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denimbex1986 · 3 months

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'I almost knock into Andrew Scott before I see him. He’s just dashed out of the Tate Modern, frantic and slightly late: “There’s just so many entrances!” he exclaims. His patrician forehead crinkles, and the brown eyes charmingly plead: Forgive me! He was just inside, picking up his membership card. Surely he can get in for free? “Excuse me,” he huffs, “I’m a fully paid-up member.” Then he flashes the broad grin that seduced a legion of Fleabag viewers, and we’re off.

The plan today is to meander in a loop along the Thames. On a midafternoon Friday in London, this involves much ducking and diving through crowds, which suits Scott just fine. The weather is one of those bright, springlike days that convinces you that winter is over—except the rain-swollen river is now sloshing ominously onto the pavement. We slow down to regard an underwater section of our route. “I don’t think we’re gonna get through there,” he says. “I’ve probably got a hole in my trainers.”

We head for the road instead, words pouring out of the 47-year-old actor in that mellifluous Irish lilt, peppered with “you knows” and interrupted frequently by his laugh. It’s no surprise that his colleagues quickly become friends: “It was clear from the moment that I met and worked with Andrew that he was an exceptionally gifted actor,” says Julianne Moore, who starred alongside Scott on Broadway in 2006’s The Vertical Hour. It was both actors’ Broadway debuts, though Scott has juggled screen and theater from the start. “I’ve always done both,” he says, though he acknowledges modestly: “I used to do maybe a few plays a year and one television show. Now maybe it’s kind of the opposite.” That’s somewhat underselling his dramatic accomplishments. Scott has won two Olivier Awards, for the experimental A Girl in a Car With a Man in 2005 and Noël Coward’s Present Laughter in 2020. He has performed in productions of Eugene O’Neill, Oscar Wilde—he’s played Hamlet, too, and was nominated for an Olivier for that as well. “Scott gives carefully controlled, thrillingly virtuoso physical performances,” wrote The Guardian last year, when he performed eight roles from Uncle Vanya by himself, in a much-lauded West End solo adaptation of the Chekhov play. (A New York transfer could not be confirmed when this piece went to press, but seems highly likely.) “He wore his talent so lightly and modestly,” Moore says. “He was joyful and fun and an amazing partner to have onstage and off.”

Scott was born in Dublin, sandwiched between two sisters; his mother is a teacher and an artist, and his father works at an employment agency. As a child, he was brought to art galleries and theaters. A performance by the great Irish actor Donal McCann in Sean O’Casey’s Juno and the Paycock when he was 11 or 12 made a lasting impression: “There was just something about the power in his stillness—people think that, in theater, it’s all about the grand gesture, but stillness onstage is absolutely mesmerizing.”

An eerie stillness characterizes all of Scott’s performances as well. As Moriarty in Sherlock, the BBC One show that catapulted him to fame in Britain in the 2010s, he requested fewer lines to play up the villain’s spookiness. And then there is that agonizing stretch of silence in Phoebe Waller-Bridge’s Fleabag right after its titular protagonist confesses her love. Has the line “It’ll pass” ever been delivered with so much pathos? Scott’s acting is all submerged passion; when he does speak, his words have depth. “Andrew has an intensity and a precision in his work,” Moore tells me. “I love his vulnerability, the way his eyes glitter onscreen.”

As a child, Scott was sent to drama classes to get over his shyness. He still remembers his first role, as the Tin Man in a production of The Wizard of Oz. “I felt completely free,” he says, seemingly transported to the moment he launched into “If I Only Had a Heart” onstage. “I felt joy—that’s the word. Not only did I feel it, but I felt that other people felt it when they were looking at me…. Some intuition told me as an 11-year-old: ‘You have to be this expressive, that’s what theater is!’ Nobody taught me that. I just felt it.” Then he swerves to avoid a clutch of tourists on Tower Bridge, and the reverie is lost.

These days, walking around London is something of an ongoing pastime for Scott. During the press rollout for Andrew Haigh’s Golden Globe–nominated romance All of Us Strangers, he and costar Paul Mescal went to their PR engagements on foot. One day, two boys on bikes clocked the pair and started chasing after them in an alarming fashion: “We escaped them—it was quite fun, actually!” Does he ever feel slightly protective of Mescal, two decades his junior? “Not any more than I would with any of my other people in my life. Because he’s got his head screwed on, you know? I absolutely adore Paul,” Scott adds, though he wants to make one thing clear: “Bromance is not the word that we associate with it, because neither of us are very bro-ey.”

