Shay Mitchell Says She ”Couldn’t Have Felt More Comfortable” Sharing Pregnancy With Dollface Co-Stars

Shay Mitchell, 2019 Summer TCA Press TourCat’s out of the bag!
When it came time for Shay Mitchell to announce her pregnancy to her Dollface co-stars, Kat Dennings and Brenda Song, she recalls the special moment, and most…

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Shadowhunters Star Isaiah Mustafa Marries Lisa Mitchell — All the Details!

He’s an actor in Freeform’s hit supernatural show. She was a publicist for Warner Brothers. And when they met in the green room backstage at a comic book convention, it really was love at first sight.

Shadowhunters star Isaiah Mustafa married Lisa Mitchell on Saturday in a rustic and romantic Texas ceremony just over two years after she first caught his eye at WonderCon in March 2016.

“I feel like right away when I met him, it was different,” Mitchell, 36, tells PEOPLE exclusively. “The connection was — I always say magnetic, but it was. Immediately, I was so drawn to him.”

Her groom, 44, agrees. “I just never met someone who was so well put together as far as the way she spoke and carried herself. That it blew me away,” he says. “I had to know her more.”

For their first date, he remembers picking her up in a Toyota truck — not exactly the most glamorous mode of transportation. Still, “I was just like, wow,” he says. “She’s just sitting there, and she was just glowing.”

Their relaxed wedding at Camp Lucy in Austin, Texas, reflected the couple’s easygoing nature and deep commitment to each other. Mustafa — also known as “The Old Spice Guy” — grew up in Los Angeles and Mitchell in Jupiter, Florida, “so we figured we’d meet in the middle of the country and make everybody fly out,” the actor says.

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The groom wore a custom Elevee tux with a hint of the event’s wine-colored theme, and the bride stunned in Monique Lhuillier’s Emannuela gown and a cathedral-length veil.

After Mustafa’s teenage daughter Haley walked him down the aisle, they exchanged the vows they wrote themselves beneath a tall oak tree in front of about 150 guests before heading into the reception in the estate’s country house, where everyone danced to songs by L.A. rock abnd Doors and, later, a DJ. During the father-daughter dance to “It’s a Wonderful World” by Louis Armstrong, Mustafa twirled with Haley as Mitchell swayed with her dad.

RELATED VIDEO: Shadowhunters in 30 Seconds

The attendees — including Mustafa’s costars Harry Shum Jr., Alberto Rosende and Emeraude Toubia — sipped on Moscow Mules and ate upscale comfort food like salmon with figs and macaroni and cheese.

“We feel so blessed to have such amazing friends and family that all traveled to Austin to celebrate with us,” Mitchell says. “It was just everything we dreamed it would be.”

What’s next for the newlyweds? “Putting a pool in our backyard,” Mustafa says with a laugh before adding, “Definitely kids also.”

Fashion Deals Update:

At Work: Simon Mitchell, Retail Architect

LONDON — London-based architect Simon Mitchell was exposed to design at an early age, having grown up with a mother who was a seamstress and a father who worked in the printing trade. After winning a design competition in his hometown of Exeter, England, which singled him out as “Architect of the Future” at age eight, Mitchell went on to specialize in retail architecture and to cofound the architectural firm Sybarite — whose name alludes to his and his partner Torquil McIntosh’s love of good food and good wine.
Sybarite is behind the design concepts of stores such as Marni, Joseph and, most recently, the new SKP department store in Beijing, China.
“We have worked on more than 2,000 retail locations in the last 15 years; that could be from a shop-in-shop to a flagship boutique to a department store. So I’ve been exposed to hundreds and hundreds of brands and cultures,” said Mitchell, highlighting his firm’s approach of customizing each store design to represent the ethos of the brand rather than developing his own signature style. “What we want to do is reflect the brand and its consumer in a new way and create innovative concepts, so that the consumer understands the

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Mitchell & Ness Releases Swingman Collection

