Sentences with phrase «blonde women into»

She's also confined to the house thanks to a mysterious virus that is turning blonde women into cold - blooded killers (luckily, Hazel is a natural redhead).

Not exact matches

Then I started braiding my blonde hair into small intricate braids, as that of the great Viking women who went into battle with their men.

There is a blonde woman who works reception — I so wish I had asked her name - she went above and beyond in arranging transportation for me to go into Trinidad to use the Internet at the Grand Hotel, as well as come to get me afterwards.

From the bare - breasted days of the cave woman, through the Renaissance and into the era of blonde bombshells, a woman's bosom has been an icon representing both sexual prowess and vitality.

If you're into blonde haired, tall and slender women, Estonians are just your type.

Im an easy going person looking for a lady who is fun loving spontanious and a woman who is not into headgames Im 6» 1» avarege build short going grey blonde hair.

Im blonde hair blue eyes 6ft2 180 im 24 years old im really into older women and would like to get to know someone and have fun

Indeed, in the Q&A that followed the screening of In the Fade that I attended at New York's Museum of Modern Art, Akin went so far as to say that he wanted Katja to be a blonde - haired, blue - eyed avatar of himself; he wanted to cast a woman who would be a Nazi's ideal as the sworn enemy of Nazis, and to inject his own anger about the way he is treated as an «other» by neo-Nazis and their ilk into the character of an Aryan - looking woman who would otherwise be embraced by them.

Playing an ex-CIA operative brought back into harm's way when her special skill set is needed, Unlocked's milieu is far from the grimy, fluorescent Europe of Atomic Blonde's late 80's or the heavily influenced CGI «yesterworld» of Wonder Woman, but its intentions are the same.

Somehow figuring into the mystery is a mysterious blonde - wigged woman (Carla Gugino) who took a seat in front of the Secretary seconds before the shooting and caught a bullet herself.

Oates is equally unflinching in her inquiry into class and racial conflicts, and in her imaginative and intrepid variations on actual circumstances and crimes, from the limited choices of disadvantaged women in her Detroit - set National Book Award — winning them (1969) to Marilyn Monroe's disastrous celebrity in Blonde (2000) to a tale of the opposite lives of two college students in Black Girl / White Girl (2006) to the JonBenet Ramsey case and the horrors of the tabloid press in My Sister, My Love (2008) to the festering wound of a long - ago New Jersey lynching in The Accursed (2013).

Pandemics — global outbreaks of disease across countries and continents — have been a feature of human history for centuries: as inexplicable and frightening as the contagion in Emily Shultz's novel The Blondes, where women with blonde hair are turned into crazed maniacs.

It's a sickness with a specific target — blonde women — and it throws each of its victims into an uncontrollable, violent frenzy.

The Blondes By Emily Schultz Picador • $ 16 • ISBN 9781250081698 Blondes have decidedly less fun in Schultz's genre - straddling story about a rabies - like pandemic that affects only fair - haired women, turning them into violent attackers.

In this feverish cautionary tale, Erdrich enters the realm of Margaret Atwood's The Handmaid's Tale (1985), Emily Schultz's The Blondes (2015), Edan Lepucki's California (2014), Laura van den Berg's Find Me (2015), and Claire Vaye Watkins» Gold, Fame, Citrus (2015), infusing her masterful, full - tilt dystopian novel with stinging insights into the endless repercussions of the Native American genocide, hijacked spirituality, and the ongoing war against women's rights.

The artist told IGN in 2008 that the proto - Tomb Raider began life as a «sociopathic blonde» before morphing into a muscle woman, a «flat topped hip hopster,» and a «Nazi - like militant in a baseball cap.»

This «rage» is powerfully present, and punctures the exhibition like a blast in the side — most specifically Pindell's powerful video work from 1980, Free, White, and 21, in which the artist recounts for the camera racism she has experienced throughout her life (from childhood to working professional), and then switches into the guise of a blonde white woman who reprimands Pindell for her paranoia and ungratefulness.

Dalwood also delights in contrasting two seemingly contradictory styles within the same painting, a supreme example of which is his portrait of Claudia Schiffer, in which a blonde woman gazing into a hand mirror, rendered precisely in the cartoon style of Roy Lichtenstein, is reflected back as a de Kooning «Woman» painwoman gazing into a hand mirror, rendered precisely in the cartoon style of Roy Lichtenstein, is reflected back as a de Kooning «Woman» painWoman» painting.