yolanda star trek

Amanda Plummer (I)

IMDbPro Starmeter Top 5,000 739

• Contact info
• 9 wins & 16 nominations total

• Honey Bunny

• Abigail Harm

• 2023 • 6 eps
• Post-production

• Mom (voice)

• Lili - la mère de Loïe

• devised in collaboration with

• In-development projects at IMDbPro

Personal details

• 5′ 4″ (1.63 m)
• March 23 , 1957
• New York City, New York, USA
• No Children
• Parents Tammy Grimes
• Other works Play: "A Midsummer's Night Dream", by William Shakespeare. Dir. Gregory Boyd. Adams Memorial Theatre, Williamstown, Massachusetts.
• 1 Interview
• 4 Pictorials

Did you know

• Trivia She and her father both received Emmy nominations in 2005. She won but he did not.
• Quotes I like devilish, thorny, dirty, mean roles, muck and mire, unbelievably sad, unbelievably happy, burdened. Inner conflict - that's where drama is.

Related news

Contribute to this page.

• Learn more about contributing

More to explore

Recently viewed.

Stargirl: The Comic Book History of Wildcat, the Next-Generation JSA Hero

Your changes have been saved

Email is sent

Email has already been sent

Please verify your email address.

You’ve reached your account maximum for followed topics.

Why Brian Griffin Left Family Guy (And Why He Returned)

This beloved the walking dead character is much darker than fans realize, the vampire diaries' final episode had a hidden callback to season 6 that most fans missed.

Stargirl   will be hitting TV screens and streaming services this May and is set to feature a new generation of the Justice Society of America as its title character inspires new heroes to rise up against the Injustice Society. One of these new vigilantes will be Yolanda Montez, a.k.a. Wildcat , one of the most distinguished members of the JSA in the pages of DC Comics.

Yolanda wasn't the first character to take that name, however. In fact, the "Wildcat" name is one of the longest-lived legacies in DC Comics' history and fans will soon get to see it on the small screen.

RELATED: Earth-2: The History of the OTHER DC Universe, Explained

The original Wildcat was a heavy-weight boxing champion named Ted Grant who made his first appearance in the pages of  Sensation Comics #1 in January of 1942. Grant fought crime with little more than his fists, becoming one of the best fighters in the world and eventually joining the Justice Society of America.

When the JSA eventually retired, Ted remained active in the ring as a fighter and a coach, eventually going on to train future superheroes Black Canary, Catwoman and Batman. When the JSA eventually reformed in the present day, Ted took up his Wildcat ways once again, making good use of his one superhuman ability: a mystical curse that allows him to resurrect, using up "nine lives" like a cat.

RELATED: DC Universe's Stargirl Is Landing At The Exact Right Time, After All

Ted eventually discovered he had a son named Tom Bronson, who had the meta-human ability to turn into a were-cat, potentially as a result of his father's magic curse. Tom and Ted first met during one of the JSA's many battles with Vandal Savage, and after the dust had cleared, Ted invited his son to join the Justice Society of America as the third Wildcat. The pair would serve alongside each other on the team until the events of  Flashpoint wiped this continuity away.

Before Tom began his superhero career, however, there had been a second Wildcat, a young Latina woman named Yolanda Montez. Yolanda's father was a boxer named "Mauler" Montez, who was one of Ted Grant's best friends. When Yolanda was born, Ted was chosen as her godfather, and the two were quite close. Yolanda eventually developed cat-like meta human abilities that she discovered were the results of inhuman experiments performed on her mother before Yolanda was born by the villain Doctor Love.

RELATED:  Just Imagine: How Stan Lee Gave DC Its Forgotten Crisis

When Ted Grant was nearly killed during Crisis on Infinite Earths , Yolanda decided to use her powers to take on her beloved godfather's legacy as the new Wildcat and would later join Infinity Inc, a superhero team consisting of the descendants and successors of the original members of the JSA. Yolanda would continue to fight crime as Wildcat until she lost her life at the hands of the Justice League villain Eclipso.

Both Ted Grant and Yolanda have been confirmed to feature in  Stargirl , and her comic book origins just might give fans a glimpse into her television future. Based on the trailers, the JSA, and presumably Ted Grant, are dead, and Stargirl and S.T.R.I.P.E.'s decision to fight against the Injustice Society will inspire a new generation of heroes.

RELATED: Stargirl Debuts New JSA And Injustice Society Characters & Cast

This tracks quite well with Yolanda's comic book history. She first took on the Wildcat identity after a  Crisis nearly killed Ted, and Stargirl's new team seems to be following the same premise as Infinity Inc and featuring the Justice Society's descendants and successors. Though little is currently known about Yolanda's backstory in the show, it would be simple for her to keep her connection to Ted Grant and similarly easy to adjust the origin of her powers to experiments performed by a different mad scientist like Brainwave.

