Colin Morgan - Debut Novel
exactly one year until colin morgan’s debut novel the ballad of ronan mccoy will be released - june 18th, 2026
first official look at the proofs
(official cover will be revealed in the future)
art blog(derogatory)

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@mercolin
Colin Morgan - Debut Novel
exactly one year until colin morgan’s debut novel the ballad of ronan mccoy will be released - june 18th, 2026
first official look at the proofs
(official cover will be revealed in the future)
First Review - 5/5 ⭐️
the ballad of ronan mccoy by colin morgan
“Oh what a gorgeous book. Sad, but we all know I love a bit of that. It was a perfect mix of heartbreak and joyful moments. The author explores a lot of complex topics; depression, trauma, brain injury and death and although the writing does feel more on the YA side (just my personal thought), it is perfectly suited to the story and its characters. I thought it did an excellent job of showing the world through Brendan's eyes and the way we tackle things when we are younger. You could feel the sense of loss and how life will never be the same again but the love within the book jumps off the pages and how a tragedy can also bring so many people together. Most young people want to go out with their mates and not have a care in the world but Brendan is different. He devotes all his time to his best friend, working at the funeral home and making sure everyone else is ok, he was an absolute sweetheart and a character I won't forget in a hurry
There were some unanswered questions but for once l DID NOT CARE because the reason behind it was so special and I thought it was brilliant why the author did this.
A little bit of a wait for this one guys as it doesn't publish until June 2026 but it is an absolute must to have on your preorders if you love a coming of age story that will pull on your heart strings.”
Long Day’s Journey Into Night Review
(mostly spoiler-free and focused on colin)
colin morgan as edmund tyrone in long day’s journey into night
firstly, i just want to acknowledge that it was such a privilege to be able to have the chance to see this film, especially after the news that it was dropped by its original distributor. i know how hard it usually is to be able to see colin’s films and shows as he chooses more independent projects. so i just wanted to share my thoughts for everyone who hasn’t been able to see it yet and may not for quite some time now
the film starts off with colin’s character, edmund tyrone, narrating the setting of the story, leading up to seeing him laying in bed - a nice close up of colin’s face to start things off. i thought it was a nice allude to his prolific narrating skills and how much emotional range and character depth he is able to convey with just his voice.
this initial scene is quite dark and foreboding but then you’re immediately taken to the morning, where you see just how bright and colorful and vivid the house is. vibrant yellows and greens really give the scene such a quaint feel, but as the story goes on, and if you know what entails, this slowly seems to be an allusion of pretense - a facade of beauty and perfection covering what truly lies beneath. as the story unfolds, the scenery gets darker and more intense, the weather rougher, the waves more violent. these initial vibrant colors were incredibly picturesque though - there’s a wonderfully stunning shot a few moments later of edmund sitting beneath a tree with vibrant yellow leaves. can’t wait to see shots and gifs of that in hd 💛
at this point, some latecomers arrived and i had to miss a lot of dialogue for a minute as we stood up to let them pass. but this initial scene sets up the dynamics of the family relationships between all four characters; something i really enjoyed in this film was that edmund has lengthy important one-on-one scenes with all of the other members of the family - mary (jessica lange), james (ed harris) and jamie (ben foster) - and colin has fantastic chemistry with each of them, but especially jessica, with whom we see him have a multitude of tender, emotional mother-son scenes together. for me, the two of them were the standouts in the film and i believe will be strong oscars contenders if it gets released before the cut off date. the film itself is a shoe-in for an oscar nomination, in best film and best production design, in my opinion
