Succession Finale: What Does This Blood Sacrifice Mean For Season Three?

Writing


The following contains spoilers for the Succession season two finale.


During Succession’s season two finale last night, Logan Roy decided who to sacrifice to the cruise coverup scandal at Waystar Royco. At one point, there is a very awkward meal during which Logan asks everyone points fingers at who they think should be sacrificed. True allegiances are revealed. Roman, who has seemingly matured many years since he returned from his business deal turned hostage situation, proves his loyalty to the (secret) love of his life, Gerri. Shiv, however, proves she is willing to throw her own husband under the bus. (Poor Wamsgans.)

Logan ultimately sacrifices Kendall, claiming that he loves him so much that this is the only blood sacrifice that would hold any weight. He trusts him to handle the situation well, given how well he handled Congress. He also tells Kendall that he never had a chance of becoming the CEO because he wasn’t enough of a killer. Yikes. Logan announces this decision over another meal with everyone — Roman comes to Kendall’s defense and is given the title of COO from his father.

Good old Cousin Greg chaperones Kendall’s trip back to New York to have a press conference. Somewhere along the way, Kendall decided to use the papers Cousin Greg saved that prove the coverup to throw his father under the bus. He emerges as a killer, but reveals his target to be his father. Logan, with a subtle twitch of a smile, is a bit proud of him and not entirely scared of the challenge this presents.


If you kick the king, you have to kill him…

First of all, how is Logan going to handle this? He’s proud of his son, but he still has to deal with the trouble this creates for him specifically. He has dirt on Kendall, but will he use it? Kendall was in the passenger seat of a car where the driver was under the influence of drugs (as was Kendall) and crashed into a small body of water. The driver died. Kendall emerged physically unscathed and emotionally forever changed. Kendall has kicked the king, but is he prepared to kill him? Or is he going to face the consequences of his involvement in the fatal accident?


Where will the Roy sibling allegiances lie in season three?

Early in the episode, we get to enjoy a solid 30 seconds of Roman encouraging a healthy relationship among his siblings. We catch a glimpse of what emotional maturity could look like among the siblings, but Shiv and Kendall shut down his comments with infantile babble. They’ve never been good at playing nice, but how will Kendall’s stepping out against his father affect their relationships with one another moving forward?


Roman’s maturity has sky-rocketed this episode. So much so that one almost forgets how absolutely terrifying it was to see him attempting to be intimate with Tabitha, his former girlfriend (who was also the participating party in Tom’s closed-circuit system cheating). He seems to be learning how to appropriately handle the feelings he has for Gerri (coming to her defense, sitting beside her and having a normal conversation that doesn’t make me cringe). He also has matured in the way he handles business. Logan trusts him with important deals and he is proving that he can be trusted.

Historically, he has flaked on Kendall. When Kendall was organizing the vote of no confidence in season one, Roman backed him. However, when it came down to it, Roman didn’t have the gall to vote for his father’s removal. But perhaps Roman is tired of being slapped around, both figuratively and literally, in the pursuit of being taken seriously by his father.

Roman surely wants to screw over his father now more than he wants to be the future CEO of Waystar Royco. He never really idolized the position, he seemed to want it simply because of his own insecurities. I feel a Roman/Kendall team up coming (with Cousin Greg too, of course).


Shiv, on the other hand, has always been willing to go against her father. She spent time working with Gil Eavis, a politician who is very much against Logan and everything he stands for. She also momentarily considered taking over Pierce, a company her father was in the middle of trying to acquire. Shiv and her power suits really want to be the CEO of the company, so much so that she essentially put her marriage on the line by suggesting that Tom be the blood sacrifice.

By siding with Kendall, she could take down her father. However, if she stayed with her father, she could probably manage to escape this situation somewhat intact and lock down the CEO position. And she seems to want that more than she wants to take down her father.


Connor will float around and do whatever seems like it will give him the most money. He’s not content to be the world’s poorest rich person.


One thing is for sure: Logan has made his blood sacrifice, but he will be the one bleeding out in season three.

Edgar Wright Reinvents How Sound Can Be Used In Film

Film

Sound is typically a boring and overlooked aspect of movies, not because it is inherently boring, but because most directors do not recognize the advantage of using it in different ways. Director Edgar Wright takes sound and, as he does with everything else, makes it extraordinary in his films.