Keeping these characteristics would connect Yolanda to the JSA and fulfill the generation and legacy themes that the show has been marketing. It would also give her ample motivation to join the fight against the Injustice Society , as they are implied to be the reason that the JSA, and thus her beloved godfather, have gone missing. Add that to potentially being a target and subject of one of the team's villains, and Yolanda could easily develop a desire for revenge that would simultaneously create interpersonal conflict with Stargirl.

DC Universe's Stargirl stars Brec Bassinger as Courtney Whitmore (Stargirl), Brian Stapf as Ted Grant (Wildcat), and Yvette Monreal as Yolanda Montez (Wildcat II). The series will premiere Monday, May 18 on DC Universe and Tuesday, May 19 on The CW.

KEEP READING: Stargirl: Arrowverse's Justice Society Leaps Into Action in New Trailer

• CBR Exclusives

Yolanda Renee King

Yolanda Renee King was President of the United States from 2029 until 2036

Background [ ]

Screen Rant

Stargirl hints an injustice society villain is alive (& what it means for wildcat).

Your changes have been saved

Email is sent

Email has already been sent

Please verify your email address.

You’ve reached your account maximum for followed topics.

Professor T. Season 4 Confirmed: Cast, Story & Everything We Know

Blue bloods season 14 star confirms series finale will include one show tradition: "[it] will resonate with fans", law & order season 24 story update reveals feud between benson & new character in crossover episode.

Warning: SPOILERS for DC's Stargirl Season 2, Episode 3 - "Summer School: Chapter Three".

DC's Stargirl is teasing that Brainwave (Christopher James Baker) of the Injustice Society of America could still be alive in the mind of Yolanda Montez/Wildcat (Yvette Monreal). Stargirl season 2 sees Courtney Whitmore (Brec Bassinger) and the Justice Society of America facing new threats in the form of The Shade (Jonathan Cake) and Eclipso (Nick Tarabay). But while most of the ISA is dead or has fled Blue Valley, Brainwave may have survived thanks to his psychic abilities.

Brainwave aka Dr. Henry King Sr. was the first supervillain Courtney Whitmore faced as Stargirl. A powerful telepath, Brainwave was the key to the Icicle's (Neil Jackson) master plan to create a New America ruled by the Injustice Society. Using a machine built by Dragon King (Nelson Lee), Brainwave's powers were amplified to mind control the people of multiple states, but Wildcat killed him before the ISA's mass brainwashing to create their New America could fully take effect. Yolanda also has a tragic history with Brainwave's son, Henry Jr. (Jake Austin Walker), who was also a telepath and wronged Yolanda when they were dating. But Henry Jr. redeemed himself and died fighting his evil father in Stargirl season 1. The abuse Dr. King put his son through is also one of the reasons why it was Yolanda who put an end to Brainwave's evil.

Related: Stargirl Hinted Another Justice Society Member Is Still Alive

In Stargirl season 2, Yolanda is racked with guilt over killing Brainwave. She's been seeking solace in Catholic confession and Yolanda is openly questioning whether she is still a good person. But Montez has also been hit with crippling headaches accompanied by a ringing sound in her mind. Courtney, who attends summer school with Yolanda , knows the headaches are frequent, but neither teenager has pieced together what it could mean: Brainwave could have psychically entered Yolanda's mind before his body died. If this is the case, then there are several possibilities that could both harm and help Yolanda going forward if part of Brainwave is psychically living in her brain.

However, there's also the chance that it was Henry Jr. who psychically bonded with Yolanda before he died. Henry Jr's powers were rawer and the boy had less control over them, but even though Yolanda still hated Henry for ruining her life, she would logically be the one Jr. would psychically reach out to. If Henry Jr. is in Yolanda's mind, then he could actually be a key to stopping Eclipso, since it might take a powerful psychic like Brainwave Jr. to combat the mind control of the demonic evil of the Black Diamond.

But if it is the evil Brainwave who entered Yolanda's mind and causing her painful headaches, then the longer he's in her head, the more Brainwave could potentially control Wildcat psychically. This would be an insidious revenge method for Dr. Henry King, who has a documented history of harming others with his abilities and relishing their anguish. Obviously, Brainwave has enmity for Yolanda, given her history with his son and the fact that it was this teenage girl who ultimately killed him. Brainwave could also be cruelly exacerbating Yolanda's guilt over killing him, which could lead the telepathic villain to force Yolanda to harm herself and her friends in the Justice Society of America .