and while i’m here i just want to gush over colin’s talent. his trademark microexpressions were off the charts in this film. one scene in particular stood out to me, where we see edmund’s change of expression so slight but so defined and sudden, when confronted with the truth of his father by his mother. i also think of this quote from one review - “the subtle ways in which mr. morgan indicates how he has heard their songs before and loves them regardless of the pain they cause is really very special”. his accent was also decent - i’m not familiar with a connecticut accent but he matched ben’s pretty well. and colin just looked so. good. especially if you know about his [major spoiler - revealed below the break]… he looks incredibly fresh and pretty - a combination of john armstrong and chris keller. a few scenes in particular i can’t wait to see gif’d - 1) a moment where he’s in black, next to james, in the dark and only lit by a desk lamp, 2) the cutest smile he gives to jamie during their one-on-one scene in the fields and 3) a tender moment between jamie and edmund, where jamie kisses the top of his head, seeking forgiveness for hurtful words spoken. and honestly… all of the edmund/mary scenes
the humor in this film was quite funny too and kept the audience engaged and interactive. there was a lot of initial talk about the length of the film and how short it is compared to the play. i felt like it worked just fine, honestly - but i’d only watched the original film prior. this version also had a few additional background characters
the rest of the film is a turmoil of suppressed feelings and thoughts rising to the surface, suspicions confirmed, and the anxiety that seeps through everyone’s minds - the loom of death, of relapse, of loss. there were definitely some lull moments where dialogue and quiet scenes dragged on too long - you could see the audience losing focus at points. i think we could’ve seen more of jamie and mary’s relationship in exchange for less of these low points. maybe even some private moments of edmund dealing with his [major spoiler]. overall, i really enjoyed it though. it was such a nice treat to be able to see colin in such a considerable and meaty film role after so long and i hope everyone else can soon
so here’s hoping they find distributors soon! at this point, a trailer even…it will give colin so many more opportunities as well in the industry, and this film owes him that, if it is in fact true that mgm studios hid a clause in his contract that prevented him from taking other major roles (i’m starting to believe it was true as all his film roles since then have been incredibly minor, requiring no promo.. but we may never know for sure). this film has had a few major setbacks from losing funding as filming started to now being dropped by distributors. i hope its luck turns around very quickly 🤍🤍🤍
here are some photos of the theatre where the film had its north american premiere
Dreamland Studio - July 25th, 2025 1pm
Nantucket Performing Arts Center - July 28th, 2025 7pm
The Living and the Dead | Episode 1
THE BOY THAT NEVER WAS Episode 2
The Living and the Dead (episode one)
The Living and the Dead (episode one)
#i really like this scene #he looks ethereal #colin morgan
STOPPPP tell me why tesco is selling a life size cutout of jethro cane
IT'S REAL
“It was great! Colin’s so lovely, he’s such a sweetheart. He was really good on set as well. We’d often do a bit of improvisation before scenes to get into character, which he really helped me on. We also had this system where we quite liked to get into character with music. I’d share some of my music with him, and he’d share his music with me. […] To be honest, the music that Colin played me a lot of the time was just good songs. It wasn’t all to get into character. I can’t even remember the bands, but we’d go on a break, and he’d be like ‘hey, listen to this, it’s pretty damn cool’. Music helped a lot.”
— Charlotte Spencer on working with Colin Morgan on The Living and The Dead [x]
#I hadn’t read this before omg #I would give anything for Colin to recommend songs to me
I reckon we should worry about Colin on two topics :
his fashion sense,
how thin he is.
(photos from antontroy on instagram)
Colin has already admitted that he "doesn't have a relationship with fashion" & it doesn't seem to bother him. He wears what he likes.
And as for how thin he is... I would like to point out that Colin is naturally slim of build, so sometimes photos are misleading.
For example, this photo was literally taken the night before and he looks fine here:
Hello. What year did Colin do The Studio and Jealousy?
There has never been a definitive answer for either, however, I can narrow down the time frame window quite a bit.
The short film The Studio was commissioned by Whitenoise Studios in Belfast, Northern Ireland as a parody of themselves and was shown at their company Christmas party. It was filmed on location at Whitenoise Studio, most likely in the autumn of that year.
Using other early photos of Colin as a benchmark, it would not have been done while he was at secondary school at Integrated College Dungannon, because the photos of him from that time all show him with a very short haircut; almost buzzcut short, and his character Chris clearly has a hairstyle longer than that.
Using the Nothing to Confess performance from March 2005 as the benchmark (because of the noticeable scar on the bridge of his nose),
it’s clear that The Studio happened prior to that, since there’s no scar.
