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denimbex1986 · 1 month

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'Fleabag’s hot priest is about to take on his most liberating role yet: a one-man show of Chekhov’s Uncle Vanya in which he will play all nine roles, male and female. He loves taking risks, he says. It seems to be paying off…

I last saw Andrew Scott in the flesh eight years ago. I was sitting in the gloom at the top of what used to be St Martin’s School of Art in the Charing Cross Road – a tiny, temporary theatre had sprung up there – and he was three feet away from me, surrounded by great piles of stuff: newspapers, books, chairs, cupboards… a piano. The occasion was Richard Greenberg’s play The Dazzle, about two compulsive hoarders, the Collyer brothers, and his performance as one of them was mesmerising: in truth, almost too mesmerising. My mind went into overdrive. All that paper and mahogany. What if something toppled, and he was crushed – as the real Langley Collyer was – beneath a chest of drawers?

He wasn’t crushed, of course. But what’s striking and slightly odd is that today I’m seeing Scott in the flesh for the second time, and we’re again at the top of an old building – in this case, a public library – in rooms that feel a bit dilapidated, if not exactly derelict. People imagine the actor’s life to be a glamorous one, particularly if the actor in question has been in a Bond film – and of course it has its enchantments. But then there are the hours spent in spaces like this: long days of sandwiches, bottled water and elusive lines. When we came up in the ancient lift together, I couldn’t decide which of us was the more anxious. He was, I would guess. “MY TWELVE HOURS TRAPPED WITH FLEABAG STAR” ran the ticker tape in my mind as the mechanism creaked and groaned, and we each did our best not to meet the other’s eye.

Scott has spent the past three weeks here, deep in rehearsals for Vanya, a new version by Simon Stephens of Anton Chekhov’s great tragicomedy Uncle Vanya. But there’s new, and then there is… new. This adaptation gives the play, among other things, a contemporary setting. However, when the production opens in the West End, its chief novelty – and its chief draw, given Scott’s huge following – will be the fact that it is a one-man show. He will be playing all nine parts: male and female, young and old, beautiful and not-so-beautiful. It must be hard to learn so many lines, I say, once he’s (semi) comfortable on a battered leather sofa, his old, white T-shirt giving him a slight look of Marlon Brando. Doesn’t he feel like he’s going mad, with all these voices in his head? He laughs – a high-pitched, wicked laugh. “Yeah. I do, and it’s really hard [to learn]. Usually, when you can’t remember a line, another actor will say, ‘What time is it?’ or something, and then it comes to you. But now I’ve no one to cue me.” Alone on stage, he has had to change his mindset completely: “I’ve come to understand that I’m sort of looking after all these characters.”

The idea for a one-man production came about by accident. Scott, Stephens, and Sam Yates, who is directing the play, were workshopping it together (Scott has worked with Stephens twice before, most notably in Birdland at the Royal Court, in which he played a rock star who has made a Faustian pact with fame). “We miscalculated the parts, and I ended up having to act with myself, and it was kind of interesting. It gave birth to the idea that, as much as these characters say they’re different from each other, actually, some of them are very similar. I’m more interested now in those similarities than in, you know, doing a funny voice [for each one]. The production seems to me to be about what the act of creation is. I love the idea that you might be able to represent what a writer experiences on stage, all these characters in his head.”

But how on earth will the audience work out what’s going on? I understand about the funny voices, but won’t Scott have to change his a little bit when he’s acting the part of a woman? He smiles, teasingly. “I don’t think I should tell you that… But you don’t need to worry too much. I feel so liberated! I hope people will start to look at what’s within the performer so that something happens that can only really take place in a theatre – which is that you’re seeing one thing, but imagining something else.” This sounds like reading a novel, visualising scenes and characters for yourself, filling the gaps between words. He nods. “Look, I definitely don’t want to shy away from the ridiculousness of this project, and yeah, I’m nervous, but I’m loving the process. I think it’s a really sexy play. You know, Chekhov was a doctor, and he saw death so much, and I think he was able to understand human beings like no other writer.”