Poor Yolanda has already emotionally suffered long before she even became Wildcat, but Brainwave in Montez's head would make matters much worse for her as she's already in pain coping with what it means that she killed Dr. King. Brainwave controlling Yolanda's mind would also echo the greater Stargirl season 2 story with Eclipso, who is manipulating the actions of Cindy Burman (Meg DeLacy) through the Black Diamond as she recruits her new villain team, Injustice Unlimited. This could all converge later in Stargirl season 2 when the teenage superheroes face Eclipso, and defeating the shadowy demon could end up costing the Justice Society of America dearly, and possibly Yolanda Montez most of all.

Next: Stargirl Is Better At Dealing With The DCEU & MCU's Death Problem

DC's Stargirl airs Tuesdays on The CW.

• SR Originals
• Stargirl - TV Show (2020)

The Odan symbiont

Odan was a Trill symbiont in the 24th century . Odan was an accomplished ambassador for the United Federation of Planets and as of 2367 had been joined to at least three Trill hosts including, briefly, with a Human . ( TNG : " The Host ")

• 2.1 Background information
• 2.2 Apocrypha
• 2.3 External link

History [ ]

In 2337 , Odan was joined with a male host . In this year, he mediated a dispute between the Alphans and Betans of the Pelians , whose governments had been in a rocky relationship since their moons were colonized. He worked with Lathal Bine's aunt and Kalin Trose .

In 2367, Odan had joined with a different male host and publicly maintained the fiction that he was the previous host's son. He was tapped again to mediate a dispute with the Pelians when the Alphans developed an energy source which disadvantaged the Betans. The Federation sent the USS Enterprise -D to assist. It was hoped that he would be able to accomplish the same results this time and prevent a war between the two. During his efforts Odan refused transport to the surface and insisted on traveling by shuttlecraft . This led to an attack during which the host body was injured, necessitating the removal of Odan.

Like all Trill symbionts, Odan could not survive more than a few hours outside of a host. A Trill transport was within range and with a suitable host aboard but the Enterprise could not leave Peliar Zel, and the transport was forty hours away. To extend the life of the symbiont, William T. Riker volunteered to become a temporary host. Odan was transferred to his body successfully, although he then had to spend some time convincing the moons' ambassadors that he was still Odan despite his new appearance before negotiations could continue.

Ultimately Odan was successful in averting a war, but barely in time to prevent permanent harm to the incompatible body of its host, Riker; even before he was extracted, Odan rejected the offer of further immunosuppressants despite the damage he was suffering in Riker because the drugs would have damaged Riker's body. With negotiations complete Odan was removed and joined to become Kareel Odan .

The transfer of Odan had enormous repercussions. The two factions in the negotiations were initially skeptical of the explanation for Odan's change in appearance and negotiations almost never happened. At the same time, Odan and Doctor Beverly Crusher had begun a relationship prior to his host's injuries. The change in appearance proved professionally and personally difficult for Dr. Crusher; although she had a romantic encounter with Odan while the symbiont was in Riker's body, she broke it off after Odan was transferred into Kareel, as it was too complicated to be involved with someone when they could change bodies so easily.

Both of these reactions can be primarily attributed to the fact that the joined nature of the Trill was not widely known at the time. However, the extremely public and open display of such a surprising secret soon made the joined society of Trill common knowledge. ( TNG : " The Host ")

Appendices [ ]

Background information [ ].

Odan's male host was played by Franc Luz . Kareel, his new host, was played by Nicole Orth-Pallavicini .

In contrast to the Trill later shown in Star Trek , where the host and the symbiont appear to share consciousnesses, Odan appeared to exert more control over his hosts, as he regularly referred to Riker as a body without any real sign that Riker himself had much impact on Odan's mannerisms or thoughts. However, this could be accounted for by the fact that Riker is the only Human seen being used as a host for a symbiont, creating the possibility that Odan had to suppress Riker's personality more than he would have done in a Trill host in order to gain the necessary control to complete his mission.

Apocrypha [ ]

The difference between this symbiont and ones shown later was explained in the non-canon novel Forged in Fire , which explained that the ridged Trill such as Odan's hosts were the result of a strain of the Klingon augment virus that managed to infect a Trill colony through visiting Klingon traders. However, the Trill seemed not to be interested in working on methods of restoring the original Trill look, with this 'sub-group' having recently, at the time the novel was set, been re-accepted back into Trill society. The novel also revealed that Odan's disinclination to use transporters was in part because transporting was uncomfortable for symbionts and also part of a Trill policy to keep the symbiont's existence secret as the transporter scans would have picked it up; presumably, after the public events of the negotiations Odan participated in while in Riker's body, this policy became less relevant, hence accounting for the ease with which Jadzia Dax transported.

