#josh o'connor KNEW what he was DOING with that LOOK

[palmviolet]

PEAKY BLINDERS (2013-2022), season 2, episode 04

dir. Colm McCarthy

#peakyblindersedit #perioddramaedit #periodedit #cillianmurphyedit #joshoconnoredit #sophierundleedit #peaky blinders #tommy shelby #ada shelby #cillian murphy #josh o'connor #sophie rundle #*myedit #josh o'connor KNEW what he was DOING with that LOOK

[effieandtim]

I've lowkey been annoyed at Paul M for awhile now and seeing him get a nomination and Andrew did not is adding that annoyance no matter how unfair that is for him. And he's about to start filming another gay movie with Josh O'connor and they'll probably get nominations for that when it comes out but actual out gay actors are constantly getting looked over. Jonny saying he did not expect to win because he's out but if he was straight he wouldn't even have to think about it, of course he'd win because he was the best.

see tbh i dont think this is paul’s fault bc he didnt have anything to do with the voting, so it’s all on the awards

but i am fr so pissed at the andrew snub, first at cca and now at baftas - and mind you, these are just the noms

it brings back that conversation though about straight actors playing gay roles and getting flowers for it while gay actors miss out on it - even if they play straight or queer roles

i am not gonna go into the whole discourse of acting and who should get what role etc but at the end of the day, queer actors deserve the same accolades their straight counterparts get irrespective of the character they play bc no matter how much some people try to deny it, they do NOT get that recognition and opportunities the same way straight actors do

thats why jonny’s win for fellow travelers meant so much to me and people from the community and to him as well, bc he (and everyone at that table) knew that this isn’t something that happens too often and they had to fight for it - both personally and professionally

also look at this number - this just broke my heart and i am so glad that colman is on his way to change that, i hope andrew gets that chance too

#anons #jonathan bailey #andrew scott #fellow travelers

[arcadian-litterateur]

bury it | kirin o'connor

masterlist

summary: kirin has a no-side-effects solution to dealing with trauma: he buries it. but as time goes on while he’s trapped on the island, he realizes slowly that this “no-side-effects” solution does, indeed, have side effects—and they might just be eating him alive.

word count: 1.7k

warnings: mentions of ab*se and r*pe

a/n: i know we never got kirin’s full backstory in the wilds before it was cancelled; only a tiny part of it, so i decided to use what little information we had, kirin’s obviously trained responses with josh’s situation, and fan theories to create my own backstory for him. this is a super dark one shot, guys, and it’s not romance or anything. it’s just a backstory for kirin, but i do indeed plan on making more kirin one shots that will most likely use this backstory as a foundation, so keep an eye on that! this is like my own little the wilds world-building, ig you could say. also... @mirchoff here it is! probably not at all what you thought the "kirin one shot" would be but i have a dark side ig. don't worry we'll get less dark kirin content soon.

𝗞𝗜𝗥𝗜𝗡 𝗜𝗦 no stranger to this shitty feeling. This shitty feeling of not mattering to the people he's supposed to matter to. It hit him early, and it fucked with his soul. He had a choice: let it fuck him up, or bury it.

He buried it, and he's been burying it ever since.

On the outside, he's always been the golden boy, the star athlete, the happy, popular jock who has everything he could ever want. He's always been a stereotype; a cliche…an easy-to-read, hard-to-get-with jock.

On the inside, he figures he's still a cliche, just a different one. He's an eccedentesiast. Someone who hides pain behind a smile. The golden boy, sure, but the golden boy with a dark past.

Maybe that's all he is: a remix of all the other broken, blond white boys. After all, what piece of Kirin O’ Connor isn't borrowed? He acts like his mom—she's a good woman, but she’s emotionally unavailable to him, much like his emotional withdrawal from the people around him. He looks just like his dad—fucking piece of shit. He got his jock attitude from the popular boys he used to idolize on television—now he realizes it was easier for them, because they had a script, and he didn't even get a plot summary. His talk comes from his coach—who saved his life, for which he'll always be grateful, but then ended up being a shitty, racist person just like the rest of them, and he hates him for it.

If he thinks about it, Kirin O’Connor doesn't truly like being this convoluted chemical reaction of different people. He wants to be something of his own. But he isn't sure how. And when he's honest with himself, he acknowledges that he's scared he's too fucked up to be anything on his own.

It started when he was a young, young boy, and his mother's father—he will never call him his grandfather—kicked them out of his house. He's not sure when he realized that relatives aren't supposed to be jerks, but he knows without a doubt that the only thing he and that man have in common is blood. He swears he will never be like his mother’s father; he will never sentence someone to cold nights in a car with the backseat for a bed.

Kirin still remembers clearly the days before he was popular. When he was still living in his mom’s car, abandoned by his father and now his grandfather, he watched his mom slowly slip away from him. And when he voiced his concerns to his teacher, explaining as best as an eight-year-old can that his mom needed help, he was mocked by the other children.

He was bullied by the other children for being forced into the role of caregiver too early.

Kirin shoved that pain down and decided that he was above it all. He spent so much time above it all that eventually, everyone else worked their way up, pulling themselves to his level like they envied his life. Gosh, if only they knew what his life was like.

He’s had two stepdads, and neither lasted. The first was named Grant, the second was Harvey. They were both artists, like maybe his mom had a type or something, and they were both sick. Not disease sick, but fucked up in the head, gross sick. Grant would always come home drunk, the classic stepdad with a beer belly and a loud, “Honey, I’m home!” He’d force Kirin’s mom to make his gross, alcoholic friends bean dip and casseroles. They’d trash the living room and then complain when Kirin didn’t clean up after them. 

Kirin didn’t understand why his mom put up with it for as long as she did. It was only after Harvey was gone, too, that his mom showed Kirin the scar from the fireplace poker that Grant had stabbed her with when he was too drunk to think straight, whispering out the nasty threats Grant had made towards Kirin if she didn’t keep quiet. Kirin remembered that trip to the ER, but his mom told everyone she’d tripped and bumped the poker. And everyone had believed it, Kirin included.

But if Grant was awful, Harvey was a demon from hell. Actually, Kirin had contemplated this theory totally seriously at one point, so confused as to how someone could be so cruel. What his mom had seen in this guy was beyond him, but once the new couple got back from their honeymoon, Harvey turned nasty, and Kirin had to sit and watch. Harvey didn’t even try to hide the fact that he abused Kirin’s mom from the boy, who was fourteen at the time. He’d almost boast about it, as if he expected Kirin to take his side, too. Instead, Kirin learned the hard way that Harvey was harder to expose than he thought.

Sometimes, if Kirin is feeling especially masochistic, he’ll pull up his shirt and brush his hands along the dull, dark lumps of scar tissue all over his stomach from the countless times Harvey put out his cigarette on the boy’s pale skin. Maybe that’s one of the reasons that Kirin stays tan—it doesn’t hide the scars all the way, but it makes them seem less suspicious. Like they’re birthmarks or freckles.

But the cigarette burns were the least cruel abuse that Harvey subjected him to, and he doesn’t really want to even think about the other shit Harvey put him through. Kirin hasn’t told anyone about the darkest parts of that time in his life. They’ve heard about all the physical abuse; the violence, but he’s never told anyone about the worst of it. Not his therapist, not his CPS officer. Definitely not his mom, even though she’d endured the same, or even worse. If he talks about the hazy memories from those nights, he has to confront the fact that they were real, and so he leaves those memories be. Tells himself they’re just nightmares.

It could be true. Harvey is a consistent visitor in Kirin’s dreams. Even if the real man is locked away in a prison somewhere, he still haunts Kirin’s sleep like a specter. 

He haunts Kirin now, even on this godforsaken island in the middle of nowhere. Kirin knows in his head that even if Harvey escaped prison and found Kirin’s old high school, he’d have no way to get to Kirin, because nobody fucking knows where he is.

Even Kirin doesn’t know where he is.

Maybe his memories that he swears are nightmares are the reason he could tell something was wrong with Josh. Kirin can’t explain what exactly tipped him off, but something inside his chest got super fucking tight, like it was constricting all of his blood and was going to rip his heart apart, and so he jumped in and told Josh to come with him. He was convinced he was being paranoid.

But now, staring at the welts on Josh’s chest, Kirin feels his blood chill, his fingertips finding the small pebbled cigarette scars on his torso as goosebumps rise on his body. Josh spews some excuse about gluten when Kirin confronts him about it, and Kirin isn’t having it.

He isn’t proud of what he does next, but he’s desperate to get this boy to tell him what’s wrong—or what isn’t wrong. What might just be in Kirin’s head, like all the nightmares. 

So he brings up Seth, uses him as a weapon, as a match that he waves under Josh’s nose, trying to light the fuse in this meek boy, trying to get him to snap and admit something, anything. And just like Kirin knew it would, it works. Josh is yelling at him, talking about how Seth is the problem, and the way his voice quivers as he trails off and his fists tighten up in a defensive stance makes Kirin want to crumple to the ground.

Because he knows that look. That terrified, angry look. He knows that look, because he’s seen it in the mirror on himself. Josh isn’t Josh right now as Kirin stares down at him. Josh is fourteen-year-old Kirin trying to explain away the odd wounds on his stomach to his coach, who isn’t buying it. Josh is fourteen-year-old Kirin breaking down in the lacrosse team’s locker room, finally admitting what Harvey’s been doing. 

And in that instant, even before he asks Josh to elaborate, Kirin knows what Josh did. He knows without a doubt what a sick, demented fuck Seth is, and all he can see when he blinks is Harvey, leering and spitting and screaming at Kirin, hurting him in more ways than just physical.

Kirin sees red, and he knows at that moment that he’s going to make Seth pay for what he’s done to Josh, because no one ever made Harvey pay for his worst crimes against Kirin, and Kirin can’t stand to see another r*pist get away with it. 

Kirin freezes as the thought flashes through his mind, a hand flying up to his torso again, numbly pinching at one of the scars. He’s never been willing to even think it before. To ever truly face the reality of Harvey’s twisted abuse. But he just did, and the full force of it is crashing down on Kirin, bringing tears to his eyes. He blinks them away, rage almost bubbling out of his throat as he growls,

“I’m going to kill him.”

And he isn’t truly thinking about Seth at that moment, not really, but since he can’t get his hands on Harvey to tear him limb from limb, he’ll have to settle. 

