Charlize Theron: 'It took two years to adopt son Jackson'

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Charlize Theron has said that it took her two years to adopt her first child.
Speaking on The Ellen DeGeneres Show, the Snow White and the Huntsman actress revealed that she waited for 24 months before her son Jackson could come into her life in March.
Theron said: "My mum said the most beautiful thing. She said, 'You know, it took me nine months to fall in love with you while you were growing in my stomach, and it took you two years to fall in love with this little baby'.
"It took two years of waiting, and then one day, it's finally there, and it feels exactly how it's supposed to feel. I don't know how to describe it. It just feels right."
Theron also revealed that her pets didn't take long to become attached to the new addition to her family.
The 36-year-old star said of her rescue dogs, a terrier mutt and a pitbull named Blue: "Dogs tend to... it takes them a little bit to really fall madly in love with someone. They know their owner and they'll be friendly, but they won't fall madly in love with just a stranger instantly."
"From the moment this baby came into our home, those two dogs have never been more in love. It's the most beautiful thing I've ever witnessed."
She continued. "The pit woke up with me for every feed, for every change. And whenever the baby would cry, the pit would start crying.
"People keep saying, 'You're a single mum.' I go, 'Actually, I'm not. I got two boys helping me out.'"

“Detroit”: Why I'm Cool on This Hot Show

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Sometimes, as hard as I might try, I just don’t get it. For instance, I know that I’m supposed to like Detroit, the new dark comedy that opened at Playwrights Horizons this past week.  And I can give you at least five reasons why I should:
1. It was a finalist for the Pulitzer Prize in 2011. 
2. It was a hit when it premiered at Chicago’s hip Steppenwolf Theatre Company the year before that. 
3. It has a hot cast lead by the-can-do-anything actress Amy Ryan and David Schwimmer, the co-star of the beloved sitcom “Friends” who also has serious theater chops.
4. It takes on the subject of class in America, which is exactly the kind of serious thing I’m always saying that theater companies should do.  
5. It has drawn mash notes from just about every critic in town (click here to read the raves on StageGrade). 
And yet, I have to say that I just don’t get what all the fuss is about.
Although the play is called Detroit, playwright Lisa D’Amour has set it in an unnamed “first ring suburb outside of a mid-sized American city” that seems to be located deep in Edward Albee territory.
For Detroit opens with a seemingly placid backyard barbeque shared by two couples who are just getting to know one another.  And then, pretty quickly, everything starts to go to George-and-Martha-type hell as they all struggle to hold on to their illusions about the American Dream. 
Actually, things aren’t so great from the get-go. The host couple, Mary and Ben, are reeling from the Great Recession; he’s lost his job as a bank loan officer and spends his days on their home computer ostensibly setting up a consulting business. Meanwhile she's struggling to keep their heads above water with the salary from her job as a lowly paralegal.
Their new neighbors Kenny and Sharon have the kind of even lower-wage jobs that seem to define the new economy: he works in a warehouse, she in a call center.  Kenny and Sharon confess that they’re also recovering addicts but it’s obvious that they’re struggling with other demons as well.
Now I get—and even appreciate—the fact that D’Amour wants to drive home the point that the post-War promises of the ‘50s were hollow and that today’s middle class has been seriously wounded (literally here; the fake blood flows). But this isn’t really news and Detroit doesn't offer any more insights into this discontent than an Occupy poster on an episode of TV's "Mad Men."
And although some of the absurdist touches D’Amour and director Anne Kauffman stir into their brew are undeniably amusing, they also struck me as dramaturgical filigree instead of organic moments.
Moreover, her characters live in such apparent isolation from the rest of the world and go off on such surrealistic tangents that it’s hard to feel much for them, even though all of the actors are quite fine.   
Ryan and Schwimmer are first-rate as Mary and Ben (click here to read their take on the play).  but I was even more impressed by Darren Pettie and Sarah Sokolovic who bring a bracing sense of menace and disruptive energy to Kenny and Sharon.
Who knows, perhaps I might have received the play differently if the scenic turntable hadn’t stalled midway through the performance I saw, causing the stage manager to call the actors off the stage and the house lights to be turned up for the 10 or so minutes that it took to get it turning again.
Or maybe I would have gotten more into Detroit if I hadn’t been sitting in front of a row of old-codger theatergoers who spent half of the show’s 100-minutes loudly asking their spouses to repeat lines that the actors had just said. And then spent the other half making sarcastic, and equally loud, comments about the ones they had managed to hear. Shame on them and all their ilk.
Or it could just be that Detroit is one of those plays that, no matter what the circumstance, just doesn't get to me.