The argument that actors should only play who they are – that a gay character, for instance, may be played only by a gay actor – is made more and more often lately. But this production seems (to me, at least) subtly to resist the notion of identity politics in the theatre; to suggest that such rigidity may sometimes be a cul-de-sac. “It can be a cul-de-sac, certainly,” Scott says. “Of course those arguments have to be heard. The world isn’t a level playing field. But I think transformation is as important as representation. Our first understanding of storytelling happens when we’re young. Our mother or father is pretending to be a wolf. We know we’re safe, but we’re scared, too. Our parent can be a wolf! Human beings can create worlds within themselves. I don’t think we can just slice that out of ourselves.”

He knows some will heartily dislike this Vanya, but the thought seems, if anything, to excite him. “It could go wrong,” he says. “But we need a bit more of people not liking things.” He’s ambivalent, to put it mildly, about standing ovations, which seem to happen in the theatre most evenings nowadays. “My concern is that everything becomes meaningless. I think it’s unfortunate that if someone decides not to stand up, it’s perceived that they hated it. That’s not necessarily true. Maybe I thought it was very good, but I didn’t feel like rising to my feet. My producers are going to hate me for saying this, but I strongly believe that if people don’t feel like standing up, they shouldn’t. People feel lonely, having to stand when they don’t want to. Equally, it’s kind of moving when most people are not standing up, and three people are.”

Does he blame the internet for this? Is it just another form of “liking” something? “I do blame the internet, yes.” But perhaps, too, it has to do with cost. “I was recently on Broadway, and tickets there are astronomically expensive, and I thought: well, these people have to stand up because they’ve spent $390, so it’s got to have been one of the best nights of their lives.” Either way, he doesn’t understand it: the firmness and immediacy of people’s responses. “When you’ve just seen a play, it’s a really sensitive time. It’s weird when people start talking straight away about their new conservatory.” All this may explain why he feels there is more value for him in doing experimental work. “Some people will like it, some people won’t, and that’s great. I feel ferocious about wanting to take risks.”

In the coming months, Scott will be everywhere: a trick of scheduling, rather than by design. Vanya will be followed in January by the release of All of Us Strangers, a film in which he stars with Paul Mescal and Claire Foy (he plays a depressed screenwriter who goes to visit his childhood home, only to find that his parents, far from having died in a car crash when he was 12, are alive and well – though much of the coverage of the movie so far has focused on the fact that his character and Mescal’s are lovers). “It’s a beautiful film,” he says, dreamily. And then there’s Ripley, a Netflix series (its release is expected at the end of this year), based on Patricia Highsmith’s novel The Talented Mr Ripley, written and directed by Steven Zaillian, the screenwriter of Schindler’s List and Hannibal.

“It’s a big, big thing,” he says, of his role as Tom Ripley, grifter and serial killer. And yet, Scott said he wouldn’t be doing any more crazed sociopaths, having played Moriarty in Sherlock (he was also a baddie in the Bond film Spectre). “I know, but what I find interesting about him is not the psycho-ness; it’s the otherness. To me, it’s about what it’s like never to be invited to the party. We all know people who don’t make it easy for themselves, who are maybe a bit strange. But if you’re constantly ignored, or sidelined, or don’t fit in, what happens? Is it that something dark emerges? I don’t mind saying that playing him was challenging. It was very lonely. We filmed during Covid, and the five-day isolation requirements that were in place both here and in Italy meant people couldn’t come and visit, and I couldn’t come home. It’s eight hours of television, and he’s a solitary figure in this version, so I was on my own a lot.”

Scott is 46, though you wouldn’t know it; his enthusiasm, like his fidgetiness, belong to a younger man. He grew up in Dublin, with his two sisters – his father worked at an employment agency; his mother was an art teacher – where he was educated at private Jesuit school, attending drama classes on Saturdays. Art was his first plan – painting is still his great love; he can’t wait for the forthcoming Hockney show at the National Portrait Gallery – and he won a bursary to art school at 17. But then he was cast in a film, Korea, about an Irish boy emigrating to America in the 1950s who’s enlisted to fight in the Korean war, so he turned the place down, and once the movie was done, went to Trinity College to study drama instead. After six months, bored by the course, he left to join Dublin’s Abbey theatre.