Mitchell & Ness is trying out a new collection.
The retro sportswear brand, which holds an eight-year licensing agreement with the NBA, will release the Swingman assortment. The collection consists of basketball jerseys and matching basketball shorts from former and current players.
“The Nineties are trending with oversized clothing and retro footwear, and sports apparel is the top complement for that trend,” said William Warren Jr., marketing manager at Mitchell & Ness. “Throwback jerseys have been very popular again since the reboom in 2013.”
The collection includes rookie jerseys from NBA’s current star players such as LeBron James and Stephen Curry, in addition to pieces from former basketball legends such as Magic Johnson and Allen Iverson. The jerseys retail for $ 130 and the shorts are priced at $ 75. They will be available this week on Mitchell & Ness’ e-commerce site, its flagship store in Philadelphia and select retailers.
Since Adidas sold the company to Juggernaut Capital Partners and Kevin Wulff last year, Mitchell & Ness has continued to double down on its heritage and expand. Earlier this year the company updated its Hardwood Classics department at the NBA flagship on Fifth Avenue in New York and they will continue their collaboration project with Just

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Mitchell & Ness Revamps Apparel Section at NBA Store

The Mitchell & Ness apparel section at the NBA Store in New York has a new look.
The Philadelphia-based company has updated its Hardwood Classics department to mimic a locker room. Previously, the aesthetic was more in line with the rest of the NBA store, but now it features  lockers, custom-made walnut fixtures and two glass-encased displays that highlight the latest headwear and apparel. The section is stocked with jerseys, dad hats, snapbacks, warm-up jackets and shooting shirts.
To celebrate the launch, Mitchell & Ness has rereleased former NBA player Allen Iverson’s black NBA Finals jersey from 2001, which comes with an Iverson x Enterbay figurine. Iverson will appear at an in-store event today.
According to Adam Herstig, vice president of marketing at Mitchell & Ness, the brand hopes to partner directly with more NBA players. Other plans for 2017 include focusing on premium jerseys, collaborating with brands and doing more activations. During the NBA All Star Weekend in New Orleans last month, the brand operated a pop-up shop featuring Lids, Reebok and Sneaker Politics.
The 25,000-square-foot NBA store opened in late 2015 and is operated by Fanatics, which sells licensed sports items and memorabilia and has operated the NBA’s e-commerce site for close to

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See the BaubleBar x Shay Mitchell Resort Collection, Out Now

Listen up: the BaubleBar x Shay Mitchell Resort collection is finally here and it’s chicer than we could have imagined.
UK-based beauty brand, Lottie London, launched two years ago in England. Finally, in January 2017, they’re coming to the US.
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Shay Mitchell, Kohl’s Launch Ath-leisure Line

“PRETTY LITTLE LIARS” STAR LAUNCHES LINE WITH KOHL’S: Move over, Kate Hudson and Carrie Underwood. “Pretty Little Liars” star Shay Mitchell is the latest actress to step onto the ath-leisure playing field.
Mitchell inked a deal with Kohl’s to launch Fit to Wander, a collection of sports bras, graphic Ts, fashion tanks and leggings retailing from $ 24 to $ 48, for the back-to-school season. “The line speaks to my personal philosophy of embracing all that life has to offer and being the best you can be, whatever your passions,” said Mitchell. Michelle Gass, Kohl’s chief merchandising and customer officer, added, “It embodies Shay’s adventurous spirit and fashion savvy.” The line offers details such as leggings with adjustable waistbands that can be worn up high for more coverage or folded down for a low-rise look, strategic seams and panels that flatter the figure, extended bust bands on bras to reduce garment shifting and chafing, and racer back straps for a full range of motion. The leggings and sports bras are made from Wandertech, a polyester-Spandex blend with sweat wicking and a 4-way stretch. The other pieces are made from baby French terry and cotton/rayon for maximum draping and comfort. Mitchell is repped by

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WWD » Shay Mitchell of Pretty Little Liars Launches Athleisure With Kohl’s
TideBuy Black Friday Sale 90% Off+ Extra Coupon

Mitchell & Ness Brooklyn Nets NBA Men’s Tank Top Shirt

Mitchell & Ness Brooklyn Nets NBA Men’s Tank Top Shirt

Sport your team in style wearing the Mitchell & Ness Brooklyn Nets NBA Men’s Tank Top! This features: Team colors, screen printed logo on front, team logo on top back area, and is made of 100% Cotton. Mitchell & Ness Nostalgia Co. is an American sports clothing company that was established in 1904 and is the oldest sporting goods company in Philadelphia. By license agreements with Major League Baseball the National Basketball Association, National Football league, National Hockey League, and the Collegiate Licensing Company, the company has been producing vintage sports goods such as jerseys, jackets, hats, and wool-felt historic pennants. Approximate Measurements: Size S: Chest 40 Length 26Size M: Chest 42 Length 27Size L: Chest 44 Length 28 Size XL: Chest 46 Length 29Size 2XL: Chest 48 Length 30Style: BROOKLYN