"Ten Chimneys" Doesn't Give Off Enough Heat

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In some ways, the Theatre at St. Clement’s, a haven for so many theatrical endeavors over the years, is the perfect place for Ten Chimneys, a play about the legendary actors Alfred Lunt and Lynn Fontanne that The Peccadillo Theater Company is presenting there through Oct. 27.
But in other ways, the old church, which opened its doors in 1920 and has no elevators, isn’t a good place for this show at all. Because judging by all the people leaning on canes at the performance my theatergoing buddy Bill and I attended, the audience most likely to be drawn to this show is barely younger than the building itself. 
Somehow, however, everyone seemed to make it up the staircase to the theater and I suspect that most of them had a good time once they got seated. For playwright Jeffrey Hatcher has put together an amusing, if slight, tribute to a storied era in the theater. Dan Wackerman has directed it with obvious affection. And the real-life husband-and-wife actors Bryon Jennings and Carolyn McCormick are delightful as the Lunts.
The problem is that I’m not sure who besides my aged audience mates and a few slightly younger theater fanatics like me will want to see this show. In their heyday, the Lunts were among the most famous stage actors in the country. But despite having a theater named for them, they’re far less familiar to today’s theatergoers.
Even the Playbill acknowledges that. After the standard bios of the cast and production team, it includes little cheat-sheet biographies of Lunt and Fontanne and of Sydney Greenstreet and Uta Hagen, who also turn up as characters in Ten Chimneys.
The title is taken from the name of the home in Wisconsin where the Lunts spent their summer vacations.  It’s also the setting of the play, which begins in 1937 when the actors were preparing a production of Chekhov’s The Seagull. Hagen, just 18, was cast to play the ingénue Nina.
The story has often been told of how Hagen, who went on to many great roles including Paul Robeson’s Desdemona in Othello and the original Martha in Who’s Afraid of Virginia Woolf?, missed an entrance during the run. Lunt, left onstage waiting, was so infuriated that when Hagen did appear he took revenge during a stage kiss by biting her lip until it bled.
Afterward, Fontanne added insult to the injury by calling Hagen an amateur in front of the entire company.  In later years when she became a legendary acting teacher, Hagen would tell the story herself, using it as a cautionary tale for her students, one of whom was my buddy Bill.
Ironically the notorious incident never makes it onstage in Ten Chimneys.  Instead, Hatcher focuses on the less-fascinating, at least as he presents it, domestic lives of his characters: Fontanne’s squabbles with her overbearing mother-in-law, Greenstreet’s guilt towards his manic-depressive wife, Lunt’s uneasiness with his bisexuality and Hagen’s feelings of obligation towards her émigré parents. 
I’m a sucker for backstage stories, no matter how dated or inconsequential, and Hatcher peppers his play with enough tidbits about theatrical life, plus a few good bon mots, that I was satisfyingly amused. I even got a kick out of watching the stagehands shove around the elaborate but endearingly old-fashioned set during the intermission.
Still, Ten Chimneys has too much in common with The Grand Manner, A.R. Gurney’s memory play about the Lunts’ contemporary Katharine Cornell (click here to read my review of that). Neither tells a compelling enough story. If you don’t already care about these stars of yesteryear when you walk into the theater, you’re unlikely to care about them by the time you walk out.

