Where Can I Find Information About Elizabeth Waterhouse'S Writing?

The 1980s were a big chapter in Elizabeth Taylor's life, both personally and professionally. First off, she was far from just a classic Hollywood star; she took a bold step into philanthropy during this decade, becoming a staunch advocate for AIDS research and awareness. This was particularly significant because, back then, there was so much stigma surrounding the disease, and many celebrities were hesitant to get involved. Taylor wasn’t just a face; she founded the Elizabeth Taylor AIDS Foundation in 1991, but it was in the '80s that she really started raising her voice. Catching onto the urgency, she hosted numerous benefits and was unapologetically vocal about the need for research and compassion. In terms of her film career, the '80s allowed Taylor to showcase her versatility, even if she wasn’t as active on-screen as before. She appeared in notable projects like 'The Mirror Crack'd', which had that classic whodunit vibe, featuring her alongside fellow legends like Angela Lansbury and Rock Hudson. And let's not forget her cameo in 'Will & Grace' towards the end of the decade—it was an iconic moment that emphasized how she remained relevant even in a changing entertainment landscape. The decade was also marked by her tumultuous personal life. Taylor experienced several high-profile marriages and divorces during this time, and the media loved to feast on every detail. She had married Larry Fortensky in 1991, but the relationship essentially began in the '80s. Her struggles and resilience in love became just as much a part of her narrative as her stardom. The pursuit of happiness seemed to weave through every headline, making her both relatable and enigmatic—a charismatic blend that people adored. Overall, the '80s showcased Elizabeth Taylor as not just a glamorous star, but a deeply human figure fighting for causes she was passionate about, all while navigating the complex worlds of fame and love.

her latest book stays true to her signature style of literary fiction with deep psychological insights. Her new novel, 'Lucy by the Sea,' continues the story of Lucy Barton, blending elements of contemporary fiction with subtle emotional drama. Strout's writing always feels like peeling back layers of human connection, and this one is no different—it’s quiet yet powerful, exploring themes of isolation, resilience, and love. If you enjoyed 'Olive Kitteridge' or 'My Name Is Lucy Barton,' you’ll find this equally gripping. It’s less about genre labels and more about the raw, honest storytelling she’s known for.

I love Elizabeth Strout's work, so I totally get wanting to preorder her new book ASAP. You can usually find preorders on major sites like Amazon, Barnes & Noble, or Bookshop.org. I personally prefer Bookshop.org because it supports indie bookstores, and they often have signed editions if you’re lucky. Also, checking her publisher’s website (Random House, I think?) might give you extra perks like exclusive content or early chapters. Don’t forget to peek at your local bookstore’s website—many offer preorders with in-store pickup or even author event tickets bundled in. Happy reading!

Whenever I watch close-ups of her on screen, Elizabeth Taylor's eyes feel like a private conversation you're accidentally invited to. There's the color — that famous violet-blue that photographers and gossip columns loved to tease out — but color alone doesn't explain it. Her eyes had a big, slightly almond shape and the kind of deep-set lashes and brows that framed them like dark velvet. Add the contrast with her porcelain skin and raven hair, and the eyes pop in a way that's almost cinematic on its own. Beyond anatomy, her acting gave those eyes purpose. She used them as punctuation: a slow look could carry sarcasm, longing, or danger without a single line. Makeup and lighting in films like 'Cleopatra' and 'Who’s Afraid of Virginia Woolf?' amplified the effect — heavy kohl, strategic rim lighting, and tight framing pulled you into the irises. Combine all that with the cultural myth around her (diamonds, drama, iconic style) and you get something more than pretty — an unforgettable presence. Try pausing on a still from her films and you’ll see layers: biology, craft, and persona working together.

