Becca Fatale

Becca Fatale
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Romijn at the 2019 San Diego Comic-Con

^ Rebecca Romijn Profile in the FMD - database . Retrieved July 10, 2008.

^ Rebecca Romijn ( YouTube ). The Wendy Williams Show. February 14, 2019. Event occurs at 10:40. We've been married for 11 years. Why did it take you 9 years of marriage to legally change your name to O'Connell?

^ Jump up to: a b "Rebecca Romijn Is Still Legally "Rebecca Romijn-Stamos" " . teamcoco.com. August 1, 2013 . Retrieved August 2, 2013 .

^ Jump up to: a b Sobczynski, Peter. "Brian De Palma on" . www.rogerebert.com/ .

^ Jump up to: a b "BODY DOUBLE / FEMME FATALE | American Cinematheque" . November 22, 2017. Archived from the original on November 22, 2017.

^ Jump up to: a b "Museum of the Moving Image - Visit - Calendar - Femme Fatale" . June 29, 2016. Archived from the original on June 29, 2016.

^ Rebecca A Romijn , CaliforniaBirthIndex.org

^ "Rebecca Romijn-Stamos Biography (1972–)" . Filmreference.com . Retrieved March 14, 2010 .

^ "Rebecca rules" . Cosmopolitan . Accessmylibrary.com. July 1, 2000. Archived from the original on April 10, 2009 . Retrieved March 14, 2010 .

^ "Rebecca Romijn Biography" . Yahoo! . Retrieved March 14, 2010 .

^ "The Rebecca Romijn Fanpage" . Rebecca-fanpage.com. Archived from the original on July 20, 2008 . Retrieved March 14, 2010 .

^ "Kuizenga, Grace Elizabeth Abney – October 14, 1917 – June 20, 2005" . San Francisco Chronicle . June 25, 2005.

^ Marquis, A. N. (1960), "Kuizenga, Henry Bernard", Who's Who in the Midwest , vol. 7, p. 490

^ "Rebecca Romijn biography" . Whoabc.com. Archived from the original on June 11, 2009 . Retrieved March 14, 2010 .

^ "Rebecca Romijn Biography" . People . Retrieved February 1, 2008 .

^ "FHM Magazine 100 Sexiest Women 2005" . FreeJose.com . Retrieved October 11, 2006 .

^ Dos Santos, Kristin. "Rebecca Romijn" . E! Online .

^ Dos Santos, Kristin (April 24, 2008). "Sources Confirm: Rebecca Romijn Now Recurring Role on Ugly Betty" . E! Online . Retrieved April 30, 2008 .

^ Dos Santos, Kristin (March 10, 2010). "Chatting with Carpoolers Designated Driver" . E! Online . Retrieved March 14, 2010 .

^ "Witchy Woman" . East Bay, California: Diablomag.com. September 2009 . Retrieved March 14, 2010 .

^ Martin, Denise (November 10, 2009). "Quick Takes" . Los Angeles Times . Retrieved March 14, 2010 .

^ Lovece, Frank . "Film Review: X-Men: First Class " , Film Journal International , June 2, 2011

^ Gelman, Vlada (January 15, 2013). "TNT Greenlights Private Eye Series Starring Jon Tenney and Rebecca Romijn" . TVLine.com . Retrieved June 11, 2013 .

^ Holbrook, Damian. " 'The Office,' 'The Librarians' & More TV Faves Join 'The Death of Superman' " . TV Insider . Retrieved March 27, 2018 .

^ Darwish, Meaghan. " 'Star Trek' Spinoff With Ethan Peck, Rebecca Romijn & Anson Mount Heads to CBS All Access" . TV Insider . Retrieved March 27, 2021 .

^ Mitovich, Matt (June 28, 2022). "The Real Love Boat: Rebecca Romijn, Jerry O'Connell to Host CBS Series" . TVLine . Retrieved June 28, 2022 .

^ Lipton, Michael A. (September 27, 1999). "Full Spouse" . People . Retrieved June 13, 2015 .

^ "Spring Break" . People . April 26, 2004 . Retrieved June 13, 2015 .

^ "Divorce for John, Rebecca Romijn-Stamos" . People . August 23, 2004. Archived from the original on September 24, 2015 . Retrieved June 13, 2015 .

^ "Divorce final for Romijn, Stamos" . USA Today . March 1, 2005 . Retrieved June 13, 2015 .

^ Wihlborg, Ulrica (September 20, 2005). "Rebecca Romijn, Jerry O'Connell Engaged" . People . Retrieved June 13, 2015 .

^ Wihlborg, Ulrica (July 30, 2007). "Inside Their Summer Wedding!" . People . Retrieved June 13, 2015 .

^ Laudadio, Marisa (January 5, 2009). "Rebecca Romijn Welcomes Twin Girls" . People . Retrieved March 14, 2010 .