This "Cyrano de Bergerac" Doesn't Cut It

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Nerds—even the homeliest ones—rule in today’s pop culture. They’re the stars of hit movies and TV shows. In real life, many are rich and envied. And the prettiest girls don’t even blink at hooking up with them. So maybe an old-fashioned romance like Cyrano de Bergerac in which the funny-looking guy ends up the loser has just outlived its time.
At least that’s what I found myself thinking as I watched the Roundabout Theatre Company’s pleasant but pallid revival of the play that is running at the American Airlines Theatre through Nov. 25.
The French poet and playwright Edmond Rostand wrote this paean to unrequited love in 1897. It played Broadway the very next year and there have been at least 15 major productions in the city since then—and that number doesn’t take into account the musical adaptations, including one composed by Victor Herbert.  
But Cyrano's popularity has been waning in recent years. The last time I saw it was back in 2007 when Kevin Kline played the title character who loves the beautiful Roxane but, believing that his big nose makes him too ugly to win her heart, helps a handsomer man woo her. 
Jennifer Garner, best known as the butt-kicking spy on the old ABC series "Alias", brought her fame and a contemporary approach to Roxane, playing her as a sword-wielding feminist. 
That production lasted just 56 performances. (Click here to read my review).
Now the British actor Douglas Hodge, who won a Tony for his portrayal of the cross-dressing Albin in the 2010 revival of La Cage Aux Folles, has climbed into the britches of a 17th century grenadier and donned Cyrano’s trademark feather-plumed hat. His Roxane is the French actress Clémence Poésy who is making her Broadway debut.
Call me heartless but I didn’t care what happened to either of them.   
Cyrano is supposed to have a swashbuckling swagger, which Hodge simply doesn’t have.  Hodge is a solid actor and he handles the play’s rhyming couplets and its low-humor moments well but his Cyrano is too meek and often gets lost in the crowd of soldiers onstage instead of commanding attention from them and from us theatergoers.
The only thing that really sets him apart is the ridiculously huge and fake-looking nose that’s been concocted for Hodge to wear.  Cyrano’s nose is obviously supposed to stand out but this snout is so outsized that seeing over it almost forces Hodge to cross his eyes.
Poésy’s Roxane seemed wimpy too.  And I’ve so totally forgotten Kyle Soller, who plays Christian, the dumb but good-looking guy who gets to get it on with Roxane, that I don’t even remember what he looks like.
Meanwhile, Jamie Lloyd’s direction is far too busy and messy (click here to read an interview with the director and his star).  Sure, it’s good for the members of the ensemble to play individual characters but Lloyd, a young Brit who spent the past three years as associate director at London’s Donmar Warehouse, should have found a way to rein in all the mugging.
But there is one saving grace: the performance by Patrick Page as Comte de Guiche, the vain nobleman who is also in love with Roxane (click here to read an interview in which the actor talks about his thoughts on love).  
The count is supposed to be the villain of the piece but Page has a plummy baritone voice and a winning stage presence. He’s not exactly a nerd but in the real world, Roxane would just ride off with him. Or at least that’s what I wanted to do.

