‘More Snow, You Forehead’

As a seasoned observer of Hollywood’s whimsical ways, I must say that Stan Brooks has led quite an intriguing life. His ingenious idea to remake “The Christmas Wife” with Martha Stewart in mind was as clever as it was audacious. It seems he had a knack for turning the ordinary into the extraordinary, much like the culinary maestro himself.

At some point after saying “Hasta la vista, baby” on the set of Terminator 2 and earning approximately half a billion dollars at the box office, Arnold Schwarzenegger decided it was time to take on his first directorial role. This led the world’s biggest action movie star to produce the smallest Christmas film for basic cable: a remake of Christmas in Connecticut.

The 1945 movie revolves around Elizabeth Lane, a magazine cooking columnist portrayed by Barbara Stanwyck. Her articles describe the delicious meals she supposedly prepares for her family on their Connecticut farm. However, an unexpected turn of events arises when a war veteran wins a contest to dine with her during Christmas. The twist? She doesn’t actually have a family, a farm, or the cooking skills she claims. Amidst the chaos, comedy unfolds.

In a rather unexpected twist, I found myself at the helm of this project that seemed more suited to a lighter touch. Little did I know, as I embarked on this journey, that it would be none other than Arnold Schwarzenegger, the legendary action hero and former governor of California, who chose this featherweight TV remake as his directorial debut. Far from becoming a holiday tradition, the resulting film is hardly a classic, but its backstage story could easily pass for a screwball comedy with an eclectic ensemble cast: an outlaw country singer, the ex-wife of Cary Grant, the mastermind behind “The West Wing,” the author of “Tuesdays With Morrie,” the future chief of Marvel Television, and the mainstays of the golden age of television. Here, for the first time, is their remarkable tale.

I.
‘Please Hold for Arnold Schwarzenegger’

In the 1990s, TNT started creating original TV movies to attract viewers. Independent producer Stanley M. Brooks had initial success on this channel with a film about steroid abuse featuring Josh Brolin and Mariska Hargitay. Encouraged by this, his friend Scott Sassa offered him another opportunity. This time, it was a remake from the MGM library, which TNT’s CEO, Ted Turner, owned. Brooks selected “Christmas in Connecticut”, commissioned scriptwriter Janet Brownell, and got Oscar nominee Dyan Cannon (ex-spouse of Cary Grant) for the role of Elizabeth (renamed Blane with a B). It was during this period that he received a call from renowned Hollywood agent Lou Pitt.

Stan M. Brooks, as a producer in television films, rarely gets calls from prominent agents such as Mike Ovitz, Ron Meyer, or Lou Pitt. So when they do call, it’s usually not good news, suggesting that possibly one of their clients is upset with me. When my assistant announces “Lou Pitt is on the phone for you,” I instantly feel a flutter in my heart, thinking, “Oh dear, what have I done now?

He gets on the phone and he says, “Do you have a director for your Christmas in Connecticut movie?” I said, “Well, almost, yeah, we have an offer out.” He said, “Okay, well, if he doesn’t say yes, I want you to consider my client.” I go, “Okay …” I’m waiting to hear the name. He goes, “Arnold Schwarzenegger.” And I burst out laughing.

Indeed, Lou Pitt (Arnold Schwarzenegger’s representative at the time) expressed his astonishment by saying, “Is this a prank? Am I being fooled?

Brooks: “That’s really funny, Lou. But honestly,” he replies, “No, seriously.” I respond, “What?! Arnold Schwarzenegger isn’t making a Christmas movie for TNT?” This thought crosses my mind, this might be one of those Spy Magazine pranks. So I ask, are they recording this? Is this a Spy Magazine joke?

Instead of saying, “And Lou goes, ‘No, no, I’m serious.’ He says, ‘Well, here’s why.'”, you could say, “Lou insists, ‘Yes, I mean it.’ He explains, ‘Here’s the reason.’

Pitt: The directing thing was sort of, you know, kind of out of left field.

Brooks: They responded, “Alright, we’ll create a significant project.” But Arnold countered, “No, no, not that. I’m aiming for low risk. If things don’t go well, I don’t want anyone to be disappointed. I don’t want a large budget, and I prefer it to be suitable for all ages as I don’t wish to stir up any controversy. Nothing too complex. I simply desire something straightforward.

