Age: 36
female
Dakota Mayi Johnson (born October 4, 1989) is an American actress. The daughter of actors Don Johnson and Melanie Griffith, Johnson made her film debut at age ten with a minor role in Crazy in Alabama (1999), directed by her then-stepfather Antonio Banderas and starring her mother. After graduating from high school, she began auditioning for roles and had a minor part in The Social Network (2010). Johnson had her breakthrough playing the lead role in the erotic Fifty Shades film series (2015–2018). In 2016, she received a BAFTA Rising Star Award nomination and was featured in a Forbes 30 Under 30 list. Her profile grew with roles in the crime drama Black Mass (2015), the drama A Bigger Splash (2015), the romantic comedy How to Be Single (2016), the horror film Suspiria (2018), the thriller Bad Times at the El Royale (2018), the coming-of-age film The Peanut Butter Falcon (2019), the psychological drama The Lost Daughter (2021), the romantic drama Cha Cha Real Smooth (2022), and the superhero film Madame Web (2024). Description above from the Wikipedia article Dakota Johnson, licensed under CC-BY-SA, full list of contributors on Wikipedia.
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.
