed. Darcey took a step back. Awkward beneath my drunk, unwavering stare. “I didn’t mean to, ” she said in a shaky, defensive tone. “I didn’t mean to, Tom! ” Pleading, she grabbed my arm. Teardrops already forming on her campy canvas. “I promise! ” Pushier than ever, Darcey lunged in closer. Literally cornering me. Now I felt those mammoth breasts. The suppressed beer gut… and the hard metal lodged somewhere in Darcey’s mysterious boobs. I wasn’t scared or unnerved. Such strange shit was typical for the Silva sisters. Particularly in their endless quests for perfect bodies by any means necessary. Self-loathing was one Hell of a drug… “Tom, tell me something, ” Darcey bellowed from the bottom of her insecure soul. Those claws caressed my shoulders in a death grip. Finally, I was forced to let go of the candlestick. Struggling to hide my agitation, I kept my gaze neutral. The death dream delayed for this agonizing “magic moment”... “Am I still pretty? ” Darcey continued. Thick tears ran down her face. Her make-up overflooded into puddles of foundation. Trapped in her clutches, I nodded. Prayed my glasses weren’t giving away the bored indifference in my eyes. “Darcey, you’re beautiful, ” I told her, playing up the elegant British accent for all it was worth. “You really are. ” “Jesse always said I needed to lose weight! ” Darcey continued on, ignoring my weak attempts at reassurance. “He said I wasn’t pretty enough! ” Code red. I knew now I had to start acting earlier than anticipated… Time to play lovey-dovey husband once more. I leaned in toward Darcey. Too close for comfort but I had no choice if I wanted to talk her off this anxiety ledge. I even forced myself to grab a hold of her wax hand. Darcey’s kaleidoscopic jewelry nearly blinding me. “You are pretty, darling, I promise. ” Salivating her downward spiral, Darcey turned away. The avalanche of tears still rolling on down. Now she trembled in my grip. Not from nerves but from excitement. The high she got anytime I held her hand and pointed this spotlight on her constant outbursts. “That’s why I go to the doctors, ” Darcey said. Still avoiding eye contact, she motioned toward her face and body. “That’s why I get all this, Tom! I wanna be young! ” “But you’re already pretty-” I started. Snapping into violence, Darcey pushed me back. Her strength sudden but never surprising. Especially when she got like this. I fell back. Felt the wooden mantle smash into my back. Heard the loud collapse of those statues… and candlestick. Darcey’s bulging glare ate me alive. “I wanna be prettier! ” she yelled. Uneasy, I stared on. Struggling to talk to my gargoyle wife. “Darcey, I think you’re beautiful, darling. ” I reached toward her face. “Jesse isn’t here, he doesn’t matter. ” Darcey snatched my hand. “Then fuck me then! ” Horror conquered me. I kept from cringing… or at least I hoped I did. “Darcey-” I started. Before I could finish, Darcey grabbed me and sent my shaky hands straight into her cleavage. A suicide mission for my soul. Our dignity died right there on the spot. Darcey forced my touch through those melons. On their firm, tough texture. All the while, my fingers kept brushing against that bizarre metal… I stood still, helpless. A husband held hostage. Her histrionics growing crazier, Darcey tilted her head back. Closed her eyes. The tears replaced by slobber. Her trembling became convulsing… As if Darcey was experiencing an orgasm out of this world.... “Fuck me, Tom! ” she screamed, her voice at a hysterical high pitch. “Prove to me I’m pretty! ” While guiding my journey through silicone Valley, Darcey gave my ass a tight squeeze. “Come on! Show me, Tom! ” Facing my darkest fears, I moved in toward those bloated lips. Talked myself into getting any sort of arousal. “I will, darling, ” I said. “Come on, Jesse! ” Darcey shouted. I stopped and glared at her. Ready to call her a complete bitch... Until a hard knock interrupted our “love. ” Startled, Darcey and I faced the door. Darcey’s thirst paused for the moment… giving me a much-needed intermission. Another knock erupted. “Room service! ” cried the beaming voice. Eager to leave, I maneuvered away from Darcey. God knows I needed the space. “I’ll get it! ” Darcey reached toward my arm. “Are you sure? ” I moved quicker. Just escaping her grasp. “Yeah! ” At the door, I stole a glance back at the mantle. The candlestick was still lying there. Still awaiting my bloody touch and even bloodier crime. Of course, Darcey’s mad smile stayed on me. Moving beyond her control, Darcey’s hands strayed back toward those boobs. All while she watched me… Yet another embarrassing attempt at seduction. No thanks, Darcey. Shaking my head in dismay, I opened the door. Sure enough there was a female bellhop. One with the same height and frame as Darcey. Probably just as annoying... The purple cap hid her hair, highlighting the lady’s make-up smorgasbord of a tan face. A familiar face... Smiling, she held up a long tray. The silver cloche ready to be pulled. “Room 114? ” she asked in a squeaky-clean tone. I shivered and stumbled back. The hallway’s cold air even affecting this Englishman. “Uh, yeah, that’s us. ” Without hesitation, the woman jumped inside, slamming the door behind her. She fixated those eager eyes on me. Her crazed Darcey look sent chills down my spine. My trembling arm waved at her. “What the Hell are you doing! Get out! ” In a vicious taunt, the bellhop looked me up and down. Like a starved creature studying its prey. “I’m here for you, Tom... ” She yanked the cloche off and dropped it to the ground. The clang shattered our tension. But didn’t stop the dread. Or my ever-growing fear... There on the silver platter was a pristine hatchet. The blade so