Price: $
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Alicia Keys, Joni Mitchell, and Some Women of the Bible

This is a sweeping generalization, but when the narrators of popular songs represent the male perspective, allusions to sacred imagery are often part of an effort to seduce. To win over the object of desire, the singer often flatters the woman, describing her as an “angel” or some equivalent, looking to her for “salvation” in one form or another. By contrast, when the narrator represents a female’s perspective, allusions to sacred imagery sometimes highlight marginal status, as in Alicia Keys’ use of the Song of Solomon and Joni Mitchell’s references to Mary Magdalene.

Alicia Key’s poem “Lilly of the Valley,” included in her 2004 book Tears for Water: Songbook of Poems and Lyrics (pp. 21-23), uses the Song of Solomon as a vehicle to tell a modern story, one about a vulnerable and exploited individual.

She takes the title phrase for her poem from Song of Solomon 2:1: “I am a rose of Sharon, a lily of the valleys. As a lily among brambles, so is my love among maidens.”

The poet warns Lilly (as she spells it) not to dance for a villain, an “evil one” who is presumably a male. Whoever this person is, the term clearly introduces devilish overtones with all the destructiveness the image implies. In Scripture, the evil one is controlling (1 John 5:19), dangerous (Ephesians 6:16), and a source of violence (1 John 3:12).

Despite her use of the singular (evil one), the dangerous figure in the poem is a collective term because the poet tells Lilly not to “let them” destroy her (emphasis added).

Keys offers a short commentary on this poem and clarifies the identity of these destructive individuals. Lilly is a stripper, one forced to sell herself if she is to “make it.” The evil one is her (presumably male) audience. Her performances for them have a high cost. When Lilly dances for this audience, they leave her feeling worthless.

According to Keys’ notes, women like Lilly have “pain in their eyes.” The Song of Solomon provides Keys with a way of presenting this woman’s inner beauty. The lily of the valley in the biblical poem is truly beautiful and genuinely loved, and the male lover in that ancient poem recognizes that beauty (4:1). He loves her sincerely, unlike the voyeurs watching the Lilly in Keys’ story.

Many of Alicia Keys’ songs and poems explore matters of gender and include assertions about the dignity and independence of women in a hyper-sexed society that objectifies them. She resists the distorted priorities of this superficial world, for example, in “Cosmopolitan Woman,” penned in response to a visit to AIDS-ridden Africa. The emphasis on surface beauty in the magazine referenced in the title is shallow and of no consequence when compared to the plight of those at the AIDS clinic she visits. In contrast, with those who fixate on women’s physical appearance and sexuality, she regularly returns to glimpses of a female’s inner beauty, her soul, a “glow” coming from the inside (Tears for Water, p. 54).

Joni Mitchell introduces the name Magdalene in two songs, both of them exploring the plight of helpless females.

In “The Magdalene Laundries” (Turbulent Indigo, 1994), the first-person speaker identifies herself as an unmarried girl, a Jezebel in the opinion of others who assure her she will not reach heaven. Instead, they send her in shame to work with the sisters. Mary Magdalene and Jezebel are female characters in the Bible traditionally associated with sexual immorality. It is worth noting, however, that the biblical stories about them do not offer unambiguous evidence in support of this conclusion. This fact makes the use of their names in Mitchell’s “The Magdalene Laundries” particularly poignant.

The listener is sympathetic to the girl whose story is told in the song. We have no reason to suspect she is an evil person, regardless of what others say about her. As Mitchell tells the story, the girl goes to the laundries because men leer at her, but what does this mean? Since we hear nothing about her directly (was she a flirt? promiscuous?), the only thing we know with any certainty is that these men are lecherous. The girl alone, however, carries the weight of punishment for their misdeeds, a situation resembling the Gospel narrative about the woman caught in adultery, where only the female faces judgment (John 7:53-8:11).

Just as later Christian interpreters vilified characters like Jezebel and Mary Magdalene, those around the girl in the song demonize her, accusing her of sexual sin without justification. They are completely devoid of compassion.