According to Laurie Pozmantier, who works at TNT, it seemed he had an affection for Christmas and initially planned to create a TV film.

I shared with Lou Pitt, “Alright, I’ll give you a call if another person qualifies first.” After ending the conversation, my heart was racing – I needed to stay composed. I reached out to my friend Scott Sassa, who manages TNT. I told him, “Listen, it might not even materialize, but there’s a slim possibility that Arnold Schwarzenegger could potentially direct ‘Christmas in Connecticut’. If it does, it would be an incredible advantage for TNT.” He responded enthusiastically, “Oh my God, that would be a tremendous boost for TNT!

At one point, Linda Berman’s supervisor, Dennis Miller, expressed reluctance about Arnold directing the project, stating “He’s never directed before.” Contrarily, Scott Sassa, the head of the network, strongly advocated for Arnold’s direction, asserting, “Are you joking? This is a goldmine for marketing! Arnold will be directing this.

Scott Sassa (president of Turner Entertainment): It seems that half of our audience is unable to access our channel, while the other half struggles to find it! It’s as if we’re saying, “We can be found on channel 36 at Riverside and channel 42 …”, but still, yes.

Brooks: The condo phone rings. I pick it up and I hear, “Stan Brooks?”

“Yes.”

“Please hold for Arnold Schwarzenegger.”

On such a holiday weekend, it feels more like a typical workday Monday. Yet, the anticipation is so thick, I could almost hear my own heart pounding in sync with my excitement. And then, there’s that familiar question, “Hello?” as if time itself has been suspended.

“Uh … Arnold?”

“Are you the guy with this Christmas script?”

“Yes.”

“It’s fantastic. I’d love to direct it.”

“Okay!”

However, I must film in Los Angeles during these specific dates, and I’ve jotted down some thoughts regarding the script.

“Okay.”

“Can you be here in an hour?”

“Uh, no. I’m in Colorado. I cannot be there in an hour.”

“Can you be here on Wednesday?”

“Yes! I can be there on Wednesday.”

Janet Brownell (screenwriter, Christmas in Connecticut): To be honest, I’m not entirely convinced, but if this project gets the go-ahead for a movie, my feelings won’t matter much.

Brooks: This feels as if it’s straight out of something beyond Pluto. None of this seems real. Such events don’t occur. Nobody ever rings up saying, “Hello, they’re offering to direct your TV movie with the most famous star in the universe.” It simply doesn’t happen!

II.
The Schwarzeneggerization Begins

Stan and Janet confer with Arnold Schwarzenegger to ready the screenplay for shooting, and sure enough, he has some suggestions.

On Wednesday, I’ll be attending a meeting. When I get there, he’s in an office that’s absolutely colossal – it’s as large as a football field! There are props and various items scattered around. He sits at a massive desk with an equally large chair. Behind him is a bookshelf filled with his bodybuilding awards, not movie-related items. As we discuss the script, I recall asking if I could use the restroom.

He showed me by putting up his bicep, and pointing, and he goes, “It’s that way.” I go, “Was that just to show me your bicep?” He goes, “I have to show you the guns whenever I can.” Okay, so this guy definitely has a sense of humor about himself. We go through the script. We have some notes. He wanted more humor and a little more jeopardy.

Brownell: The initial movie is quite endearing. To be fair, the first version was nearly spot-on; it merely underwent some updates.

Brooks explained that unlike the Kris Kristofferson character, who had an extensive action sequence at the start, Arnold Schwarzenegger desired more humor. Janet Brownell wasn’t confident she could achieve this. Interestingly, Brooks’ best friend happened to have written ‘Commando’, and so he and his writing partner were acquainted with Arnold. Impressed by them, Arnold asked if they could persuade their friend (who also wrote ‘Teen Wolf’) to inject some comedy into the script.

At that moment, the situation underwent a drastic change, with Stan becoming determined not to let the person slip away from him.

Jeph Loeb, a screenwriter known for works like Commando, Teen Wolf, and Christmas in Connecticut, who was once the head of Marvel Television, recalled an encounter with Arnold Schwarzenegger: Upon entering, we found Arnold seated on a colossal white couch, longer than any luxury car you’ve ever seen. He had his feet propped up on a pristine marble table, puffing a large cigar, and surrounded by scripts. Without a greeting or an introduction, he immediately asked: “So, what have you all been up to since Commando? Seems like no gym time for you.

