Died at 100
female
Dame Angela Brigid Lansbury DBE (October 16, 1925 – October 11, 2022) was a British-American actress and singer who has appeared in theater, television, and film roles. Her career was spanned almost eight decades, much of it in the United States. Her work has received international attention. Her first film appearance was in the 1944 film Gaslight as a conniving maid, for which she received an Academy Award nomination. Among her other films are The Manchurian Candidate (1962), Bedknobs and Broomsticks (1971) Beauty and the Beast (1991), and Anastasia (1997). She expanded her repertoire to Broadway musicals and television in the 1950s and was particularly successful in Broadway productions of Gypsy, Mame and Sweeney Todd. Lansbury is perhaps best known to modern audiences for her 12 year run as writer and sleuth Jessica Fletcher on the U.S. television series Murder, She Wrote, in which she starred from 1984 to 1996. Her recent roles include Lady Adelaide Stitch in the 2005 film Nanny McPhee, Leona Mullen in the 2007 Broadway play Deuce, Madame Arcati in the 2009 Broadway revival of the play Blithe Spirit and Madame Armfeldt in the 2010 Broadway revival of the musical A Little Night Music. Respected for her versatility, Lansbury has won five Tony Awards, six Golden Globes, an Honorary Academy Award, and has been nominated for numerous other industry awards, including the Academy Award for Best Supporting Actress on three occasions, and eighteen Emmy Awards.
Angela Lansbury
Margret Ives
for Margret Ives in Great Big Beautiful Life
Suggested by user_81275
Alice Scott is an eternal optimist still dreaming of her big writing break. Hayden Anderson is a Pulitzer-prize winning human thundercloud. And they’re both on balmy Little Crescent Island for the same reason: To write the biography of a woman no one has seen in years--or at least to meet with the octogenarian who claims to be the Margaret Ives. Tragic heiress, former tabloid princess, and daughter of one of the most storied (and scandalous) families of the 20th Century. When Margaret invites them both for a one-month trial period, after which she’ll choose the person who’ll tell her story, there are three things keeping Alice’s head in the game. One: Alice genuinely likes people, which means people usually like Alice—and she has a whole month to win the legendary woman over. Two: She’s ready for this job and the chance to impress her perennially unimpressed family with a Serious Publication Three: Hayden Anderson, who should have no reason to be concerned about losing this book, is glowering at her in a shaken-to-the core way that suggests he sees her as competition. But the problem is, Margaret is only giving each of them pieces of her story. Pieces they can’t swap to put together because of an ironclad NDA and an inconvenient yearning pulsing between them every time they’re in the same room. And it’s becoming abundantly clear that their story—just like the tale Margaret’s spinning—could be a mystery, tragedy, or love ballad…depending on who’s telling it.