He seems hardly ever to have been out of work, and his CV is such a mixture: Gethin the tense gay Welshman in Matthew Warchus’s film Pride; eccentric Lord Merlin in the BBC adaptation of The Pursuit of Love; an acclaimed Hamlet in 2017 at the Almeida theatre. By this point, his mantlepiece – he has two, one in London, and one in Dublin – must be quite frantic with statuettes (his most recent win, in 2020, was a Laurence Olivier award for best actor for his performance as Garry Essendine in Noël Coward’s Present Laughter). Does he feel blessed? “Yes, and that’s a really nice way of putting it. I’m grateful.” But perhaps this sounds too… humble: “I’ve never understood why there’s some sort of shame associated with being an artist. I feel able to call myself one.”

His fame is at a level that means he can move around London unnoticed, and he’d like to keep it that way. “I’m suspicious of it. I’ve no real interest in the value of it. The idea of being followed by a photographer seems hellish to me.” Does it affect his relationships? He doesn’t believe that it does, though there are “creepy, unsavoury people” out there who might not “have my best interests at heart”. Is he single? “Yes, I am.” Would he like to meet someone? He would. Surely it’s easy in his world? So many lovely new people entering his orbit all the time – and with his looks… He laughs. “That’s a lot of projection, there,” he says, sounding suddenly more Irish.

I read somewhere that some women in Ireland will always think of him as the guy who turned up to their demonstrations in the run-up to the abortion referendum in 2018, even when it was raining (the vote overturned the ban on abortion in the country, and followed one of 2015, which allowed same sex couples to marry). Isn’t it amazing how much Ireland has changed? When he was 16, it was still illegal to be gay, as he is. “Yes, it’s immense for people of my generation to have been emancipated from the shame of the Catholic church. But it’s interesting. Privacy matters to me, but then I remember Sinéad O’Connor being on The Late, Late Show, talking about human rights, and how important that was. Her kindness… We’re only just finding out about it. She didn’t announce it to the world. Again, it brings us back to social media. Does kindness happen if you don’t tell everybody about it?”

Scott is no longer a practising Catholic. But he can’t be certain this means he won’t call for the priest at the end (this conversation has taken a morbid turn, and it’s my fault). Perhaps it’s in the marrow. “It’s the organisation that’s the problem, not the principles behind it, which are very beautiful for the most part. I remember when Simon and I were doing [the play] Sea Wall. One of the lines in it is: show me God, where is he? And then the next line is: well, show me love, where is that? You can’t get evidence for either of them really. They’re just strong feelings. I believe in the power of love. I feel it’s stronger than anything, because you can’t do anything about it. I’ve so much of it in my life, and one of the things I’m most proud of is how much I’m able, not only to receive it, but to give it – and if somebody thinks that’s sentimental or mawkish, well, to me it’s the opposite.” He talks for a while in this vein. “I want to try to be a good person; not just a nice person, but a good person,” he says, his voice racing on – and it makes me think of him as the Hot Priest in Phoebe Waller-Bridge’s Fleabag, the role for which he may now be best known. If every pulpit came with an Andrew Scott, our churches would be bulging at the seams.

Soon after this, there’s a knock on the door. It’s time to begin rehearsal (in the hall outside, his director stands at a lectern, looking quite priestly himself). He has, he says, another three weeks to go before Vanya opens, and when it does, he’ll be looking out for me; I’d better be sitting down at the curtain call, he jokes. Well, perhaps I’ll have good reason to be sitting down, I joke back. But he’s ever serious: “I always remember what my mum used to say. She’s an art teacher, and she used to tell us that a good drawer never rubs out. So, you draw a line, and then you get it wrong, and then you start a new line. The fact that people can see your old line doesn’t make them appreciate your new line any less. It may even make them appreciate it more.” What he means, I think, is that he believes it’ll be all right on the night.'

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shegottosayit · 2 years

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It was pretty cool that one time when over a span of two years Andrew Scott played two queer characters in the 1930s based on two real people who were friends.