An earlier host of the Odan symbiont appears in Kristine Kathryn Rusch and Jill Sherwin 's The Lives of Dax short story "First Steps".

Crusher encountered Kareel Odan again in the comics story " A House Divided ", when she acts as an advisor on the Enterprise -D as it is transporting a Trill master criminal to a new, high-security prison.

External link [ ]

• Odan at Memory Beta , the wiki for licensed Star Trek works
• 1 USS Enterprise (NCC-1701-G)
• 3 Daniels (Crewman)

An Out of the World Place

Yolanda and the Thief (1945)

  F red Astaire is a familiar presence to most movie lovers, even those who’ve never watched one of his features in its entirety. His most famous number with frequent co-star Ginger Rogers—“Cheek to Cheek” from 1935’s Top Hat— has become shorthand for cinema’s ineffable escapist magic; it’s invoked in films as disparate as The Purple Rose of Cairo and The Green Mile . Picture it now: Astaire—lithe and elegant in tuxedo tails— whirling Rogers across the floor , emblematic of gentlemanly charm.

All of which is to say that there’s something rather jarring about Astaire’s presence in Vincente Minnelli’s little-seen 1945 film ,  Yolanda and the Thief . In it, Astaire plays Johnny Riggs, an American con man who goes on the lam in the fictional country of Patria with his partner-in-crime Victor Trout (played by Frank Morgan, who ran one of the greatest cons of all as the Man Behind the Curtain in The Wizard of Oz ). Upon reaching Patria, Johnny and Victor learn that a young woman named Yolanda Aquaviva (Lucille Bremer) has recently left the convent school where she was enrolled, and is now taking charge of her family’s fortune. Johnny decides to pose as Yolanda’s naïve, devout guardian angel in order to dupe her out of her riches.

Now: wagers, low-level deceptions, and mistaken identities often play a role in the old Astaire-Rogers musicals, and Astaire’s character in 1942’s Holiday Inn is fairly conniving. But Yolanda ’s Johnny is still shockingly mercenary, preying on the religious faith of an innocent. As author Stephen Harvey writes in his book on the films of Astaire, “Yolanda’s crooked pursuer is quite the most unsavory part Astaire had ever tackled. In a persuasive imitation of underworld nastiness, Astaire subdues his usual ebullience, lowers his voice to a raffish monotone, and cynically rations his charm to the moments when he’s trying to put one over on the gullible [Yolanda].”

For most of the film’s running time we’re given little reason to like Johnny (other than the fact that many of us already like Astaire). One could argue that Johnny luring Yolanda into meeting him without a chaperone and demanding her “absolute unquestioning obedience” seems particularly ominous in our present age, when the news is filled with stories about men—including supposedly holy men—abusing their power, but I can’t imagine this scene went down easily in any era, no matter how beautifully Minnelli composes his shot of Astaire perched on an ornate throne, doing his most imperious angel impression.

Yet, though Yolanda ’s rather off-putting use of its leading man is peculiar, the truth is that nearly everything about the film is peculiar. Yolanda was Minnelli’s first full-length musical feature following the quaint and lovely Meet Me in St. Louis , and it counters that film’s comfy domesticity with disorderly fantasy. To wit: while the look of Meet Me in St. Louis was inspired by Currier and Ives prints, Yolanda ’s visuals take explicit inspiration from the surrealist landscapes of Salvador Dalí. Though it isn’t the most successful of Minnelli’s celebrated musicals (and I mean that in both the financial and artistic senses of the word), it is perhaps the most experimental, and, for me, that makes it an object of fascination.

Minnelli’s films are visually arresting, and most of his MGM musicals feature an extraordinary use of color. Meet Me in St. Louis and An American in Paris enchant us in part because they look like live-action storybooks, and Yolanda has that same quality, amplified, perhaps, by its outlandish nature. In Yolanda , Minnelli uses elements of the characters’ costumes, as well as the presence of llamas and a peppering of Spanish dialogue, to suggest that Patria is somewhere in South America, a strategy that offensively co-opts real culture and equates it with make-believe. But Yolanda’s Aunt Amarilla calls Patria “an out of the world place,” and that’s really what Minnelli was going for here, albeit in an insensitive way. He seeks to evoke a feeling that Johnny and Victor have left behind what they know and entered a world of mysticism and dreams.

