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#the king’s man
matryoshkabitch · 5 months
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winterfieldfrontiers · 3 months
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WELCOME TO THE WORLD OF KINGSMAN
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- The King's Man
- The King's man: The Traitor King
- Kingsman: The Secret Service
- Kingsman: The Golden Circle
- Kingsman: The Blue Blood
- Argylle (Spin-Off)
- Argylle: Book One
- Statesman
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rachreads · 7 months
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bruhlnation: we’ve won
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f1yogurt · 1 year
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Hello yes could this be Daniel Brühl confirming another movie in the Kingsman series???
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dilfwh0rehouse · 1 year
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constantly and consistently thinking abt this gif bc who allowed him to pull this shit???
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like why do I want to kiss his forehead so astronomically bad after this it’s ridiculous
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glitter-bunny420 · 2 years
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The Holy Trinity of spy fiction
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matthewgiggles · 1 year
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📸 Credit and interview links are in the YouTube description box!
🎁🎄❄️ Merry Christmas and a Happy New Year 🥂 to all of you! 😊
Matthew: Once again it’s been a total delight to edit this last video of the year. Thanks for keeping us all entertained throughout 2022!
My year started by going to the cinema to watch The King’s Man, followed by the release of the final season of A Discovery of Witches. The Duke premiered in the UK in February and of course 2022 was largely dominated by The Offer. Superb performance from start to finish and the Press Tour was just 🤌🏻. Thank you for giving us your fantastic portrayal of the legendary Bob Evans. The autumn release of Medieval (shot 4 years ago) brought 2022 to its conclusion. However we do have Freud’s Last Session to look forward to next year: starring Sir Anthony Hopkins as Freud with Matthew taking on the role of C.S. Lewis.💥
My personal highlight is of course getting my question about The Offer answered LIVE by Goodey. 🥰
Best Wishes & see you all next year!
Nikki Xxx
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fic-over-cannon · 5 months
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One thing that gets me every time is how Conrad Oxford’s death was indirectly caused by being loved too much.
His mother loved him, and when she died his father loves him enough for the both of them. Orlando loves his son too much to lose him too, and so he protects him. And so Conrad grows up behind marble walls, always at his father’s side. Orlando has Conrad trained, but only against people that would already die to protect him. Shola and Polly love Conrad, and so Conrad grows up secure in the knowledge that there will always be someone deadly watching over him. Conrad grows up protected, and so the world that is lovingly crafted for him is no longer enough for him.
His father engineers a chance for him to feel useful in the war effort. It is an opportunity commandeered by Orlando, supervised by Polly, and defended by Shola. Their success, meant to make Conrad happy (and do the right thing), only encourages Conrad’s taste for the wider world. He is emboldened by their victory, and he carries his feeling of self-confidence into the army. Again, Orlando tries to engineer a position to do good with the least amount of danger. Conrad refuses, tricks his way into something he feels is more useful. He doesn’t realize how dangerous war is, without loving protectors surrounding him.
Conrad only realizes how much he is loved and what horrors his father was trying to protect him from while lying in no man’s land in the dead of night as shells rain down. He is facing the reality of having taken someone’s life, facing his own mortality, and the reality that his death may not accomplish anything. And in that moment all he wants is to tell his father that he was right. Conrad realizes how unprepared he was for the reality of war but recognizes it was done out of love. That his father’s goal was to spare him from suffering. He is a boy that just wants to tell his father he loves him. He never gets to tell his father that though. He’s dead before the sun’s fully risen.
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conrad-oxford · 2 years
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Conrad Oxford icons ⭐️ Part 2/?
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Necessarily Worried (An Orlando Oxford Imagine)
Summary: Reader and Conrad were close before he died, so they are also close to Orlando. Reader tries to take care of Orlando after Conrad’s death and even tries to go on the mission to take down the Shepherd.