#he needs to wear silk pajamas in e everything #he should’ve taken the present laughter getup and given it to me because clearly I’m so very special like that #present laughter #lord merlin #andrew scott

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ollyrewind · 3 months

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i like to think they would be happy in middle-earth

#merthur #bbc merlin #arthur pendragon #merlin fanart #lord of the rings au of sorts?#i’ve been consumed by lotr lately and i thought drawing merthur in a slightly different fantasy world would be fun #also the parallels between merthur and samfrodo? crazy

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dcxdpdabbles · 4 months

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DCxDP Fic Idea: The Contact, the Butler and the Sly Time Lord

Martha accidentally engaged Bruce to a higher being when he was two.

It sounds terrible, but she hadn't thought that the man wearing the Time ghost costume at her husband's Halloween Gala wasn't wearing a costume and was actually the physical embodiment of Time.

She just thought he took Halloween very seriously.

Mr. Clockwork was charming and didn't care that she had married from the lower level of first class. Her parents were rich, of course, but they weren't old money, and they certainly didn't have a lot of power to speak of.

Because of that, the elites of Gotham thought she wasn't good enough to be in a family such as the Waynes. It was so lovely not to be dragged into conversations that were thinly concealed insults.

Everyone else at the Gala thought Martha had no right to be there with them. Why was she just a few zeros off from being middle class, and wasn't it just so sad that Thomas would stain his family with her?

Secertly, Martha prayed Bruce would do something wild, like marry a girl from Crime Alley or even adopt kids in lower classes to make them all choke on their pearls.

Her son would be one of the most powerful men in a few years, and she couldn't wait to see what kind of hell he would unleash upon them. She would never push, of course, but it would be a nice fantasy to have every time she had to face passive-aggressive comments from ladies told by their fathers they would be a far better Mrs. Wyane.

" Why, hello there. Aren't you the cutest little thing?" Mr. Clockwork coos, smiling down at Bruce. He clung to his mother's skirt, his matching cowboy costume a miniature version of what she was wearing.

The boy had wandered over in the middle of their conversation once he was bored of coloring at his table. Martha couldn't blame her poor baby. There really wasn't much to do for those his age here.

Thomas had stated that children were usually not brought along due to being loud and distracting.

Martha wouldn't hear any of it, insisting her son would be going with them at the party or there would be no party. The majority of the elites believed children should be seen, not heard, and that boiled her blood something fierce.

Thomas had thankfully known when to pick his battles, so he allowed his wife to drag him to a costume store for a family costume to wear. He currently chatting with a group of investors in all his cowboy glory somewhere on the other side of the gala.

"Say thank you, Bruce," She tells her boy, but he only hides his face more, causing the two adults to chuckle. "Do you have kids, Mr.Clockwork?"

"Yes. Two daughters and a son" The man chuckles "All three are a handleful but I love them dearly."

"Oh, how wonderful. Bruce is my only son, but I want to give him siblings," she tells him warmly. She can picture Bruce chasing after his younger siblings dressed up as the Grey Ghost he loves.

She knows Thomas was worried about their chances of having a second child. He was informed not too long ago that he may suffer from secondary infertility. She didn't mind. If they couldn't have a child of their own by blood they could easily adopt.

Martha worked long and hard to provide good orphanages to the city. Maybe one day, a child from there could be her own. She'll have to speak to her orphanage managers- those in charge of the kids- to see if they could help her find one.

They have successfully been getting kids into good homes (At least she thought the number of children constantly changed, and the kids were never seen again, meaning the families that adopted them loved them enough to never return!)

Mr. Clockwork hums "how about giving him a spouse instead? My girls or boy could be a good partner"

Laughing, she assumes he meant her work on bettering the lives of the gay community- in honor of her brother who passed during the AIDs epidemic. "I'm sure Bruce would be happy to hear Mommy found him a husband."

"Is that a yes?" Clockwork eyes' flashed with an emotion that was gone too quick for her to identify.

"Yes, of course. If that is what they both want, I wouldn't mind their marriage at all."

Mr. Clockworks red eyes - contacts? A medical condition?- gleam, and his voice takes on a strange rhythm. "Then so shall it be, my son Danny Fenton shall be married to Bruce Wayne per their Blood Mother and Core Father deal."

Huh. Maybe Mr. Clockwork is a nutcase. Suddenly, she thinks back to her father, who would often tell her that she lived in a delusion because he did not want her to see the horror that Gotham truly is.