Even after he’s pulled away from Seth, the sick asshole sadly still alive and breathing, Kirin knows that he won’t stop protecting Josh. He won’t let Josh do what he did. Because when Harvey hurt Kirin, Kirin buried it. That’s what he did with the hard shit. He buried it. And slowly, it’s killing him from the inside out. Kirin doesn’t want Josh to fall prey to that. Kirin doesn’t want Josh to bury it.

And Kirin thinks to himself that maybe, just maybe, it’s time to pull out a shovel and start digging. Not a grave for Seth or Harvey, (oh, how he wishes), but a hole into the deep abysses in his heart, so he can finally start to unbury all of the shit rotting away from inside him.

Kirin is done burying it.

𝘵𝘩𝘦 𝘦𝘯𝘥

#fanfiction #one shot #angst #the wilds #kirin o'connor #kirin the wilds #the wilds kirin #the boys the wilds #kirin #charles alexander #the wilds angst #the wilds one shot #the wilds season 2 #kirin the wilds backstory #kirin backstory the wilds #kirin character study

[mermaidsirennikita]

The Crown S5 review?

Eeeeh I'm still not sure where it ranks for me. For me, the seasons are probably--

Season 2

Season 1

Season 4

and then the last two spots belong to 3 and 5 but I'm not sure what order they're in. It's not a bad season of TV, but it's not up to par for The Crown and I'm not sure why, entirely. Because it had moments, but those moments were not consistent. Frankly, I think they pulled a lot of punches this season, where season 4 was nothing but punch after punch--and I don't get that. Like, why make a season as inflammatory as season 4 was, and then get scared after people react to that...?

Anyway, here are semi-organized thoughts

I Liked:

Elizabeth Debicki's Performance. Though I think Emma Corrin was a perfect 80s-era Diana, Elizabeth was perfectly cast for 90s era Diana. She had the accent down, the mannerisms (looking up from underneath her lashes, the head tilts, the wry smirks), Diana's snarky delivery and sorrow mixed with frustration and yes, vengefulness, along with the sense that she's kind of a good time girl who wants to have fun? One facet of Diana that people overlook is that she was a Sloane Ranger before she married; she married very young; and I found that a couple of the things the show pointed out about Diana (her codependence with her children despite her being a great mom, plus her desire to get out and be a bit messy in her 30s) are very common among women who get into bad marriages and have kids quite young. They experience the shit most of us do in our twenties like a decade later. I thought it was very authentic, and far, far, far better than whatever little girl lost routine Spencer had going on. Basically, the Emma to Elizabeth pipeline gives me Diana perfection.

The Fayeds. The Fayed episode was one of my favorites of the season? The acting was good, the pathos were great, I loved the way you could see Diana genuinely getting along with Mohamed. Plus, that episode had the flashback return of David, and that actor is just... great lol.

Diana and Hasnat Khan. Hasnat Khan is a figure that I think is really hard to fictionalize, but the actors had good chemistry and I really liked that soft little love arc. Even if lol it's gonna lead to one of my complaints.

Diana Being Petty. I'm so tired of victim complex Diana portrayals. Diana had fire and wit and she did go after the royals at points. By no means do I think she wanted the monarchy done for (she wanted the throne for William). But the individuals? Oh, she wanted them annihilated lol. Best scene of the season was her dialing no over and over.

What I Didn't Like:

So Much Miscasting. Look man, anyone who followed up Josh O'Connor giving like... an actual career-defining performance as Charles was gonna have a hard time. Dominic is not a bad actor. But he's not it for Charles, and he knew it. He and Elizabeth lacked chemistry, which took a lot of the tension out of their marriage story scene at the season's end--compare that to Josh and Emma's fight. Josh and Emma had chemistry. It made Charles and Diana's issues even more tragic.

Imelda was also miscast, OR maybe she could've done better with a better script, but like... It just wasn't working. She's a good actress, and the truth is that Liz has had less and less to do after her great personal crisis (her marital issues with Philip) settled in season 2. But like as the season went on I kept waiting for Imelda to inject more into the role, and it didn't happen? And again, I don't wanna blame her, because the writing was just--trying to give her something and giving her very little. But things like Dominic and Imelda both skipping the Windsor accent that everyone else nailed in previous seasons was just weird to me.

Jonathan Pryce I feel was less miscast, but again he had little to do that made sense or mattered; Lesley is a great actress but they gave her like, nothing? And Margaret had shit happening lmao. She had kids to raise, her health was failing (by the end of the season Margaret will be dead in less than 10 years). I get why they did a Peter Townsend retrospective episode, but it was weird to me that that was alll they did for her, and Margaret and Elizabeth's confrontation felt so hollow.

Wasted Time. The pacing and time allocation for this season was SO WEIRD. Look, let's be real fucking honest here. What people wanted from this season of The Crown was the War of the Waleses. They advertised that. It's what we were all looking forward to. And there was really? Relatively little of that. There could've been other family dramas to get into, but they obviously didn't want to (Andrew and Fergie, Anne's divorce). And I think PM knew the War of the Waleses was the big show, and he got scared and swerved at the last minute. It was.... a choice.

And the thing is? Not anything nearly as interesting was happening for anyone else all season. So we got like, Philip palling around with his ambiguous lady friend which caused marital issues that I don't think Philip and Liz had at that point lmao. And they just kinda settled on sorta being discontented in their marriage? Which was weird because elsewhere in the season he was very ride or die defensive of her, and frankly they've seemed comfortable since season 2's end.

We had a whole episode dedicated to THE PRINCE'S TRUST LOL. And like.... yeah, Tampongate, but Tampongate was mostly used to be like "oh look, middle-aged people in love", which has always been the royals' attempts to downplay that lol. And it's like... no it's still pretty weird and he was pretty married, y'all. Having PRINCESS ANNE be like "I think that was rather noble and cool" like lol??? ANNE????? It was just weird, man. And The Prince's Trust is cool for a one off subplot, but to be the backbone of a whole episode???

Then you had shit really rushed and shuffled about at points--the Hasnat Khan subplot just flickered away, the Fayeds were introduced in ep 3 and didn't come back until ep 10.

Toothlessness. Look, PM is not anti-monarchy at all lol. But last season, there was an element of like... scathing cynicism towards the family and the institution, and that by and large was missing here. Except for in some Diana scenes, the Fayeds' complicated relationship with British shit in general, etc. That was really pretty missing here. Charles is progressing it, Camilla is suddenly ready to step up lmao, they're just a family!!! And like.... Not just s4, but all of the previous seasons had a sense of doom about it all that just wasn't here. It felt like the abuses of the family were just sort of washed away.

Which leads to...

Inconsistent Characterization. Some of this may have come from the recasting, but I don't think so? There was an adjustment in s3, but this was different. Charles ended season 4 as this like, borderline monster who's got a terrible relationship with his parents and is really pretty spineless. Suddenly, with very little explanation, he has a spine and is like, actively maneuvering to get rid of his mom and REVOLUTIONIZE THE MONARCHY LOL. Listen man, I'm not saying Charles hasn't had some successful power plays, but uh... they happened pretty recently. His mom being at death's door is what gave him that opportunity. He wasn't there in the 90s. He did not have the capital and Philip was guard dogging her.

As mentioned before, suddenly Philip and Liz are on the rocks again to give them something to do... Anne is suddenly like Team Charles lol. Elizabeth lost a lot of her coolness, and we really like... we know it's a hard time but we don't really see her have that hard time.

And it's not just people who were recast at risk here--John Majors begins the season weirded out by these freaks and at the end is like IT WAS AN HONOR AND PRIVILEGE and I have no idea why lmao. Because he mediated the divorce? Why??? A waste of Jonny Lee Miller, tbh.

And then there was just shit I didn't totally get. Like the Romanov episode. How was that the most graphic Romanov execution I've ever seen? How was that meant to indict the Windsors but then whoops never mind?

So yeah, there were like... moments? But I walked away from it feeling like they came so close to hitting the target and veered at the last minute. I didn't hate it, but I didn't love it and it did feel very different from the previous seasons. I never got that feeling that I was watching The Crown, a show where you get the "DUNNNUNNNNUNNUNUN" music over someone like, mournfully sipping tea and looking out a window, and you go "my god, this is CINEMA". They never earned that lol.

#the crown #like was it still better than lots of TV i've seen sure lol but that's more bc of mOMENTS than the whole

[callmewhenyougetthis-a]

@colcrado // joey x fox

The plan's simple.

Plan? Joey, do we really need a plan? Just tell Fox you're still in love with her. I don't want to be part of this if all you wanna do is break her heart all over again.

As Joey sat down with Lulu—his best friend and often the speaker of wisdom—across from Fox and her date, Josh, these words echoed in his mind. Breaking Fox's heart again was the last thing he wanted to do, and yet, he couldn't guarantee he'd protect her from himself all the same. He observed Josh, who was clean-cut and good-looking, and wondered what made him better than Joey.

Was it that he made Fox laugh, made her feel safe, and provided for her? What was it about him that Joseph couldn't be? He also thought about how much Josh knew about Joey and Fox's previous relationship. If he knew it all, was he jealous? Why would he agree on a double date?

"Joey," Lulu's voice pulled him out of his thoughts, where he'd apparently been carried off for the past minute or so. She shoved his arm. "Earth to Joey. Ya still with us?" she muttered.

"Oh, shoot. Sorry," he said, clearing his throat. "I was just trying to get a closer look at their wine collection, thinking about changing our order. It's a special occasion after all, saving all those dogs' lives." They had just been talking about some huge donations that had been made to the local animal shelters as a result of the last gala that Joey and Fox attended. (A few of those 'anonymous' donations were from the O'Connor estate, but he'd never mention that.)

Joey nodded toward Fox. "Do you wanna come up to the bar and help me pick something out?"

#colcrado #c. joey #joey x fox #i hope this works!! #you don't have to play josh if you don't want to but i just wanted to squeeze a lulu interaction there #closed starter

[allkinds-oftrash]

The Crown S5E5 Commentary

Non-Spoiler Thoughts: So this is a Charles centric episode so heads up and honestly I was thrown for a rollercoaster because of the way Peter Morgan had set this up. I was looking forward to this season specifically for the Tampon Call. I know I’m a weirdo but honestly once I got my disgust out of the way when reading the transcript, I just realised exactly how hilarious a live reenactment could be. And oh boy, well read on to find out what happened. Heads up, half the time it was just me screeching not knowing where this episode would go tbh. Also there is a rare moment of me going Huh maybe Charles did some good,,, shocking I know but I can give credit where its due. 