Waller-Bridge, who has known Scott for 15 years, describes him as “an absolute pixie of mischief.” When asked to elaborate, she continues: “I could write a novel. But I love how naughty he is. He has the magical ability to make you feel instantly present—no matter what’s going on in your life, you’re suddenly there in the moment and feeling joyful. I think that’s what it’s like to watch him as an actor too…like he can stop time with his honesty.”

Between 2020 and 2021, Scott also traversed the lengths of the Thames, pondering the script from Ripley, his upcoming eight-episode project for Netflix, in which he plays the titular protagonist. “Quite unusually, I got sent all eight scripts at the same time,” he remembers. Steven Zaillian, the screenwriter behind Schindler’s List and Gangs of New York and the director and writer behind All the King’s Men, had written all eight at the outset.

Tom Ripley is crime novelist Patricia Highsmith’s slipperiest literary creation; a pathological liar and murderer with whom she felt a strange kinship—she sometimes signed letters with some variation of “Pat H., alias Ripley.” It is not so much a spoiler as an ongoing feature of the books that Ripley, despite splurging on Venetian palazzi and Gucci suitcases, never gets caught. If anybody comes close, there is always a conveniently located oar or glass paperweight nearby. Ripley, in other words, is the hero of the tale. “That’s why he fascinates so many,” says Scott. “There’s been so many iterations of him. I think it’s because people root for him.” Actors like Alain Delon and Dennis Hopper have tried the role; Matt Damon played him as an obsequious, lower-class naïf; John Malkovich, as a slimy, camp killer. Scott’s Ripley is different; a watchful loner escaping rodent-infested poverty, more at home among art than he is around people. Musician and actor Johnny Flynn plays his first victim—the monied Dickie Greenleaf—and Dakota Fanning is Dickie’s suspicious ex-girlfriend. “I find Tom quite vulnerable,” Scott tells me. “I don’t think he’s necessarily lonely, but I certainly think he’s solitary…. He seems to me by his nature that he just can’t fit in. He’s trying to survive.”

In Ripley, Zaillian extracts maximum Hitchcockian dread from every creaky footstep. But most sinister of all is Scott’s face, which exhibits a sharklike steeliness throughout. It’s a performance that exudes queasy force. Is Ripley a scammer, a psychopath, or both? “There’s so many things lurking beneath him that I’ve been very reluctant to diagnose him with anything. I never thought of him as a sociopath or murderous,” Scott declares. “It’s up to everybody else to characterize him or call him whatever they want.”

As we weave through tourists near the Tower of London, barely anybody notices Scott, save for a faint glimmer of recognition among mainly young women. He seems to draw reassurance from it. “I don’t like to think about it too much, if I’m honest,” he muses of fame. “I find it a little bit, er, frightening.” He is known but not blockbuster-recognizable, although he is in the upcoming Back in Action with Cameron Diaz and Jamie Foxx. What stunts did he do? “I can’t give that away, I’m afraid, or somebody from Netflix will come and shoot me in the head.”

What’s been on Scott’s mind the most hasn’t been acting at all, in fact, but art. As a 17-year-old, he was offered his first movie role on the same day he was given a scholarship to study painting. He chose acting, but has recently been thinking about Oliver Burkeman’s philosophical self-help tract from 2021, Four Thousand Weeks, which makes the case for focusing on the five things you truly want to accomplish. “For me at the moment, it’s like, What do you want to do? What do you want to say?”