Wright uses something called intensified continuity, defined by David Bordwell in Intensified Continuity Visual Style in Contemporary American Film as “traditional continuity amped up, raised to a higher pitch of emphasis.” Wright uses sonic intensified continuity particularly in scene transitions throughout his feature films, including Hot FuzzShaun of the Dead, and Baby Driver, among others.


Wright’s Use Of Sonic Intensified Continuity

In one scene from Hot Fuzz, Danny (Nick Frost) is showing Nicholas (Simon Pegg) a flip book and the flip book sounds become amplified and morph into the short and exaggerated sounds of a door opening, a pen writing on paper, and general motion sounds before transitioning to a conversation between the two in a different setting.

While the typical establishing shot used as a transition can be effective, it is overused and there is nothing special about it. In most cases, the boring transitions are the times when viewers will take out their phones and scroll through Twitter until something draws their attention back in. Wright never needs to draw their attention back in — he never loses it.


Excessive Swearing In PG-13

Wright also creatively uses sound to circumvent R-ratings. The MPAA allows only a few swear words in PG-13 movies before it becomes an R-rated movie. The MPAA enforces these rules so that audiences are aware of what they are walking into (or what they are letting their children walk into). Many directors try to avoid an R-rating because it limits the audience and therefore the box office success.

Edgar Wright manages to keep the spirit of swear words in his movie by using sound to cover them up. In one scene from Scott Pilgrim vs the World, Julie (Aubrey Plaza) is swearing at Scott (Michael Cera), but a beep sound and a black box over her mouth mask it. In this situation, adults will understand that she is still swearing and children will not, therefore maintaining the intended dialogue while keeping it PG-13.


Wright’s Use Of Diegetic Music

In a scene from Shaun of the Dead, the main characters are in a pub hiding from zombies. Doors are barricaded; lights are off. Ed turns on an arcade game and suddenly the zombies approach the noise from outside. When a single zombie enters the bar, the juke box turns on to Queen’s “Don’t Stop Me Now.” Everyone grabs a cricket bat and begins circling the zombie while hitting him over and over again to the beat of the song.

In a scene where non-diegetic music (music that only exists to us viewers) would typically be used, Wright found an opportunity to introduce diegetic music (music that is playing within the world of the film) for heightened effect.


Wright’s most recent film, Baby Driver, didn’t just make sound an interesting part of the film — it made sound the whole film. Most movie trailers are intensified by matching the beats to the visuals or cuts. Edgar Wright does this throughout every single one of the film’s 113 minutes. The film is an action musical.

In Baby Driver, Baby (Ansel Elgort) is a getaway driver who drowns out his tinnitus by always listening to music. With the use of this diegetic music, the sound is as critical to his role in the film as it is to ours. Baby dances along streets to the music just as his car swerves and screeches to the music.


When you think about the qualities of certain movies, sound is probably the last thing you think of. All films have good sound — if they didn’t, nobody would watch them. But what the majority of films fail to do is use it creatively.

There’s something incredible about watching a film that a director has seemingly poured every ounce of his creativity into and then watching his next film and realizing he had more creativity than you thought possible.

Ad Astra Is Not A Space Movie… And That Is Why It Succeeds

Film

 

The following contains spoilers for Ad Astra:

One of my favorite movies is About Time — a movie about life’s small moments and the people we share them with. It just so happens that it also involves time travel.

I feel the same way about Ad Astra. It is the only space movie I like because it is not a Space Movie. Space Movies like Gravity and The Martian are likable but forgettable. Space Movies like Interstellar are simply awful — yes I’m sure.

Ad Astra was set in space, but it is about something much smaller yet much much bigger than that: human relationships.

It shows us that a father and son’s relationship is more exciting than the marvels of taking commercial flights to the moon or landing on Mars. It doesn’t propose that space is exciting at all. It has normalized it, but the contrast between their casual space travel and our lack of such doesn’t draw attention to itself or feel unnatural.

Roy McBride, played by Brad Pitt, is struggling with the new knowledge that his father is believed to be still alive. He goes along with the mission he is sent on: to communicate with his father in an effort to stop him from causing further damage to the whole solar system with the project he was sent out there to work on.

McBride tries to be stoic while beginning this mission, though emotion creeps in in small, but visible, doses. A subtle portrait of masculinity, he tries to repress the feelings of love and abandonment he feels for and from his father. Only when he sends out several radio communications to his father does he begin to assess what he is feeling and come crashing down.

These emotional scenes are enhanced because of the juxtaposition with the ordinary feeling of seeing space exploration.

It never makes us feel like we are being pulled out of the film. Rather, we are pulled in to the emotional journey, for which space is simply the backdrop.