I knew it's a Charles centric ep and I'm looking forward to the Tampon call but still sighhh 50 mins of Charles ew

They're so bored of his whining lmaooo They're just being polite Chucky

APB is so done with his shit lmao

Also omg is this it IT'S THE CALL?? I WON OMG Wait why are we going wide Peter No Peter show meee the bit PETER MORGAN I WANNA SEE THE EXACT LINES PLAYED OUT COME ON

Oh??? We see it from the eavesdropper’s pov?? Oh dammit lowkey wanted to see C&C's faces This set up is wayyy too long Mister Peter Morgan

OH THERE WE GO DHKSJDKD THEY DID NOT PAUSE IT BEFORE THE GOOD BIT HOHOHO THERE WE GO Damn the way Peter Morgan teased me NOOOO PETER YOU DID NOT BLUEBALL ME I WANTED TO HEAR DOMINIC SAY THE WORDS AND LAUGH AT HIMMM

Well that was disappointing NO NOT THREE YEARS LATER 🤡 I should not be this disappointed he didn't say the line SIGH I know I know I'm a weirdo for wanting that bit re-enacted live but COME ON GUYS THE COMEDY OF IT ALL it would have been h i l a r i o u s Instead we got his boring ass speech that the kids at Oxford probably fell asleep to.

But yay Diana is freee and they're divorcing Awww poor Di I wanna hug her

Not a whole taskforce to safeguard the monarchy in changing world dhdkkd Just be human and less stuffy lmao Also I'm SHOOK at how similar the new Camilla looks to the actual Camilla, the resemblance is uncanny

Charles having liberal ideas whattttt Are these actually his policies??? Well they did allow Charlotte to assume her current succession position He's so progressive in this meeting and yet couldn't handle sharing the spotlight with his wife 🤡 make it make sense

OOOP HE DIDN'T BRING UP THE POLL BRO YOUR MOM IS RIGHT THERE DHDKJDKD

Also dunno WHAT Chucky was worried about this. This episode makes him look good! And Peter could have easily added in the Tampon bit of the call and embarrassed him further

I need to look into these policies if they're true or not if he did believe in this and if it is then good for him but I can respect his policies while being disgusted at the way he treated Diana and later Harry and Megs.

"It was a different Charles today" Lmao yes indeed it was Lizzie this man surprised me You're right Lizzie THAT'S WHAT THE PEOPLE WANT Oh shut up Phillip you outdated dinosaur

I know its his episode but there's too much Charles in this I would find it more tolerable if we had gotten the tampon line but it is what it is

Oopp his secretary got the news He doesn't remember the call 🤡🤡 OHMYGOD MORE PHONE CALL FLASHBACKS AM I GETTING THE LINE?? PETER MORGAN DON'T THREATEN ME WITH A GOOD TIME GAJSHJS NOT THEM BEING HORNY TEENAGERS

BROOOO AM I GETTING THE LINE IT'S SO CLOSE SCREAMINGGGG IT'S HAPPENING I WANNA VOMIT AND LAUGH AT THE SAME TIME Alll the ladies in his family reading it in the paper omgggg I'd be mortified

YE S PETER MORGAN YOU DIDN'T LET ME DOWN YALL IF YOU COULD H E A R THE PURE JOY FROM MY LAUGHTER RIGHT NOW

This IS hilarious I told yall the comedy of it all would be iconic as disgusting as the lines are The completely serious way Dominic and Olivia play this is brilliant it makes it EVEN funnier I just really wanna thank them for doing this when Josh O'Connor didn't want to bsjjdkd (like I get it Josh but you and Emerald would have KILLED IT)

HE SAID IT HE SAID HE WANTED TO BE THE TAMPAX AND BE FLUSHED DOWN THE TOLIET I'M CACKLING She's so right HE IS A COMPLETE IDIOT DHDJJD

Everyone's mortified reaction to it IS THE BEST Peter Morgan I LOVE YOU

Also WAIT THIS IS THE ARTICLE THAT PROMPTS THE REVENGE DRESS RIGHT FUCK YES I'M GETTING IT ALL IN THIS EP

I WISH YOU WERE PRESSING MY TIT LMAO Chucky BE SERIOUS

Oh gosh Diana this must be so humiliating for her too my poor babeyyy Go on baby go wear THAT DRESS

Lmaoo all the reports I'm cackling this should be fun to see how they navigate this "An assassination" BITCH YOU SAID IT no one is assassinating your character lol be serious TELL HIM ANNE He did bring alot of problems on himself

Okay I will say as funny as the live reenactment was, it's not nice that his privacy was invaded but by god is what he said was funny af Like boi time to sharpen up your dirty talk skills

Ahhahahah Anne's reaction lmao don't wax poetry about this. Drag him some more please that's what sisters are for. That was a sweet moment but they don't have the easy sibling chemistry Josh and Erin had in the last two seasons

PHILLIP NO DHDKSJ NOT ADMIRATION OH HSJSJJS HE'S RIGHT THE LECTURE IS SO FUNNY PLS Hey let him speak Welsh! Lmaooo Edward is so awkward pls it's like he's on the Office with all the looks he gives

Not them starting the PR redemption arc for him This should be fun, spoiler alert; It's gonna be dull as hell

Lmaooo it IS puffery and chocolate box rn though What is this documentary it's so funny pls Dominic sounds so much like him I'm shook and impressed Mans seems so inclusive,,, I don't believe it not after what happened with H&M

Oop Dimbley dropped the marriage question Damn he did not pull back the punches Charles' answer should be fun That's the most bullshit cop out answer ever lmao

God what a spineless little shit "Friendships" K buddy k "Forthright and honest in your response" AS IF SHDJKD

APB is DONE Mans is YEETED

Have you changed tho Chucky HAVE YOU?? Not from where I was sitting since 2017 Not the dwindling cheering crowds for him I'm laughing what is this

YES DI WEAR THE HELL OUT OF THAT REVENGE DRESS HONEY YESSSS THE REVENGE DRESS GOD IT LOOKS WONDERFUL!

"The Crown itself is a unifying symbol" Lizzie please you mean it's a colonising symbol that forced everyone together under your rule without their consent

Not him doing a book Yes Anne tell him He can be so delusional I swear Him and his gardens 😂😂

Okay I am warming up to this version's dynamic of Charles and Anne The cast chemistry is just a little bit off this season I can't place my finger on it. It's not bad but just not as strong as S4's chemistry. Which I get - it's all of their first time together as a cast so they need more time to get used to each other

Anne being the family tea spiller and informant always gets me - its so amusing Her defence of her brother is very sweet but she feels like she has gone soft Ik ik he needs someone in his corner I just like it when she's sardonic it's amusing

OH that's his court lmao I was like Is he tutoring some Uni kids?? Good to know I wonder if these same people still stayed on with him til now that he's reigning?

The way the audience looks so bored and unimpressed I'm cackling OHMYGOD CHARLES DID NOT JUST COMPARE HIS SHIT TO BEING RACIALLY MAGINALISED Bro what the fuck is wrong with you You're a rich, privileged, white straight cis man. You do not know how they feel or go through on a daily basis AT ALL This engagement is so painful to watch it feels very cold djdkrk

Okay I will admit irl he did good work with the Prince's Trust which just boggles my mind with how everything with the Sussexes was handled. Like bro the call is coming from inside the house why aren't you helping to fix it??

HE'S BREAKDANCING OMG I'M CACKLING

Well this episode was a rollercoaster but I was entertained for most of it!

#The Crown #The Crown Season 5 #The Crown Spoilers

[ratingtheframe]

Everything That Happened at the 2021 Golden Globes

The first two months of the year are finally over and as the days grow longer, we can start to see the early signs of spring. With spring comes summer and with summer comes an influx of movie releases, with the majority of films that were put on hold last year scheduled to be released in the following months in cinemas across the world. You know, cinemas, as in those big rooms where you pay to sit and watch movies from start to finish without pausing it? Gosh have I missed the pre movie adverts, comfy chairs and super wide screens. It's not the same at home and despite Netflix, HBO and Amazon Prime thriving, we shouldn’t set anything in stone when it comes to the quality and accessibility of film. 

Cinema is tradition whereas On Demand is convenience and usually choosing convenience over tradition does impact the quality of work being distributed. There are a bunch of films on streaming platforms that would be too inappropriate for cinemas, seeing as they lack a cinematic or dramatic feel to them to be good enough for a big screen. This allows mediocre to downright awful films to find an audience via streaming platforms. All well and good, seeing as these platforms are great exposure for upcoming filmmakers but at the same time it's a capitalistic system that puts views above the quality of content. It doesn’t matter if what you’re watching on Netflix is bad, they just want you to keep coming back for more. This can be said for mainstream cinema too, but to a lesser degree seeing as cinemas typically release around 68 movies per month, whereas Netflix has the ability to add up to 200 releases on their platform per month. It makes perfect sense that Netflix has the viewers that it does, as we can see that it releases almost twice the content of cinemas per month. For the avid cinephiles, this leaves us wanting a lot more as we’re only able to enjoy maybe one or two films a month from online streaming services, because the quality is so inconsistent. I hope that cinemas open soon so that I can relax knowing that the film I’ve paid money for will be of a good quality. 

Speaking of good quality films, Chloé Zhao, director of Nomadland (2021) became the second woman in the 78 year history of the Golden Globes to win an award for directing. This is an exceptional triumph and from the moment I saw Nomadland, I knew that it would have an incredible impact on awards circuits this year. Nomadland also won Best Picture, which proves something that up and coming filmmakers may need to start getting their heads around. People may not necessarily be gravitating towards cinema for a chance of escapism any more. I thoroughly believe those days are behind us, buried in the 70s and 80s with films that defied the laws of filmmaking and went to extreme lengths to serve us an entire universe that we couldn’t even comprehend. However, as the world grows more fragile and people start to realise the fragility of life, we want to connect with one another authentically and realistically. 

The way that film can do this is by showing our real selves on screen, showing our pain, redemption, emotions, fear, honesty, laughter, race, gender, humanity, darkest secrets and biggest dreams using the backdrop of cinema to sell us a story. People want films that are honest and are a reflection of humanity as well as the current society we’re living in. Not necessarily “a slice of life”, but a slice of humanity that we never see because it’s never impacted us directly, yet we still want to be made to feel like it has through film. That’s the key to success in any film, making the viewer feel like they’ve experienced something on screen even when they haven’t. If the film is too far away from our own psyche or humanity, we switch off, as we can no longer relate or even want to relate to something so obtuse and boring. Nomadland was the complete opposite to this theory, bringing us humanity in all its glory; its sadness and pure emotion that affects millions everyday, especially in such a time when loneliness is rife.