"Who's Afraid of Virginia Woolf?" is Still Great

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Just about everyone who has seen it is saying that the new revival of Who’s Afraid of Virginia Woolf? is not to be missed.  And they’re right.
This latest version of Edward Albee’s masterwork opened at the Booth Theatre  on Oct. 13, 50 years to the day that the original opened at the old Billy Rose Theater (now the Nederlander and home to Newsies). But there is nothing dated about Albee’s gimlet-eyed look at the desperate games unhappy people can play to keep themselves going.
Albee had been a success in the downtown theater scene but Who’s Afraid of Virginia Woolf? was his Broadway debut. His chronicle of a night in which two college professors and their wives drink oceans of alcohol, flirt with adultery and reveal the secrets that have kept their unhappy marriages together gob smacked the uptown crowd.
The New York Times declared that it “towers over the common run of contemporary plays.” But there were dissenters too.  “If Edward Albee is the white hope of the American theater, then our nation is in need of a strong detergent,” huffed one letter to the paper’s editor.
The play was a finalist for the Pulitzer Prize for Drama but the board was apparently as prudish as the letter writer and awarded no prize that year. But the theater community knew what it had been given. Who’s Afraid of Virginia Woolf? took home four big Tonys for direction, best actor and best actress for Arthur Hill and Uta Hagen as the battling older couple George and Martha, and, of course, best play.
Four years later, Mike Nichols directed a movie version that starred Richard Burton and Elizabeth Taylor, who won her second Oscar for her performance as the bitterly frustrated Martha. I was in my teens then but my mother took me to see it and while I won’t pretend that I understood everything I was seeing, I do remember being transfixed.
Director Pam McKinnon’s crackerjack production is the third Broadway revival.  The last, in 2005, which starred Kathleen Turner and Bill Irwin was so good that my husband K decided not to see this one because he didn’t want to taint the memory of such a great evening in the theater.
But this new production drew raves when it opened at Chicago’s Steppenwolf Theatre in 2010 and later when it moved to Washington. So I decided to risk it and I had little trouble persuading my theatergoing buddy Bill to see it with me.  
And we were so glad we went. The play runs 3 hours and 15 minutes with two intermissions but the time flew by.
That’s in part because Albee’s play is often throw-you-head-back-and- laugh funny. But it’s also because McKinnon and her outstanding cast found new ways to unleash its devastating pain as well. 
Amy Morton, best known as the oldest daughter in August: Osage County, makes Martha less of a gorgon than others have.  Bill said he missed that harpyish streak in the character but Morton’s human-sized Martha seemed more like the college president’s daughter that Martha is—and more vulnerable. This Martha touched me in a way that others—even very good ones like Turner’s—didn’t.  (Click here to read an interview with Morton.)
Tracy Letts, who wrote August: Osage Country confirms how theatrically ambidextrous he is because, while, just as you'd expect one playwright to treat the work of another, he is totally faithful to the text, he's also managed to subtlety reimagine George. 
The wounds that Letts' George has suffered over the years throb right beneath the surface but over them he has grown a blister that numbs the pain just enough so that he's able to push ruthlessly ahead.  (Click here to read an interview with Letts.)
I also have to give a shout-out to Carrie Coon, who plays Honey, the puerile wife in the younger couple, and who may be the best onstage drunk I’ve ever seen. But everything about this production—Todd Rosenthal’s set, Nan Dibula-Jenkins’ costumes, Aileen Lee Hughes’ lighting and, of course, McKinnon's deft direction—works, the pieces adding up to a magnificent whole. 
There was silence for the first few seconds after the performance that Bill and I saw ended as those of us in the audience (dotted with celebrities including Stephen Sondheim and the movie actor Bradley Cooper, as I said, everyone who loves theater is trying to see this) pulled ourselves together and then erupted into applause, including opera-house bravos. 
After the show, Bill and I walked through Shubert Alley for a late dinner at Sardi’s.  As we were leaving the restaurant, I spotted my old friend the veteran publicist Irene Gandy having dinner with McKinnon.  I went over and when Irene introduced me, I put my palms together in a gesture of thanks and bowed. “I’ve been hungry for a nourishing evening in the theater,” I told McKinnon.  “Thank you so much for giving it to me.” 
And now here's what I want to tell you: go see it and be fulfilled too.

