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Background
Once upon a time, there was an Inhuman named Merilani Malacorr. She grew up enough to be exposed to the Terrigen Mists, where she gained the power to soothe people's emotional responses with her gaze. It was only after terrigenesis that her grip on her emotional stability began to slide. Whether this is a side effect of her powers or not, who knows? Unfortunately, she got curious about the world beyond Attilan, and on a manic impulse, made her escape.
Merilani almost froze to death in the Himalayas before being found by sherpas and brought to civilization, mistaken for a climber whose adventure had turned to disaster. Merilani ended up crossing an ocean to California as a stowaway, and washed up in Hollywood. She was found, naive and innocent, by a talent scout who acted as her agent in selling her to a film studio. Hollywood fixers set her up with a new passport and an identity: Meredith McCorr.
At age 19, in 1956, Meredith appeared in her first film: The Frozen Child. She was promoted as the next big ingenue of her studio, and made as many movies as they could fit her in. Tabloids gossiped about her romances, though none ever seemed to stick. As time went on, and Meredith became increasingly prone to bouts of illness, flirtations with controlled substances, and rambling about some kind of magic hidden city full of people with superpowers, the same fixers who gave her her identity realized what a handful she really was.
In 1963, at age 26, Meredith moved from Los Angeles to New York, citing to the press a need to 'get away from it all for a while.' She's put her film career on hold for the moment, but is still a recognizable celebrity, and with no studio minders to keep her in line, she might end up as 1963's biggest celebrity trainwreck in due course.
Selected Filmography
The Frozen Child (1956): Meredith McCorr's film debut as Jennifer, a cynical and jaded boarding school student.
Rebels of Desire (1956): A Western. McCorr plays Georgina, the daughter of a sheriff who has run off with the town's most feared outlaw.
Ladyloves and Sweeties (1957): Ensemble romantic comedy. McCorr plays Tilly, a college student having affairs with two twin professors.
Wolf in the River (1957): Mystery. McCorr plays Lauren, a nosy journalist who keeps meddling in the hunt for a killer but still ends up with the heroic detective by the end.
Enemies From the East (1958): WW2 action-drama. McCorr, in incredibly racist makeup, plays Sayako, a Japanese woman in love with an American soldier. While filming, papparazzi snapped photos of Meredith sunbathing in the nude, which caused some scandal when they were published in various tabloids and rags.
Criminals Can Dance Too (1959): Comedy. McCorr plays Phoebe, a member of a ballet troupe infiltrated by burglars as part of a plan to steal the Hope Diamond or whatever.
Admirer in the Night (1959): Romantic comedy. McCorr plays Sidney, a young woman whose love letter accidentally gets delivered to a grizzled mountain man.
Redhead Valentine (1960): Musical. McCorr plays Harriet, a flautist torn between two suitors, one a classical violinist and the other a jazz drummer. Her singing was dubbed.
Imogen (1960): Drama. McCorr plays Imogen, a novelist who has lost her faith in the world and in writing.
The Book of Deuteronomy (1961): Ill-advised Biblical epic. McCorr plays Hanah, one of the Israelites to whom Moses is lecturing throughout the movie.
The End of Passion (1962): Drama. McCorr plays Abby, a young housewife who has grown disillusioned with her significantly older husband. She was nominated, but did not win, for Best Actress at the Academy Awards.
Confessions of My Wife (1962): Comedy. McCorr plays Maggie, a young housewife who commits daring burglaries while sleepwalking.
Ghosts of Yesteryear (1963): Arthurian adventure-drama. McCorr's most recent film to date. McCorr plays Queen Guinevere, living in a convent and reflecting on her affair with Lancelot and the war it brought.
IC Events
Traits
- GAZE: Meredith's unique Inhuman power is to affect others with her gaze. This is a low-level telepathic effect focused through her eyes, or more specifically, a subliminal pattern on her irises that affects human/Inhuman/mutant/related brains. The telepathic effect of Meredith's gaze is akin to a low-level tranquilizer, focused more on emotional responses than physical activity. The person under the effect of her gaze feels relaxed, chilled-out, generally OK with life and what's happening around them. They will feel unaware of their mood being manipulated until after the fact. The effects of her powers last as long as she maintains focus — she doesn't have to maintain eye contact for the entire period of effect. The power also works in diminished form via recorded media: rather than altering the mood of the viewer, the pattern on her irises merely becomes subliminally attention-getting, steering people's focus toward Meredith, which explains some of her film career's success. Individuals with extremely high willpower or sufficient telepathic defenses can overcome Meredith's power handily.
- INHUMAN PHYSIOLOGY: As an Inhuman, Meredith has a different constitution than a normal human being. She'll probably live to be about 150 years old, and her body has the potential to exceed the limits of peak human athletes. However, because she does not keep herself in optimal fighting shape, Meredith is simply "above average" in her lifting capacity, reaction times, etc. If she exerts herself greatly, she can lift a couple hundred pounds, but can't sustain this for any prolonged length of time.
Gallery
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