He scrolls through his phone to show me his work. There’s a watercolor of a couple arguing in a restaurant in rich reds and greens, line drawings of friends and people on the beach, and two self-portraits. “It’s a bit weird,” he acknowledges of his depiction of himself, all bulbous forehead and Pan-like tufts of hair. His brisk, nervy lines are reminiscent of Egon Schiele or Francis Bacon, who turns out to be one of his favorite painters. “Well, God, I’ll take that,” he mutters at the comparison. He would like someday to go to art school. “I don’t ever regret it,” he says of acting. “But I suppose you just get to a stage where you think, What else? That’s one of the big painful things in life for me, where you can’t quite live all the lives.” As he gets older, he feels the tug toward revisiting old working relationships, including with Waller-Bridge: “We’ve definitely got things cooking,” he smiles. “I’d love to work with her again. She’s just a singular, wonderful person.” For her part, Waller-Bridge says: “I’d love to see him do a fully unhinged slapstick comedy character. Someone who is outraged at everything, all of the time.”

As we round the pavement and the Tate Modern looms back into sight, he recalls a poster he received in 2017—a monstrously large graphic that detailed every week in a human life span. “It’s your entire life if you live to 80—you have to fill in all the bits that you’ve already lived,” he remembers in awe, “a visually terrifying gift.” What did he do with it? “I didn’t hold on to it for too long.” Easy come, easy go: We finally finish our loop around the Thames and, as Scott disappears back into the throng, anonymous just the way he likes it, it occurs to me that the actor has many lives to live yet.'

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confettiemoji · 2 years

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HELLO RTCBLR CHOIRSONAERS.... DROPS THIS IN YOUR HANDS... RUNS AWAY

@luckynature @blossomgutz @myperfecttalia @themostcuriousgirlintown

#rtc #ride the cyclone #confetti ponders #choirsona #juno flowers #gail tofte #robin moore #isabella eccles #ethan bell #voice headcanons

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dawningfairytale · 2 years

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some choirsona incorrect quotes to introduce y'all to adrian!!!

Adrian: I slept for almost 12 hours but I might still be tired so let's go for 12 more just incase. Julia: Adrian, that's a coma. Adrian: Sounds like a relief.

Adrian: Change is inedible. Julia: Don't you mean inevitable? Adrian, spitting out coins: See how little you know me.

Julia: Treat spiders the way you want to be treated. Adrian: Killed without hesitation. Julia: No.

Julia: I'm incredibly fast at math. Adrian: Alright, what's 30x17? Julia: 47 Adrian: That's not even close. Lucille: But it was fast!

Lucille, holding a python: Guys I impulsively bought a snake, what do I name him Adrian: You did WHAT– Julia: William Snakepeare

Adrian: Fitness tip: never stop pushing yourself. Some say 8 hours of sleep is enough. Why not keep going? Why not 9? Why not 10? Strive for greatness. Julia: Next time you’re working out do 15 push ups instead of 10. Run 3 miles instead of 2. Eat a whole cake instead of just a slice. Burn your ex’s house down. You can do it. I believe in you!! Lucille: Awwwww, thanks Julia! *kisses*

Adrian: Everyone, synchronise your watches. Julia: I don’t know how to do that. Robin: I don’t wear a watch. Juno: Time is a construct!!

Juno: On the count of three, what's your favorite cake? One, two, three- Juno and Seymour, in unison: Chocolate cake peanut butter frosting with chocolate chunks! Julia: Our turn, Adrian! One, two, three- vanilla! Adrian, deadpan: I've never had cake, what is cake.

Julia, trying to convince Adrian to join the group: You know… I thought it'd be good to have someone come along who's really… strong! Lucille: And silent! Juno: And grumpy! Robin: And oblivious to reality! Adrian: Thanks.

Calypso: While I’m gone, Robin, you’re in charge. Robin: Yes!!! Calypso, whispering: Adrian, you’re secretly in charge. Adrian: Obviously.

@myperfecttalia @luckynature @thisistheroomofthedead thoughts feelings vibes?????

#choirsona #choirsona incorrect quotes #adrian mortimer #julia seaforth #lucille fraser #juno flowers #robin moore #calypso anderson #seymour serrano

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king0fbr0kenhearts · 2 years

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@luckynature @myperfecttalia @moonmoonthecrabking @whosmarinette

I DREW YOUR SILLIES

#Jaize's junk !!#Jaize tries to art !!#SORRY THEY ALL LOOK HIGH #choirsona #idk why it isn't picking up on the tags but eh-#juno flowers #robin moore #julia seaforth #jell herris

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forgottentune · 2 years

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“Hey Juno, Rowan! Check this out!! Some kind of fortune telling booth! We have to get a picture of me with it, pleeease? It’s so cool!”

your lucky number is seven. be sure to ride the cyclone.

or, marjane meets the amazing karnak. photo by juno flowers.