Lady Gaga and Bradley Cooper: Views of Shallow

Film

On Sunday night, Lady Gaga and Bradley Cooper performed “Shallow” from A Star is Born, in which the pair played Ally and Jackson Maine, respectively. The film, which marks Cooper’s directorial debut, went largely unrecognized by the Academy. With eight nominations heading into the night, the film walked away with just one win: Best Original Song.

Each year, the Best Original Song nominees perform throughout the ceremony. Though the Academy tried to scratch this for the sake of hitting a 3-hour run time, complaints kept the tradition (mostly) alive.

A Star is Born was released on October 5, 2018 and “Shallow,” of course, went on to earn its Best Original Song nomination on January 22, 2019.  Long before nominations were announced, Bradley Cooper revealed to Variety that he already shared ideas with Gaga for their potential Oscar performance, saying, “I started texting her the whole pitch of how we should do it. So we’ll see. There might be a cool, unorthodox way we could perform it.”

There are a lot of different ways they could have performed it (perhaps have Alec Baldwin introduce them a la the SNL scene in the film), but when the time came, it became clear that it wasn’t the performance they had an unorthodox idea for– it was the filming of it.

The camera is filming from the stage as the piano is brought out and Cooper and Gaga emerge from the audience. If it looked weird, it’s because performances are never shown from this angle. The camera is always in the audience, or at least facing the stage. If it looked familiar, it’s because this is exactly how every performance was filmed in A Star is Born.

In all of the concert scenes, which were filmed in between acts of Stagecoach and Glastonbury, the camera is on stage with the performers. Cinematographer Matthew Libatique spoke with Carolyn Giardina on The Hollywood Reporter‘s Behind the Scenes Podcast, sharing that Cooper asked him, “What do you think if we just shot from the stage and never saw the audience perspective?”

In an interview with Film School Rejects, Libatique recalls an early conversation with Cooper:

“Remembering an experience he had being backstage at a show and the feeling that he had. Just being there looking out at the audience amongst the stage and amongst the band and all people around the stage. What that sort of feeling was. He had the idea to shoot it from that perspective only and forget about the audience’s point of view”

This style of cinematography, while ostracizing the audiences within the film, brings the audience of the film closer to the story. The closest we come to identifying with any audience within the film is when Ally’s father sits at home watching his daughter on YouTube with his friends and discusses how many people have seen the video.

Because of the cinematography, we care about Ally’s career on a personal level, not as fans. We feel more important than the audiences in the film– we feel like the friend, the sibling, the parent. The cinematography makes the film about Ally and Jackson as human beings with their careers as an added layer. The film is not treated like a concert with dialogue thrown in the middle.

The camera remains in their personal space not just on the stage, but in personal moments as well. During the wedding montage, the camera is right in Ally’s face. This same framing is used as she performs “I’ll Never Love Again” at the very end of the film. In the final moments of the film, she looks into the camera, acknowledging that we were there the whole time.

 

Resumé

Resume

Amy K. (“Kitty”) Williams

amykatherinewilliams@gmail.com

EDUCATION                                                                                                                       

Salve Regina University, Newport, RI, Bachelor of Arts                                 May 2018

English Communications, minor in film studies, Pell Honors Program

  • Completed courses include: Feature Writing, Multimedia Storytelling, Social Media Strategies, Editing & Publishing, Film Production, and Film Theory.
  • Senior Thesis: “British Heritage Drama in the Age of Netflix: How The Crown Stretches the Boundaries of the Genre, Medium, and the World”

 

EXPERIENCE                                                                                                                     

The Refined Woman, Podcast + Social Media Manager                     May 2017-Present

Online magazine that aims to empower women through storytelling.

  • Write weekly podcast summaries to be published with the podcast episodes.
  • Occasionally edit original audio files together to create podcast episodes.
  • Grew podcast Instagram account from 200 to 2,000 followers in 7 months.
  • Researched and interviewed notable NYC women to write profiles on them.
  • Created copy for Instagram posts as needed, posted on a regular schedule, engaged with followers, and used linked stories to drive traffic to the website.

 

Marquis Who’s Who, Copywriter                                                    July 2018- June 2019

  • Write press releases for publication, make revisions as necessary.
  • Proofread content for online and print publication.

 

newportFILM, Intern                                                                                  Jan-April 2018

Non-profit organization that hosts documentary screenings all year round in Newport.