In our gathering, he posed a question: “Now, after reading the script, what are your thoughts?” We offered suggestions, to which he responded enthusiastically: “Fantastic! Since filming begins in just two weeks, I’ll require daily script pages.

Brownell: It just Schwarzeneggerized into this thing that was bigger than life.

Instead of implementing major architectural adjustments, we conducted a review focusing on dialogues to better capture Arnold’s directorial vision. Our goal was to bring his ideas to life as faithfully as possible in our work.

Back in the day, when I was just a fan watching “Commando,” I remember Arnold’s character would come up with these outrageous plans all the time. One of my favorites was when he’d say something like, “I’ve got a brilliant idea, listen. When the bad guy approaches, I want to hurl a buzzsaw at him and it’ll cut off his arm, then I’m going to pick up his own arm and slam it into his face.” We, the audience, would get excited about the buzzsaw part but suggest they could skip the rest. However, Arnold wasn’t a big name yet back then. Now, he’s Arnold Schwarzenegger, the director, and it’s his movie, “Stan’s” if I recall correctly. So, our role isn’t to question whether it’ll work or not. Our job is to make it work, to bring that buzzsaw scene to life in a way that leaves us cheering.

The following day, I found myself beaming with enthusiasm. “We’re on a roll,” I exclaimed, “We’re almost there. It’s shaping up exactly as I envisioned. So, I handed over my project to none other than Steven – yes, THAT Steven! You know, the legendary filmmaker. As he delved into details, it dawned on me.

Brownell: That’s when things started going awry for me personally. It was as if I was dealing with something entirely new and different.

Berman: It took some license with the original, but I thought it worked.

As a devoted cinema enthusiast, I’d like to rephrase the statement in a way that reflects my perspective: “In the world of filmmaking, it’s rarely about who you are or your fame. It’s not the norm to relinquish control and allow such extensive changes as were made in this case.

III.
The Infamous Hairwashing

Filming for the project kicked off on November 5, 1991. With an improved screenplay and a budget roughly equaling $3 million, Schwarzenegger and Brooks finalized their cast choices. Dyan Cannon teamed up with the country singer Kris Kristofferson, who was well-known for his outlaw music genre, as well as Tony Curtis in the later stages of his career, and Richard Roundtree (famous for Shaft). The majority of the filming occurred at Elizabeth Blane’s fake Connecticut residence, which stood in for a house located in South Pasadena. The crew came together to start production.

https://youtube.com/watch?v=watch?v=f2lRqz0Urvs

Nick Lombardo (head of physical production, TNT): When I first heard the cast, I thought, This is an incredibly unusual combination. To be honest, it seemed like these characters wouldn’t mesh at all. But when you think about Dyan Cannon and Kris Kristofferson together on screen, it feels perfectly natural for a film like A Star Is Born, even surpassing the chemistry between Kris and Barbra Streisand.

Kris Kristofferson stood out in an intriguing way as during our initial script reading with him, I recall thinking, “He seems to have only a few lines here.” However, upon reflection, it turned out that his single line was challenging for him to deliver due to dialogue difficulties.

Jim Wilberger (TNT’s Christmas in Connecticut production director) admitted that there was a sense of apprehension among the team due to the high-risk nature of the project. His response when suggested Arnold should direct was something along the lines of “Oh, absolutely!” For them, three million dollars was a substantial investment.

Iris Grossman (Dyan Cannon’s agent): However, there weren’t 700 options to choose from on television back then. Therefore, a film starring Arnold Schwarzenegger, Kris Kristofferson, and Dyan Cannon was quite a rare sight on Saturday nights.

On our initial day, I find myself approaching Arnold. Seated comfortably in his director’s chair, he holds a large notebook – meticulously prepared with the shot list for the whole film, aiming to be as well-prepared as he could.

For Tony and Dyan, we prepared star trailers, and naturally, there was one for the director as well. However, Arnold expressed his reluctance, stating, “I’m unable to be a part of that trailer. It’s just not grandiose enough for me.

Brooks: Arnold’s trailer seemed more like a mobile mansion than just wheels. From the outside, it left you in awe with its many extensions and a roof that expanded. Stepping inside felt like entering the elegant Greystone Mansion itself.

