My ‘ kitty-kat-kontacts ’ revealed that fellas WALLET over there has just received a huge pay load. Puuuuuuuuuuurfect. [bumps into guy] [“ Oh, I’m sorry there handsome. ” ] Better put on a false southern accent to stay off the radar, It’s my new ALIAS. [ “ It’s ok doll, w-Woah heeey sexy thang! Can I buy you a drink? ” he said smiling, his voice was super smooth ] Hmmmm If I say yes to him I’d have somewhere to sleep tonight but I better not get into a relationship already, I have too many secrets. [ “ Nah, I’m not a SINNER. ” Felicia replied cattily ] Such a bad lie… Ah well. All It took was a little brush up against him and I managed to grab his wallet , first steal of the night. la di daaa la laaaa , love this track. And this bitch here , she’s got nice heels on , nice skirt , nice top… I’m envious. That necklace however is too nice to stay on her neck. I’ll DRUG her drink and wait 10 minutes , she’ll be too high to know I’ve taken it. [ waits 10 minutes ] [ “ Hey, I love your NECKLACE where did you get It? ” ] [ “ It was my moms diamond necklace in the 80s.” Her voice slurred from the drugs and alcohol ] [ “ Niiiiiiiiiiiiice [ rips necklace off ]. ” ] She’s too much of a MESS to notice that her necklace is mine now , bye bitch.
“Every Rose Has Its Thorn: A History of Poison Ivy” - Gotham City Sirens:
Poison Ivy’s death in 2005’s Gotham Knights arc ‘Human Nature’ illustrates short termed as she appears in 2006’s “One Year Later” storyline. Ivy would star in other Batman storylines such as Tony S. Daniel’s “Battle for the Cowl”. But Ivy would join Harley Quinn and Catwoman in the 26 issue publication “Gotham City Sirens”, written by the rotating team of Paul Dini, Tony Bedard and Pete Calloway and illustrated by Guillem March (covers presented to issues 5 - 7), Steve Wands and José Villarrubia. The saga begins right after the trio gained revenge against the villain Hush, who not only ‘killed’ Poison Ivy but also removed Catwoman’s heart (in Paul Dini’s 'Heart of Hush’) by taking his fortune. The status quo stands that Bruce Wayne’s Batman is known to be dead, after the events of Final Crisis and Batman R.I.P, and Dick Grayson is taking up the mantle as the Dark Knight. The handful of stories showcased the lives of these femme fatales in Gotham City, including Ivy in Bedard’s 'Strange Fruit’ (issues 14 - 19, September 2010 - February 2011). Working at S.T.A.R Labs, Poison Ivy confesses to Alisa Adams that she took this job not to separate herself from her criminal work, but to create a potion that would grow a forest in a day’s worth of time. Experimenting with this concoction resulted in an alien plant which captured Ms. Adams and brainwashes Ivy, aiding it to escape the lab. The plant and Ivy team up against Harley Quinn and Catwoman, ending with the trio against the plant wanting to take over the planet let alone the city’s park. Pamela tells her allies that she won’t let a man manipulate her for evil again. The series ended due to the DC Universe reboot to The New 52. We will conclude our retrospect of Poison Ivy with her role in the current universe next in our session. [Sources: bit.ly/1SYYDhY, bit.ly/1Gbggo1 ; History of the Batman is releasing this content under the Creative Commons Attribution-Share Alike License 3.0.] ✌🏻️💚🌹🐱♦️📖
¿Son estas las peores elecciones de casting de la historia del cine?
Aunque descubran a un prometedor actor y/o la película en la que trabajan sea un éxito de taquilla, los directores de casting son los grandes tapados de la industria del cine. Y es que ellos son los responsables de encontrar un reparto que funcione (’Spotlight’ es el mejor ejemplo), pero no siempre consiguen su objetivo. Echa un vistazo a algunas de sus equivocaciones más graves y sonadas del cine.
’Batman & Robin’ (1997) es, sin duda, una de las peores películas que se han hecho sobre el hombre murciélago. Y es que incluso el mismísimo George Clooney aún se sigue disculpando por la interpretación que realizó en la polémica cinta de Joel Schumacher. Sin embargo, el resto de actores (Arnold Schwarzenegger, Uma Thurman, Chris O'Donnell y Alicia Silverstone) tampoco dieron la talla. ¿En qué estaría pensando su director de casting? (Foto: Warner Bros).
Aunque mucho peor fue la elección de Kevin Costner como protagonista de ‘Robin Hood, príncipe de los ladrones’ ('Robin Hood: Prince of Thieves’, 1991). Su surrealista acento británico y sus fallidos intentos por acercarse al legendario personaje echaron por tierra una producción que se las prometía muy felices. Menos mal que un año más tarde el actor se recuperó del fracaso con ‘El guardaespaldas’ (’The Bodyguard’, 1992). (Foto: Warner Bros).
