Age: 39
female
Emmanuelle Grey Rossum (born September 12, 1986) is an American actress, director, and singer. She is known for her portrayal of Fiona Gallagher in the television series Shameless (2011–2019). Since the mid-2010s, she has also directed and produced television, including the 2022 Peacock series Angelyne in which she also stars. Born and raised in New York City, she began professionally performing as a child with the Metropolitan Opera. Early on-screen roles included Genius (1999), Songcatcher (2000), Passionada (2002), and Nola (2003). At sixteen, she was cast in her breakthrough role in Mystic River (2003). Rossum starred in the 2004 sci-fi film The Day After Tomorrow, and also received critical acclaim for her performance in the leading role of Christine Daaé in the film adaptation of The Phantom of the Opera (2004). She is also well known for acting in the films Poseidon (2006), Dragonball: Evolution (2009), Inside (2011), Beautiful Creatures (2013), Comet (2014), You're Not You (2014), and Cold Pursuit (2019).
Emmy Rossum
Audrey Scott
for Audrey Scott in Great Big Beautiful Life
Suggested by vzzzzzzz
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.