Even when you think you're doing good, Gotham has a way of making your work into nightmares.

Was Mr. Clockwork one of those people he warned her about?

Thankfully, he leaves not long after that. He claims he must return to work before his co-workers notice him gone. She doesn't see him for the rest of the night and half wonders if she had been speaking to one of the wait staff they hired as extra help.

Not that she minded, but it made her think his name might not even be Clockwork.

She tells Thomas the story hours after Bruce is put to bed with a candy bucket and the last guests have all slipped home. Thomas is exhausted, having been playing host longer than her because Martha had left around eight to take Bruce trick and treating. Then she got home and put him down for his bedtime.

She got back to the party around eleven but it was a much-needed break from all the hostility that Thomas had been forced to face alone.

"WHAT!?" Thomas booms when she finishes the story. They had just crawled into bed, and Thomas had been rolling to his side for sleep before her words flung him back. "Clockwork!? You're sure you spoke to Clockwork!?"

"Yes, I'm sure."

"What did he look like?"

"Um well he was in costume, but red eyes, blue skin, and he was wearing purple robes." She watches as the blood drains from her husband's face. "What is it darling? Who was he?"

"Oh, this isn't good....Alfred! Alfred!" Thomas frantically calls as if the devil had appeared in their bedroom.

Their servant and sometimes lover comes racing into the room, carrying a loaded shotgun. Ever since Thomas had met him overseas when he hired the British man as a personal bodyguard, he fell hard and fast for Alfred but he still deeply loved Martha.

He had sent Martha a letter detailing his feelings for his guard, and only after she had given him permission did he pursue the butler. Alfred had insisted on meeting Thomas' wife to prove that she was okay with him having a lover, so he had followed Wayne back home.

Then he simply never left.

Maybe because he was the best butler Wayne ever had, with his regal training and service in her royal highness' army, but she thinks that her own developed feelings for Alfred convince him to remain.

Alfred insisted that he was only a servant and thus could not be added to their marriage besides a bed partner occasionally. Still, Martha hoped one day they could convince him otherwise.

Bruce already saw him as a second father.

He looks at the pair, dressed in their nightwear in a rather enticing position (Thomas had grabbed Martha by her shoulder, to look into her eyes but that left them rather entangled on the bed) with no visible threat, and raises one brow.

Before he can say anything Thomas is all but rolling out of bed in a frantic leap. He tangles up in the blankets, falling gracelessly over the edge in failing limbs "Martha made a deal with Clockwork!"

At once, Alfred's handsome face drains of blood. "Oh dear, Martha darling, you made a grave mistake."

She can only blink at the men in confusion. "Who is Clockwork?"

"He has many names, but I knew him as Merlin," Alfred informed her evenly. He took her hand in his, the tremble in his fingers revealing his unease. " He had shown interest in Master Thomas before and was the one I protected him from. I barely fought him off and only due to outsmarting him. I would not be able to do it again a second time."

What?

"He is also known as a Fae or incubus in some circles. The kind that steals you away for fun." Thomas babbled from where he was pacing next to the bed, eyes franticly glancing about as if the bogggie man was about to leap out at him from the shadows.

For a moment, Martha wondered why her husband, a man of science and medicine who had never been superstitious, believed this Clockwork was some...some creature of myths.

"Martha, love, what did he ask of you?" Alfred questioned, bringing her hand to his lips as though kissing them would confirm she was safe before him.

"He asked for Bruce to marry his son."

"Oh, gods!" Thomas fretted, speeding up, his long strides becoming far more frantic. "Please say you didn't say yes."

"I-thought it was a joke, I didn't see anything wrong with it, I- said yes."

Alfred closed his eyes, looking like a man who had just been informed his death sentence had been signed by the Queen. "Then all we can do now is pray."

Years later, as Alfred is dusting the portrait of his deceased loves. He allowed his hand to trace the cover of Martha's painted smile and Thomas' strong jaw, mind filled with stolen kisses and sweet nothings that were ripped away that fateful night.

He is still struck by their loss. Every now and then, the knowledge of their death creeps in during his most mundane activities. It's like a kick to the chest every time.

Oh, how he misses them.