shiny. The wooden handle so firm. An all natural weapon… Next to it, I saw a small camcorder. “What the fuck! ” I cried. Cackling, the bellhop scooped up the hatchet and camera. Threw the tray down by the cloche. The woman’s grin grew wider. “You don’t recognize me, Tom? ” said a voice reverting back to its natural rasp. I stumbled back by the mantle. Closer to my candlestick. My defense. The lady tore off the cap and shook her head in supermodel fashion. With a delusional supermodel’s flourish. Long flowing blonde hair exploded all around her. The extensions were obvious. Much like the full rack jammed beneath her uniform... Through the orange tan, the bellhop’s identity was illuminated: Stacey Silva. She had that pointed nose, one of the few differences between her and her twin. Both of them basically bloated Barbies. The psychotic smiles shared between them. “Stacey…” my uneasy voice muttered. “You got me! ” she beamed. Holding the camera steady, Stacey pointed it right at me. “You ready for the show, Tom? ” Playing a confident executioner, she then raised that sharp blade. Stacey was thirsty, alright. Thirsty for blood. “I’m afraid you’re only in one episode. ” She took a menacing step toward me. Fueled by adrenaline, I turned toward the mantle. My sights set on the stick. I lunged for it. A knife shot into my stomach. One quick plunge. The blade went in deep… held in place by a kaleidoscopic grip. Crying out, I looked down at Darcey’s army of rings. The gaudy bracelet… And the heavy kitchen knife she’d kept hidden in those heavier breasts. Following the blade’s reflection, I looked up at Darcey’s demented eyes. The crazy smile. “Sorry, babe, ” Darcey quipped. Both my hands latched on to Darcey’s wrist. Warm blood flowed through our fingertips. But Darcey refused to let go… I couldn’t speak. Couldn’t move. “It’s for the show, Tom, ” Darcey continued. She gave me a kiss on the lips. A farewell kiss so long and sloppy… Darcey pulled back. Her grin still locked in on me. She caressed my hands, her emotions too extreme to be insincere. Darcey never that good of an actress. “Now you’ll be famous like you always wanted. ” Darcey thrust the knife in further. I cringed… for once, not from sex and Darcey. But from pain. More blood sprayed across the rugs. More red to match the Non Dormiunt’s eerie decor. Satisfied, Darcey stepped beside Stacey. Breathing heavy, I stumbled down to one knee. Now my smiling wife stood up over me. My body was too weak, the knife too deep for me to pull it out. “I got it, sis, ” I heard Stacey tease. Straining, I turned to come face-to-face with the other Silva. Now it was her turn… The hatchet gave me a savage whack across the temple. Fresh crimson coated my glasses. And the war paint became the Silvas’ latest make-up. I hit the ground. Darcey’s kitchen knife sunk in deeper. My voice now joined my dignity in death. Helpless, I looked on at the twins’ grins. Felt my head turn into a sprinkler… The blood kept bursting out in intermittent sprays. A huge chunk of flayed forehead dwindled over my eyes... But I still saw it. Buried deep in the fireplace was a red light. A large studio camcorder tucked away in the very back… Right next to a couple of boom mics. Standard stuff for TLC’s productions… When we were filming, that is. “Can you help me carry him? ” I heard Stacey ask Darcey. My breaths slowed to an agonizing gasp. I looked toward the fallen tray. A white card lied just a few feet away from me. On it, there was a familiar number trapped in a familiar dark box: 90. And there was the familiar logo: 90 Day Fiancé The words added beneath it chilled me to the bone: New Series: Death After 90 Days Season 1, Episode 1 “Yeah, he’s gained weight, hasn’t he? ” Darcey replied. The candlestick caught my eye. The weapon well out of reach… And now I saw a pair of small camcorders resting beside it on the mantle. Each of them hidden by those ferocious statues. The lynx and goat now ominous observers for my funeral. “The producers will help get rid of the body though, I thought? ” Darcey continued. Through the mutilated migraine, I faced the Silvas. My head fell back on the floor, my eyes growing weaker. “That’s the plan, right? ” Darcey said to Stacey. Stacey stole a look over at me. “Oh, yeah! You’re right! ” With a mad chuckle, she pointed the hatchet at me. “He had no idea, did he? ” Darcey’s smirk confronted me. She never looked prettier. Then again, those blood stains certainly hid the blemishes better than her endless foundation. “He just knew we had our own show. That’s it. ” The literal headache further tormented me. Blood built up under my body… My hands stuck to the red glue. The crimson warming me from Death’s cold grip. Like a demented director, Stacey aimed the camera at me. Filming every second of my impending death. The cute carnage. “You think this’ll work? ” she asked Darcey. As I laid dying, I watched the sisters. This deathbed so uncomfortable. But within, I felt some relief. At least Jesse wasn’t involved. He wasn’t the one killing me… Darcey apparently knew my murder would be more tragic. A bigger draw for her fans. And so had TLC. Darcey gave Stacey a light hit on the arm. “Yes! ” she said, adamant. “Jesse said wearing human blood relieves your stress! It’ll free your anxiety! ” I fucking cringed. Intrigued, Stacey faced her. “So we just gotta wipe Tom’s blood all over our body? ” “Yes! ” Darcey replied. “Jesse told me! He knows all this weird shit! It’ll make us look younger, I promise! ” All around me, the cameras kept rolling. Kept filming my bloodbath. My depression. Finally, Tom Brooks closed his eyes. Well before Death could. Goddamn, Jesse... 14 GUEST BOOK.

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