Indeed, one of the film’s most memorable sequences is its dream ballet , which finds Johnny simultaneously haunted by his attraction to Yolanda’s wealth and his attraction to Yolanda herself. The dream ballet is curious in part because of its length (about 15 minutes) and its placement in the narrative. Despite the fact that we’re nearly 40 minutes into the film when the ballet begins, Johnny has only just met Yolanda before he goes to bed and dreams of her. While the celebrated dream ballets in both  An American in Paris and Powell and Pressburger’s The Red Shoes  are climactic events that serve to underscore the conflicts dramatized throughout those films, the ballet in Yolanda and Thief arrives when we’re still struggling to get our bearings, unmoored as we are by Johnny’s callous willingness to exploit the too-credulous Yolanda. An American in Paris ends moments after the conclusion of its dream ballet. Yolanda , on the other hand, continues along almost as if nothing has happened: Johnny wakes up and goes about his skeevy business.

Yet while the dramatic function of the dream ballet is questionable, its adventurous spirit and execution should not be ignored. Bear in mind that Agnes de Mille’s dream ballet for the original stage production of Oklahoma! first appeared on Broadway in 1943, just two years before Yolanda and the Thief hit movie screens. Yolanda and the Thief also predates The Red Shoes by three years and An American in Paris by six. Minnelli was staking out new territory here, trying out a storytelling technique that he and other filmmakers would employ with greater success in the future.

Minnelli’s decision to draw on Dalí’s surrealist art for the look of the ballet also strikes me as a radical move. MGM musicals were lavish, Hays Code-adherent entertainments: the big budget blockbusters of their day. Meanwhile, Dali’s best-known film credit probably remains his collaboration with Luis Bu ñ uel on Un Chien Andalou . Though the unexpected abounds in MGM musicals—obscure specialty acts interrupt the action, well-loved stars appear in ridiculous costumes, and every now and then someone dances with a cartoon character— Yolanda ’s dream ballet is a singularly bizarre interlude, a dip into midnight movie madness that surely astonished a few musical comedy fans back in 1945.

Minnelli segues into the realm of dreams subtly at first, with a scene of a restless Johnny pacing in his hotel. It only becomes obvious that we’ve entered the world of Johnny’s subconscious when he wanders into the town square and a man we’ve seen earlier asks him for “an American cigarette.” Johnny obliges and lights the cigarette, but the man quickly produces another cigarette—and a third arm. After that the man keeps sprouting arms, six in all, each one holding a cigarette that needs lighting. Once in a while an imperfect movie hits upon a perfect moment, something so unforgettable that you could love it just for that. Johnny encountering the man with the six arms is that type of moment for me, a playful bit of surreal business that I’ve tried to use to explain to friends why Yolanda is weird, or why it’s so endearing, or why I’m stuck with it, somehow, as part of my life as a movie lover.

Still, that’s just the beginning of the dream ballet. The sequence is about Johnny’s desire to take Yolanda’s money and run, but also about his fear of falling in love with her. Therefore, it makes sense that Yolanda’s entrance into the dream is grandly spooky. Against the backdrop of a Daliesque desert landscape, Yolanda rises from a pool of water wrapped head-to-toe in pale scarves that float all around her. Her face is obscured, a look reminiscent of René Magritte’s 1928 painting The Lovers, and more suggestive of alienation than romance. According to the Turner Classic Movies website, the effect was created by shooting in reverse; Yolanda and her scarves move with the odd, jerky movements familiar to fans of Twin Peaks . Needless to say, this makes for an unsettling sight.

Once Johnny unwraps Yolanda from her scarves, the spookiness of the sequence dissipates a little, but the mood has been set, and when the unwrapped Yolanda puts her arms around Johnny and sings, “Will You Marry Me?,” the effect is mildly sinister. The sequence concludes as Yolanda dons a set of outrageously long bridal veils and Johnny gets one of them wrapped around his neck like a noose when he attempts to flee. While I’ve used the term dream ballet , this is more specifically a nightmare ballet , one that takes marriage—the typical happy ending of many an MGM musical (including—spoiler alert—this one!)—and transforms it into a thing of anxiety and horror. The inversion is striking, even though the film’s narrative doesn’t do much to follow it up.

But at this point I suspect that a few Fred Astaire fans are getting irritated, because while I’ve thrown around the word “ballet” several times, I haven’t written much about the dancing. That’s one indication that Yolanda and the Thief holds special frustrations for anyone given to checking their watch between the big numbers when taking in a musical. Yolanda doesn’t have that many musical numbers, and while Bremer, a red-haired former Rockette and accomplished dancer, makes a fine partner for Astaire, only two of those numbers are really notable. One, of course, is the dream ballet, which, for all its foreboding, still allows Astaire and Bremer the opportunity for a lyrical pas de deux . The other is “ Coffee Time ,” which was well-regarded enough to be excerpted in That’s Entertainment! III . “Coffee Time” is certainly worthy of the MGM highlight reel, but in a way it’s better to see it as a part of the original film, where the already-odd atmosphere makes viewers more sensitive to the number’s unusual charms.