@luckynature @an-inspired-eternity

#rowan moore #juno flowers #marjane crawford #choirsonas

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15billionyears · 1 year

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What I’m watching (2023 Edition) || Wild Child (2008 )

#garota mimada #wild child #watching #watching23 #Nick Moore #Emma Roberts #Juno Temple #Kimberley Nixon #Natasha Richardson #Georgia King #Eleanor Turner-Moss #rewatching

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mysticstronomy · 5 months

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JUPITER HAS A LARGE MAGNETIC FIELD THAN PREVIOUSLY EXPECTED??

Blog#366

Saturday, January 13th, 2024.

Welcome back,

NASA's Juno spacecraft has mapped the strong magnetic field at Jupiter, revealing a surprising asymmetry between the northern and southern hemispheres that could lend insight into what's going on within the gas giant.

Jupiter hosts the most powerful magnetic field of all the planets in our solar system, cranking out a field close to 20,000 times stronger than Earth's.

Juno has braved that magnetic field during the probe's close approaches to the planet since arriving in July 2016; it skims about 2,500 miles (4,000 kilometers) above the planet every 53 days over the course of elongated orbits.

A new paper, published on (Sept. 5) in the journal Nature, pulls together Juno's measurements to create the most detailed map yet of the Jovian magnetic field at different depths, painting a complex picture.

"We find that Jupiter's magnetic field is different from all other known planetary magnetic fields," the authors, led by Kimberly Moore of Harvard University, wrote in the paper. Like Earth, Jupiter's magnetic field has a primary north and south pole, close to the planet's actual poles as it rotates. But while the gas giant's south pole is relatively orderly, the planet's north pole has one narrow magnetic hotspot amid more chaotic patches of magnetic field, where positive and negative sections don't have concrete counterparts."

"And the planet has another big magnetic "south pole" close to the equator the researchers refer to this equatorial patch as a "great blue spot" in their paper, in contrast to the planet's swirling Great Red Spot storm. (Blue is often used in diagrams to indicate the negative part of a magnetic field.)

According to a News and Views column accompanying the article, Jupiter's magnetic field is likely generated by a swirling mass of hydrogen deep within the planet.

Crushed to incredible pressure, this material becomes a metallic liquid that can conduct electricity and generate a magnetic field when stirred. The heat within the planet, left over from Jupiter's formation early in the solar system's history, creates convection currents that get the liquid moving — not to mention the gases on top, leading to the planet's roiling clouds and storms.

Convection within Earth's iron core also generates our planet's magnetic field, but Earth's field is much more straightforward: mostly positive at one pole, mostly negative at the other, with no particular pattern to the parts that diverge from that.

This strange magnetic field on Jupiter is a hint to what's going on inside the planet. The researchers suggest the Jovian core could be larger and more dilute than previously thought, or the stable layers of fluid within Jupiter could partition off parts of the planet's interior, altering the flow, according to the News and Views story. The state of the planet's field could even — although the paper's researchers suggest this is unlikely — mark the middle of a magnetic field reversal process.

Originally published www.space.com

COMING UP!!

(Wednesday, January 17th, 2024)

"CAN HUMANS SURVIVE ON MARS??"

#astronomy #outer space #alternate universe #astrophysics #universe #spacecraft #white universe #space #parallel universe #astrophotography #jupiter

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ragingdumpsterfire · 8 months

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Delsin + Juno

#it’s not up my usual standard but by god I did an oc art finally #poor Juno has been stuck on the back shelf for a while #infamous second son #Delsin Rowe #Juno Moore #infamous oc #artists on tumblr #art #artblr #digital art #painting

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neillesimstories · 8 months

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uncle Gabriel took the kids to the playground!

#sims 3 #ts3 #the sims 3 #sims 3 gameplay #sims 3 screenshots #sims 3 stories #sims 3 family #ts3 gameplay #ts3 screenshots #ts3 stories #ts3 family #moore family #gabriel moore #alexander moore #juno moore #juliette moore

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nibblelinephym · 7 months

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PAINTEDFIELDS?