"Ten Chimneys" Doesn't Give Off Enough Heat

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In some ways, the Theatre at St. Clement’s, a haven for so many theatrical endeavors over the years, is the perfect place for Ten Chimneys, a play about the legendary actors Alfred Lunt and Lynn Fontanne that The Peccadillo Theater Company is presenting there through Oct. 27.
But in other ways, the old church, which opened its doors in 1920 and has no elevators, isn’t a good place for this show at all. Because judging by all the people leaning on canes at the performance my theatergoing buddy Bill and I attended, the audience most likely to be drawn to this show is barely younger than the building itself. 
Somehow, however, everyone seemed to make it up the staircase to the theater and I suspect that most of them had a good time once they got seated. For playwright Jeffrey Hatcher has put together an amusing, if slight, tribute to a storied era in the theater. Dan Wackerman has directed it with obvious affection. And the real-life husband-and-wife actors Bryon Jennings and Carolyn McCormick are delightful as the Lunts.
The problem is that I’m not sure who besides my aged audience mates and a few slightly younger theater fanatics like me will want to see this show. In their heyday, the Lunts were among the most famous stage actors in the country. But despite having a theater named for them, they’re far less familiar to today’s theatergoers.
Even the Playbill acknowledges that. After the standard bios of the cast and production team, it includes little cheat-sheet biographies of Lunt and Fontanne and of Sydney Greenstreet and Uta Hagen, who also turn up as characters in Ten Chimneys.
The title is taken from the name of the home in Wisconsin where the Lunts spent their summer vacations.  It’s also the setting of the play, which begins in 1937 when the actors were preparing a production of Chekhov’s The Seagull. Hagen, just 18, was cast to play the ingénue Nina.
The story has often been told of how Hagen, who went on to many great roles including Paul Robeson’s Desdemona in Othello and the original Martha in Who’s Afraid of Virginia Woolf?, missed an entrance during the run. Lunt, left onstage waiting, was so infuriated that when Hagen did appear he took revenge during a stage kiss by biting her lip until it bled.
Afterward, Fontanne added insult to the injury by calling Hagen an amateur in front of the entire company.  In later years when she became a legendary acting teacher, Hagen would tell the story herself, using it as a cautionary tale for her students, one of whom was my buddy Bill.
Ironically the notorious incident never makes it onstage in Ten Chimneys.  Instead, Hatcher focuses on the less-fascinating, at least as he presents it, domestic lives of his characters: Fontanne’s squabbles with her overbearing mother-in-law, Greenstreet’s guilt towards his manic-depressive wife, Lunt’s uneasiness with his bisexuality and Hagen’s feelings of obligation towards her émigré parents. 
I’m a sucker for backstage stories, no matter how dated or inconsequential, and Hatcher peppers his play with enough tidbits about theatrical life, plus a few good bon mots, that I was satisfyingly amused. I even got a kick out of watching the stagehands shove around the elaborate but endearingly old-fashioned set during the intermission.
Still, Ten Chimneys has too much in common with The Grand Manner, A.R. Gurney’s memory play about the Lunts’ contemporary Katharine Cornell (click here to read my review of that). Neither tells a compelling enough story. If you don’t already care about these stars of yesteryear when you walk into the theater, you’re unlikely to care about them by the time you walk out.