Most of the songs in Yolanda are forgettable; composer Harry Warren and lyricist Arthur Freed both had much better moments. But “Coffee Time,” a repurposed Warren composition, is catchy and pleasingly rhythmical. The lyrics, including a chorus of, “Coffee time/My dreamy friend/It’s coffee time/Let’s sing a silly little rhyme/And have a cup of coffee,” are nearly a non-sequitur in the context of the film, but for the idiosyncratic Yolanda , that’s kind of perfect. The choreography is something of an experiment as well: Astaire and choreographer Eugene Loring conceived the dance in 5/4 time, though at times the orchestra plays in 4/4. The results are eerily beautiful.

I recently asked composer and Stonehill College music professor James Bohn to help me understand how the differing time signatures of the music and the dance contribute to what I could only describe as a “dreamy” effect. “In a typical dance number, the music and the dance reinforce each other,” Bohn told me. “This piece lacks that. You have music and dance in the same tempo, so they line up, but don’t reinforce each other. The choreography is generally smooth, which makes the fact that they are in different meters less noticeable. This smooth quality makes it seem like the dancing is floating on the music, which in turn is fair to characterize as dreamy.” Ah-ha! Yes. Astaire and Bremer seem to float across the floor, as if time or gravity are somehow working differently.

The number’s ethereal qualities are further heightened by the extraordinary production design. The dancers are set against a floor with undulating white and black lines, a striking touch conceived by famed costumer Irene Sharaff. (Like the jerky reversed movements in the dream ballet, the design of the floor seems to anticipate the memorable visuals of Twin Peaks .) Bremer’s vibrant yellow skirt and red hair provide a pop of color against the black and white floor, and bold lighting choices—including the unconventional use of a Vertigo -like green—heighten the otherworldly mood. “Coffee Time” is less elaborate but even more transporting than the dream ballet; it’s the moment when Yolanda and the Thief truly soars.

Watching Bremer and Astaire perform “Coffee Time” has led many viewers to wonder what ever became of Bremer, who was never again featured in a leading role in a musical and quit acting altogether in 1948. Yolanda was the film that was meant to make Bremer a star, and by many accounts, it was her career that took the hit when the film failed to find a wide audience. She seems to have led an interesting life anyway: according to her L.A. Times obituary, she married the son of a former Mexican president and “actively promoted the development of Baja” with him during their marriage, and several sources indicate that she later opened a successful children’s clothing store.

Yet it still seems unfair that Yolanda so decisively scuttled her chance at stardom. Aside from the dancing scenes, her role gives her little to work with. While many films of the era infantilize and objectify their leading ladies, Yolanda takes both to a rather absurd level: an early scene at the convent school gives us Bremer in pigtails, with actual toddlers as her schoolmates, and there are two entirely gratuitous scenes of Yolanda bathing. This is a film with countless extras but few real characters, and the two most prominent women, Yolanda and her Aunt Amarilla, are both pretty ditzy. Mildred Natwick at least gets to be vivid and funny as Aunt Amarilla; Bremer, tasked with channeling wide-eyed innocence in nearly every scene, has no such luck.

Minnelli’s next full-length musical feature, 1948’s The Pirate , deals more effectively with Yolanda ’s themes of fantasy, reality, and desire while offering its leading lady considerably more agency and development. In The Pirate , Judy Garland plays Manuela, a young woman who daydreams that a daring pirate will whisk her away from her boring life and impending arranged marriage. After she realizes that she’s been tricked by Gene Kelly’s Serafin, a strolling player who temporarily convinces her that he is just such a pirate, she cathartically pelts him with every object she can lay her hands on.

Despite some surface resemblances, Yolanda’s story is quite different. She dreams chastely of a guardian angel to take care of all of her adult responsibilities for her. “Dear guardian angel, please come to my aid. Tell me what to do. Help me!” she begs in the prayer that Johnny overhears. And when she finds out that Johnny has been lying to her—and this only because he writes her a letter admitting it—she takes to her bed in despair.

In The Pirate, Manuela details her hotblooded pirate fantasies in the rollicking musical number “Mack the Black,” but Yolanda’s frankest confession of desire is when she blurts, “I get a feeling about you that you’re not supposed to get about an angel!” One is left wishing that the subversive spirit displayed in much of Yolanda and the Thief extended to the characterization of its female lead. As it is, the film’s final scene, the wedding reception of Yolanda and Johnny, brings the action to an uncomfortable conclusion. Yolanda hasn’t had a chance to grow up, and Johnny has been rewarded for the most basic kind of decency: the decision not to take advantage of a guileless, childlike woman. Yolanda’s actual guardian angel (played by Leon Ames, who was also Bremer’s onscreen dad in Meet Me in St. Louis ) suggests that Yolanda couldn’t have found a better husband than Johnny, and it’s completely unclear why he would think so.