^ Sperling, Nicole (August 1, 2021). "Can Paramount+ Succeed? One Producer Hopes to Make It So" . The New York Times . ISSN 0362-4331 . Archived from the original on December 28, 2021 . Retrieved August 5, 2021 .

Wikimedia Commons has media related to Rebecca Romijn .
Covergirl in bold, *appeared in bodypainting by Joanne Gair , p appeared in print edition only, m appeared in special feature
underline indicates cover model, *appeared in bodypainting by Joanne Gair , p appeared in print edition only
Rebecca Alie O'Connell [2] [3] (née Romijn ( / r oʊ ˈ m eɪ n / roh- MAYN ; Dutch: [roːˈmɛin] ); born November 6, 1972) is an American actress and former model . She is known for her role as Mystique in the trilogy of the X-Men film series (2000–2011), as Joan from The Punisher (2004) (both of which are based on Marvel Comics ), the dual roles of Laure Ash and Lily Watts in Femme Fatale (2002), [4] [5] [6] and Number One on Star Trek: Discovery (2019) and Star Trek: Strange New Worlds (2022–present). She has also had a recurring role as Alexis Meade on the television series Ugly Betty . Her other major roles include Eve Baird on the TNT series The Librarians , voicing Lois Lane in the DC Animated Movie Universe (from The Death of Superman until Justice League Dark: Apokolips War ), and as the host of the reality competition show Skin Wars .

Romijn was born in Berkeley , California. [7] Her mother, Elizabeth Romijn (née Kuizenga), is a community college instructor of English as a Second Language (ESL) and textbook author. Rebecca's father, Jaap Romijn, is a custom furniture maker. [8] [9] Her father is a native of Barneveld , the Netherlands , while her mother is an American of Dutch and English ancestry. Her mother met Rebecca's father as a teenager while living in the Netherlands on a student exchange program . [10] [11] Romijn's maternal grandfather, Henry Bernard Kuizenga, was a Presbyterian minister and seminary professor. [12] [13]

On The Ellen DeGeneres Show , when questioned about always being glamorous and beautiful, Romijn revealed that in her early teens, she was in fact an insecure "drama geek" and that, as a result of her growth spurt, she suffered from scoliosis and was constantly in pain. Many sources say that she was once nicknamed the "Jolly Blonde Giant" because of her 5-foot-11-inch (1.80 m) height, but she has admitted to making that up "for a laugh". [14] While studying music (Voice) at the University of California, Santa Cruz , [15] she became involved with fashion modeling and eventually moved to Paris , where she lived for more than three years.

Among other jobs, Romijn started her modeling career in 1991. She has appeared on the covers of American, French , Spanish , Russian and Swedish editions of Elle , Marie Claire , American, Italian , Spanish, German , Portuguese , Russian, Greek , and Mexican editions of Cosmopolitan , Allure , Glamour , GQ , Esquire , and Sports Illustrated .

She has appeared in advertising campaigns for Escada , Christian Dior , La Perla , Tommy Hilfiger , Furla , Liz Claiborne , J. Crew , Victoria's Secret , bebe , La Senza , Dillard's , Pantene , Got Milk? , Miller Lite , and Maybelline . She has walked for Giorgio Armani , Sonia Rykiel , and Anna Molinari along with the likes of Claudia Schiffer , Stephanie Seymour , Karen Mulder , Kate Moss , Naomi Campbell , Linda Evangelista , Cindy Crawford , Helena Christensen and Christy Turlington . She was also the host of MTV 's House of Style from 1998 to 2000. Romijn has been featured numerous times in annual lists of the world's most beautiful women by publications such as Maxim (2003–2007), AskMen.com (2001–2003, 2005–2006), and FHM (2000–2005). [16] She appeared as a guest in the animated talk show Space Ghost Coast to Coast episode "Chinatown".

In 2000's X-Men , Romijn had her first major movie role as Mystique ; she returned to the role in 2003's sequel X2 and for X-Men: The Last Stand (2006). In these films, her costume consisted of blue makeup and some strategically placed prosthetics on her otherwise nude body. In X2 she shows up in a bar in one scene in her "normal" look and in X-Men: The Last Stand , as a dark-haired "de-powered" Mystique. The role has since been recast with Jennifer Lawrence playing the younger version of the character. She had her first leading role in Brian De Palma 's Femme Fatale (2002). [4] [5] [6] She also has starred in movies such as Rollerball , The Punisher playing a woman named Joan (Joan and Mystique are both characters from Marvel Comics ) and Godsend . She played the leading role in Pepper Dennis , a short-lived TV series on The WB Television Network .