This "Cyrano de Bergerac" Doesn't Cut It

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Nerds—even the homeliest ones—rule in today’s pop culture. They’re the stars of hit movies and TV shows. In real life, many are rich and envied. And the prettiest girls don’t even blink at hooking up with them. So maybe an old-fashioned romance like Cyrano de Bergerac in which the funny-looking guy ends up the loser has just outlived its time.
At least that’s what I found myself thinking as I watched the Roundabout Theatre Company’s pleasant but pallid revival of the play that is running at the American Airlines Theatre through Nov. 25.
The French poet and playwright Edmond Rostand wrote this paean to unrequited love in 1897. It played Broadway the very next year and there have been at least 15 major productions in the city since then—and that number doesn’t take into account the musical adaptations, including one composed by Victor Herbert.  
But Cyrano's popularity has been waning in recent years. The last time I saw it was back in 2007 when Kevin Kline played the title character who loves the beautiful Roxane but, believing that his big nose makes him too ugly to win her heart, helps a handsomer man woo her. 
Jennifer Garner, best known as the butt-kicking spy on the old ABC series "Alias", brought her fame and a contemporary approach to Roxane, playing her as a sword-wielding feminist. 
That production lasted just 56 performances. (Click here to read my review).
Now the British actor Douglas Hodge, who won a Tony for his portrayal of the cross-dressing Albin in the 2010 revival of La Cage Aux Folles, has climbed into the britches of a 17th century grenadier and donned Cyrano’s trademark feather-plumed hat. His Roxane is the French actress Clémence Poésy who is making her Broadway debut.
Call me heartless but I didn’t care what happened to either of them.   
Cyrano is supposed to have a swashbuckling swagger, which Hodge simply doesn’t have.  Hodge is a solid actor and he handles the play’s rhyming couplets and its low-humor moments well but his Cyrano is too meek and often gets lost in the crowd of soldiers onstage instead of commanding attention from them and from us theatergoers.
The only thing that really sets him apart is the ridiculously huge and fake-looking nose that’s been concocted for Hodge to wear.  Cyrano’s nose is obviously supposed to stand out but this snout is so outsized that seeing over it almost forces Hodge to cross his eyes.
Poésy’s Roxane seemed wimpy too.  And I’ve so totally forgotten Kyle Soller, who plays Christian, the dumb but good-looking guy who gets to get it on with Roxane, that I don’t even remember what he looks like.
Meanwhile, Jamie Lloyd’s direction is far too busy and messy (click here to read an interview with the director and his star).  Sure, it’s good for the members of the ensemble to play individual characters but Lloyd, a young Brit who spent the past three years as associate director at London’s Donmar Warehouse, should have found a way to rein in all the mugging.
But there is one saving grace: the performance by Patrick Page as Comte de Guiche, the vain nobleman who is also in love with Roxane (click here to read an interview in which the actor talks about his thoughts on love).  
The count is supposed to be the villain of the piece but Page has a plummy baritone voice and a winning stage presence. He’s not exactly a nerd but in the real world, Roxane would just ride off with him. Or at least that’s what I wanted to do.

"Who's Afraid of Virginia Woolf?" is Still Great

To contact us Click HERE
Just about everyone who has seen it is saying that the new revival of Who’s Afraid of Virginia Woolf? is not to be missed.  And they’re right.
This latest version of Edward Albee’s masterwork opened at the Booth Theatre  on Oct. 13, 50 years to the day that the original opened at the old Billy Rose Theater (now the Nederlander and home to Newsies). But there is nothing dated about Albee’s gimlet-eyed look at the desperate games unhappy people can play to keep themselves going.
Albee had been a success in the downtown theater scene but Who’s Afraid of Virginia Woolf? was his Broadway debut. His chronicle of a night in which two college professors and their wives drink oceans of alcohol, flirt with adultery and reveal the secrets that have kept their unhappy marriages together gob smacked the uptown crowd.
The New York Times declared that it “towers over the common run of contemporary plays.” But there were dissenters too.  “If Edward Albee is the white hope of the American theater, then our nation is in need of a strong detergent,” huffed one letter to the paper’s editor.
The play was a finalist for the Pulitzer Prize for Drama but the board was apparently as prudish as the letter writer and awarded no prize that year. But the theater community knew what it had been given. Who’s Afraid of Virginia Woolf? took home four big Tonys for direction, best actor and best actress for Arthur Hill and Uta Hagen as the battling older couple George and Martha, and, of course, best play.
Four years later, Mike Nichols directed a movie version that starred Richard Burton and Elizabeth Taylor, who won her second Oscar for her performance as the bitterly frustrated Martha. I was in my teens then but my mother took me to see it and while I won’t pretend that I understood everything I was seeing, I do remember being transfixed.
Director Pam McKinnon’s crackerjack production is the third Broadway revival.  The last, in 2005, which starred Kathleen Turner and Bill Irwin was so good that my husband K decided not to see this one because he didn’t want to taint the memory of such a great evening in the theater.
But this new production drew raves when it opened at Chicago’s Steppenwolf Theatre in 2010 and later when it moved to Washington. So I decided to risk it and I had little trouble persuading my theatergoing buddy Bill to see it with me.  
And we were so glad we went. The play runs 3 hours and 15 minutes with two intermissions but the time flew by.
That’s in part because Albee’s play is often throw-you-head-back-and- laugh funny. But it’s also because McKinnon and her outstanding cast found new ways to unleash its devastating pain as well. 
Amy Morton, best known as the oldest daughter in August: Osage County, makes Martha less of a gorgon than others have.  Bill said he missed that harpyish streak in the character but Morton’s human-sized Martha seemed more like the college president’s daughter that Martha is—and more vulnerable. This Martha touched me in a way that others—even very good ones like Turner’s—didn’t.  (Click here to read an interview with Morton.)
Tracy Letts, who wrote August: Osage Country confirms how theatrically ambidextrous he is because, while, just as you'd expect one playwright to treat the work of another, he is totally faithful to the text, he's also managed to subtlety reimagine George. 
The wounds that Letts' George has suffered over the years throb right beneath the surface but over them he has grown a blister that numbs the pain just enough so that he's able to push ruthlessly ahead.  (Click here to read an interview with Letts.)
I also have to give a shout-out to Carrie Coon, who plays Honey, the puerile wife in the younger couple, and who may be the best onstage drunk I’ve ever seen. But everything about this production—Todd Rosenthal’s set, Nan Dibula-Jenkins’ costumes, Aileen Lee Hughes’ lighting and, of course, McKinnon's deft direction—works, the pieces adding up to a magnificent whole. 
There was silence for the first few seconds after the performance that Bill and I saw ended as those of us in the audience (dotted with celebrities including Stephen Sondheim and the movie actor Bradley Cooper, as I said, everyone who loves theater is trying to see this) pulled ourselves together and then erupted into applause, including opera-house bravos. 
After the show, Bill and I walked through Shubert Alley for a late dinner at Sardi’s.  As we were leaving the restaurant, I spotted my old friend the veteran publicist Irene Gandy having dinner with McKinnon.  I went over and when Irene introduced me, I put my palms together in a gesture of thanks and bowed. “I’ve been hungry for a nourishing evening in the theater,” I told McKinnon.  “Thank you so much for giving it to me.” 
And now here's what I want to tell you: go see it and be fulfilled too.