Mitchell’s song describes the plight of pregnant, unmarried, unwanted females, referred to as prostitutes, temptresses, and fallen women. All of them are sent to work at the Magdalene laundries. During the nineteenth and twentieth centuries, asylums run by Roman Catholic orders often took in prostitutes, unwed mothers, and other girls/women of questionable character, keeping them in convents and assigning them to hard labor. The song gives voice to one of these unfortunate girls, a girl who cannot understand why they call a place so devoid of compassion Our Lady of Charity.

Mitchell’s critique of the Christian Magdalene laundries is particularly clever and pointed because she turns Christian teaching itself back on the cruel taskmasters of the asylum. If these heartless nuns actually saw their “groom,” meaning Jesus, they would not throw their accusatory stones. Here again Mitchell alludes to the story of the woman caught in adultery (John 7:53-8:11). In that story, vigilantes bring a fallen woman to Jesus, and they are ready to impose the death penalty for her crime. Jesus’ famous answer — “Let anyone among you who is without sin be the first to throw a stone at her” (John 8:7) — results in the male accusers leaving the scene one by one. Mitchell’s allusion to this passage is appropriate because interpreters often link Mary Magdalene to this Gospel story (even though the evangelist does not give the woman’s name). Mitchell thereby makes explicit the connection between this Mary Magdalene story and the experience of those in the Magdalene laundries. It follows that these girls deserve the same compassion that Mary Magdalene receives in the Gospel of John. Jesus does not condemn the woman caught in adultery: “‘Woman … Has no one condemned you? … Neither do I condemn you'” (John 8:10-11).

John’s story makes it clear that the female brought before Jesus is no worse than her male accusers who want her punished, implied because they leave after Jesus’ challenge to them. Jesus treats the woman in the Gospel story with dignity and ultimately saves her life from the crowd of vigilantes. The reference to the stone-throwing asylum nuns invites comparison with the accusers in the Gospel story. The sisters, like the mob in the Gospel, are in no position to throw stones. They are no better than the inmates forced to be in the laundries.

Mary Magdalene appears in another Joni Mitchell composition as well, the song “Passion Play (The Story of Jesus and Zachius… The Little Tax Collector)” (Night Ride Home, 1991). This song brings together in compressed form elements of the gospel narratives about Mary Magdalene, Zachius (sic), and the crucifixion of Christ. Mitchell contrasts one who is kind and redeeming, who heals and searches the heart, with others who enslave and force the vulnerable to “do the dirty work,” though the songwriter does not explain exactly what this means. Jesus is a liberator in the song, reaching out to the trembling Magdalene and healing the heart of the first-person narrator Zachius.

The song describes the desperate situations of the marginalized and vulnerable Magdalene, Zachius, and a group of unidentified slaves. The songwriter introduces Magdalene as the song opens, trembling like items blowing in the wind on a clothesline, an image recalling again the Magdalene laundries discussed earlier. To this vulnerable woman, a man (Jesus) is both kind and redeeming. Zachius is also in need (cf. Luke 19:1-10). He is a person of status (i.e., a tax collector), but also a sinner with a broken heart. Jesus, described as the “magical physician,” comes to his aid.

It is difficult to determine who is responsible for the sadness known to Magdalene, Zachius, and the other slaves mentioned in the song, but the recurring terms “Exxon” and “radiation” hint at the impersonal, greedy and destructive corporate world. The scene of Jesus’ crucifixion may support this conclusion. It is a marketplace, a wicked location devoid of the divine presence where we hear the pounding of deadly nails as the crucifixion takes place. The song leaves us wondering if the slaves will still gain their freedom after the crucifixion, or if others will continue forcing them to do the “dirty work” now that their protector is gone.

This song makes explicit use of biblical material. In addition to the characters, there is a direct quotation from the King James Version of the Lord’s Prayer: “Thy kingdom come / Thy will be done.”

It may be relevant that the Lord’s Prayer includes supplication for the sustenance of those economically vulnerable: “Give us this day our daily bread” (Matthew 6:11; Luke 11:3).

In this intriguing song, Mitchell succinctly relates some of the variegated visions of liberation found in the New Testament Gospels. In “Passion Play (The Story of Jesus and Zachius … The Little Tax Collector)” we hear about desperate souls who find a magic physician’s healing touch. However, this message is easy to miss in those places of business that kill saviors and stifle the efforts of liberators.
Arts – The Huffington Post
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