
Age: 36
female
Mia Wasikowska (/ˌvʌʃɪˈkɒfskə/ VUSH-i-KOF-skə; born 25 October 1989) is an Australian actress. She made her screen debut on the Australian television drama All Saints in 2004, followed by her feature film debut in Suburban Mayhem (2006). She became known to a wider audience following her critically acclaimed work on the HBO television series In Treatment (2008). She was nominated for the Independent Spirit Award for Best Supporting Female for the film That Evening Sun (2009). Wasikowska gained worldwide recognition in 2010 after starring as Alice in Tim Burton's Alice in Wonderland and appearing in the comedy-drama film The Kids Are All Right. She starred in Cary Fukunaga's Jane Eyre (2011), Gus Van Sant's Restless (2011), Park Chan-wook's Stoker (2013), Jim Jarmusch's Only Lovers Left Alive (2013), John Curran's Tracks (2013), Richard Ayoade's The Double (2013), David Cronenberg's Maps to the Stars (2014), and Guillermo del Toro's Crimson Peak (2015). In 2016, she reprised her role as Alice in the film Alice Through the Looking Glass and has since appeared in several independent films, including Damsel (2018), Judy and Punch (2019), and Bergman Island (2021). Description above from the Wikipedia article Mia Wasikowska, licensed under CC-BY-SA, full list of contributors on Wikipedia.

Mia Wasikowska

Ashley Aldridge
for Ashley Aldridge in Hayley Aldridge Is Still Here
Suggested by kamsismith

It’s been years since anyone really thought about Hayley Aldridge. A child star turned television royalty, Hayley spent years in Hollywood partying and being plastered across the front page of all the tabloids before quietly disappearing after a whirlwind marriage and divorce and very public breakdown. Once the tabloids wrung every last drop out of the drama, they moved on to the next It Girl. But Hayley is still here. For over a decade, she’s been trapped in a conservatorship and had every aspect of her life controlled by her parents. She goes nowhere, does nothing without their approval, which is rarely granted. Her visits with her kids are monitored, her fan mail is censored, and she’s a prisoner in her own home. She thought things might change once she was well enough to work, but the restrictions got even tighter as she continued to bring money in—the only thing her parents ever really cared about. Hayley is beginning to realize that this nightmare is her actual life. And she’s sick of it. When the hashtag #helphayley starts to emerge on social media, and the public starts thinking critically about what happened to her all those years ago, there’s finally some momentum on her side. With an upcoming court date to review the status of the conservatorship, Hayley might finally have a chance to break free.