I would say that Colin looks younger in The Studio than even his Bite of the Night performance from October 2004.
He’s really pretty baby-faced here.
Plus, if it was recorded in the autumn (the most probable timeline for a production made ready for Christmas), Colin would not have been available, because he was in Scotland.
So, it most likely was made during the two years that Colin attended Belfast Metropolitan College, which would place the timing at either the Autumn of 2002 or 2003 (16 or 17 years old).
As for Jealousy, although the other actors in that short film were classmates of Colin’s from RSAMD (See the photo of Colin from Bite of the Night above… They are the two boys standing directly to Colin’s right), it was surely NOT filmed while they were at RSAMD.
Note the poster of Barack Obama on the wall behind this actor’s head. That would date this film definitively to 2008 or later, and most likely filmed in the USA.
The date of upload on YouTube account that originally posted it (before it was taken down) was from November 2011.
Colin’s look in Jealousy
is consistent with how he looked at the Supanova event in Australia, which was the same time frame (November 2011).
So I think it’s safe to say that Jealousy was likely recorded in October (Merlin Series 4 finished in October, so not before then) or November of 2011.
I hope that helps!
Colin quickie
Press Night of A Number, February 19, 2020
Source : Bridge Theatre Twitter
Colin's new shirt is an Element X Timber t-shirt called "Too Late 2Sides" in Eclipse Navy...
Um... In case anyone wanted to know (probably no one, but...)
(because yeah... I'm *that* person that apparently needs to know these things... *sheepish*)
RJC’s review of: A Number
I’d like to start by apologising for the continued use of the almost-pun “A Number” but in my defense… Caryl Churchill started it.
There are A Number of things one can look forward to in Polly Findlay’s production of “A Number” at The Bridge theatre and just three of them are Colin Morgan. Fangirls can delight that Colin’s stealth stage door exit skills have FINALLY been put to stunning use on the stage. Colin plays three different characters with about six to eight costume changes in the space of an hour. He disappears and reappears completely anew and it is magnificently seamless.
When I first read the play I had A Number of concerns. Maybe I’m an old fashioned kind of gal but I prefer sentences to begin AND end. I’m greedy like that. I found the play far too difficult a read and I was somewhat apprehensive about the production. Fortunately, I can certainly see the text benefits from performance and it’s Roger Allam and Colin Morgan who breathe something reminiscent of natural into those lines. I am not completely sold on it but Colin’s nasal and fumbling B2 makes a lot of sense than I could have ever anticipated. A Number is not quite my cup of tea shall we say but it is becoming increasingly tolerable thanks to the efforts of this production.
It’s an intriguing story. A failed father seeks a fresh start, sends his son into care but not before cloning him, as a “tribute” he might say. Written just as cloning became a legitimate thing it’s pushing at big relevant buttons but for my money it’s a paper thin rendition of something really quite traumatic and devastating. A Number is another “sins of the fathers” type narrative in which Salter, the father, cannot break the cycle of his own ineptitude and selfishness. A price his sons inevitably will have to play. I won’t give that price away but it makes for a sad little story. Some emphasis on little.
A Number hits a number of notes in its short duration. It’s kinda funny, it’s even kinda cute (maybe that’s just Colin), it’s kinda sad, kinda creepy, kinda cruel and ultimately super dark.
Roger Allam and Colin Morgan pull out of the bag a rather lovely and truly unforgettable chemistry as father and sons. I’m not quite used to seeing Allam as the “little man” if you will. His appearance was entirely ordinary and as a character he’s far from powerful or noble. For a man usually possessed of scene stealing charisma, Allam fearlessly relished in the grim and pitiful. He’s squirming from the beginning to the end. Trying to contain the anger of his first son, trying to contain the disappointment of his second son and in the final act, trying to salvage some scrap of meaning or importance from one beautifully blasé last (of 19) hopes. Allam’s physicality when B1 is on stage is intriguing to watch as he screams fear and seeks distance. His tone when B2 is on stage almost convinces you of wholesomeness and genuine love. Salter is quite an understated journey but enjoy as Allam hits every single note of it in true masterclass fashion.