This is why Mank (2020) lost out. In a time where the world is in a sensitive disposition, Mank came as ineffective to the world of film. Though triumphant in it’s making, the film proves the fundamental foundation of film that Mank failed to do; have a good story. Mank just wasn’t the story people wanted or needed to see and one can appreciate a filmmaker’s efforts to make films but at the end of the day, the story is truly the only thing that’ll carry a film and if it's uninteresting and impersonal, people switch off. And they clearly did, seeing as Mank lost out to all SIX of its nominations. Less is more, I suppose, seeing as Nomadland won two out of four awards, including the top prize of Best Picture. David Fincher even took a shot every time he lost a category. Better luck next time.Other snubs included Emerald Fennell’s Promising Young Woman (2021) starring Carey Mulligan ,which was released on VOD last month. The film was nominated for four prizes and I suppose the lack of release in cinemas worldwide or at a Film Festival meant the lack of hype for the film. Regina King’s One Night In Miami...failed to pick up a prize, having been nominated for three awards. King shouldn’t be too disheartened, seeing as her debut definitely got her the recognition she deserved.

Aaron Sorkin most notably won Best Screenplay for his amazing picture, The Trial of the Chicago 7. I had the fortune of catching this in cinemas and the musicality of this screenplay was unreal. An incredibly authentic, riveting and honest piece of work, I believe we can safely say that Aaron Sorkin is the greatest writer for cinema and TV in our day and age. Sorkin is used to being showered with accolades, from Primetime Emmys with The West Wing, to an Oscar with David Fincher’s The Social Network.

The late Chadwick Boseman was honoured in full glory, having won the award for Best Supporting Actor in a Motion Picture for his role as Levee in Ma Rainey’s Black Bottom. An exceptional performance that reeks with Oscar success, Boseman is the first actor to be awarded the prize posthumously.

What’s also to be noted is the amount of British nominees and winners at this year’s ceremony. It seems like the American Film & TV market is wide open for Brits, seeing as Emma Corrin, Josh O'Connor, Daniel Kaluuya, Sacha Baron Cohen, Rosamund Pike, John Boyega and Anya Taylor Joy all won awards for acting. Helen Bonham Carter, Olivia Coleman, Vanessa Kirby, Riz Ahmed, Gary Oldman, Antony Hopkins, Dev Patel, James Corden, Hugh Grant, Jodie Comer, Lilly Collins and Nicolas Hoult all received nominations and were all born in the UK. The Crown in particular just seems to be getting more successful with each year and despite its controversy, the show has won Netflix 7 Golden Globes and 10 Emmys. What does this tell us about our actors and their ability in comparison to our friends overseas? Is it just a stroke of luck that the majority of actors who won this year are British or are we doing something different? Only time will tell as more British actors begin to be recognised for their flare over in the US.

If anything, we’ve learnt that The Golden Globes is for everyone. Anyone can win an award despite their background as long as those who control the awards ceremony are willing to give a variety of films a chance, not just ones directed by David Fincher. Nomadland is certainly an underdog for cinema, one that may not have done as well had other films been released last year. COVID-19 created space for this film to be seen and has truly been taken in as a work of art, proving that films of the same kind deserve to be seen in the up and coming future. British actors can and have made it big in Hollywood and it seems like American audiences welcome them with open arms. Sacha Baron’s Cohen’s humour in Borat Subsequent MovieFilm wasn’t unrequited, seeing as it won Best Musical / Comedy at this year’s award season, meaning every moment of that film (incriminating or not) WAS WORTH IT. Even though Regina King and Emerald Fennell lost out on their respective films, their work has been courageous and profound in helping to give space to women in the film industry. The fact that they were even nominated along with Chloé Zhao, was an achievement in itself and has women like me looking up to the success of these three women and realising that I could have the same shot. Mank came at the wrong time, and though good visually, it lacked a beating heart that the Golden Globes could identify with enough to give it at least one award. Soul was named Best Animation Feature Film of the year, also winning an award for music with a beautiful score by Atticus Ross, Trent Reznor and Jon Batiste. The Queen’s Gambit also reigned supreme, as Anya Taylor Joy won Best Actress for a performance in a mini series / tv film and the overall series won Best Television Mini Series / Television Film.

This has to be the best Golden Globes I’ve ever witnessed. Not only did it champion diversity in the film categories, British Actors and female directors, it actually gave consumers as well as judges, something that actually wanted, which was to see underdogs thrive in an environment that’s usually laid bare for the same characters. Let’s keep this up for the next ceremony !

ig @ratingtheframe

#the golden globes #movies 2021 #nomadland #frances mcdormand #chloezhao #female directors #mank netflix #david fincher #daniel kaluuya #the crown #Netflix Orignal Series #emma corrin #borat subsequent moviefilm #sacha baron cohen #regina king #Carey Mulligan #promising young woman #Rosamund Pike #i care a lot #british actors #Aaron Sorkin #the trial of the chicago 7 #the oscars #soulmovie #anya taylor joy #the queen's gambit #chadwickforever #chadwick boseman #ma raineys black bottom netflix

[holisticalecsecareanu]

This interview by ERA News Beta speaks to Alec about a varied number of subjects to do with his film casting and debut in GOC, but farther than that, Alec speaks in great detail about his journey in Romanian theatre,  his views on the state of Romanian theatre today,  his acting philosophy.

I found this an incredibly revelatory article about Alec because you don’t fully realize, until an interview like this,  the depth and breadth, not only of his intelligence, but of his strong beliefs and views regarding his chosen profession. It’s very different going from little snippets in interviews where Alec discusses mostly just one project, to this really comprehensive presentation of who he is as a person and an actor. Also, obviously being able to discuss such complex subjects in his native language, I believe, really allows him to open up more comfortably.

He has a -LOT- of strong feelings and responses to the questions the interviewer asks and he expresses them eloquently, intelligently, and also pretty bluntly, sometimes. It shifted, a little, and not in a bad way, who he is in my head, or rather, it fleshed out who he is in a way that all the quick sound bites and magazine interviews don’t.

I know, from this, that he will never strop striving to push himself and his abilities, to discover new and different ways to learn in his craft. This interview also goes a long way towards explaining how Josh, Francis, and he,  formed such a bond, because I believe they also hold these beliefs and commitments to the roles they take on and the projects invest in. It’s almost like kismet because what are the odds that these three individuals would have the same kind of approach to the story they were telling? I think that is why God’s Own Country is such a superlative and luminous film.

Also, the Fight Club production sounds KICK ASS and I wish I had seen it and I can’t believe someone didn’t tape it!

And, yes, that photo, because it never, never ceases to rock every aspect of my world.

This interview is in Romanian but, at least on Google, there is a Google translate button that appears. I have also provided the Google translated version below; am not able to vouch for it’s accuracy, but at least it is something!

Thank you if you’ve read this far. :-D

Google Translation of Interview Below. : 

The first British film brings a London agent to Alec Secăreanu

There is also news that one of the young aspirants managed a movie in Hollywood, and for a second people hold their breath, dismayed, wondering "what the hell is this?", Before the engines start again. and to see life beyond its course - Radu Iacoban once said to me, referring to an entire generation, actors who are making their way to a glory that neither they nor we know much about yet . It could have the American endorsement or the greatness of the European trophies, in any case it will no longer be possible to rely on the applause of those who built their illusions in the theaters where they were taken by force or on the admiration of those who dreamed of the two hours of the program. television of yesteryear.

Alec Secăreanu is not one of the 10-15 actors who appear constantly in the distribution of each of the films of the new wave, fueling the impression that only a few people have managed to finish the theater institute in Romania lately. But it has the merit of entering Tyler Durden's mind. And to enter Tyler Durden's mind is courage, especially since it is a dark mind, split into two completely separate universes, and in each of them reigns revolt in all its forms, revolt against the system, against consumer society, against to an absent father and, therefore, against God himself. It's an even greater courage to do this after a perfect director has already passed by, who explored his corners, in tandem with an iconic actor.

The first six rounds of Fight Club demonstrations were, at the end of last year, an absolute success in Bucharest, so the complete version follows, with sophisticated projections made by Les Ateliers Nomades - the company that made the famous mapping on the Parliament Palace - and imagined stunt figures under the guidance of experts from the Gladiator Association, which works in the good tradition of its illustrious founder, Szobi Csech. It's like we lost sleep. Anyway, Tyler Durden doesn't sleep either… Alec Secăreanu certainly sleeps quite a bit himself, since in the meantime he finished filming the first feature film in which he took the lead role, a kind of Brokeback Mountain with a farmer from Romania, the debut film of the British director Francis Lee.

There were nine weeks of filming in Yorkshire, enduring the "bipolar weather" of England, during which time he learned, among other things, to cut the hooves of cattle, to make cheese, to witness the birth of lambs. Oleacă already knew from the Fight Club. And in few percussions I surpass him, after Alexandrul Dabija's Requiem, from the National Theater in Bucharest. In addition to stories about the British system, a show business performance machine, news about new theatrical productions in Bucharest or evaluations of Romanian theater in general, from Alec Secăreanu I found out that there is an online radio that takes you far, Nice Cream FM , and something even more interesting, that there is Radiooooo, with five "o's", which allows you to choose from the map of the world what kind of music you want, in decades, from the beginning of the twentieth century to the present. «You can understand your decade and your country and listen to, say, Mongolian music from the '60s. It's something like Wikipedia, users are still uploading music, so they've already reached an impressive database, "says Alec.

Rep: Actors of your generation make most of the film and most make film outside. Ana Ularu, Iacoban, Bucur… a long series in which you have just been included, in the most honorable way, with a British production, a kind of Brokeback Montain as far as I understand, a love story that happens on a farm and involves a character born in Romania

Alec Secăreanu: The first feature film in which I had the main role, "God's Own Country" is Francis Lee's debut film. I really wanted a Romanian for the role, because the character in this story is Romanian, and the director wanted everything to be as authentic and organic as possible. Of course, the character has only a line or two in Romanian, not at all significant, by the way, for the story, so they could take absolutely any other actor who speaks English with an accent. But he wanted everything to be organic. The casting director from Romania gave more than 40 rehearsals and, a few weeks later, the director came to Bucharest and wanted to meet about 13 of us, a group from which he chose three actors. The three were in London for a final test, a so-called chemistry test with the other actor, the one who had already taken the role.