When Astaire played a leading role for Minnelli again in 1953’s The Band Wagon , his character was far more sympathetic. As Tony Fletcher, a musical star struggling to maintain his career after decades in show business, Astaire makes himself vulnerable in a way that Yolanda ’s Johnny never is. Tony’s insecurities and disappointments are human and understandable—miles away from Johnny’s predatory behavior. The Band Wagon also gives Minnelli a chance to poke fun at his own excesses. Fletcher finds himself cast in a stage production that collapses under its own pretensions after the zealous director, a Minnelli stand-in played by Jack Buchanan, adds too many avant-garde touches. At the rehearsal of one overwrought number, Astaire and Cyd Charisse are conspicuously encircled by the same sunburst spotlight that Astaire shared with Bremer in Yolanda ’s dream ballet. “It seems to be a little too much, doesn’t it?” Buchannan asks after the rehearsal goes south. I’m sure many have asked themselves that same question after viewing Yolanda and the Thief .

Yolanda and the Thief is at once too much and not enough. It’s long on imagination and ambition but short on characterization and story, and so misses its mark. But it remains notable for its influence on Minnelli’s future work as well as for its eccentricity: it’s about as weird as classic Hollywood gets. In a contemporary review, New York Times critic Bosley Crowther called the film’s romance “slow and considerably labored” and its humor “obvious and dull,” but Crowther adds that “the visual felicities and the wackiness of the main idea hold the show together and make it something most profitable to see.” Minnelli’s “out of the world place” is, for all its faults, worth visiting. To quote Agent Cooper from Twin Peaks , at its best, Minnelli’s almost-forgotten film takes us to a place “both wonderful and strange.”

• Contributors
• Submissions

• Privacy Overview
• Strictly Necessary Cookies
• Cookie Policy

This website uses cookies so that we can provide you with the best user experience possible. Cookie information is stored in your browser and performs functions such as recognising you when you return to our website and helping our team to understand which sections of the website you find most interesting and useful.

Strictly Necessary Cookie should be enabled at all times so that we can save your preferences for cookie settings.

If you disable this cookie, we will not be able to save your preferences. This means that every time you visit this website you will need to enable or disable cookies again.

This website uses Pico to reflect your current subscription status, as well as keep you logged in. Leaving this enabled will mean that you don't need to log in each time you access this website to unlock articles.

This website cookies from Jetpack, a site statistics platform provided by Wordpress. It lets us track traffic to different pages on the site, as well as other anonymous user data like geolocation, browsing habits and referral keywords. Leaving this enabled allows us to improve our website and tailor it to your preferences.

• Скидки дня
• Справка и помощь
• Адрес доставки Идет загрузка... Ошибка: повторите попытку ОК
• Продажи
• Список отслеживания Развернуть список отслеживаемых товаров Идет загрузка... Войдите в систему , чтобы просмотреть свои сведения о пользователе
• Краткий обзор
• Недавно просмотренные
• Ставки/предложения
• Список отслеживания
• История покупок
• Купить опять
• Объявления о товарах
• Сохраненные запросы поиска
• Сохраненные продавцы
• Сообщения
• Развернуть корзину Идет загрузка... Произошла ошибка. Чтобы узнать подробнее, посмотрите корзину.

Oops! Looks like we're having trouble connecting to our server.

Refresh your browser window to try again.

Related Searches

• deep space nine figures
• deep space 9 star trek
• hasbro star trek
• star trek deep space nine trading cards
• star trek doll
• original star trek figures
• star trek deep space 9 dvd
• 1 6 star trek
• 2009 star trek
• star trek tng action figures
• star trek next generation action figures
• star trek deep space nine books
• star trek deep space nine poster
• star trek deep space nine uniform
• star trek action figures original series

‘Stargirl’s Yvette Monreal: ‘Wildcat Is a Rebirth for Yolanda’

• DC’s ‘Stargirl’ to End After Season 3 at The CW
• ‘Walker,’ ‘The Winchesters’ & More CW Fall 2022 Premiere Dates

The teens at Blue Valley High School are really finding themselves by suiting up as part of the new Justice Society of America on  DC’s Stargirl .

For Yolanda Montez ( Yvette Monreal ), becoming Wildcat after Courtney Whitmore ( Brec Bassinger ) recruited her is helping her move past the fallout of mean girl Cindy Burman (Meg DeLacy) blasting out a photo to everyone that was only meant for Yolanda’s then-boyfriend Henry King Jr. (Jake Austin Walker). Her parents, however, can’t get over the disgrace they say she’s brought upon herself and her family.