Si te toca meterte en la piel de un personaje que ya ha sido interpretado con éxito por otro actor, tienes una presión añadida. Es verdad que Heath Ledger supo hacernos olvidar al Joker de Jack Nicholson, pero no podemos decir lo mismo del Alex Cross de Tyler Perry. Y es que cuando vimos 'En la mente del asesino’ ('Alex Cross’, 2012), echamos mucho de menos a Morgan Freeman en el papel del mítico detective. (Foto: QED International / Black Bear Pictures / Herrick Entertainment).
‘Batman Begins’ (2005), la primera parte de la exitosa trilogía de Christopher Nolan, tuvo algún que otro error que siempre le perseguirá. ¿El más sonado? Contratar a Katie Holmes para interpretar a una sosa e irrelevante Rachel Dawes. (Foto: Warner Bros).
No podemos negar el talento interpretativo de Adrien Brody, pero hay actores que no funcionan para determinados géneros. La oscarizada estrella, por ejemplo, no encaja como héroe de acción. ‘Predators’ (2010) es la prueba que lo demuestra. (Foto: 20th Century Fox / Troublemaker Studios Genero).
Un reparto de lujo, sin embargo, no te asegura el éxito de una película. Y si no que se lo pregunten a Oliver Stone, quien para 'Alejandro Magno’ ('Alexander’, 2004) contó con Colin Farrell, Angelina Jolie, Anthony Hopkins, Val Kilmer, Jared Leto y Rosario Dawson. A lo mejor con otro Alejandro (Farrell no consiguió acercarse a la gran figura que fue el Rey de Macedonia), la cinta podría haber tenido otro desenlace. (Foto: Warner Bros).
Teniendo a Leonardo DiCaprio como compañero es difícil destacar, pero Tobey Maguire se lo puso demasiado fácil en el remake de ‘El gran Gatsby’ (’The Great Gatsby’, 2013). Y eso que también tenía un papel importante en la película, el del mismísimo Nick Carraway, pero a su interpretación le faltaba emoción y ritmo, entre otras cosas. (Foto: Warner Bros / Bazmark Films / Red Wagon Productions).
El único pero que le ponemos a la película ‘A propósito de Llewyn Davis’ ('Inside Llewyn Davis’, 2013) es que el encargado del casting decidiera contar con Carey Mulligan. “El desdibujado personaje de Carey Mulligan es, sin duda, el más desafinado de la función”, escribió un crítico en SensaCine. (Foto: StudioCanal / Scott Rudin Productions / Mike Zoss Productions).
Su interpretación como Rhodey en ‘Iron Man’ (2008) y sus problemas con el resto del reparto hicieron que el estudio reemplazara a Terrence Howard por Don Cheadle en las posteriores películas del superhéroe de Marvel. Todo un acierto, según los fans. ¿Estás de acuerdo con ellos? (Foto: Paramount Pictures / Marvel Enterprises).
Ni la belleza de Halle Berry pudo evitar que ‘Catwoman’ (2004) se convertiera en uno de los mayores fracasos del séptimo arte. Y es que su interpretación fue tan mala que hasta recibió un Razzie (los llamados anti-Oscars). ¿En serio no encontraron a una actriz mejor para este papel? (Foto: Warner Bros).
Si tuviéramos que decidir cuál es la elección de casting más extraña (y evitable) de la historia, probablemente elegiríamos la de Marlon Brando en ‘La casa de té de la luna de agosto’ ('The Teahouse of the August Moon’, 1956). Aún hoy no entendemos cómo le contrataron para el papel de Sakini si en realidad estaban buscando un actor japonés. Aunque no te lo creas, es el hombre que aparece en la izquierda de esta imagen. LOL! (Foto: MGM).
Definitivamente, la Warner Bros tiene que renovar a sus directores de casting, como volvió a quedar de manifiesto en 'Superman Returns’ (2006).Puede que Brandon Routh pasará el corte como Superman, pero Kate Bosworth fue una de las peores Lois Lane que hemos visto, ¿no te parece? Menos mal que Kevin Spacey subió un poco el nivel de la película. (Foto: Warner Bros).
Eartha Kitt was an American actress, singer, cabaret star, dancer, stand-up comedian, activist and voice artist. She had a distinctive singing style and is best known for her Christmas song “Santa Baby” and for playing Catwoman in the television series Batman.