YOU HAVE TO HAVE EXTREMELY STRONG NERVES THOUGH, ESPECIALLY WHEN THE STAKES ARE HIGH. PROBABLY THE FIRST THING YOU NEED TO GET USED TO AS AN ACTOR IS TO BE REJECTED. YOU GO TO DOZENS OF CASTINGS, TO HUNDREDS OF CASTINGS, YOU GET FIVE OR TEN PERCENT OF THEM, TO THE OTHERS YOU ARE REJECTED AND, MOST OF THE TIME, IT'S NOT YOUR FAULT.

 They are simply looking for something else, the sooner you understand this system, the better. To keep your lucidity and show signs of mental health. And you have every reason to protect your health, since, in the end, the tool you work with is yourself and, if you break this tool or if it is defective, it no longer serves you properly. My character's name is Gheorghe Ionescu, he is a young Romanian farmer who went to work in England, who ends up working somewhere, in an isolated complex in Yorkshire, and there he meets a guy, the boy of the farm owners. An unexpected meeting for both of them, surprising, a friendship and a fascination are linked and the two end up living a love story, although neither of them identifies as a gay person. In fact, the film does not want to be a gay movie, but, rather, a story about people, a plea that some encounters are love. A very interesting creative connection was created between me, my colleague, Josh O'Connor, the director Francis Lee and Joshua, our operator.

We had two weeks of rehearsals, in which we discussed very well each stage of the script, each sequence, what happens to the characters, the history of each of them. When I started working, everyone in the frame knew what to do. I filmed a lot of exteriors, on which occasion I got to know very well the weather in England, which is dementia, you

have four seasons in one day, it starts with snow, followed by a storm, then hail, then the sun rises, then again it snows a little and so on. In fact, the weather was a real problem at the connections, because I was starting a frame in the sun and when I resumed it, it was snowing outside, so things didn't fit.

THE TWO WEEKS OF REHEARSALS HELPED ME BUILD THE CHARACTER, BECAUSE I HAD TO WORK ON THE FARM, I LEARNED TO WORK WITH COWS, SHEEP, TO WITNESS THE BIRTH OF LAMBS, TO CUT THE HOOVES OF CATTLE, TO MAKE CHEESE , LOTS OF THINGS. IF THIS THING WITH ACTING DOESN'T WORK… I LEARNED SOME EXTREMELY USEFUL THINGS, WHAT CAN I SAY.

Rep: I understand that the benefits were even greater, you chose an invitation to the British actors' union and a London agent…

Alec Secăreanu: I had the opportunity, for nine weeks, to work in a healthy system from the ground up, starting from the way the union works, to the fact that the actors from the British schools learn notions of personal discipline from college, in a broader framework for the management of the profession. I was treated as a member of their union. A month and a half after I finished filming, my agent received an email from the union asking if I had been paid for the work done, so that the warranty that had been withheld from the producers at the time could be released. in which they announced the film. What can I say… welcome to Romania!

I told them that I am not part of this union, they told me that such a contract in the UK guarantees me these rights and allows me to become a member. I'll be back on the 20th for a series of meetings, and we'll probably finish the talks on this occasion. In the meantime, I also have an agent in London, in addition to those who represent me in Romania. I started the relationship with my agent from Romania, Alexandru Harsany, from RAA (Romanian Artists Agency), two years ago, when I was just returning from Venice, where I stayed for about three months, at the Art Biennale, where I was a performer in an installation built by Alexandra Pirici. Alexandra…, a perfect artist… two days ago completed a performance that will be presented at the Tate, in London…

Returning to my professional path, my stake, I once told my agent, is to work abroad, because in the country, unfortunately, you have nothing to do. You just have nothing to do. Seven to eight films are made a year, which usually have the same cast. In fact, if you look at Romanian films from the last ten years, you might get the impression that only 15 actors have graduated from the University of Romania lately. Beyond this shortcoming, there is no market, the options are few, I do not understand how many of my colleagues manage. Well, I'm in this situation too. Outside, once you have a major project, some doors open, everything goes on.

HERE, I HAVE COLLEAGUES THAT PEOPLE RECOGNIZE ON THE STREET, BY SUBWAY AND BY BUS, WHERE THEY ARE MAINLY BECAUSE THEY DON'T HAVE TAXI MONEY. IT'S FRUSTRATING.

I worked with my agent in Romania, I updated my casting photos every six months, which means to make available to potential producers a picture of the state, in which you must be relaxed, not to frown and to highlights your features as best you can. We have updated, to the necessary standards, the video materials or CV presentations, ie that series of things without which you have nothing to look for at the door of a casting director or an agent. While filming in England, the producers there issued a press release announcing that they were filming and that they had a certain distribution. At time number two, Alexandru's mail exploded, hundreds of requests, questions and offers came, sent by casting directors, agents, an entire machine was set in motion.

During the filming in London, I had five days off at one point, and the producers arranged for me to meet with some other directors, agencies, to see how things worked. They are somehow looking for unpolished stones, hoping to find the next great talent. We don't have this culture. I know only one casting agent who goes to shows or to UNATC, to see new faces, and that is Domnica Cârciumaru. The others always work with the same people, and that's especially because they don't know other people, they don't look to see what actors there are on the market, they don't care. Romanian agencies do not have casting databases, for example.

There are real platforms out there for that. Our casting directors work from project to project. 'What I need, a 40-year-old woman. Where else have I had a 40-year-old woman? Aha, in the gum commercial. Well, let's call that one too - that's how things work. In London I had meetings with three agencies and I opted for a rather large one, The Independent, which deals not only with actors, but also with directors, screenwriters, a total of about a thousand people. I liked that it works as a boutique agency, they have 40 agents, every week they meet and discuss the projects that are on the market and to which they have access and then they try to promote the people they represent. In addition, this agency is open to the States. We will see…

Rep: Returning closer to home, you have a few shows in Bucharest, including Fight Club, one of the revelations of last season. The first six rounds of Fight Club demonstrations were an absolute success, so the full version follows… 

Alec Secăreanu: In addition to the most recent premiere, Fight Club, we have an extraordinary show at Godot, «Flowers, Girls, Movies or Boys», which we have been playing for ten years with great success. It is one of the first texts written by Mimi Brănescu, he being a basic actor, but lately he has reshaped himself on dramaturgy and screenwriting. A show about relationships, which follows the evolution of two couples, from the moment when future lovers know each other, until a little later, when they may lose love. It's a good, funny text, it catches the audience very well. I'm one of those lovers, a filthy neighborhood wannabe, the kind who feels like he knows them all, and obviously he's not.

His evolution is very interesting, he hits a person he underestimates, in any case he did not expect to have such an impact on him. The girl is from another social class and this very conflict between social classes arouses him and makes him get closer. In time, however, the two realize that they do not have much in common.

I KNOW, I KNOW, THERE'S A THEORY THAT OPPOSITES WOULD BE DRAWN, BUT THEY'RE MOST LIKELY DRAWN TO THE POINT WHERE THEY REALLY HAVE NOTHING IN COMMON. THEY MAY NOT EVEN MEET AT ALL, AND THAT'S THE STRANGENESS OF THE COUPLE WE'RE TALKING ABOUT.

I have another show at the National Theater, Requiem, directed by Alexandru Dabija, entered the seasons last year, things are going well. We expected him to be selected in the National Theater Festival, but it seems that was not the case. It is a text Vişniec, first placed in Romania, with references to an area that seems to be of great interest to Dabija now, more precisely the area of ​​war, the world of soldiers. Vişniec was also interested in this form in one form or another, if we think of "The Woman as a Battlefield in the Bosnian War".

most spectacular staging of this text. There was another show, once in France, he told me that he had seen it, but that it is much more extravagant. Dabija thought of an image show, there are costumes, there is scenery, there are quite a few actors on stage, about 20, some of them employees of TNB, most of them - collaborators. It is sung, it is sung beautifully, the music is by Ada Milea, some songs are really very nice, it is a kind of music specific to the instruments with which it is played: an accordion, a big drum - where I play… We have some marches and various others pieces that lead to the military music area.

I play the role of a soldier who still believes in victory. The story takes place in a cafe Chez Vişniec, a place where soldiers meet who are preparing to return home, who dream of the triumphant march and the glory of reception in their cities. All sorts of people gather at this cafe, some who have never believed in victory, others who have believed, there are some who still believe that victory is possible - all sorts of psychologists synthesized from this theater of war.

What did not delight me about this text is the fact that the characters do not have an evolution from one end of the show to the other. A logic does not have to exist, it is an area of ​​the theater that Vişniec has accustomed us to, but the characters, although very vehement, with a very strong speech, were suitable for a well-deserved development.

Rep: Do you believe in victory? Or have you not fought your big battles so far?

Alec Secăreanu: No, the great battles did not take place. But we started with a few fights, some of which we lost, others we won, others are still contested. I lost, for example, the struggle with the idealism I had at the end of college. I was very disappointed when I finished college, very disappointed… I had high expectations from the Romanian theater market, I hoped to have a vision, a coherence, a general enthusiasm. Of course, everyone wants to be part, at some point, of a movement that means something. I'm still part of the independent theater area, so I never relied on the state theater to do anything for me.

BY THE WAY, I THINK THAT THE STATE THEATER HAS ENTERED A KIND OF SHADOW CONE, IN THE SENSE THAT, AT LEAST THAT IS MY IMPRESSION, IT HAS BECOME MANNERIST, IT HAS NO IMAGINATION, IT HAS STUCK IN SOME RECIPES THAT SEEM TO WORK AND, WITH FEW EXCEPTIONS, NO ONE SEEMS WILLING TO DEVELOP NEW THEATRICAL EXPRESSIONS.

And in the latter case, the high hopes and high expectations were primarily for them, because they manage the funds needed to do that. Every year they have to put on a number of shows and I look in amazement that they are not trying to discover anything, they are systematically going to areas where they have been before, they only walk on dirt paths. It's not the commercial that has to bring the world to the theater. There may be a commercial area, but I think it is our duty, of artists, actors, directors, to push the boundaries a little, to invent new ways.

But the independent theater is currently identifying itself as an area of ​​precarious means. You do shows that catch the audience - logically, otherwise you can't finance yourself, the setting is, most often, modest, consisting of two chairs and a table - since there is no money for something more sophisticated, the costumes are also as they are - most often the actors come with their clothes from home. It's a poor theater, let's face it. If you try to look for what is happening in the independent theater, the first time you notice the lack of funds, and you notice it as a spectator and it would not be your job as a spectator to see things like that. It can be seen that the director made a kind of compromise with the money to make this show. While in the state theater a lot of funds are lost.