In January 2007, Romijn made her first appearance on the ABC series Ugly Betty as a full-time regular cast member. [17] She played Alexis Meade , a transgender woman and the sister of lead character Daniel Meade . In April 2008, it was reported that Romijn would only be appearing as a recurring character in Season 3 due to a change in direction by the writing staff (aligning with Romijn's pregnancy, which would have been inconsistent with her character's storyline). [18] In November 2007, Romijn made a guest appearance on the ABC series Carpoolers , where she played the ex-wife of the character Laird, played by her real-life husband Jerry O'Connell . [19]

Romijn starred in the ABC series Eastwick , [20] reuniting her with her former Pepper Dennis co-star, Lindsay Price , before ABC canceled the show on November 9, 2009. [21] She appears in an uncredited cameo in the 2011 feature film X-Men: First Class , appearing as an older version of the character played by Jennifer Lawrence . [22] Romijn appeared as lab worker Jessie on the Adult Swim live-action show NTSF:SD:SUV:: for two seasons.
Between June and September 2013, she starred in TNT 's series King & Maxwell as Michelle Maxwell, a former Secret Service agent who works as a private investigator. [23]

In addition to her film ventures, Romijn has also recorded music, performing a cover of Prince 's " Darling Nikki " for the 2005 album Electro Goth Tribute to Prince . She was also featured on the song "Color Me Love" for RuPaul 's eighth studio album Realness in 2015.

She starred as Eve Baird, the guardian of the eponymous group in The Librarians , a direct spin-off of The Librarian film series . She also hosted GSN's original series and reality show Skin Wars and voiced Lois Lane in the DC Universe Animated Original Movie , an adaptation of The Death of Superman . [24] In 2019, she was a recurring character in the second season of Star Trek: Discovery , playing the role of Number One , first officer of the USS Enterprise . She reprised the role in the spin-off series Star Trek: Strange New Worlds , which was released in 2022. [25] She and husband O’Connell are set to host The Real Love Boat , premiering October 5, 2022 on CBS. [26]

Romijn began dating actor John Stamos in 1994, after they met at a Victoria's Secret fashion show in which she was modeling. Romijn and Stamos became engaged on Christmas Eve 1997, and they married on September 19, 1998, at the Beverly Hills Hotel . [27] During the marriage, she used the name Rebecca Romijn-Stamos in both her personal and professional life. The couple announced their separation in April 2004. [28] Stamos filed for divorce in August 2004, [29] and it became final on March 1, 2005. [30]

Romijn resumed using only her maiden name, but revealed in an August 2013 interview on Conan that she had never legally changed her name back from Romijn-Stamos after a Conan staff member noticed "Romijn-Stamos" on her driver's license. [3]

In 2004, Romijn started dating actor Jerry O'Connell . They became engaged in September 2005, [31] and married at their home in Calabasas, California , on July 14, 2007. [32] Romijn and O'Connell have twin daughters born in 2008. [33]

Released on home media as Lies and Alibis

Episode: "The One with the Dirty Girl"

Episode: "Lost and Get Found/A View to the Truth"

Guest judge; Episode: "Hello, Kitty Girls!"

Episode: "Featuring Rebecca Romijn"

