Rihanna, Anne Hathaway, Awkwafina to join all-female ‘Ocean’s Eleven’

Seven out of the needed-eight women are reportedly signed up to join the all-female cast of Ocean’s Ocho, the spinoff of Steven Soderbergh’s Ocean movies. According to Deadline, Rihanna, Anne Hathaway, Helena Bonham Carter, Mindy Kaling, and rapper/YouTube star Awkwafina are set to join the stars of the film, Sandra Bullock and Cate Blanchett. 

The movie will be directed by Gary Ross, known for The Hunger Games, and produced by Ocean’s Eleven director Steven Soderbergh.“I think it’s a pretty similar tone,” Ross told Slashfilm about the upcoming movie in June. “This is very much an extension and a continuation… I’m in no way trying to reinvent the tone, and I’m thrilled and honoured to be extending it. It’s really fun to work with.”

One lead actor has yet to be cast, but here’s who many reports are naming as the frontrunner. 


That Peggy Carter


fell in love with a fUCKIN NAZI?

Margaret Elizabeth Carter. Fell in love. With a secret Nazi.

And not just fell in love, but carried a torch for the rest of her goddamn life, continuing to fight the good fight he inspired her to? 

You’re tryna tell me that Peggy Carter, THE FOUNDER OF FUCKING S.H.I.E.L.D., who spent her ENTIRE career fighting Hydra, would have had no idea that the great love of her life was Hydra’s #1 guy? That would have just slipped by Agent Margaret Carter. Really? Really. Even if you say that mayyyyyyybe the war was distracting and she and Steve didn’t have that long together blah blah blah, again, the woman spent the WHOLE of her life and career trying to destroy Hydra and honor Steve’s memory.  


Absolutely not. 

Your argument is nonsense and you are a idiot piece of shit. 

That almost kiss and the moment I lost my damn mind.

So I’ve been staring at this gifset for most of the morning and I just need to expel some feelings at you right quick. 

This scene. This fucking scene, you guys. I literally was just gasping and holding my arms in the air like some sort of fucking lunatic. Which, lbh, is exactly what these two losers have turned me into. 

So we have Daniel drop a bomb, and introduce the idea that it’s perceived that he is in love with Peggy. Note that he never denies it, never brushes it off. Just tells Peggy that is why Violet dumped him. 

And Peggy doesn’t laugh or brush it off either. Instead she gives him this look, one of understanding and complete compassion, and then takes his hand.


Daniel, for his part, again, doesn’t deny Violet’s accusation. But he does look a bit embarrassed, embarrassed that once again his heart is on his sleeve for this woman. Once again, he’s lost to her. And he expects her to rebuff his feelings again. I mean, how could she trade in a red, white and blue shield for aluminum crutch after all? 

(brb, sobbing forever)

But he also can’t seem to stop himself from turning his hand over and holding her hand. Even if it’s just for a minute. 


And he’s looking at their joined hands, and he just sorts of sighs in defeat before he looks up at her, resignation in his eyes as he probably expects to see her looking at him with pity or something. And his eyes start to flick back down, when something about her catches his eye and draws his attention back. He sees something that causes him to look, really look, at Peg.


Spoiler alert: it ain’t pity or strictly platonic feelings he sees, y’all.

I mean, look at this shit: 


Now Daniel is probably one of the few people that can probably claim to know Peggy Carter, to really get her. He always has been extremely intuitive when it comes to her. And when he sees her looking at him like this, looking at him like she understand EXACTLY what he’s feeling, because maybe she feels it too, everything about him changes.


To steal his own turn of phrase from S1: Daniel goes all soft. 

And hope springs.

It springs HOT.

I mean, Daniel isn’t afraid to put himself out there, but even the brave can only take so much. After the finale last season, he has diligently worked to lock it up when it comes to Peggy, assuming his feelings are one sided. He respects her supposed choice and doesn’t push again. But here. HERE. He sees that look in her eyes and it’s just OH FUCK WAIT WAS I WRONG? DOES SHE MAYBE FEEL THE SAME WAY? OHGODGOHGODOHGOD. And then he’s just like FUCK IT and goes for it, moves his mouth towards her mouth, which happily is moving to meet him halfway AS THEY STILL HOLD HANDS, and then



Just fuck me up. 