One could marvel for A Number of hours about how amazing the stage is for this production. The first night, when the room completely changed angle, my eyes widened like a kid in a Colin Morgan-themed Candy store! WOW. It messed with my mind so much that I was second guessing everything. What they can do nowadays is awesome. I still don’t quite get how it all works and where exactly Colin escapes to in-between but… that’s the magic of theatre for you. I’m also a big fan of the 90s kinda feel. The stack tables, the CD tower, the TV stand, the landline phone! It’s soooooo 90s I keep expecting to hear Hanson’s MMM Bop playing upstairs or something. I feel like I’m a teenager again, at my friends’ house and it’s all kicking off between her hot older brother and his step-dad. Flashbacks….
My only criticism with the whole set change thing is the decision to blast some crazy sounds at you for their duration. It’s like watching a crappy horror movie with jump scares that don’t lead anywhere. It’s not particularly satisfying and ones patience tends to wear thin. Especially when everyone around you likes to gasp and yelp every time it happens. Personally, not sure why nobody took my advice of just playing Bjork’s “Army of Me” in-between the set changes but whatever. I’ve only got an entire playlist of suggestions but whatever. You know better. I suppose it might wake the odd theatre sleeper.
Can I talk about Colin Morgan now?
I feel like A Number is a bit of a showcase of everything Colin can do and do better than anyone. He’s got the skills for comedy, for brutality, for tears and not to mention his signature LIMITLESS energy. As his self-elected number one fangirl I will quite happily sit there and bask in the pride.
Colin’s three characters are all quite different. One might easier refer to them as Benjamin, Leo and… well… Michael. B2 is adorable in his almost whiney tone and possibly too much “Worldship Humility” accent (for my liking). I keep expecting him to start calling people goat fucking somethings but so far he’s not done it. B1 isn’t exactly Leo-like, he’s far too efficient for that, he just STRANGELY ENOUGH looks A LOT like him. He’s got that similar breaking point type edge to him. B1 sounds as serious as he is and for the first time ever, he himself is somewhat unsettling, I don’t blame Roger for keeping his distance. He’s nasty and Colin goes there. Customarily though Colin helps us to “see it human” with the odd tear or two. As poor B1 just sits there stewing in his own anger, hatred and confusion, lost to a father and lost to himself. It’s a sad tale and Colin sure won’t let you miss the point.
There’s always one line in which Colin SLAYS me. “You threw the rest of me away”. I am dead now. He killed me.
Can I talk about Michael now? Oh who doesn’t fucking love Michael? He’s so adorable. Can I just point out SPOILER that Michael is Irish. Even Irish clones are better. Unlike All My Sons, Colin catches a break and can conclude this show on a happier note, he’s a happy man attune to and accepting of similarities to the likes of apes and lettuces. He’s a purple shirt of sex wearing Maths teacher twenty years away from Netflix and Chill with his pointy eared wife (possibly called Rebecca in my head, just to give it context) and he’s at ease with life, fatherhood and clone-being. I love Michael. Dean has a contender for my heart.
I shall try not to go for a great number of times but I reckon Michael sealed the deal for a number of additional ticket purchases. He’s just too cute.
After that ridiculous wait we had to endure while Colin was being all lazy and stuff we finally get some Colin vs Bad Dad on stage again! It just has me going in a number of excitable essay directions I can assure you.
PS. Did I mention Michael is lovely?
Colin Morgan came to the stage door 💝
Still can’t believe it! What a magical day, 20th February 2020!
After yesterday's matinee I tried to go to the stage door. I wasn’t in any hurry as I didn’t believe neither Colin Morgan nor Roger Allam would come. There were only a few people waiting. I was about 20 metres away when I saw Colin coming out of the door. I started to run, like a fool, but who cares? Colin looked like he was going to give two autographs and immediately return back to the theatre.
My hands were shaking. I was babbling, forgetting all my knowledge of English, looking for a pen in my bag. I was so ashamed - face to face with him, totally clumsy and unable to breathe at all.
