Age: 40
female
Anna Cooke Kendrick (born August 9, 1985) is an American actress. Known for playing upbeat and endearing characters in comedies and musicals, her accolades include nominations for an Academy Award, a Primetime Emmy Award, and a Tony Award. Kendrick's first starring role was in the 1998 Broadway musical High Society, for which she earned a Tony Award nomination for Best Featured Actress in a Musical. She made her film debut in the musical comedy Camp (2003) and had a supporting role in The Twilight Saga (2008–2011). She achieved wider recognition for her role in the comedy-drama film Up in the Air (2009), which earned her an Academy Award nomination for Best Supporting Actress, as well as for her starring role in the Pitch Perfect film series (2012–2017). She starred in the comedies Scott Pilgrim vs. the World (2010) and 50/50 (2011), the crime drama End of Watch (2012), the musical Into the Woods (2014), the thrillers The Accountant (2016) and A Simple Favor (2018), and the fantasy comedy Noelle (2019). She has voiced the lead role in the animated musicals of the Trolls film franchise since 2016. She starred in the short-form comedy series Dummy (2020), for which she received a nomination for a Primetime Emmy Award for Outstanding Actress. She made her directorial debut with the self-starring thriller Woman of the Hour (2023). Kendrick sang on soundtracks for some of her films, including the single "Cups" in 2012, and at events such as the 2013 Kennedy Centre Honours and the 2015 Academy Awards. Her memoir, Scrappy Little Nobody, was published in 2016. Description above from the Wikipedia article Anna Kendrick, 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.