TYE SPECIALEST GUYS EVER <3<3<3

#paintedfields #choirsona #juno flowers #robin moore #ali<3 #i ahvent paintedfieldsposted in so long i miss them.....#ship bingo

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burningvelvet · 7 months

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Powerful women from the classical world + excerpt of a letter from Lord Byron to Thomas Moore describing his lover Margarita Cogni (Venice, September 19th, 1818):

“I wish you a good night, with a Venetian benediction, ‘Benedetto te, e la terra che ti fara!’ — ‘May you be blessed, and the earth which you will make!’ — is it not pretty? You would think it still prettier if you had heard it, as I did two hours ago, from the lips of a Venetian girl, with large black eyes, a face like Faustina’s, and the figure of a Juno — tall and energetic as a Pythoness, with eyes flashing, and her dark hair streaming in the moonlight — one of those women who may be made any thing. I am sure if I put a poniard into the hand of this one, she would plunge it where I told her, — and into me, if I offended her. I like this kind of animal, and am sure that I should have preferred Medea to any woman that ever breathed.”

The mythical and historical allusions:

In Roman myth, Juno was Queen of the Gods as well as a military figure often depicted armed. In Greek myth, Medea was a sorceress who gets revenge against her unfaithful husband through murdering their children and his lover. Although “Pythoness” could refer to demonic witches in other uses, Byron is using it here as another name for Pythia or the Oracle of Delphi, a divine priestess and the most powerful female office in the ancient world.

Faustina is either a reference to the Younger or the Elder. Faustina the Younger was the wife of Marcus Aurelius; he revered her so much that he gave her enormous power, although later historians (probably falsely) accused her of being a murderer and adulteress. Faustina the Elder was the adoptive mother of Marcus Aurelius and was one of the most beloved Roman women in history, whose coinage often features Juno.

Byron's life and writing in context:

When he was living abroad in self-exile, Byron often sought to entertain his friends back home by sharing his adventures in lurid detail. His vivid letters became well-read throughout the 1800s, and are considered some of his best writing. Travel writing and adventure stories were extremely popular in the 19th century, and even most of Byron’s fiction champions these themes. Living abroad and traveling became marketable parts of Byron's celebrity. He blended his own experiences into his work, and chief among these were his romantic experiences.

Shelley once compared Byron to the Greek myth of Circe when writing in a letter about Byron's excessive amount of pets. Circe was known for seducing men and turning them into animals who roamed around her palace. Like a witch or an alchemist, Byron frequently transformed his lovers into characters through his writing. Like countless others, Margarita Cogni was mythically immortalized through the writer's description of her. She and Byron's other Venetian lovers have become part of the wider Romantic era mythology tradition, like the constantly retold tales of Mary Shelley's invention of Frankenstein, Percy Shelley's drowning, and John Keats' love for Fanny Brawne.

By using references to classical women in this letter Byron is not only paying tribute to mythology, history, and the Italian landscape in a way that his foreign audience would find tantalizing, but he is also exploring romanticized notions of classical female beauty which are at turns conventional and unconventional. He channels the gothic sublime through the otherworldly power and danger these women all represent, as well as channeling more traditional concepts of feminine strength rooted in modesty, beauty, and passivity. Byron creates poetic contradictions.

Just as he famously describes himself as “changeable, being everything by turns and nothing long,” he utilizes paradox and inconstance in his writing, such as in this satirical formulation of Margarita Cogni as the ideal lover who is both Goddess and woman, mistress and slave, contemporary and classical, masculine and feminine, wife and adulteress, murderess and murdered.

One can clearly see how this is the same chameolonic, binary-blurring poet who would go on to write the gender-bending themes of Don Juan — “If people contradict themselves, can I / Help contradicting them, and every body, / Even my veracious self?” — and who years beforehand had written She Walks in Beauty — where “all that’s best of dark and bright / Meet in her aspect and her eyes.”

