Age: 69
female
Frances Louise McDormand (born Cynthia Ann Smith; June 23, 1957) is an American film, stage and television actress. McDormand began her career on stage and made her screen debut in the 1984 film Blood Simple, having since appeared in several theatrical and television roles. McDormand has been recognized for her performances in 'Mississippi Burning' (1988), 'Short Cuts' (1993), 'Fargo' (1996), 'Wonder Boys' (2000), 'Almost Famous' (2000), 'North Country' (2005), 'Moonrise Kingdom' (2012), 'Hail, Caesar!' (2016), 'Three Billboards Outside Ebbing, Missouri' (2017), 'Nomadland' (2020) and 'The Tragedy of Macbeth' (2021). Throughout her career, she has been nominated for eight Golden Globes, five Academy Awards, four BAFTA Awards, and three Emmy Awards. She is one of the few performers to achieve the "Triple Crown of Acting", winning an Academy Award, a Primetime Emmy Award, and a Tony Award. She won her first Academy Award for Best Actress in 1997 for her role as Marge Gunderson in 'Fargo'. She also won Best Supporting Actress from the Broadcast Film Critics Association, the Florida Film Critics Circle, and the Los Angeles Film Critics Association for her performance in 'Wonder Boys' (2000). McDormand returned to the stage in the David Lindsay-Abaire play Good People on Broadway from February 8, 2011 to April 24, 2011. In 2017, McDormand starred in 'Three Billboards Outside Ebbing, Missouri' which earned her a second Academy Award for Best Actress. McDormand has been married to filmmaker Joel Coen since 1984, they reside in New York City along with their adopted son Pedro.
Magnolia Brown is nineteen years old, broke, and effectively an orphan. She feels stuck and haunted: by her overdrawn bank account, her predatory landlord, and the ghost of her late grandmother Mama Brown. One night, while working at her dead-end gas station job, a mysterious, slick stranger named Cotton walks in and offers to turn Magnolia’s luck around with a lucrative “modeling” job at his family’s funeral home. She accepts. But despite things looking up, Magnolia’s problems fatten along with her wallet. When Cotton’s requests become increasingly weird, Magnolia discovers there’s a lot more at stake than just her rent. Sharp as a belted knife, this sly social commentary cuts straight to the bone. House of Cotton will keep you mesmerized until the very last page.