Charlize Theron: 'It took two years to adopt son Jackson'

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Charlize Theron has said that it took her two years to adopt her first child.
Speaking on The Ellen DeGeneres Show, the Snow White and the Huntsman actress revealed that she waited for 24 months before her son Jackson could come into her life in March.
Theron said: "My mum said the most beautiful thing. She said, 'You know, it took me nine months to fall in love with you while you were growing in my stomach, and it took you two years to fall in love with this little baby'.
"It took two years of waiting, and then one day, it's finally there, and it feels exactly how it's supposed to feel. I don't know how to describe it. It just feels right."
Theron also revealed that her pets didn't take long to become attached to the new addition to her family.
The 36-year-old star said of her rescue dogs, a terrier mutt and a pitbull named Blue: "Dogs tend to... it takes them a little bit to really fall madly in love with someone. They know their owner and they'll be friendly, but they won't fall madly in love with just a stranger instantly."
"From the moment this baby came into our home, those two dogs have never been more in love. It's the most beautiful thing I've ever witnessed."
She continued. "The pit woke up with me for every feed, for every change. And whenever the baby would cry, the pit would start crying.
"People keep saying, 'You're a single mum.' I go, 'Actually, I'm not. I got two boys helping me out.'"

There's A New Spider In Town

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T.V. Carpio’s  first official performance as “Arachne” in SPIDER-MAN Turn Off The Dark is one she will likely remember for the rest of her life.  She emerged from the stage door a star, with a giant bouquet of roses in hand, to meet a crush of news crews and photographers.  Everyone wanted to know what it felt like to land the role and if she had any trepidation in taking it on.  The bouquet was from co-star Reeve Carney.  It turns out T.V. goes way back with Reeve and his super-guitarist brother Zane Carney.

Onstage her character uses her powers of illusion to wreak global havoc, but off stage she is humble and demure. Earlier in the day, she told George Stephanopoulos on “Good Morning America,” “I have a great want to step into some big shoes and do the best I can do to service this piece.” 