There are exceptions, of course, but my huge frustration is that you see shows with extraordinary budgets and you don't understand why the money went for such a show, which doesn't bring anything new. While in the independent theater there are so many ideas and so much desire to work, but there is no funding for their realization. I was really talking to someone the other day, because we're looking for funding for Fight Club, and I was asked, okay, beyond funding, what's the business? Let's get along, we're talking about an art form, and monetizing art in this brutal way is harder to imagine, because our stake is to try to develop new theatrical languages, we need grants, state aid, maybe even the private area, the effort is not made for a show to be sold like this, to fill the halls.

If you want that, you have a party, you call the world, you play a few more instruments, you say three more poems and that was it. Either way you want to go, the discussion inevitably reaches the area of ​​the diseased system, which you have little to do, except to try to build it from scratch.

I have a cultural association with some colleagues. We realized in 2007, when we finished the University, that there is no point in hoping, that we will not receive any kind of help from the theaters, where even now the places are blocked.

I WOULDN'T SAY THEY AVOID YOUNG PEOPLE, BUT RATHER THAT THEY ARE WARMER WITHOUT US. THERE ARE A LOT OF EMPLOYEES IN THEATERS WHO DO NOTHING, BUT KEEP THE SEATS BLOCKED, TWO OR THREE SEATS APPEAR ONCE EVERY THREE YEARS.

IT'S A KIND OF SLAVERY, PEOPLE WORK IN A WELL-GROUNDED SYSTEM, WHICH NO ONE REALLY WANTS TO CHANGE.

In fact, the same situation is in every state institution, many people who receive a meaningless salary. And these are not theater companies, to say that they are families, but they are state institutions, financed from the budget. One is an independent, self-financing theater company and theoretically is allowed to do whatever it wants with its money, and another is a budget-funded theater, obliged to function for the public and to educate it, to arouse it, to motivate it. . If you put the same pieces of Caragiale and Chekhov every year, and only that, and only that…

Rep: There are all kinds of public calls lately for the elimination from the scene - from various scenes - of the generation we call, coded, "golden", as we saw calls of some intermediate generations, I would not know how to define them , to finance somewhat less intellectual productions, which have at least some connection with the public. Where is the truth? And with the golden generation, what should be done, ideally, from the point of view of the new wave you represent?

Alex Secăreanu: Who else is today a consumer of magazine theater, for example? They are nostalgic, and they know where to find their shows, and they somehow look for them by virtue of inertia. I have no problem taking care of established actors. I appreciate them as history and there are some from which I had a lot to learn, because they are better than me. Victor Rebengiuc, for example, with whom I worked for a short film called Casting Call, written and directed by Conrad Mericoffer, is a man from whom I learned a lot. The story follows an elderly actor, who is called to a casting, but it is not necessarily about the elderly actor, but a generic meditation on the condition of the actor, because we are all, in fact, in the same situation. I played, Paul Ipate, Victor Rebengiuc and Sergiu Costache.

I learned a lot in the short time I spent with Rebengiuc, how to behave in a team, how to approach a role…

IT'S LIKE CHESS. IF YOU PLAY WITH SOMEONE WHO IS BETTER THAN YOU, YOU LEARN FROM HIM. IT'S NICE TO HAVE SOMEONE BETTER BEAT YOU, BECAUSE YOU LEARN FROM HIM.

There are cases, however, in which it would be in the best interest of the actors in question to give up, as is the case of Radu Beligan, for whom I have a huge respect, but who has advanced a lot in age, goes through natural stages of life, to simply remember the lines, it is simply no longer possible. What we want from this story is already doing him a disservice. It's just an example. With reconfigurations and reinventions it is harder… but actors like Victor Rebengiuc and Marcel Iureș believe that they went in different ways from the very beginning, they wanted more than they were offered and they looked for more.

In this profession you never stop searching, because as soon as you get the impression that you know them all, you enter a very dangerous area, an area where you don't come up with anything new, and the viewer feels that. You have to surprise him, he has to see you doing something new, otherwise there is no stake.

Rep: Fight Club… You were able to get into Tyler Durden's mind, a courage, probably, after his twisted imagination was once explored by David Fincher, with the iconic film released in 1999. What you found there ?

Alex Secăreanu: Fight Club… is a story that, for me, started many years ago. I read Chuck Palahniuk's book in 2006 and I thought that this book must be a theater show. The idea bothered me for many years, until last year, when the stars lined up, I said it would be time to do it, especially since I found an exceptional team. We developed ideas, we had a lot of meetings in which we kept challenging the imagination, to see where the story can take us, and finally we were ready to put everything into practice. Sure, we hit the funding. Arcubul financed us for the show, which is a complex one, with multimedia elements, videomapping, fight scenes, music,

It was a test for us first of all, to see if our ideas work, if the team works. After the first six rounds, we realized that we are on a very good road, which must be continued. We can bring new elements to the theater, we can develop new languages ​​in the theater, we wanted from the beginning to make an experience for the spectator, a one hundred percent experience made for him. We wanted the spectator, when he left the theater, to feel that he had received a punch in the stomach. We got pretty close to the goal, all the people said, after the show, that they lived that thing that we felt when we were little and we watched a karate movie, and after the movie you wanted to jump around the house, to give more and you a fist, try another scheme.

He left absolutely no one regardless of this show, which is very important. We need some more money to set it up the way we thought it would. The amount is not large for a state theater, but huge for an independent theater. About 60,000 euros. Usually, in the independent theater you say, come on, how much do we have, 5,000 euros? Let's do it, we come home with more clothes, we cut another set, we give up that one, the other one and we did the show. When you have thought of an artistic approach in a coherent way, you cannot make concessions like this. You can not. There are elements, means that you absolutely need to build your convention fluently, to say what you wanted to say.

THERE ARE ALSO PRODUCTIONS AT TNB OF ONE MILLION EUROS, APUS DE SOARE, THIS ONE FROM TEN YEARS AGO OR WHEN IT WAS MADE, TWO SEASONS WERE ALSO PLAYED AT REVEDERE.

There is also a record amount for a show that has never been played before. I don't know how much the funding was, but let's remember that in the year of Caragiale, a theater wanted to do D'ale Carnavalului somewhere, at the Metrorex Halls. They equipped a hall with bombers, cars, an entire fair built from scratch, and the show was never done again

#alec secăreanu #alec on stage #interview #fight club #fight club: play #he's so intelligent #how is that fair #goc #god's own country #goc film

[thecrownnet]

What The Crown cast look like in real life

Cosmopolitan October 19, 2020

The countdown to the fourth series of Netflix's The Crown is on. While the likes of Olivia Colman and Josh O'Connor are returning as Queen Elizabeth and Prince Charles, the new series (which begins around 1977) also sees the introduction of Margaret Thatcher and Princess Diana. We already know who's taking on the roles (oh hey Gillian Anderson and Emma Corrin), and we've also had our first glimpse at them in action. But what do The Crown cast look like next to their characters on the show?

olivia colman as queen elizabeth in the crown season 4

Despite nailing the third series, Olivia Colman recently opened up to The Mirror about how she worried people wouldn't like her version of the Queen.

"It’s much harder to play ­people that everyone has a vision of, a picture of, and has ideas about,” she said. “I’ve never joined a show that’s already been up and running and successful, but I was such an enormous fan that I didn’t really think about it.”

olivia colman in real life

She continued that she was even more anxious that the actual Queen wouldn't like her portrayal, adding, "There is much more pressure when you’re playing someone who is still living, and you have this fear that they’re watching it and won’t like it.”

gillian anderson as margaret thatcher in the crown season 4

Speaking of the role, Gillian said, "I am so excited to be joining the cast and crew of The Crown and to have the opportunity to portray such a complicated and controversial woman."

gillian anderson in real life

She continued, "Thatcher was undoubtedly formidable but I am relishing exploring beneath the surface and, dare I say, falling in love with the icon who, whether loved or despised, defined an era."

tobias menzies as prince phillip in the crown season 4

When Tobias landed the role for series 3, he said, "I'm thrilled to be joining the new cast of The Crown and to be working with Olivia Colman again. I look forward to becoming her 'liege man of life and limb."

tobias menzies in real life

Speaking of Prince Phillip's personality, Tobias told Vulture interview, "There’s a heat to him. There’s a pent-up energy. A suppression. An alpha maleness that has had to be diverted in different directions."

helena bonham-carter at princess margaret in the crown season 4

Speaking at the Cheltenham Literature festival in 2019, Helena revealed she sought Princess Margaret's blessing before taking on the role in The Crown.

"She [Princess Margaret] said, apparently, she was glad it was me. My main thing when you play someone who is real, you kind of want their blessing because you have a responsibility.

"So I asked her: ‘Are you OK with me playing you?’ and she said: ‘You’re better than the other actress’ … that they were thinking of. They will not admit who it was. It was me and somebody else."

helena bonham-carter in real life

Helena recently revealed a crucial scene from the Netflix original was her idea. She explained how her Princess Margaret character sympathised with Princess Diana, explaining, "She saw Diana being picked up by the press as she was, and she was taken as a fashion template."

josh o'connor as prince charles in the crown season 4

"Seasons 3 and 4 will follow some of the most turbulent events in the Prince of Wales's life and our national story and I'm excited to be bringing to life the man in the midst of it all," Josh O'Connor said about the role.

josh o'connor in real life

The actor also told Vulture that Season 4 is "very much the Diana and Charles years, and particularly focusing on what happened there and the ramifications of that going forward."

emma corrin as princess diana in the crown season 4

“Beyond excited and honoured to be joining The Crown for its fourth season," Emma said in a statement released by Netflix. "I have been glued to the show since the first episode and to think I’m now joining this incredibly talented acting family is just surreal."

emma corrin in real life

Emma continued, "Princess Diana was an icon, and her effect on the world remains profound and inspiring. To be given the chance to explore her through Peter Morgan’s writing is the most exceptional opportunity, and I will strive to do her justice!”

erin doherty as princess anne in the crown season 4

Speaking of how she adapted for the role, Erin told Town and Country the hardest thing about playing Anne was the voice. “For me, ultimately, it was about the voice because it is so different from mine.

"I had to make sure that was on point. So I walked around speaking as her, trying not to look too crazy. And honestly, the more I did it, naturally it became a subconscious thing.”

erin doherty in real life

“What I love about her is that she is so brutally honest with her feelings,” she told Harper’s Bazaar, saying she would be terrified if Anne didn’t like her portrayal.