There's something about Elizabeth Taylor on film that still catches me every time — not just the legend, but those eyes that seemed to change with the light. When I look at photos from 'Cleopatra' or her red carpet moments, what really made her violet-blue eyes sing were cool, reflective jewels: big white diamonds and platinum settings created a bright, mirror-like sparkle that pulled focus to her gaze. Diamonds framed her eyes by reflecting back the camera lights, so chandelier earrings and solitaire studs did more than decorate — they brightened the whole face. On the other hand, she also leaned into colored stones that echoed or contrasted with her eye color. Deep sapphires and amethysts echoed the cooler tones in her irises, while rich emeralds offered a lush contrast that made any hint of green pop. Pearls — like the famous 'La Peregrina' she wore sometimes — softened the look and gave a warm, classic glow that made her eye color seem softer on film. Metal tone mattered too: platinum and white gold read as cool and crisp on camera, yellow gold warmed the complexion and could bring out different undertones in her eyes. If you want that Taylor effect now, think big but balanced: face-framing earrings, a collar or high necklace to lift the face, and gems that either echo or contrast your eye tones under bright light. I still catch myself studying those magazine spreads for tip details every few months.

My take is a mix of film-geek nitpicking and plain admiration. Elizabeth Taylor's eyes were famously striking — people still debate whether they were truly 'violet' or just a magical trick of genetics plus cinema. From everything I've read and seen, the core fact is that her eye color was natural, a deep blue-gray with a rare quality that photographers, makeup artists, and lighting happily exaggerated. In practical terms, contact lenses that change color weren't mainstream or comfortable in the 1950s and 1960s. Studios relied on kohl, mascara, specially mixed eye shadows, and clever lighting to make her peepers pop in films like 'Cleopatra' and 'Who's Afraid of Virginia Woolf?'. Close-up lenses, soft focus filters, and the film stock itself could all create a jewel-like sheen. So while she may have used corrective lenses off-camera or for sharpness, the cinematic 'effect' most fans notice comes from makeup, cinematography, and natural eye pigment — not a wardrobe of colored contacts. I still get a little giddy every time I watch those classic close-ups; her eyes feel like a small miracle on screen.

There's a strange thrill I get every time the chat about medieval monsters pops up, because Elizabeth Báthory sits at this wild intersection of history and myth for me. The whole image of her—an aristocratic woman accused of torturing young girls and, according to lurid pamphlets, bathing in their blood to preserve her youth—fed directly into the modern vampire imagination. That specific image of blood as restorative rather than merely lethal is huge: it turns death into an object that can be consumed and harnessed, which matches so much of the vampire trope in literature and film. Beyond the famous blood-bathing rumor, the legend around her noble status and cruelty created a template for the seductive, privileged predator—think of female vampires in 'Carmilla' and the aristocratic menace in 'Dracula'. People loved (and still love) to sensationalize the aristocracy as morally corrupt and secretly monstrous, and Báthory became a perfect symbol for that. Even skeptics argue she was a political scapegoat, but the pamphlets, trial reports, and plays kept the monstrous details alive and morphed them into Gothic fiction. When I flip through old Gothic novels or watch those grainy horror movies, I can often trace a straight line from the Countess's myth to the vampires we see now.

I’ve binged a bunch of films about Elizabeth Báthory over the years, and my pick for the most faithful portrayals would start with 'Bathory' (2008) and 'The Countess' (2009). 'Bathory' tries to place Erzsébet in her historical context — politics, court intrigue and the pressures of nobility — and it takes a sympathetic, revisionist approach that questions the sensational accusations. It’s not perfect (no film is), but it spends energy on motive and setting rather than just gore. 'The Countess' is more intimate and stylized; Julie Delpy leans into the personal and psychological, giving the character agency and nuance instead of turning her into a cartoon villain. By contrast, if you watch 'Countess Dracula' (1971), expect Hammer-level gothic flourishes: vampiric blood baths, melodrama, and a clear fictionalization. It’s beautiful camp and great for mood, but far from rigorous history. If you’re chasing fidelity, prioritize the first two films and then supplement them with short historical documentaries or museum resources from Hungary to separate myth from trial-era propaganda — that’s where the fuller picture lives.