Documentary short Credited as Rebecca Romijn-Stamos

Gold Derby Award, Best Ensemble in a Series

Saturn Award, Best Lead Actress in a Series

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Gone Girl's Feminist Update of the Old-Fashioned Femme Fatale
Flawlessly coiffed, impeccably dressed, she floats onto the screen in the dim half-light of a smoky nightclub or a foggy back alley. As she moves across the frame, we catch a glimpse of her reflection in a mirror or a shop window. She is, of course, the femme fatale—a recurring fixture of 1940s film noir and its offshoots. As poised as she is pitiless, as charming as she is calculating, the femme fatale expertly balances her image and her true intentions to manipulate a tangle of hapless husbands, lovers, and admirers. Dizzyingly, dazzlingly dangerous, she’s the picture of traditional feminine elegance—but she did real violence, both symbolic and literal, to the institution of marriage, an establishment that kept her a virtual captive within the domestic sphere. “[My husband] keeps me on a leash so tight I can’t breathe,” Phyllis Dietrichson, the iconic femme fatale in Billy Wilder’s 1944 classic Double Indemnity , famously complained. Moments later, she’s convinced her lover to help her do away with Mr. Dietrichson. This—the overbearing husband, the scheming wife and her dupe of a boyfriend, and, finally, the husband’s murder at the boyfriend’s hand—is a familiar schema, and it recurs in dozens of noirs from the period: in the 1946 The Postman Always Rings Twice , the 1947 The Paradine Case , the 1948 The Lady from Shanghai , and the 1949 Too Late for Tears , to name only a few.
More than any other stock figure in the noir canon (the hardboiled detective, the seedy cop), the femme fatale upset traditional gender roles, upending the nuclear family and its attendant host of expectations, ruthlessly eliminating the men who strove to eliminate her autonomy. But her avenues of resistance were limited, and too often she played into the hands of the system she set out to dismantle. The traditional femme fatale cannot be faulted for availing herself of the only weapon available to her—her sex appeal—but we cannot fully endorse her tactics either. Her beauty was too conventional, too much a realization and reinforcement of male fantasy—perhaps a means toward more radical transgressions, but surely no more than one step on the path toward greater, more destabilizing disruptions.
Seventy years after the release of Double Indemnity , David Fincher’s new thriller, Gone Girl, presents itself as one of these. The film is an adaptation of Gillian Flynn’s novel of the same name, and its protagonist, Amy Dunne, is a new kind of femme fatale, a reaction to a new kind of patriarchy. Where sexism once manifested itself straightforwardly, it has since evolved into a subtler affair. Modern patriarchy is evasive, shifty, slimily manipulative, and it requires a different sort of resistance. The classic femme fatale engaged men on the terms that they had set for her, adopting the persona they demanded of her, using her beauty to rig a game of male making. But Amy Dunne opts out of this game altogether. As cold-blooded as any of her predecessors but far less compromising, Fincher’s provocative anti-heroine refuses to pander to male expectations. She is the most evolved manifestation of the femme fatale yet, both a continuation of and an improvement on a trope that never went far enough.
An homage to its dark roots, Gone Girl is cynical and atmospheric, a jumble of infidelities, conflicting narratives, and abrupt police interrogations. Set in a small town in Missouri, the film centers around the suspicious disappearance of Amy Dunne (Rosamund Pike), a wealthy New Yorker who has fallen on hard times. When Amy and her husband, Nick (Ben Affleck), lose their jobs in the recession, they quit the big city and head to Nick’s hometown, where they use the last of Amy’s dwindling trust fund to settle down and buy a bar. Nick starts teaches creative writing classes at the local university, and the couple eases into the rhythm of provincial life. But Amy is bored and restless, Nick impatient and inattentive, and it isn’t long before their marriage starts to disintegrate.
Gone Girl opens on the morning of their fifth anniversary, when Nick returns home to find that the coffee table has been violently overturned—and that Amy is missing. What follows is a whodunit in keeping with the very thorniest of the noir tradition, a rich festival of twists and unexpected revelations. Nick, who had been planning to ask Amy for a divorce, is the primary suspect, and the case against him is damning. We learn that Nick has a younger mistress, one of his students, and the police uncover Amy’s diary, which contains a detailed account of her husband’s violent temper and occasional bouts of abuse. We discover that she was pregnant, and we struggle not to roll our eyes. Amy, the loving wife, blonde and Ivy League–educated, adored by all, accomplished in all the usual ways. Yet another lovesick casualty of male mistreatment.
But then—major spoilers ahead—we learn that Amy has faked her own murder and framed Nick in an attempt to punish him for his affair and his emotional neglect. She dyes her distinctive blonde hair mouse-grey and adopts the trappings of a Southern frump. Everything is going according to plan: The police have fallen for Amy’s trap, and public opinion has turned against Nick, who is lambasted on prime-time television. But when on-the-run Amy is robbed, she is forced to seek refuge with an obsessive ex-boyfriend, Desi (Neil Patrick Harris), who has remained devoted to Amy since their short-lived high school dalliance. Desi puts Amy up in his secluded lake house, and she takes desperate measures to escape, cutting his throat mid-coitus in a wincingly gory scene. Finally, dressed in a spectral white slip, drenched in Desi’s blood, Amy, recalling Lady Macbeth, makes her dramatic and triumphant way home. She blames her abduction on Desi and strong-arms Nick into remaining in their marriage, claiming that she is pregnant with his child. Ultimately, there is some ambiguity as to whether Nick stays solely because he has to. “We’re partners in crime,” he says in a TV interview in the penultimate scene, knowingly squeezing Amy’s hand.
The punishment that Phyllis Dietrichson meted out to her husband in Double Indemnity in 1944 was harsh, but there was some sense in which it fit his crime. He was controlling, stifling, all-too-present—so Phyllis got rid of him. But what Nick wants from Amy—and what modern sexism wants from women—is altogether different. Rather than a smitten bride who waits at home impatiently, dreaming desperately of hubby’s return, the new sexism wants a woman who doesn’t care too much, a woman who gracefully bows out as soon as she’s no longer wanted, who makes no demands and puts up no resistance. It wants the Cool Girl. In a monologue lifted from the book that appears almost verbatim in the movie, Amy explains:
Men always say that as the defining compliment, don’t they? She’s a cool girl. Being the Cool Girl means I am a hot, brilliant, funny woman who adores football, poker, dirty jokes, and burping, who plays video games, drinks cheap beer, loves threesomes and anal sex
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