Age: 41
female
Mary Elizabeth Winstead (born November 28, 1984) is an American actress and singer. She's best known for her movie roles as Helena Bertinelli / Huntress in Birds of Prey (2020), Wendy Christiensen in Final Destination 3 (2006), John McClane's daughter Lucy Gennero-McClane in Live Free or Die Hard (2007) and A Good Day to Die Hard (2013), Holly Keely in The Spectacular Now (2013), Mary Todd Lincoln in Abraham Lincoln: Vampire Hunter (2012), and Ramona Flowers in Scott Pilgrim vs. the World (2010). Her best known TV roles are as Anna Urbanova on the Paramount+ series A Gentleman in Moscow, Laurel Healy on CBS's BrainDead, Mary Phinney on PBS's Mercy Street, and Nikki Swango on the FX series Fargo. In 2010, she married filmmaker Riley Stearns, whom she had met at age eighteen on an ocean cruise. She starred in and produced Stearns's debut feature film, Faults, in 2014. She announced their separation in May 2017 and their divorce was finalized later that year. In May 2017, she began a relationship with actor Ewan McGregor, whom she had met on the set of the third season of the Fargo television series. Their son, Laurie, was born on June 27, 2021, and they married in April 2022. From Wikipedia, the free encyclopedia.
Mary Elizabeth Winstead
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.