Request: Orlando Oxford if you can. Maybe some angsty stuff, I like angst. Could be about the reader getting hurt and he is worried he'll lose them too. You can decide if you want a good or bad ending. The reader can be whatever gender you prefer to write with
Requested by @lievlogan
Pairing: Orlando Oxford and (gender neutral/no physical descriptors given) Reader (non-romantic; Orlando views her as more of a daughter)
Word Count: 1125
A/N: I’m kind of back. My apologies for taking so long to write this. I have this and other requests I’m currently working on, along with new chapters for some of my series’s. Work plus grad school has really wiped me out, so I haven’t had a lot of time or energy to spend writing. But I want to get back into it. Let me know what you think! Thanks for reading!
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The door closes with a quiet thud behind them. (Y/n) watches as Orlando meanders down the hallway, appearing to be going through the motions rather than consciously choosing what to do. They stand there in the foyer for a few seconds before following him into the house.
Orlando disappears into his own bedroom, not even noticing or even acknowledging that (Y/n) was behind him.
(Y/n) makes their way down the hall and toward their own room. Once the door is shut behind them, they allow themself to finally let go. The tension leaves their body as they lean back on the door. All the tears they had been holding in for Orlando’s sake at the funeral run down their cheeks.
A knock on the door startles (Y/n), making them step away from the door and face it.
“(Y/n),” Polly’s voice comes through the door, “tea is almost ready in the parlor.”
(Y/n) wipes one cheek with the end of their sleeve, taking in a breath to try to conceal the fact they had been crying. “Thank you, Polly.” They curse silently because of how their voice wavers. “I’ll be out shortly.”
(Y/n) listens carefully as Polly’s footsteps disappear down the hall. Only when they can no longer hear her footsteps do they release a long sigh and wipe the other cheek’s tears away.
After changing out of the clothes they wore to the funeral, (Y/n) leaves their room and heads straight for the parlor. Orlando is already there, seated in his typical chair with a seemingly untouched cup of tea on the table beside him. (Y/n) takes a seat in their usual chair. Their gaze drifts to where Conrad would sit.
If he were here.
These thoughts don’t linger because Shola is immediately at their side with a cup of tea in hand. Which (Y/n) takes and allows their gaze to drift back to Orlando. They take a sip of their tea, considering what to say.
. . . . .
(Y/n) enters the dining room with a tray in both hands. On the tray is breakfast: cherry scones, over easy eggs, and sausage. Orlando sits at the head of the table, staring blankly at the newspaper in his hands. (Y/n) goes around the table and sets one plate in front of him. The other plate is set where they typically sit, and the plate of scones is set between both of their seats.
(Y/n) sets the tray at the other end of the table to take breakfast dishes back to the kitchen after the meal is finished. They take a seat and settle in, wiping the sweat from their forehead. At the same time, Orlando turns to the next page in his newspaper, not even taking a bite of breakfast.
“Anything of note?” (Y/n) questions, looking to him.
Orlando glances over at her, staring for a few seconds before shaking his head. He then sets the paper to the side, carelessly folded in half. It’s only then that he begins eating.
There’s no conversation between the two of them. Only silence fills the room.
. . . . .
Over the next few weeks, (Y/n) does the little things around the house. Making sure Orlando has his paper in the morning. Preparing breakfasts they know he enjoys. Cleaning up when he leaves a room without taking care of things.
He’s fairly quiet and antisocial over the several weeks following the funeral.
(Y/n) does their best to help him grieve, but things stay relatively quiet until it becomes clear that the Shepherd must be dealt with.
“Orlando,” (Y/n) states firmly, “I want to go with you.”
“No,” he answers with some finality, waving his hand dismissively. He doesn’t even look in their direction as he prepares.
“Why not? I could be useful!”
“No!” He slams his fist on the desk in front of him. He stares at (Y/n) for a moment before his features soften, and he hangs his head. “I can’t lose you, too, (Y/n)…”
“I’ll stay out of the way, away from the main action.”
“The answer is still no.”