“But I genuinely like to think that we’ve done her justice. I feel like a lot of people, like me, will learn so much about her, and fall in love with her as much as I have. I think she’s this incredibly strong, powerful, determined woman, and I really do believe that people are going to be like, ‘Oh, my God, I never knew this about her.’”

emerald fennell as camilla parker-bowles in the crown season 4

Reprising the role of Camilla Parker-Bowles is Emerald Fennell, who briefly appeared in the last instalment. The 33-year-old actress said in a statement about joining the show: "I'm absolutely over-the-moon and completely terrified to be joining so many hugely talented people on The Crown."

emerald fennell in real life

She continued, "I absolutely love Camilla, and am very grateful that my teenage years have well prepared me for playing a chain-smoking serial snogger with a pudding bowl haircut."

marion bailey as queen elizabeth, the queen mother, in the crown season 4

Speaking about embodying The Queen Mother in the show, Marion explained to Meaww, "The Queen Mother was certainly multi-faceted. She’d had some tragedies in life with the death of brothers during the First World War and of course the relatively early death of her husband. She’d married her husband without any idea that she would one day become Queen, but she certainly stepped up to the plate and got on with a job that she probably never wanted."

marion bailey in real life

The actress continued, "Most challenging for me was finding her physically. I have to say that I was enormously helped by the brilliant costume and make-up teams. The Queen Mother was somewhat better endowed than myself and so a glorious bra was made for me, which I understand is stuffed with lentils and birdseed! Once that’s on, I feel I’ve got her shape. I only need to avoid standing too near a bird table. I’ve also got a great wig and first-rate make up artist."

#olivia colman #gillian anderson #helena bonham carter #the crown #josh o'connor #tobias menzies #erin doherty #emma corrin #emerald fennell #marion bailey #the crown netflix

[gabrielramsey14]

Bradford City 1-1 Grimsby Town: Breakdown and reaction

Stuart McCall’s third tenure at Valley Parade began exactly there- in front of the City faithful. The stage was set, with approximately 15,000 Bantams preparing to get Valley Parade absolutely rocking again, something it has been lacking in recent months due to the negativity surrounding former manager Gary Bowyer. Everything was lined up for the perfect start, but the travelling Grimsby Town were all that stood in City's way. Talking of the Grimsby away advocates, Town were backed by an exceptional amount of fans. Approximately 2500 came to Valley Parade (not supporting City) which is an excellent amount for this level. In fact, this was the biggest attendance of the season in League Two as there were 17,668 fans packed in, to create a riveting atmosphere. Meanwhile, the team playing in blue were currently being managed by Ian Holloway, who is a fantastic manager for this level and has his side in mediocre form, picking up 12 points out of a possible 21. Bradford would be featuring three debutants, strikers Lee Novak and Kurtis Guthrie, as well as Rangers loanee Glen Middleton, who in my opinion is a exceptional signing for the Bantams.

City lined up in a old-fashioned 4-4-2 formation- (GK) Richard O'Donnell (RB) Adam Henley (CB) Anthony O'Connor (CB) Ben Richards-Eveon (LB) Connor Wood (RM) Dylan Connolly (CM) Jake Reeves (CM) Callum Cooke (LM) Harry Pritchard (ST) Lee Novak (ST) Clayton Donaldson

Whereas they faced Grimsby Town who played a 4-3-3 formation- (GK) James McKeown (RB) Luke Hendrie (CB) Luke Waterfall (CB) Matthew Pollock (LB) Anthony Glennon (CM) Elliot Whitehouse (CM) Josh Benson (CM) Harry Clifton (RW) Billy Clarke (ST) James Hanson (LW) Charles Vernan

Grimsby possessed three ex-Bantams, right back Luke Hendrie, who controversially left the club after Edin Rahic's reign two seasons ago, and two stalwarts Billy Clarke and James Hanson who are both heavily respected by the City fans. And at 15:00 on Saturday the 8th of February 2020, the Mariners kicked off the contest. City early on made their ground the fortress that it is, with the chants on Stuart echoing around the stands and the fans immediately backing the players like they should do. This was instantly met by a huge roar of approval, as a strong Callum Cooke tackle made less than a minute in asserted City's dominance. The strong start continued from the Bantmas, with them having three corners in the first five minutes and piling the pressure onto the visitors. The home side had the first shot of the game through winger Dylan Connolly, after some silky Connor Wood footwork fell to Harry Pritchard who slipped Connolly in but his shot was wayward and ended up with the away fans behind the goal. Just a few minutes later, Grimsby had their first chance when Hanson had his chance but some oustanding defending from Anthony O'Connor thwarted the target man, to the response of a roar of approval. In the 24th minute, a minute's applause occured as Bradford and Grimsby fans alike took a minute to remember the recently passed Jordan Sinnott, whose life was tragically taken far too soon and will forever be remembered to the football family. The Bantams continued their first half dominance with chances for Jake Reeves and Pritchard who could not quite finish their chances, before the Mariners fired back as Charles Vernam found a pocket of space and hit a 'pea-roller' at O'Donnell, who easily smothered the ball. Just before referee Stephen Martin blew the whistle for half time, Bradford had one more chance as a Connor Wood cross was met by the head of Lee Novak, who nodded it wide of the target into Connolly but his volley couldn't quite squeeze in past McKeown's near post. The half-time team-talk McCall gave to his players must have had a positive effect as Connolly fought for a corner and turned to the Kop to show the desired passion to the fans. From the resulting corner, Wood whipped in a trademark cross to the head of Ben Richards-Everton (who I'll be discussing later) but he could only head over. Reeves, who has recently been the subject of criticism from the fans, fired a free-kick just narrowly wide in the 53rd minute. Follwoing this move, Grimsby had a free-kick in a similar position which was hit straight at O'Donnell. One of O'Donnell's negatives is that his distribution is always questionable, but from the set-piece he fired the ball forward into captain Donaldson who out-muscled Pollock and nudged the ball around McKeown, but unfourtunately for the Don, his 'nudge' trickled out out of play. The game was extremely end-to-end at this point, as a lovely Novak through ball to Adam Henley out wide was fired across goal towards Donaldson but his effort was just wide of the mark to the agony of the fans and players alike. In the 62nd minute, the Mariners made their first change as Harry Clifton was replaced by Elliot Grandin. Just two minutes later a quick counter attack by the Lincolnshire side fell to Charles Vernam who raced past Anthony O'Connor and through on goal but an absolutely world-class challenge by Connor Wood was matched by an sonorous of applause from the supporters. That was what the fans of Bradford City want and expect to see from our players. Former City forward Billy Clarke was then booked for an obvious and purposeful foul on Dylan Connolly as the Don was removed from the pitch for debutant Kurtis Guthrie who had showed his desires to play for the club in recent interviews. Next was more subsitutions for both sides, on-loan Brighton midfielder James Tilly taking over the booked Billy Clarke's role on the pitch, and a tired Dylan Connolly departing the pitch for Dylan Mottley-Henry. This was huge moment for DMH who was making his second home debut for the club since his first stint at the club back in 2015. In the 77th minute, Jake Reeves was booked for a foul (but I was not looking) and the City fans erupted against the referee's decision, which tells me everything that I need to know. Two minute later though in the 79th minute, the Bantams took a much deserved lead as DMH found the ball on the wing and slid the ball back to Callum Cooke. Cooke, under instant pressure, found an ounce of space on his right foot and let fly towards goal. With McKeown startled by Cooke's shot from 20 yards, Lee Novak's head met the ball and changed its direction to send Valley Parade into celebration as fans, players, and manager alike rejoiced into unity at the clubs first goal in open play in just over 8 and a half hours. Novak's first goal will prove critical, as this will surely give the experienced forward the confidence he needs to hit the ground running at the club and help propel City towards an almost lost promotion push. During the 84th minute, both sides made subsitutions together once again as Grimsby brought on talisman Matt Green for Elliot Whitehouse and Harry Pritchard was replaced by Hope Akpan, who will hope his City career can rejuvenized by McCall's arrival. Following four minutes additional time, two minutes in City suffered devastating heartbreak- as Stuart's reunion with the club was punctured by a late Hendrie equaliser. This came from some half-hearted defending where Vernam, who had had a good game for Grimsby, danced past Henley and fired a ball across goal into the path of Hendrie who simply slotted the ball into the roof of the net. This caused the away faithful to evade into what could only be described as 'limbs' to the home fans dismay. The main thing I remember as the goal went in was 'Of course it'd be him'.

Personal Reaction In my personal reaction, I believe Grimsby Town are currently in a false league position and, whilst they might not be in the race for the play-off places right now, if Holloway is allowed to bring in his own squad and tactics next Summer, he will get his Grimsby side absolutely pumping. His game plan was clearly to counter-attack by putting 11 players behind the ball before breaking with his front three, specifically Charles Vernam who was excellent on the wing. This is a tactic which is very smart for a side coming against a team who will be looking for that new manager bounce, meaning the Bradford players would be itching to impress their new boss. It would mean his side would certainly be defensively solid, which they were, whilst a constant threat to City's defensive aspects. However, one man who stood out for City's opponents was absolutely their number 33- Anthony Driscoll-Glennon. He was immense throughout the match and proved a real threat to City, having Connolly continuously in his sights and keeping the winger majoritvely quiet. He is currently on loan from Premier League side Burnley and is just 20 years old. Onto the Bantams, whilst a victory today seemed destined, it is not a terrible result to get a draw. Bradford were clearly the better team but Grimsby proved a worthy opponent and Stuart had had less than a week to get to know his new players and it was unlikely they would've been fluent in his tactics. Stevenage at home next Tuesday should be the game City fans must turn up to, as this will mark a week since Stuart's appointment and his players will have had more time to adapt to his philosophy and playing style.

Also with Bradford I was particularly disappointed by defensive wall Ben Richards-Everton. I thought he had a unimpressive game, giving away possession, hoofing the ball forward and lacking the decision making which a player of his calibre should have. On a more positive note I was impressed by debutant Lee Novak, who held the ball up well for his oncoming teammates and nodded long balls on. As well as that he clinched his first City goal, however it’s certainly debatable how much he knew about it or if it was even onside. 