Ding Dong

The front doorbell jolts him out of his memories so violently it takes the aged Butler a moment or two to get a hold of his senses. He puts down the duster, climbs down the latter, and quickly makes his way to the door.

Stopping to fix his suit coat, he throws it open with a prepared smile. He expects extra help from the catering company Master Bruce hired for Wayne's annual Halloween Gala.

He was not expecting the two men, one looking nervous around Master Bruce's age and the other sly. His age is hard to gauge, but it may be due to time not affecting him as it did mortals.

Alfred's blood freezes at the sight of those cunning red eyes and smirk. "Merlin."

"Alfred Pennyworth." The demon chuckles. "I prefer Clockwork, as you know, but it's good to see you remember me. Most humans are prone to forgetting in their limited age."

"What are you doing here?"

"Why I came to fulfill the deal between Martha Wayne nee Kane and I"

"Martha is dead. Your contact is void."

Clockwork chuckles again, the sound as deadly as poison. "The contact lives as long as all those involved in it live. You know this."

Alfred presses the panic button on his wristwatch, knowing it sends a message to everyone in the manor to evacuate immediately. He will not live through this battle, but hopefully, it will give Master Bruce time to escape. "You will not lay a hand on Master Bruce."

"Come now, Alfred. We are to be in-laws. Our sons are joining in holy matrimony. Why the hostility-"

"Excuse me what?" The other man-demon? Ghost? Higher-being? cuts in, looking at Clockwork with brows knitted into a frown. "What did you mean holy matrimony?"

"Danny, you're getting married," Clockwork says with a cheerful wave.

"The hell I am!" The man barks, flushing red with anger. Alfred can hardly believe he just yelled at the monster. "I am not marrying some random guy!"

"It is the way things must go for the good of mankind-"

"Oh, go suck on a lemon! We both know that whole "this is fate" is bull!"

"You are embarrassing me in front of our new in-laws, younn man" Clockwork actually waves a finger at the fully grown human. "This is my one chance to marry you off to a good man. We both know that you can't attract a mate on your own."

"What!? Yes, I can! I've had girlfriends and boyfriends before!"

"And yet, no spouse! No wedding! Not even a ring!"

"Moby Dick, I knew this bonding fishing trip was a lie! You can't make me get married because of some contact you made when I was three!"

"It's not permanent! Martha Wayne said If that is what they both want, I wouldn't mind their marriage at all. This means you both must want to be together after one year of marriage. See if you like it, and if you don't, I can always find you a new husband."

"This isn't returning a jacket to a store! I can't just see if I like being married Clockwork!" The man hissed running a hand through his hair. "We're going home. I'm so sorry for bothering you today Mr. Alfred."

Alfred blinks at the young man's sheepish smile, wondering if ti's a trick. "No bother at all."

"Danny, if you leave without marriage, Bruce Wayne will die in an hour due to breaking our contract," Clockwork says, crossing his arms. "Honestly, your sisters were far more mature regarding their marriages."

Danny punches him in the face with a glowing hand. The higher being falls like a sack of bricks.

"Right, I'm going to drop this one off at a nursing home, and then I'll return to marry Bruce. Only so the contact doesn't kill him, and I swear I'll only visit every once in a while until our year is up." Throwing- Merlin, holy shit- over his shoulder as if though he weighed nothing, Danny waves at Alfred and scurries away, vanishing into a green portal.

Alfred is left standing at the doorway, utterly flabbergasted. Distantly, he wonders if the hollowing wind is actually Martha laughing herself silly in the afterlife.

Carefully, he reaches up for his com, switching it on to the sound of his family's frantic bickering. They were all worried about him since he sent the alarm and were fighting about following policy or saving him.

"Master Bruce," He says faintly silencing the coms "Please come to have your suit fitted as soon as you can."

"What for?" His son asks, likely looking for a coded message, but Alfred doesn't have the mental capacity to make one.

"Your wedding, sir. It's tonight, courtesy of your mother."

The coms explode into chaos.

