Age: 35
female
Emma Rose Roberts (born February 10, 1991) is an American actress, singer and producer. Known for her performances spanning multiple film and television genres, her work in the horror and thriller genres has established her as a scream queen. Roberts has received various accolades, including a Young Artist Award, an MTV Movie & TV Award, and a ShoWest Award. After making her acting debut in the crime film Blow (2001), Roberts gained recognition for her lead role as Addie Singer on the Nickelodeon television teen sitcom Unfabulous (2004–2007). She released her debut soundtrack album, Unfabulous and More, for the series in 2005. She went on to appear in numerous films including Aquamarine (2006), Nancy Drew (2007), Wild Child (2008), Hotel for Dogs (2009), Valentine's Day (2010), It's Kind of a Funny Story (2010), and The Art of Getting By (2011). Looking for more mature roles, Roberts had starring roles in the films Lymelife (2008), 4.3.2.1. (2010), Scream 4 (2011), Adult World (2013), We're the Millers (2013), and Gia Coppola's Palo Alto (2013). She has since appeared in The Blackcoat's Daughter (2015), Nerve (2016), Who We Are Now (2017), Paradise Hills (2019), Holidate (2020), and the Marvel superhero film Madame Web (2024). She gained further recognition for her starring roles in multiple seasons of the FX anthology horror series American Horror Story (2013–present) and for the lead role of Chanel Oberlin on the Fox comedy horror series Scream Queens (2015–2016). She is also the co-founder of the book club Belletrist. Description above from the Wikipedia article Emma Roberts, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Emma Roberts
Harley Quinn
for Harley Quinn in Batman: Death of the Family
Suggested by fernandomenegatti2
In an anachronistic Gotham suspended between the 1940s, the 1990s, and the present, Batman spirals into paranoia when the Joker vanishes for a year and is presumed dead. As grotesque murders plague the city and abandoned Ace Chemicals comes back to life in toxic green smoke, evidence suggests something far worse has returned. What follows is a nightmarish descent into psychological horror, as a more sadistic, almost supernatural Joker targets fear itself, dismantling the Batfamily one by one to shatter Bruce Wayne’s sanity. Blurring reality, myth, and madness, the film transforms The Death of the Family into a gothic noir terror story where love, obsession, and insanity become indistinguishable, and the final question is not whether Batman can stop the Joker, but whether he can survive him.