#bcafc #Bradfordcity #cityforall

[barrysailen-blog]

JEALOUS STILES [Diaz & Stilinski]

A/N: This is my first imagine, feel free to request. This was originally a chapter from my Josh Diaz fanfic on wattpad but I just edited. • • • Y/n felt hot, a thin layer if sweat coated her forehead. She heard voices; two male one female to be precise. "Welcome Mr. and Mr. O'Connor!" A cheery female voice. That's when she saw them. Two men around late twenties, early thirties. One with brown hair, the other with blonde. "Please, juts call us Thomas and Matthew." The blonde stated. "Very well, We have picked a group of children that fit your requests. We hope you can find a child you like." The redhead women says. She followed the three adults, until she came across a glass door. She stood in front of it, staring at herself. She looked the same she did yesterday. When Y/N went to follow them again she realized she had lost them. She frantically started searching going into different hallways,pushing open different doors. The girl made right turn into a hallway, she saw a small girl about eleven years old. The two just states at each other. Y/N felt a sense of familiarity when looking at the young girl. A small portion of herself connected to the girl standing before her. "Can you help me? I'm sorta lost." Y/N had asked. " Sígueme." The small girl replied. The girl had taken y/h in her own leading her down the hall way. "Where are you taking me."Y/N asked. She received no reply. The unknown girl still lead her down the hallway. Coming to a glass door, Y/N could see inside. The same women and two men stood inside. The small girl had pushed the door open entering the room. All three adults heads turned to the door that had just opened and closed. "Y/N!" The women yells. Upon hearing the name Y/N takes a closer look at the young girl. They share similar features; same dark brown eyes,same face shape. The young girl was Y/N. Her head turned to the men, each resembling her fathers. Why can't they see me? Why can't they hear me? Y/N was confused at to what was happening. "Dad?" Y/N called out to Thomas O'Connor. He didn't acknowledge her. He didn't react to his name being called. The young version of Y/N was watching her every move. Y/N walked over to her fathers, standing right in front of them. Their eyes seemed as if they were looking at her, but they still didn't acknowledge her. The two men seemed to look at the young Y/N with admiration. This was the same she got adopted, the day her life changed for the better. "We'll take her." Y/N awoke with a jolt, she was breathing heavily sweat covered her forehead. Her room was filled with sun beams coming from the window. Pushing the covers away from her legs,she swings her legs over the edge of the bed,her hand grasped the cold doorknob twisting and pulling the door open. Her bare feet take quit steps to the kitchen. Nearing the end of the wooden stairs she hears the voices of her fathers. "I can't get her words out of my head." Matthew tels his husband. "She was angry. She didn't mean it." "Still it was true. We're not her real dads, we never will be." "It doesn't matter. We have her. She's ours. Nobody is going to change that." "I dreamt about the day we got her," Matt smiles at the memory, "She was so young, so small. I remember she walked into that room and Sandra scolded her for not being in the room earlier." Dreamt? My dream was actually my dads? How the fuck does that happen? She asked herself. "Y/N has always been curious. She always will be." "I didn't mean it." The couple turn their heads to the voice of their daughter. "What?" Looking down at her fingers, "What I said about you guys not being my real dads. I didn't mean it. I was angry." Sighing Thomas smiled, "We now." "Well we have to get to work. We'll see you later." Each parent pressing a kiss to her forehead as they exited the house. About to head back upstairs to start her weekend watching reruns of friends, she was stopped by the sound of the doorbell. Y/N groaned, moving her feet to the door. Her fingers wrapped out the doorknob pulling it open. Coming face to face with a dark headed boy, "What are you doing here?" "Good morning to you too." She replied. Smiling sarcastically, "Good morning Josh," The smile faded, "What are you doing here?" "Well I figured after our little encounter yesterday, you'd have a lot of questions. So here I am to answer them." "Why are you helping me?" "Because I can. Do you want my help or not?" Josh asked her. Sighing she stepped aside and pulled the door open wider letting him in. "Wait how did you get in yesterday?" The O'Connor girl asked. "Same way I got out. The window." He replied. Pursing her lips, "Yep totally not creepy." The sound of his laugh filled the air, "I'm not a creep if that's what you're implying." "Oh my bad, you just like to sneak into girls bedrooms late at night." The girl replied sarcastically. The Diaz boy smiled brightly at her, "Casual Friday night." She rolled her eyes, "You stay here while I change. Than I'll ask questions and you answer." Josh's eyes traveled to her attire; a long sleeve beacon hills lacrosse shirt, and a pair of pajamas shorts, that showed off her tan legs. "I mean you don't have to." He says with a smug look on his face. Crinkling her now in disgust, "Perv." "I'm not a perv. I just know a beautiful girl when I see one." Again Y/N couldn't help the blush that covered her cheeks. "I'm uh, I'm gonna go change." Y/N stammered. Rushing up the stairs, tripping over the last one, Y/N finally made it to her room. Peeling her shirt off she replaces it with a thin hoodie, her shorts were discarded and her legs were covered with black jeans with rips in the knees. Her bare feet now covered with black ankle socks. Throwing her hair up in a messy bun, she made her way down the stairs. "Something happened." Josh says as she steps into the kitchen. "How do you know that?" She asks with furrowed eyebrows. "I didn't. I guess, but now that I know wanna tell me?" Y/N sighed sitting next to him at the counter, "It was a dream. Except it wasn't my dream, it was my dads. The day they adopted me, he dreamt it, I saw it. It felt like I was actually there. I was me, I saw my younger self, but my dads didn't see me or hear me." "You were there, but it seemed as if you were watching it as a movie." He clarified. "Yeah it was exactly like that. You said I wasn't human, you said you knew what I was. What am I?" She asked looking at him. "Theo told us, he says its called a dreamwalker. It means you can see into others dream, but only if you have a strong connection with the person." The boy replies tracing patterns into the granite countertop. "Josh," Y/N spoke softly placing a hand on his arm, "You said 'us' who is us?" Josh's brown eyes meet Y/ N'S Y/E/C his lips part about to speak when the door bell rings. "Wait here." She told him making her way to the door. Opening the door she saw a very sleep deprived Stiles. "Hey Stiles. What are you doing here?" "I um, I came to fill you in on what happened." The Stilinski boy relied, his eyes scanning the small part of the living room he could see,his eyes landing on a zip up jacket that didn't belong to herself or her fathers. "Who's here Y/ N ?" Her eyes snapping up to meet his gaze, "What? No one is here?" Rolling his eyes, " Y/ N I know that jacket isn't yours and its definitely not your dads style either." Stiles's jaw clenches, "Is it a guy?" Scoffing, "Stiles I don't think that's any of your business." "It is-" "No it's not! You broke with me remember? You choose Malia over me!" She yells jabbing her index finger in his chest. "I hurt you, I know-" "Oh please, you did more than just hurt me!" Y/ N says with tears threatening to spill. "So whoever is in my dating life is none of your concern! So leave Stiles." Y/ N forcefully slammed the door,her back leaning against it,wiping the tears before they had a chance to fall. "So I'm in your dating life?" The Diaz boy asks Y/N leaning up against the wall. Laughing she replied, "Never in a million years would I even think about dating you."

#joshdiaz #stiles stilinski #teenwolf #imagine #jealousy #joshdiazimagine

[thecrownnet]

The budding British star talks about his "sexy priest" part in the new 'Emma' and what helped get him cast as 'The Crown's' future king: "My ears."

Josh O'Connor has spent the better part of the past decade pitted against actors like Eddie Redmayne and Sam Claflin for lead roles. Says O'Connor, "Most of the time my reaction [to a script] is 'Oh my God, how good would it be if Andrew Garfield played this role?' And then my agent has to go, 'Josh, how good would it be if you got to play it?' " One role that O'Connor knew he had a good chance at winning: Prince Charles on seasons three and four of the international phenom The Crown. He explains, "At the time I thought that they may well come to me because of my ears."

The self-effacing actor, 29, grew up in Cheltenham, England. “It was not massively exciting but I liked it,” he says of his hometown — known for its horses and mineral springs, less so for its performance scene. Having a sculptor for a grandfather and a ceramicist grandmother, O'Connor at first believed that he would pursue a career in the fine arts. "My parents probably were delighted when I chose acting, because if there is one job in the world that is less financially reliable than acting, it is art."

He first considered acting as a career after seeing Daniel Day-Lewis in My Left Foot — "Watching him was like having an out-of-body experience," he says — and Pete Postlethwaite in the comedy Brassed Off! "That was the first time I saw someone on film that looked like someone I might know as opposed to a Hollywood actor," says O'Connor.

With a new ambition set, O’Connor auditioned famed drama school at Bristol Old Vic (only 14 students are admitted annually; Lewis and Olivia Colman are alumni), which was then taught out of an old Victorian home. "What would have been an old bedroom is where you would do voice lessons," he explains. His most formative experience came in his second year, when the class went on tour in a minibus, staging spontaneous performances in towns across the country, six days a week. "It was like a traveling circus. When I left school, all I wanted was to buy a van."

Instead, O'Connor got a flat in London with 10 roommates, a job in a pub and his first agent (whom he is still with today). One of his first professional auditions was for Universal's 2012 hit Les Misérables, making it to the final round for the coveted role of Marius. It was as he was walking to the final meeting with director Tom Hooper that he bumped into a friend from drama school on a London street. The friend was doing a stage play with a then-relatively unknown Redmayne, who had just been informed that he'd won the role of Marius. “I think there was some confusion, and they had cast Eddie and I didn’t know that. So I had to do this audition knowing that I did not have the part. It was a steep learning curve,” laughs O’Connor, before taking a beat and realizing: “I now know Eddie and I have never told him that.”

While he would later play Marius in a splashy BBC miniseries opposite David Oyelowo and Lily Collins, O'Connor's breakout came from the 2017 gay love story God's Own Country. A little more than a year later, when he was approached about Netflix's The Crown, he admits to being generally indifferent toward the royal family and thinking, "What's interesting about Prince Charles?" After taking the role, he prepared for months, with the aid of the show's dedicated research team. "Now, I think he is incredible."

In the few short months between work on the drama's season three and the upcoming season four (which will focus on Charles' marriage to Princess Diana), O'Connor filmed a Focus Features adaptation of Jane Austen's Emma. (out Feb. 21) from director Autumn de Wilde. "I had never done comedy," explains O'Connor, who plays the movie's vicar, Mr. Elton. "He is a messed-up sexy priest, so it was kind of a no-brainer."

With an older actor likely to play Prince Charles on the time-hopped season five of The Crown, O'Connor is thinking about what's next. "Ultimately, I want a career where I get to try as many things out as I can," he says. There is also a contingency plan in place: "I can always get a van. I've got the van to fall back on."

A version of this story first appeared in the Feb. 12 issue of The Hollywood Reporter magazine.

#josh o’connor #prince charles #the crown #god's own country #emma