Wilberger: It was probably almost three times as wide as a normal trailer. It was the length that became the issue. According to producer Cyrus Yavneh, Dyan comes in one morning and she goes to Cyrus and says, “Why is Arnold’s trailer bigger than my trailer?” She said, “Nobody’s supposed to have a bigger trailer than me.” So as she was complaining to Cyrus about everything else, she says, “I want Evian water piped into my sink and my trailer.”

Grossman: The infamous hairwashing.

Brooks narrated this incident numerous times but never officially. He recounts receiving a call from the hair stylist stating, “Dyan only washes her hair with Evian water. Therefore, we need the tanks in her dressing room filled with fresh water.” The next day, Brooks informed his transportation team, “Tom stars, Dyan will require Evian water in her trailer.” Upon hearing this, the team asked, “Are you aware of the cost for that request?”>

Grossman received a call from Stan, who essentially expressed, “Listen, this is bizarre, but I need to add Evian to the water supply so she can shampoo her hair.” I had absolutely no clue what he meant. My response was, “I’m at a loss for words!

Brownell: That sounds like utter bullshit.

Brooks mentioned that she required a personal hairstylist, someone quite sophisticated with a French accent, who could be considered a high-end hair professional.

Hello Ben,

Brooks: The following day, we obtain a large ten-gallon Evian bottle, and I instruct the transport worker: “Here’s the plan. Your driver is dropping her off? I want you standing by with this enormous bottle of Evian, pouring it into her tank as she steps onto her trailer. I want her to notice the bottle.” He queries about tomorrow’s plans. I respond, “I want you to fill this same Evian bottle with water from a hose every day she arrives, and I want her to see you doing that.

(Representatives for Dyan Cannon did not respond to a request for an interview.)

IV.
‘Is It in Focus, Forehead?’

The 20-day shoot for the movie titled “Christmas in Connecticut” was planned. Since the production follows a chronological order, it helps maintain continuity, thereby mirroring Arnold’s actual experience of learning film direction throughout the filming process.

Pitt: Arnold was all about delegating tasks. Stepping onto a set where he had to make a thousand decisions every day wasn’t his cup of tea. To ease the burden, he employed a wardrobe specialist who presented him with various fabric options for suits and shirts, asking for his preference. Arnold interrupted the wardrobe assistant and asked, “Are you the top in Hollywood at what you do?

She said, “Yes.”

He said, “Well, that’s why you were hired, so you make the decision. What do you like?”

He surrounded himself with people that he trusted and allowed him to do the things that he wanted to do, which was really set the table and direct. But it wasn’t something that was going to happen down the line. He wasn’t going to become a director. He wasn’t going to be Clint Eastwood, for example.

Loeb: Arnold’s voice would resonate loudly. This is how I recall it – though this might not be entirely accurate – when something was particularly amusing, he would erupt into laughter during a take. Consequently, we’d have to redo the scene because he found it so funny.

Brooks: For our sleigh-ride sequence, we seized a hangar in Culver City and constructed an exhilarating hillscape complete with tracks. We filled it with artificial snow and made the horses draw the sleighs on wheels.

Wilberger: The woodland backdrop was quite expansive, I should mention, and it necessitated a type of snow that lasts longer. However, as the actors moved through the snow, it seemed more like froth. There’s even a scene where you can catch a glimpse of the wheels beneath the sleigh.

Speaker: I recall the day I was present; they were shooting a sequence where pandemonium breaks out, a tree collapses, and so forth. The child who vomits – we had to redo that scene multiple times because once he unintentionally vomited onto the camera. We said, “Alright, that’s excessive,” but it wasn’t enough, and then the tree continued to fall.

Arnold found it hilarious, exclaiming, “The boy will vomit on the tree!” Essentially, he thought the boy would vomit near the tree.

Berman: We should have only done, like, three takes of that. I think it was about ten.

Lombardo’s analogy is similar to saying it’s like setting up a factory for cultural production. In other words, it’s more like asking, “What exactly are they producing in there?” and the answer is never something positive or beneficial.

Brooks: There was no inkling that we were crafting “It’s a Wonderful Life.” However, I must admit, he had a good grasp on comedy. If it didn’t elicit laughter from the crew, he would ponder what needed adjustment to make it funnier.

As we’re working on this small film, Arnold is dominating theaters with Terminator 2, breaking records like never before. We were there when it surpassed $500 million at the box office. Standing beside the man who plays the lead in that movie, his main worry was: “Is it in focus? Can you see my forehead clearly? Let’s check.

