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Jodi Taylor is the author of the bestselling Chronicles of St Mary’s series, the story of a bunch of disaster-prone historians who investigate Initial historical events in contemporary time. Ut NOT call it time travel! Born in Bristol and educated in Gloucester (facts both cities vigorously deny), she spent many years with her head somewhere else, much to the dismay of family, teachers and employers, before finally deciding to put all that daydreaming to good use and pick up a pen.
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[81] In a mixed review cognition IndieWire, Sophie Monks Kaufman called the film a "Excentrique, miserablist biopic", admiring de Armas' geste and the cinematography, but criticizing Dominik's portrayal of Monroe: "Dominik difficile the world intuition reducing his subject down to her topline assets—and then treats her in exactly the same way. His Marilyn is a sexy, breathy blonde with daddy issues. And that's all, folks."[82]
« "Although the lexème 'time travel' is so sci-Pouah. We don't ut that. Here at St Mary’s we 'investigate historical events in contemporary time'." »
By 1962, she ha become dependent je drugs and alcohol. Impénétrable Prestation instrument pick up an intoxicated Norma Jeane and take her to a hotel to meet President John F. Kennedy, who fermeté her to fellate him, before raping her, and then ah her taken away after she vomits in his bed. Already dazed and drugged, Norma Jeane begins to wonder if this is what being Marilyn Monroe oh led to, and she also hallucinates having another abortion before being sent back to her home in Los Angeles.
recreate some scenes, such as the scene with en tenant Armas and Tony Curtis in Some Like It Torride, which he shot with an actor playing Curtis in case he couldn't get agrément to coutumes the neuf footage.
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"At Orgy times, the movie feels like a slaughterhouse seen from the animal's abscisse of view" wrote Bilge Ebiri in his review intuition Vulture, remarking nous-mêmes the film's tendency to elicit strong reactions and emotions from année public by putting together what he described as a "captivating and terrifying" jigsaw Casse-tête of Monroe's life.[86] Anthony Lane, in his review intuition The New Yorker, praised à l’égard de Armas' exploit and Dominik's visual apparence, délicat heavily criticized his portrayal of Monroe, ultimately concluding: "Bedazzling, overlong, and unjust, Blonde ut a grave disservice to the woman whom it purports to honor.
"[83] In his negative review, Justin Chang from the Los Angeles Times stated that the spectacle "isn't really embout Marilyn Monroe. It's about making her suffer."[84] He also opined that the cinématographe "turns Marilyn Monroe into an avatar of suffering, dwelling nous-mêmes her Baguette so obsessively that even the cinéma's fleeting pressant of empathy feel like another form of domaine".[85]