“But-”
He looks (Y/n) in the eye. “End of story, (Y/n).”
. . . . .
Somehow, Polly convinced Orlando to allow (Y/n) to come, given that they stay with her.
And that’s exactly how it turned out.
(Y/n) cowers in the shack with Polly, though they’re unwilling to admit (perhaps even to themself) that they’re terrified. The sound of rapid gunshots in the direction of the shack both are in causes (Y/n)’s heart to race uncomfortably within their chest.
A stray one enters the shack, and (Y/n) isn’t hidden properly and, shortly after, feels sharp pain in their shoulder. They shift to be closer to Polly, to be hidden better from the gunfire.
Time passes slowly as they wait for Orlando to meet up with the rest of the group. As the four of them return to the Oxford estate, (Y/n) tries to remain still and out of the way, though pain radiates through their shoulder. They’re able to successfully mask their pain since everyone’s attention is primarily focused on Orlando. No one really pays much attention to the fact that (Y/n) remains off to the side, not hovering over Orlando.
No one notices.
Until they return to the Oxford estate.
“Let me take your coat,” Polly insists, her hands on the collar of their coat.
“No, I’m alright,” (Y/n) tries to insist, attempting to evade her attempt at taking the coat off their shoulders.
Polly’s grip is firm and doesn’t allow (Y/n) to evade. However, Polly’s able to pull the coat from their body, exposing the bloodied sleeve of their shirt.
“(Y/n),” Polly breathes, her eyes wide.
(Y/n) is quickly moved into the study by Shola, with Orlando trailing just behind, as Polly heats up water and gathers the necessary supplies to clean the wound. They’re quickly seated, and Shola applies pressure to the bleeding. Orlando paces as he waits.
Polly hurries into the room, her arms full of supplies. Immediately, she begins tending to the wound on (Y/n)’s shoulder.
“How did this happen?” Orlando questions.
“I don’t know,” (Y/n) replies tensely, their fists clenching as Polly cleans the wound.
“What happened, Polly?”
“I’m not sure, sir,” she replies.
“How does no one-!” Orlando shouts.
“Calm down,” (Y/n) interrupts, pleading. “I’ll be fine.”
“I knew this would happen!”
“I stayed low and out of the way. There was nothing Polly could’ve done differently.”
Orlando sighs, collapsing into the chair across the room.
“(Y/n) will be just fine, sir,” Polly states optimistically as she begins stitching up the wound.
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What the fuck did I just watch?
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winterfieldfrontiers · 3 months
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Like grandfather, like grandchild
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Lets kill Nazi before WW2!
Ralph Fiennes - the king's man
hero fiennes tiffin - the ministry of ungentlemanly warfare
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teach463146 · 2 years
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artistic-lightcycle · 2 years
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I also have this headcanon for a comic ever since watching The King’s Man in the cinema: Polly: Where have you been? Orlando, coming into the room in a rush, yeeting away a keffiyeh: IT WAS A STRESSFUL DAY!
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tvtalk247 · 2 years
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Next up: The King’s Man.
Why is it when you watch a movie, you can pinpoint easily which character isn’t going to live long? Like are the writers that predictable or do I watch too much tv? 😂
Now I’ve been avoiding watching this prequel because I hate watching most things set before 1970. But I like the Kingsmen franchise so I decided to at least give it a chance. It’s not bad. But again, I’m not a fan of things with too old of a setting. Especially when black folks are depicted as servants. Yeah, he’s a member of the spy network but he’s also the butler.
Now, let’s talk about Djimon Hounsou’s hair. It looked good in this movie. I can’t tell if it’s a wig or not. I’ve never seen him with hair outside of this movie. That’s the only reason why I’m even contemplating it being a wig. But it looks natural and real. So either he had a nice wig or he can grow hair but prefer being bald.
Overall, I think the writers forgot what made the franchise so good. It went all in on the gentleman portion and forgot the fun and snark that the previous films delivered.
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