Berman pointed out that he referred to everyone as “foreheads” for an unexplained reason. Upon rewatching the film “Christmas in Connecticut“, I noticed that even one of the police characters says it in the movie as well.

Stan Brooks: That’s the slang for someone who isn’t very smart in the world of bodybuilding. This might be because excessive use of steroids can lead to an enlarged forehead.

V.
Arnold’s Strike Zone

In my humble opinion as a film critic, the pivotal moment in ‘Christmas in Connecticut’ is none other than Elizabeth Blane’s Christmas special. Chaos ensues and she confesses her cooking incompetence to her viewers. On his final day on set with the cast, Arnold Schwarzenegger captured the behind-the-scenes aspect of this scene—a collection of David Arnott’s (who later co-wrote ‘The Last Action Hero’ for Schwarzenegger) impassioned reaction shots as a frantic director watches the special crumble before his eyes.

David Arnott (“The Frenzied Director” from Christmas in Connecticut, screenwriter, The Last Action Hero): I found the role to be an excellent fit. In the script, there was a character for a TV producer with limited dialogues. Mostly, it read as “Director reacts, director reacts.” The only real written dialogue I recall was “WHAT?!?” However, there were numerous instances where I had room to improvise my reactions.

Here I’ll arrive around 2:00 or 3:00 on the final day, and we completed merely two shots in total. For the first shot, all cameras were positioned behind my head. This single take lasted approximately ten minutes, during which I mainly observed and responded to what was happening. Following that, I did a close-up for the second shot.

Brooks: Almost all of what Arnott does is improvised and he was fantastic.

User: Arnold made a wise decision by filming the over-the-shoulder shot initially, didn’t he? This allowed him to have an uninterrupted take since the camera wasn’t focused on him. This freedom helped alleviate his concerns because even though it was just the back of his head being filmed, there was a chance that whatever he said might not be used. However, they were still recording for audio purposes.

Given the number of highly energetic, or perhaps even drug-influenced, individuals Arnold had encountered in our field, that type of performance seemed right within his range.

Arnott: When you perform something amusing on set, it’s a single uninterrupted take and everyone must remain silent, correct? Yet, you can sense people struggling to suppress their laughter if that helps. However, when he finally shouted “Cut!”, the room erupted. Then, they exclaimed, “That’s a wrap!” The final shot of the entire production was an extremely joyful, triumphant moment.

During our time in the kitchen filming the show, it seemed like we had found a solid groove and I believe Arnold was selecting more effective shots as well.

Brooks: It’s not by chance that he’s like Arnold Schwarzenegger; it takes a lot of effort. What sets him apart is that he storyboarded every scene meticulously, something I haven’t seen a director do before or since. Over time, he improved significantly in terms of camera and lens work, actor direction, and all the other aspects. By the end, he was truly at his best.

VI.
Mitch Albom’s Holiday Song

After completing the filming, it was time for Christmas in Connecticut to move into the post-production phase. During this process, they required several elements, one of which was a suitable song to be played during the end credits.

Brooks mentioned that they desired a specific dance number for Kris and Dyan, with Charles Fox as the composer. However, an early composition he sent didn’t suit their taste, so they needed another song. Unfortunately, they had no budget at all. In such circumstances, Brooks recalled his college roommate, Mitch Albom, who was a songwriter.

Mitch Albom (Author of “Tuesdays With Morrie” and songwriter for “Christmas in Connecticut”) received a call: “We require an uplifting food-themed song for Arnold Schwarzenegger’s movie, can you create it by Thursday? It’s only Tuesday.

Brooks’ description: College life was challenging for him as no one wanted to share living space due to his disorganized lifestyle and the presence of his pet parrot, causing an unpleasant room aroma. Unlike traditional courses with exams, he preferred classes requiring written assignments. He would often sit cross-legged on the floor with a Smith-Corona electric typewriter, composing papers in a spontaneous, free-flowing manner. His papers were exceptional, earning him top grades in all subjects, but music, not writing, was his passion.

Mitch Albom explains: I recently penned a small tune. My wife, an exceptionally gifted vocalist, was the one I asked to perform it. With no time left to search for another artist, I requested her help. She brought the song to life with her voice. We recorded it onto a tape. It seems they played this recording for Schwarzenegger. He expressed his preference for the female version, which led to the choice of that particular song.