And fans will get to see Yolanda confront Henry about their history in an upcoming episode. “We’ll see where it goes from there, either up or down” is all Monreal would tease.

Meet Brec Bassinger, the Bright Light at the Center of 'Stargirl' (VIDEO)

Here, the actress discusses the importance of being Wildcat and the team to her character, what she finds relatable about Yolanda, and more.

What does being Wildcat mean to Yolanda at this point, especially compared to when she first put on the suit?

Yvette Monreal: Wildcat is like a rebirth for Yolanda. She had never had the courage before to talk to her family and her parents and just tell them how she really feels and how [what happened] shouldn’t account for her whole life. The shaming needs to stop. If Wildcat hadn’t come into her life, that probably would have never happened. It gave her the strength to face them. Wildcat is probably the most important thing for her right now, aside from the JSA and the relationships she has with them, because it’s giving her all the strength she needs to move forward with her life. That relationship with her family is really strained, so that’s the only thing she has. It means everything to her.

(Courtesy of Yvette Monreal)

Speaking of her relationship with her family, will we see more of that? And will anything change this season?

Right now, Yolanda tried to make amends with her family, but you never know. The parents could hopefully come around. They seem pretty strict.

My mom was actually really pleased with how they depicted the family because my mom is very traditional and she was like, “I really appreciate that they gave such an accurate representation of how Hispanic families are.” Obviously, not all Hispanic families are like that, but she was mainly speaking about herself because my mom is very traditional and she’s Mexican and she even said, “that’s how my family was.” And me, growing up, that’s how she was. It’s very important that the representation was there because even though not all Hispanic families are represented like that on TV, I’m glad that this one was because in reality, there are families like that and it’s very relatable. It was very relatable to me and my mom.

Hopefully they repair the relationship and hopefully Yolanda can move forward with them on her side.

'Stargirl's Anjelika Washington: Get Ready for Beth 2.0 When She Becomes Dr. Mid-Nite

Putting Wildcat aside, Yolanda seems to really be discovering herself again by joining this team.

Yeah, she was a loner for these past three months, and she didn’t have anybody to depend on. Everyone who was there for her ended up leaving, and it’s a big sense of betrayal, these friendships she thought were so real ended up not being that. She’s shamed not only by her peers, but also her school, so yeah, being a superhero is very important and all these relationships she’s coming across are so genuine. She never really experienced this level of loyalty, so it means a lot to her.

Of the four, would you agree Courtney and Yolanda are the closest friends outside of the team?

Yeah, [Courtney] is [Yolanda’s] best friend. Yolanda was really in a place where it was tough to trust again [when they first met]. The one person she thought wouldn’t betray her actually did and that’s a hard pill to swallow. The fact that Courtney has come time and time again to try and establish a relationship with her, I don’t think Yolanda was used to that. I think Yolanda felt, “once she finds out about the pictures, she’s just going to leave, too.” She was so scared of having her leave because that’s what everyone else did in her life.

The relationship with Courtney is really special to her because she sees Courtney’s loyalty is actually real and she’s never experienced that before. That’s why Yolanda pushed and pushed and pushed and pushed, because she thought she would leave anyway, but now that she sees her loyalty is real, she’s like, “this is who I want to surround myself with,” and that’s what makes them so close because she’s never had someone like that and now that she does, she’s not going to let it go.

And what about Yolanda’s relationships with the rest of the team members?

Rick makes Yolanda nervous because he has these aspirations to get revenge more so than to help the JSA at first. “Do we trust this?” So that’s kind of like a wild card. And then Beth stumbles across the goggles, and [Yoland’s] just like, “What’s going on? I thought we were going to do this together, we were going to choose this team together.” She does have her doubts, but in Episode 106, when they prove basically they can be a team, it changes her mind slowly but surely. She gives Beth a little pat on the back when she figures out the code. She’s warming up to everyone.

'Stargirl's Luke Wilson: Pat Is 'Caught Between Being a Parent & a Sidekick'

What role does Pat play with the team going forward?

Pat said in this last episode, 106, he has no choice but to make us the new JSA because we’re all very informed in what’s going on. We all have the suits. We’ve fought these villains already. Having Pat on our side gives us a little bit of a relief. He clearly knows we’re in over our heads a little bit, and he helps us. He trains us and teaches us the importance of team work and the dangers of the ISA, but things don’t really go quite as planned and the team still has a lot to learn.

DC’s Stargirl , Tuesdays, 8/7c, The CW

Stargirl (2020) where to stream

Stargirl (2020)

Yvette monreal.

Benefits to Registering & Following

(It's free!)