#dcxdpdabbles #dc x dp crossover #Alfred/Thomas/Martha #spirit halloween #In which Martha thought her lovers were making shit up about their epic battle against the Time Lord #Clockwork is Merlin because he likes messing with humans #Danny is tried of his adoptive dad trying to set him up #arranged marriage #Clockwork hords choas like a dragon and motherhens like a bear #Alfred is just tired

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misandriste · 17 days

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↳ endless gifs of morgana ∞

KATIE McGRATH as MORGANA 𝕸𝖊𝖗𝖑𝖎𝖓 ⧽ 𝟏.𝟏𝟐 "𝔗𝔬 𝔎𝔦𝔩𝔩 𝔱𝔥𝔢 𝔎𝔦𝔫𝔤"

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kairennart · 2 months

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slithered here from eden

#good omens au? in this the lord's year?? YES #look at them #merlin #bbc merlin #merlin fanart #bbc merlin fanart #merthur #merlin bbc #merthur fanart #my art #fanart

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lochlot · 27 days

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i haven’t finished the show yet but they totally are gay and run away together and live happily ever after right? guys ? right? guys?

#s1 Morgwen #morgwen #this is my third time posting this but also my last bc I’m done tweaking it #it had some major contrast issues as well as the fact that they weren’t even looking each other in the eye before #Merlin bbc #Merlin #Morgana #guinevere #morgana x gwen #Morgana pendragon #morgana le fay #Merlin fanart #merlin bbc fanart #merlin art #morgwen art #lesbians #procreate #digital art #fanart #queen guinevere #artists on tumblr #lord why didn’t Gwen say she was loyal to Morgana and mean it #Morgana they could never make me hate u #Morgana stop trying to kill or ruin Gwen’s life ur gay for her okay #when she woke up from a nightmare of Gwen being married to Arthur i almost audibly laughed #Morgana u big homo #I’m gonna draw Gwen in one of her pretty purple/pink dresses but i wanted to do specifically season 1 and I don’t remember her wearing any

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strrwbrrryjam · 6 months

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reblog for a larger sample size please <3

edit: reading the tags made me realise i have not thought this poll through. vote "other" if you haven't watched any of them, that should have been the last option lol

#tumblr #tumblr poll #star trek #mcu #doctor who #merlin #x-men #fast & furious #transformers #pirates of the caribbean #lord of the rings #dceu #star wars #im curious. i havent watched any of these lol #strawberry speaks

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ilikethisacompletelynormalamount · 10 months

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Andrew Scott's iconic dance in The Pursuit of Love - BBC

youtube

#andrew scott #lord merlin #the pursuit of love #dandy in the underworld #Youtube

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starbaby-7 · 2 months

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The terrifying ordeal of seeing one of your fandoms or celebrities trending is like oh my god. what happened? what did they do? wait are we renewed? wait are we canceled? wait did someone drop lore? wait is this good or bad? do I need to run for cover? Only to find out it’s like a meme shitpost format

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denimbex1986 · 28 days

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'From Sherlock’s Moriarty to His Dark Materials’ Colonel John Parry; Hamlet to the one-man adaptation of Vanya, Andrew Scott has been a longtime beloved actor of the stage and screen. And now the Dubliner will be taking on another iconic role as he steps into the shoes of Tom Ripley for the upcoming limited series, Ripley. The series, which is based on Patricia Highsmith’s bestselling novels, is set in 1960s New York — and follows Tom Ripley, a grifter who is hired by a wealthy man to go to Italy and try to talk his vagabond son into coming home.

But as Ripley takes the job, he falls headfirst into a life of deceit, fraud and murder.

The cast includes Dakota Fanning, Johnny Flynn, Eliot Sumner, Maurizio Lombardi, Margherita Buy, John Malkovich, Kenneth Lonergan and Ann Cusack.

All eight episodes — which were directed and written by Steven Zaillian — will land on the streaming service on April 4.

The Dubliner told Empire about taking on the role — and the importance of putting “your own stamp” on the character.

He said, “you have to be respectful, but not too reverent, because otherwise there’s no point in doing this.

“You’ve got to put your own stamp on it. Some people will like this version, and some people will like other versions, and that’s okay. What you have to do is understand why this character remains so fascinating for people.”

The Dubliner made his debut on the big screen when he was 17 years old, when he starred in 1995’s Korea opposite Donal Donnelly.