Kitt was born in 1927 near the town of North in South Carolina. Her mother was of Cherokee and African descent and her father was white. She was ostracised at a young age because of her mixed-race heritage and at the age of eight, Kitt was sent to live with another family when her mother’s new boyfriend refused to accept her due to her relatively pale complexion. When her mother died, she was sent to live with her aunt, Mamie Kitt in Harlem, New York City. Kitt attended the New York School of Performing Arts, and at the age of 16 won a scholarship to study with Katherine Dunham. She began her career as a member of the Katherine Dunham Company and was a part of the troupe from 1943 to 1948. Kitt was a featured dancer and vocalist and toured worldwide with the company. During a performance in Paris, Kitt was spotted by a nightclub owner who booked her as a singer at his club. She gained fame and fans quickly, including Orson Welles who called her “the most exciting woman in the world”.
In 1950, Kitt performed her first starring role as Helen of Troy in Orson Welles’ staging of Dr. Faustus. Two years later, she appeared in the Broadway review New Faces of 1952, in which she sang a sultry rendition of “Monotonous” every night. The show ran for a year, and Kitt’s performance led to a national tour, a 20th Century Fox version of the show entitled “New Faces” in which she performed “Monotonous,” “Uska Dara,” and “C'est Si Bon” and a musical career. In 1954 she released her first album and had a succession of hits including “Love for Sale”, “I Want to Be Evil”, “Santa Baby” and “Folk Tales of the Tribes of Africa”. Kitt earned a Grammy nomination for the latter. Around the same time, Kitt published her first autobiography “Thursday’s Child.”.
Kitt continued to record and work in film, television and nightclubs throughout the 1950’s and early 1960’s, performing in Mrs. Patterson, Shinbone Alley and Jolly’s Progress on Broadway. In 1958 she starred opposite Nat “King” Cole in the W.C. Handy biopic St. Louis Blues and the following year she earned an Academy Award nomination for her role as Anna Lucas in a film of the same name. In the late 1960’s, Kitt took on one of her most famous roles when she replaced Julie Newmar as Catwoman in the TV show Batman. Kitt made the role her own and her distinctive voice and trademark growl made her portrayal of Catwoman iconic.
Kitt was active in a number of social causes in the 1950’s and 1960’s, leading to her being put under surveillance by the C.I.A from 1956. In 1966, Kitt established the Kittsville Youth Foundation, a a chartered and non-profit organization for underprivileged youth in the Watts area of Los Angeles. She was also involved with a young group in Anacostia in Washington D.C. called “Rebels with a Cause” who were fighting to clean up the streets and establish areas for the youths to go to keep them out of trouble. She testified with them before the House General Subcommittee on Education of the Committee on Education and Labor. She stated that their model could be used for urban areas throughout the U.S. with similar problems and stated as much, the group were awarded the funded needed. Kitt was also a member of the Women’s International League for Peace and Freedom and in 1968, she spoke out at a White House luncheon about the Vietnam War. Kitt stated that “You send the best of this country off to be shot and maimed. No wonder the kids rebel and take pot.“ and "The children of America are not rebelling for no reason. They are not hippies for no reason at all. We don’t have what we have on Sunset Blvd. for no reason. They are rebelling against something. There are so many things burning the people of this country, particularly mothers. They feel they are going to raise sons—and I know what it’s like, and you have children of your own, Mrs. Johnson—we raise children and send them to war.” Following her comments, Kitt was blacklisted in the U.S. and focused her attention on performing in Europe and Asia.
In 1974, Kitt returned to the U.S. with a triumphant Carnegie Hall concert, followed in 1978, by a starring role in the successful Broadway musical Timbuktu!. She was nominated for the Tony Award for Best Actress in a Musical for her performance. In 1984, she earned her first certified gold record of her career with the disco song “Where Is My Man”. Kitt built a large fanbase of gay male fans, and gave frequent performances at benefits in support of HIV/AIDS organisations. She was a vocal advocate for LGBT rights and publicly supported same-sex marriage.
Kitt was a prolific performer. She continued to work on various projects including film, tv, performing on Broadway and giving live musical performances. Live theatre was her passion, and in 2001, she was nominated for a Tony and Drama Desk nomination for her role as Dolores in George Wolfe’s “The Wild Party. She also starred in “The Wizard of Oz”, Rogers & Hammerstein’s “Cinderella”, “Nine, The Musical” and The New York City Opera production (Lincoln Center) of “Cinderella.” Off-broadway, she starred in “Mimi Le Duck” (2006) and The Westport County Playhouse production of “The Skin Of Our Teeth” (2007). She also made annual appearances in the New York Manhattan cabaret scene at venues such as the Ballroom and the Café Carlyle in her later years. Kitt died in 2008. She won many awards, including three Emmy’s, one of which was posthumous. She is celebrated with a star bearing her name on the Hollywood Walk of Fame.