  • Researched films to be shown, found reviews and hashtags for social media.
  • Put up flyers in local businesses and acquired raffle donations for a fundraiser.
  • Assisted in setting up for, running, and breaking down events.

 

Mosaic Student Newspaper, Co-Editor-In-Chief                             Sept 2017- May 2018

Salve Regina University, Staff Writer (2015-2016), Associate Editor (2016-2017)

  • Wrote and edited articles for bi-weekly online campus newspaper.
  • Published to and maintained WordPress-based content management system.
  • Worked with an agency to plan speaker event featuring Marvel comic writer Gabby Rivera.

 

Lou Reda Productions, Production Assistant                                  June 30- July 2, 2016

Production Company filming documentary We Have Met the Enemy            Newport, RI

 

SKILLS                                                                                                                                 

Computer: Adobe InDesign and Lightroom, Canva, Planoly, Social Media

Twitter and Instagram: @amykathwills

TRW NYC Profile: Denka Obradovic

The Refined Woman Profiles

http://www.therefinedwoman.com/denka-obradovic-nyc-profile/

Written by Kitty Williams for The Refined Woman

“Sometimes we think ‘oh, this is just my life.’ Yeah, and your life is vastly different from mine,” says Obradovic. “It makes for a good read.”

At the end of Grand Avenue in Williamsburg, there sits a small park that doesn’t greet its visitors with large fountains or anything you’d find in Central Park; its offer is simple: trees and peace. Just beyond the trees are benches, cold from the winter air, that look out over the East River.

People walk in and out, sipping coffee while they take their dogs on morning walks. I sit with Denka Obradovic, the skyline across the water reflecting in her sunglasses.

“It’s just packed with so much history. It feels good to be somewhere that’s been around a really long time,” says Obradovic. She takes in the view before adding with a smile, “Does that make me a romantic? Am I a romantic?”

This park holds a special place in this New Yorker’s heart. She first moved to Williamsburg from Queens with her boyfriend almost two years ago. “This was one of the first places we walked to,” she says.

Obradovic had been living in San Diego when work brought her then-boyfriend to New York nine years ago. She decided to take the risk and move with him. “I wasn’t doing anything in San Diego I couldn’t do in New York,” she says.

Obradovic is a model with the curve division of Wilhelmina Models. Before starting there, she was at a different agency where she remembers meeting with Susan Georget, forerunner of the curve movement. “She looked at me, she threw a contract at me, I signed it, and that was it,” she says.

Being a model wasn’t always Obradovic’s plan. When she was little, she wanted to be a cartoonist or an opera singer, though she never had any real experience singing. Not only have her career aspirations changed since childhood, but her overall persona as well. Having had a difficult childhood, she has grown much and doesn’t think the child she was is representative of the woman she has become.

As a child, she was surrounded by physical, emotional, and sexual abuse. “I wish it didn’t happen,” says Obradovic. She notes that, though it was a troubling time, it has made her a stronger person. She finds comfort in writing about her experiences, and since she recalls them with a foggy memory she considers it creative nonfiction. “I started writing a book in college. I thought I was going to be a writer,” she says before adding, “Still can be.”

However, life guided her toward modeling. “I was scouted,” Obradovic says. “Good old fashioned scouting.” Though modeling comes with a certain amount of stress, she is happy with the path she is on. “You’re a freelancer. Nothing is guaranteed,” she says. “I haven’t considered doing anything else. I’m in this for as long as they’ll have me.”

She loves the work she gets to do as a model. “If you’ve ever felt like you don’t fit in, and now here you are, this example of beauty and what beauty can be: that’s pretty nice,” she says with a smile. For Obradovic, the most important thing is feeling good. “I do it for women who don’t feel beautiful. It’s a terrible way to live.”

Obradovic remembers there was a time when she didn’t feel beautiful. She recalls the Pretty Woman quote: “People put you down enough, you start to believe it.” In contrast, social media today can act as a platform for spreading positive messages about beauty, among them, that there is no single type of beauty.

Obradovic is happy with her body, but tries to practice a lot of self-love when that feeling fades. “I just try to be kind to myself when I feel myself getting judge-y about my body or the way I look. I just take a moment, speak to myself, and keep going,” says Obradovic.

Another way she shows love for herself is by making time to be with her self. “I give a lot to people,” she says. “My self-care is my alone time.” In this free time, she gravitates towards reading memoirs because she finds people to be fascinating. “Sometimes we think ‘oh, this is just my life.’ Yeah, and your life is vastly different from mine,” says Obradovic. “It makes for a good read.”