In 1998, he played Edumnd Tyrone in Karel Reisz’s production of Long Day’s Journey Into Night at the Gate Theatre — and was nominated for Best Actor In A Supporting Role at the Irish Times Theatre Award for his role in the show.

Scott had roles in Saving Private Ryan, Nora and the adaptation of Henry James’ The American — and in 2000, he made his stage debut in London with Dublin Carol.

He also appeared in Longitude opposite Michael Gambon, the miniseries Band of Brothers and Dead Bodies.

In 2005, he won his first Olivier Award for his role in the stage show A Girl in a Car with a Man — and made his debut on Broadway the next year, opposite Bill Nighy and Julianne Moore in The Vertical Hour.

Scott starred in the one-man show Sea Wall in 2008 and the next year — and on the screen, he had roles in Little While Lie, Foyle’s War and Lennon Naked, which saw him play Paul McCartney.

And in 2010, he took on the role of Moriarty in the BBC One series Sherlock, which also starred Benedict Cumberbatch and Martin Freeman.

Scott was nominated for a number of awards for his portrayal of the super sleuth’s nemesis, winning the Best Actor in a Supporting Role at the 2012 BAFTAS and Best Actor in a Supporting Role – Television at the 2013 IFTAS.

And in 2013, the actor opened up about the “extraordinary” reaction to the series.

He told The Independent, “Sherlock has changed all our careers, and I’m really pleased about that. It gives you the benefit of the doubt because executives like to see recognisable faces.

“It was overwhelming to be on a TV show that is quite so popular. That took me totally by surprise. People had an instant affection for it from the first episode. The reaction was extraordinary.”

He followed that up with a number of roles on the big and small screen over the next few years, including The Scapegoat, The Stag, The Town and Dates.

In 2014, Scott played Gethin Roberts in the film Pride, for which he was nominated for Best Actor in a Supporting Role at the 2015 IFTAS and won the Best Supporting Actor award at the 2014 British Independent Film Awards.

The same year, he starred in Locke and Jimmy’s Hall. In 2015, he had a role in the 007 film Spectre — and the next year, he had roles in Alice Through The Looking Glass, Denial, This Beautiful Fantastic and Handsome Devil.

In 2017, he played Hamlet on the stage — and was nominated for the Olivier Award for Best Actor in a Leading Role. The stage show was filmed and broadcast the following year.

Scott starred opposite Anthony Hopkins, Emma Thompson and Florence Pugh in 2018’s King Lear — and that summer, it was announced he would be joining the cast of Fleabag.

He captured hearts around the world for his portrayal of The Priest, and was nominated for the Golden Globe for Best Supporting Actor in a Series, Miniseries or Television Film in 2020.

During an appearance on Late Night with Seth Meyers earlier this year, he opened up about being cast in the show — and stepping away from some of the more villainous roles.

He said, “when I was in my 20s, I had a little baby face and I felt like I had this kind of darkness inside me. And I was like ,‘why can’t I get a part as a villain?’

“And then that happened — and then there were loads of villains happening, and I was like, ‘why can’t people see the real me?’

“Phoebe and I had done a play together in London that nobody saw, and she came a knocking — and that’s where the Priest came from.”

The same year, he played Lieutenant Leslie in 1917 and had roles in Black Mirror — which he got an IFTA and Emmy nomination for — and Modern Love.

Scott also took on the role of Colonel John Parry in the BBC’S His Dark Materials, an adaptation of Philip Pullman’s trilogy of the same name. The series ran from 2019 until 2022, and Scott was nominated for Best Supporting Actor (Drama) at the 2021 IFTAS.

On the stage, the actor played Garry Essendine in the revival of Noël Coward’s Present Laughter — and won the Olivier Award for Best Actor. The following year, he played Patrick in The Three Kings.

In 2021, he played Lord Merlin in the three-part adaptation of The Pursuit of Love and Terje Rødlarsen in the film Oslo. The next year, Scott played Lord Rollo in the Lena Dunham-directed comedy Catherine Called Birdy.

Last year, he starred in an adaptation of Vanya which saw him play all of the characters in the show.

He also starred opposite Paul Mescal in All of Us Strangers, which saw him nominated for Best Actor in a Motion Picture Drama at the Golden Globes.'

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