VII.
The Washington Premiere

The movie was fully produced and ready for broadcast on TNT. Schwarzenegger and the team had been busy preparing, even showcasing it at the Directors Guild, which was festively decorated like a holiday party with carolers, reindeer, and beautifully adorned trees. For reasons that remain somewhat mysterious, it premiered in April instead of the typical winter season. The Los Angeles Times reported that “Martin Landau, Edwin Moses, Carl Weathers, Jeff Berg, Al Ruddy, Chris Lawford, Lou Ferrigno, Ivan Reitman (‘Twins’), James Cameron (‘Terminator’), and John Milius (‘Conan’)” were among the attendees.

Brooks: To begin with, TV films aren’t typically shown in theaters. In fact, if we have a screening, it usually involves just a handful of people, and often we rent a space to do so. However, this event was the grand theater at DGA, which can accommodate around a thousand spectators, boasting an enormous screen, a lavish red carpet, and a press line. It’s worth noting that no TV film before or since has had a press line like this one.

At that screening, I found myself shedding tears. My representative quickly brought me a drink when that happened. All I can recall is there being a sort of holiday-themed celebration outside, and I felt the urge to escape from the scene.

I recall Arnold expressing his enthusiasm, “I believe we should rewatch it. The experience was simply too enjoyable.” In response, I agreed to look into the logistics. However, Arnold had a different plan, wanting to screen it in Washington with his friend Jack Valenti. Consequently, we all made our way to Washington and found ourselves at the MPAA theater. It was an assemblage of Washington’s elite, with representatives from both sides of the political spectrum present. The event was a joint effort, with Maria Shriver inviting her circle of friends and Arnold extending his own.

In our daily lives, organizations such as the Commerce Committee, the Federal Communications Commission (FCC), and the Federal Trade Commission (FTC) played significant roles, particularly concerning cable services. This was an excellent chance for advocacy and influence.

At the wrap-up celebration, they handed me a sweater emblazoned with “Christmas in Connecticut” on the front, and on the back was an image of Arnold donning a Santa hat, sunglasses, and a quip I can’t quite recall, but it definitely included a playful reference to someone’s forehead!

The movie “Christmas in Connecticut” made its debut on TNT on April 13, 1992. It garnered mixed responses from critics but has a dedicated fanbase, particularly Arnold Schwarzenegger who was thrilled with the performances. In his words to the Washington Post, he was “overjoyed – ‘happy’ doesn’t quite capture it – I’m absolutely overjoyed” about their acting. The media seemed intrigued by this film, discussing it more than usual for a TV movie. As Maria Shriver told the Los Angeles Times, “He just does [it]. He’s a big one on ‘don’t think about it or talk about it – just do it.’

Despite this, “Christmas in Connecticut” marked Schwarzenegger’s final directorial venture. The winter preceding the film’s production saw him enjoying the holiday season by sledding with President George H. W. Bush at Camp David, a clear hint at where his inclinations and talents were steering him. Remarkably, a decade later, he found himself as the 38th governor of California in another unexpected twist.

Arnold Schwarzenegger and Brooks maintained a strong friendship. Eventually, Brooks moved into the same building as Schwarzenegger’s office. When Schwarzenegger’s administration started advocating for Hollywood tax incentives to prevent film production from leaving California, Brooks joined the California Film Commission and later served as its chairman. Currently, Gavin Newsom is trying to double these credits in California. During their friendship, Schwarzenegger asked Brooks why he wasn’t making big-budget films more often. Brooks explained that he didn’t enter the industry to create blockbusters; instead, he was content with making multiple movies each year and leading a fulfilling life. Hearing this, Schwarzenegger simply replied, “That’s great.

Read More

• COW PREDICTION. COW cryptocurrency
• SUI PREDICTION. SUI cryptocurrency
• KSM PREDICTION. KSM cryptocurrency
• WLD PREDICTION. WLD cryptocurrency
• AAVE PREDICTION. AAVE cryptocurrency
• W PREDICTION. W cryptocurrency
• EUR IDR PREDICTION
• Best Strinova Sensitivity Settings
• PENDLE PREDICTION. PENDLE cryptocurrency
• What Persona Fans Hope to See in Persona 6 and What Might Disappoint

2024-12-18 22:55