Is there anything wrong with a dad taking slutty picture of his daughter to sell a car?

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Meet Daddy's little girl. Lexxa Ridley, 20, is the model seen posing provocatively in a series of photos posted by her father, Kim, in an eBay for-sale listing for his 1977 Datsun 280Z. I remember the car well. It was fewer than 50,000 miles and sold for $7,500.  Not sure about how much he is asking for Lexxa.

You'll get a great view of the sunshine-yellow vehicle through Lexxa's legs—just don't let her butt cheeks distract you. In another shot, her breasts, tattoos and come-hither stare are on display.

Charlize Theron: 'It took two years to adopt son Jackson'

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Charlize Theron has said that it took her two years to adopt her first child.
Speaking on The Ellen DeGeneres Show, the Snow White and the Huntsman actress revealed that she waited for 24 months before her son Jackson could come into her life in March.
Theron said: "My mum said the most beautiful thing. She said, 'You know, it took me nine months to fall in love with you while you were growing in my stomach, and it took you two years to fall in love with this little baby'.
"It took two years of waiting, and then one day, it's finally there, and it feels exactly how it's supposed to feel. I don't know how to describe it. It just feels right."
Theron also revealed that her pets didn't take long to become attached to the new addition to her family.
The 36-year-old star said of her rescue dogs, a terrier mutt and a pitbull named Blue: "Dogs tend to... it takes them a little bit to really fall madly in love with someone. They know their owner and they'll be friendly, but they won't fall madly in love with just a stranger instantly."
"From the moment this baby came into our home, those two dogs have never been more in love. It's the most beautiful thing I've ever witnessed."
She continued. "The pit woke up with me for every feed, for every change. And whenever the baby would cry, the pit would start crying.
"People keep saying, 'You're a single mum.' I go, 'Actually, I'm not. I got two boys helping me out.'"

There's A New Spider In Town

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T.V. Carpio’s  first official performance as “Arachne” in SPIDER-MAN Turn Off The Dark is one she will likely remember for the rest of her life.  She emerged from the stage door a star, with a giant bouquet of roses in hand, to meet a crush of news crews and photographers.  Everyone wanted to know what it felt like to land the role and if she had any trepidation in taking it on.  The bouquet was from co-star Reeve Carney.  It turns out T.V. goes way back with Reeve and his super-guitarist brother Zane Carney.

Onstage her character uses her powers of illusion to wreak global havoc, but off stage she is humble and demure. Earlier in the day, she told George Stephanopoulos on “Good Morning America,” “I have a great want to step into some big shoes and do the best I can do to service this piece.” 

Model's Own Golden Green

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Hey there! Today's post is another green in honor of St. Patrick's Day week and another Model's Own color I got from my swap with Rachel of Polished Criminails. 
(Please ignore the band aid on my pinky... I cut myself with scissors while being an idiot -_-')

Natural Light - Direct Sunlight

Natural Light - Direct Sunlight

Natural Light - Shade

Model's Own Golden Green. This color is from the Beetlejuice duochrome collection. This is olive green with gold duochrome. I used 2 coats for this picture. I really love this color. I have a weak spot for olive greens and this one is no exception. I'm in love with this and the other colors from Beetlejuice I got... so in love!!! The formula was really good and it dried fairly quickly. Yay Model's Own!!!

Thanks for reading, until next time!

Claire's - Night Sky

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Today's post is a dark holo glitter that I bought on a whim at Claire's and I'm sooo glad I did!

Artificial Light

Artificial Light

Natural Light

Natural Light

Natural Light

Natural Light

Night Sky is a gorgeous deep blue microglitter in a clear base with chunky holo glitter throughout. 3 coats. 2 of the pictures above are blurred to show the holo. The holo glitter on this is really strong. The only issue I have with this is that its really goopey and think. I will probably thin it next time I wear it. Other than that, this color is fantastic! I love dark holos!

Thanks for reading, until next time!