Age: 33
female
Jessica Green, was born on February 11, 1993, in Tasmania, Australia. With her striking blue eyes and a height of 5’9" (1.75 m), she has made a significant impact in the entertainment industry. In her early career, she appeared in minor roles in films such as Peter Pan (Universal Pictures) and Aqua Marine (Fox). However, her breakthrough came in 2013 when she secured the lead role of “KIKI” in the Jonathon M. Shiff production LIGHTNING POINT (also known as Alien Surf Girls). This role required her to surf and ride horses, showcasing her versatility. Jessica continued to make her mark in the industry with film appearances. Notably, she played ‘Rebecca’ in the Australian action-thriller RED BILLABONG (Sparke Films) in 2016. Her talent and dedication also led her to a role in PIRATES OF THE CARIBBEAN: Dead Men Tell No Tales (Disney). In 2017, Jessica portrayed Cleopatra in ROMAN EMPIRE (Netflix) and Lexx in ASH VS EVIL DEAD (Starz), further establishing her presence on the international stage. However, her most iconic role to date is that of ‘TALON’ in THE OUTPOST, a fantasy adventure series that aired on The CW Network and NBCU SYFY channels. Jessica performed her own stunts, including wire work, demonstrating her mixed martial arts, horse riding, and weapon skills.
Jessica Green
Audre Holloway
for Audre Holloway in Audre — The House of Audre
Suggested by mr95
Season three finds Audre at 35, launching the House of Audre in a small showroom in the Garment District on a shoestring budget and a reputation that precedes her. The brand is immediately successful — her name carries weight — but success comes with unexpected complications. The aesthetic that felt revolutionary within Chen & Company's structure feels constrained when it's entirely hers. She must make decisions about production, pricing, who gets access to beauty — decisions she never had to make when those were Marcus's burdens. Julian, initially supportive, begins to resent the time and energy the brand demands. Their marriage begins to fracture under the weight of her ambition. Simone expands her restaurant empire and the circle of women evolves: some drift away as life gets busier, some deepen. A documentary filmmaker, Zara, begins shadowing Audre for what is intended as a profile but becomes a complex examination of whether elegance can survive commodification. By the season's end — and the series' end — Audre has built something real and entirely her own, but has paid costs she didn't anticipate and won't entirely recover from. The final episode ends not with triumph but with something more complicated: acceptance that elegance and ambition, when you are a woman in the luxury industry, may ultimately be incompatible, and choosing one means inevitably sacrificing the other.