Tomorrow is the season finale of Showtime’s gooey, gory, incredibly Victorian Gothic-soup show Penny Dreadful, and I’m already pining. For your consideration, a celebratory book list. 

Dracula, by Bram Stoker

The world’s best-known vampire novel essentially encoded the tropes for vampires and Gothic fiction, at least in combination with…

Frankenstein, by Mary Shelley 

Mary Shelley rewrote the rules of literature with Frankenstein. This is one of those books that I still go back to every few years. 

The League of Extraordinary Gentlemen, by Alan Moore 

This iconic comic book series employs a large cast of literary characters from the infamous to the esoteric, and pits Victorian heroes against Victorian villains in century and genre spanning shenanigans. 

The Magic Toyshop, by Angela Carter

Angela Carter, master of the whimsical and creepy, gives us orphans, tyrannical guardians, dysfunctional families, and really disturbing puppet shows. 

Fingersmith, by Sarah Waters

Orphan Sue Trindler secures a position with a sheltered gentlewoman and her eccentric guardian as part of a con-game to steal an inheritance, only to find herself pitying–and perhaps falling for–her mark. But Sue is caught up in a plot more devious and much longer in the making than she ever imagined. This is a twisty, almost suffocatingly atmospheric pastiche of Victorian literature.

A Great and Terrible Beauty, by Libba Bray 

Secret societies, corsets, magic, scandals, boarding school, and the fraught and complicated dynamics of teenage friendship. 

Carmilla, by J. Sheridan Le Fanu 

Carmilla predates and clearly influenced Stoker’s Dracula. It’s a short, yummy piece with all the Gothic hallmarks: castles, monsters, maidens, forests, nightmares, seductive and mysterious strangers, and blatant homoeroticism. 

The Monstrumologist, by Rick Yancey

Yancey’s Printz-winning, page-turning horror builds an elaborate world of mythological monsters, midnight adventures, and Dickensian characters in an alternate 19th century America. 

The Picture of Dorian Gray, by Oscar Wilde

Okay, but here’s my question: film and TV versions of Dorian Gray are always sexy, but they’re always dark and smoldering sexy, not the boyish and blond sexy of Wild’s not-so-innocent protagonist, and it’s been more than a century, are we still so dependent on the very visual cues denoting purity and wickedness that Wilde lambasted in his novel? 

Bellefleur, by Joyce Carol Oats 

The Bellefleur clan is a powerful, notorious family, complete with millionaires, psychics, murderers, ghosts, spiritualists, mysteries, and a manor house. This sprawling, twisty novel is a modern classic of the American Gothic. 

Affinity, by Sarah Waters

An upperclass spinster becomes a charitable Lady Visitor at a women’s prison, where she meets a beautiful and charismatic spiritualist. Gothic atmosphere, bottled. 

The Woman In Black, by Susan Hill 

This classic ghost story could have sprung straight from the 19th century English village where it takes place. It’s a short and page-turning read. 

Perfume: The Story of a Murderer, by Patrick Suskind

A perfumer’s apprentice with a refined nose becomes murderously obsessed with the perfect scent. 

Wildthorne, by Jane Eagland 

Told with stark detail and twisting flashbacks, this YA book combines the nightmarish setting of a Victorian madhouse with one teenager’s sexual awakening and fight to preserve her own sense of identity, while figuring out who did this to her. 

Interview with the Vampire, by Anne Rice

Definitely in contention for the English language’s second most read, most referenced, most spoofed vampire novel. (We all know what it’s up against.) 

The Ruby in the Smoke, by Philip Pullman 

Pullman combines all the pulpy tropes and smoky atmosphere of penny dreadfuls with a dose of modern attitude and a cast of characters ferocious and funny and charming and heartbreaking. 


“When the day becomes the night, 
and the sky becomes the sea, 
then the clock strikes heavy 
and there’s no time for tea.
And in our darkest hour before my finest rhyme,
they will come home back to Wonderland 
and turn back the hands of time…. “ 

Alice Through the Looking Glass (2016)