When she has a bit more time, one of her favorite places to get away from everything is the Catskills. “We’re starting to explore little towns up there. New York is so big. You go from this,” she says, looking out at the skyline, “to trees and creeks and nature, and oh, the Hudson River is so beautiful.” Living there full-time isn’t a possibility for her, but she cherishes the moments she gets to spend there.

Obradovic is proud of her decision to move to New York. This risk-taking behavior is something she never wants to grow out of. “I think what scares me the most is being scared,” she says. “I don’t want to be afraid to do something.”

She is a big believer that now is the time to do what you’ve always wanted to do. Waiting is never the answer. “I just feel like anyone can do anything,” she says before adding, “I feel that way about myself.”

Right now, she is happy with her life as she lives it: full of walks to Grand Ferry Park, ferry rides at sunset, and time spent with her boyfriend. “I just feel so full and complete,” says Obradovic. “I made a home here.”

TRW NYC Profile: Payal Kadakia

The Refined Woman Profiles

http://www.therefinedwoman.com/payal-kadakia-nyc-profile/

Written by Kitty Williams for The Refined Woman

“I really wanted to share the roots of Indian culture,” she says, “and I wanted to do it through dance.”

“The energy of New York will always be a feeling of lightning,” says Payal Kadakia. Various areas of New York City serve as constant reminders to her of fond memories like past offices, performances, and achievements.

Kadakia is the founder and artistic director of the Sa Dance Company as well as the founder and executive chairman of ClassPass.

ClassPass is a fitness membership app through which users can sign up to attend a wide variety of fitness classes rather than be tied to a single class and therefore a single activity.

With ClassPass, users can take a barre class one day and a water aerobics class on another. They are given the freedom to try activities, to fail at some, and to fall in love with new ones they may have never discovered had they made a commitment to do the same activity every week.

Kadakia takes great pride in the growth she has experienced through using ClassPass. “It teaches you a lesson that’s greater than you being able to do that class,” she says. “It’s being able to triumph over things.”

She measures success by setting goals and accomplishing those goals. One major goal of hers is to have a positive influence in the lives of others. She has accomplished that goal through ClassPass in a major way. “We’re close to 40 million reservations, and the reason I think about reservations is because that’s time. That’s 40 million hours of people’s lives that we’ve had our hand in,” says Kadakia.

ClassPass’s vision statement, “every life fully lived,” is a reflection of how intentional Kadakia is when it comes to spending time. She created ClassPass with the intention of bringing people back to the moments when they feel truly happy.

“If you can spend [your time] doing things that are soul nurturing, that are inspiring, that are authentic and you are present in them,” says Kadakia, “the more hours of your life you can spend like that, the more fulfilled you’re going to be.”

For Kadakia, that means dancing. However, there was a time when she felt guilty for that passion. She felt as though people around her didn’t understand why she would make time for dance as she was growing a business.

The guilt brought on by this didn’t last too long, though. A friend came over as she was pondering the balance between dance and work, and they choreographed a dance together. “It helped me kind of break through it,” says Kadakia. “Dance helps fuel my creativity, not just in the dance studio, but also in the workplace. It’s because I’ve nurtured my passion for dance that I’ve had the sense of purpose, creative energy and drive to grow ClassPass into the thriving business it is today.”

She never wants to feel guilty for doing something she loves, and this idea – that everyone should feel empowered to take care of themselves and cultivate their passions – has become a core value at ClassPass. ClassPass hosts an annual employee talent show to celebrate employee passions, plus the company offers generous benefits like unlimited vacation, flexible work hours, and free ClassPass memberships in support of this core value.

Intentionally spending time doing what she loves is what brought her to create the Sa Dance Company as well. “I really wanted to share the roots of Indian culture,” she says, “and I wanted to do it through dance.”

Kadakia was born and raised in America but is drawn to her Indian roots. “Some of it is a longing of making sure I don’t forget it,” she says, but also “making sure the world doesn’t forget it.”

At the age of three, Kadakia was introduced to Indian dance. “We used to only dance in our basements because there was no platform for Indian dance,” she reflects.

Since then she’s become an accomplished dancer, as her list of New York performances has extended from flash mobs on the streets of the city to stages in Bryant Park and at Lincoln Center.

Kadakia has a history with New York and a future with Los Angeles, though she has homes in both cities. Los Angeles is where she gets to spend the most time with her husband and where she is building new things for ClassPass. New York feels like lightning to her, so what does Los Angeles feel like? “Sunshine,” says Kadakia with a big laugh.