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ven8s · 11 months

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maleficent and saturn's dichotomy ☆

a continuation of my "notes on saturn in 10H"

disclaimer: i will be using tropical and sidereal (vedic) astrology, but i am very much a beginner in vedic astrology. i believe that the two systems can co-exist and do work together! (that view is subject to change though)

donna murphy (voice actress): aquarius moon

🪐 as explained in my previous post, saturn not only restricts and deprives but also rewards whoever works hard enough to earn its blessings.

cate blanchett: moon conjunct saturn

🪐 as explored in claire nakti's video, the cinderella fairytale is littered with saturn symbolism. she describes the "evil stepmother" archetype as symbolising the restrictions of saturn and the "fairy godmother" archetype as saturn's rewards. cinderella's stepmother is notoriously cruel towards her, turning her into a servant and constantly belittling her.

eleanor audley (voice actress): anuradha sun

🔮 a twitter user (hxtgirlb) pointed out that several maleficent actresses have saturn placements and so i wanted to explore maleficent as the embodiment of saturn.

🔮 maleficent is left out of the invitations to aurora's christening and, in turn, curses her to prick her finger on a spindle and sleep forever unless she is kissed by her true love.

🔮 she symbolises the fairy godmother trope through offering a solution to the curse (true love's kiss). she is also a literal fairy!

🔮 maleficent's name also includes malefic and saturn is described as the great malefic in astrology.

the evil stepmother ☆

angelina jolie: pushya ascendant + moon conjunct jupiter

🪐 in the live action remake of sleeping beauty, saturn's influences become much clearer. maleficent is burned by iron due to her being a fairy, and iron is ruled by saturn.

🪐 stefan starts as a young peasant boy and falls in love with maleficent. he betrays her and uses iron chains to cut off her wings in order to gain favour with the king. he later becomes the king. this demonstrates saturn's power to raise status, as maleficent's wings led to stefan's ascension to the throne.

🪐 maleficent, as the embodiment of saturn, enacts karma on stefan by cursing his daughter, aurora.

more synchronicities with saturn's rulership:

• crows and maleficent's partner is a crow

• black and this is the colour we see her wear predominantly

• the father and it was aurora's father who caused the curse

• life-restoring remedies and maleficent improves the curse by offering the solution of true love's kiss

the fairy godmother ☆

🪄 this tumblr post on saturn worship (please check it out!) retells roman saturn mythology. interestingly, saturn was seen as the ruler of the golden age and the deity of abundance.

🪄 claire nakti assigns the fairy godmother archetype to juno, jupiter's wife. this is why we see fairy godmothers with prominent jupiter AND saturn placements. one of juno's symbols is the lotus, which is associated with all saturn nakshatras in vedic astrology.

🪄 they also embody saturn's wife, ops, who was seen as the protector of abundance and the "mother of all."

🪄 maleficent's role in the movie is the protector of the moors, the land she is from, and she is seen as a mother by all the mystical creatures that live there. she also becomes a mother-like figure to aurora and aims to reverse the curse she put on her as a baby.

🪄 the oppressive saturn that is more widely known in astrological circles reflects his greek counterpart, cronos. he ate all his children, but zeus, to prevent them from overthrowing him due to a prophecy.

🪄 the rewarding saturn reflects the roman god that rules over the golden age and promises abundance and a life devoid of suffering. in the film, maleficent turns out to be aurora's true love and saves her via a kiss.

sidenote: cinderella and aurora both wear blue, which is ruled over by saturn. they also go through hardships put on them by their evil stepmother/godmother before being saved by their fairy godmothers.

🪄 both princesses are also lifted up to a queen status through the actions of their fairy godmothers. cinderella becomes the king's wife and therefore queen, while aurora becomes queen of the moors.

more fairy godmother examples in media:

whitney houston: saturn atmakaraka + moon conjunct jupiter

verna felton (voice actress): pushya sun and moon conjunct saturn. pushya's deity is brihaspati, aka jupiter.

jennifer saunders (voice actress): moon in purva bhadrapada (aquarius) and sun in punarvasu

thank you so much if you read all the way up to this point! i have always been enamoured with saturn as it is conjunct my midheaven, and i have anuradha moon and saturn atmakaraka in vedic astrology. discovering jupiter's connection to this dichotomy was also amazing as i am jupiter dominant in both systems! this post format was inspired by @vindelllas (an amazing blog, please check her out). i hope you enjoyed this post <3

— ven8s

#vedic astrology #astro notes #astrology #astro observations #astro community #saturn #jupiter #ven8s #[🐚. . . mine]

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