Kadakia never focuses too far into the future because she recognizes that as human beings, we shift in our goals and aspirations. “I’m allowed to change,” she says, certain of the unknown. “I will never be one thing.” One thing remains certain, though: this life is fully lived.

TRW NYC Profile: Hilary Rushford

The Refined Woman Profiles

http://www.therefinedwoman.com/hilary-rushford-nyc-profile/

Written by Kitty Williams for The Refined Woman

“New York has a bustling creative energy. It brings people that have big dreams and deep passion,” she says. “You move here because you want something extraordinary.”

“I am a teacher and a ‘psychologist,’ though I have degrees in neither [field],” says Hilary Rushford, referring to her work as a stylist and business coach.

Guiding others on how to feel at peace in their wardrobes and grow their business was not her original plan.

Rushford was a performer, including with the Radio City Rockettes, before she decided to take a hiatus from auditioning. “I thought I was just starting a side job to replace all of the side jobs I hated,” she says of her start as a stylist. She began by teaching one-on-one but knew that what she was sharing would help many other women as well, so she started teaching online courses.

When she was three years into her business, one of her Instagram courses went viral. Keeping up with the growth took a toll on her wellbeing. “When you’re so deep into something, it’s hard to see all of the other effects of it,” says Rushford, reflecting on how this stress led to a total burnout.

She hit rock bottom but recognized what she needed to do: rest. For Rushford, this rest began with a plane ticket to Europe.

“I got on the plane thinking I was going for six weeks,” says Rushford. However, three weeks in she found herself reflecting on the trip. “I didn’t know what I was trying to accomplish, but I knew I wasn’t fifty percent of the way there so I just didn’t get back on the plane,” she says. She had been traveling, but exploring and experiencing new things left little time for rest and personal growth.

“Traveling itself is doing, and if you really want introspective time to heal and grow and learn… that’s different than traveling,” Rushford emphasizes. Her final weeks on sabbatical were spent focusing on healing, growing, and learning in the South of France.

“I ended up traveling for four months until I felt ready to come home and then I bought a ticket,” she says. Rushford recognizes that quick fixes are highly sought after, but they never give the results you need.

She is grateful for the burnout she experienced because it made her realize that adjustments needed to be made in her life. She returned to her dear Brooklyn feeling refreshed.

Having lived in Brooklyn for over a decade, Rushford has a sincere appreciation for this city. “New York has a bustling creative energy. It brings people that have big dreams and deep passion,” she says. “You move here because you want something extraordinary.”

Rushford herself has big dreams and deep passion. A defining New York moment for her was when she was talking on the phone with her mother after a final round of callbacks for Thoroughly Modern Milly on Broadway. She remembers thinking, “Even if I don’t get this role, I’m in the game. In the hardest business, in the hardest city, I’m in the mix.”

She also has sincere relationships with those in this city. “I know the names of my local flower guy and the guy who makes me avocado toast every morning at the café,” Rushford says with a smile.

On a more personal level, she treasures her relationships with her friends. She has a supportive community around her and knows that those friendships are something to prioritize. “I want to be the kind of friend who, if you got into a massive row with your boyfriend at midnight, you wouldn’t think, ‘she’s probably busy, I shouldn’t bother her’,” says Rushford.

There’s something electric she finds in the women drawn to New York. “The thing I appreciate most about them, whether they’re 23 or 51 is their incredible wisdom, earnest vulnerability, and ridiculous shenanigans that make me laugh,” Rushford says as a laugh escapes.

Another priority of hers is empowering women. “I really believe when a woman feels beautiful, she’s so much more powerful,” she says, “whether that’s in how she talks to her daughter or how she walks into a boardroom.”

Rushford was a powerful force even as a high school student. She remembers showing great leadership skills as an active member in the theater department. “It was an SNL cast of horrible theater teachers, yet that gave me a lot of opportunity to be a leader,” she reflects.

She continues to lead as her team grows. Rushford is now writing a book, is already thinking about the next book she will write, and is planning on creating a docu-series. Spending time traveling with loved ones and seeing loved ones is also on her agenda. “One of the reasons I started this business was I wanted to travel more,” says Rushford. “Whether that’s with my passport or to play Aunt Hil.”

As a dancer, she was always tied to the city in case she got an audition. Now, she is a thriving entrepreneur who has the freedom to travel, and who will still remember to stop for a dance break every once in a while on Instagram.