I expected that he'd leave and wouldn't waste time with such a clumsy idiot ..... and Colin waited patiently for me to find the pen. He was so kind, relaxed, smiling, even found the right page with his picture in the program and then signed it. Colin does not behave like a megastar. He is extremely friendly and human. He deserves all our praises.
I’m the happiest person in the world today. I have his autograph, a personal photo of me with him and I had an opportunity to talk to him. It was incredible.
I received a great gift, and I want to share the joy with you, the shared joy is always greater. So, dear fans, enjoy his absolute beauty, and kindness in his eyes. Usually I make better photos, but my shaking hands refused to cooperate :-)
New Colin Morgan Interview from the Sunday London Times, 23 February 2020
Link here: (Behind Paywall)
New Colin Morgan Interview from the Sunday London Times 23 February 2020 (Typed out for those who need to translate)
Colin Morgan interview: the star of TV’s Merlin on why theatre is still his greatest love
The Northern Irish actor likes to avoid the obvious. He’s a perfect choice for Caryl Churchill’s disturbing two-hander A Number
Colin Morgan strolls out of rehearsal at the Mountview drama school, south London, with a smile on his face and a woollen cap pulled down on his black curls. He’s 34, but doesn’t look much older than the students rushing to lunch around him. Yet in the packed years since he left college — to take a leading role at the Young Vic — he has established himself as one of the best and most original actors around.
Whether on stage in acclaimed productions of Brian Friel’s Translations at the National and Arthur Miller’s All My Sons at the Old Vic, or on television in The Fall and Humans, he has a knack for finding a different aspect to a character, refocusing them in often revelatory lights. “I suppose I am interested in characters who are misfits,” he says with a grin, in his rolling Northern Irish accent. “Characters who may on the surface appear to be part of society, but actually internally, in their world, don’t feel like they are.”
He is starring opposite Roger Allam at the Bridge Theatre in Caryl Churchill’s elusive, disturbing A Number, about a father and his cloned sons. It’s a characteristically bold choice for someone whose instinct has always been to avoid the obvious. “The road I like to walk down is the one where you can’t see round the corners,” he says.
Given that, it’s a fascinating irony that Morgan is still best recognised for the role that launched him to fame: the titular Merlin in the BBC TV series, for four years from 2008. A rethinking of the Arthurian legends that put the young wizard at its centre, it started off as a children’s favourite and became something more. “It turned into a main-slot drama on Saturday night, which I hadn’t really anticipated.” He took the part because of his love of a challenge. “All I saw was the opportunity to do something that was on me, on my shoulders,” he says, with that disarmingly gentle smile. “I had only done one bit of filming, for an episode of Doctor Who, before then. It was an amazing experience.”
It did, nevertheless, change his life, making him recognised in ways that were not always easy. “You meet people who have grown up with it. You realise that you have been part of their life. Sometimes it’s hard to take that on board, because each individual has a different experience with something that essentially is not who you are. I must pale in comparison.”
Morgan is engaging company. He isn’t exactly reserved, but he does seem very private, making absolutely no comments about his domestic life, and quite shy. He stays completely away from social media — “I think if I had some platform it would be just part of my need. I have no attachment to technology, it’s not my go-to thing” — which means he is insulated to some extent from the frenzy his appearances provoke among his legions of fans. He hasn’t, for example, read any of the feverish excitement surrounding his brief appearance as a “hot journalist” in an episode of The Crown. “I know what people tell me. Which is bizarre, because it was just a few scenes in one episode of a show I was a fan of. I had that experience and I loved it. What happens afterwards is not in your control. It’s just mad.”
Looking back on the early days, when Merlin took off, he is thoughtful. “You are not really equipped to deal with these things. I was used to going into the theatre each day, doing the show and going home. I still feel like that’s my job. Then you realise that when you do other things, you have to be there for the promotion. That was the big adjustment. I don’t enjoy it.”
There is nothing in Morgan’s background in Armagh, Northern Ireland, to suggest a glittering career as an actor. But from a young age, performing with local drama groups, he knew it was what he wanted to do. “I was just fascinated by everything in school productions, watching things, being fascinated by what was behind the sets. The idea of this mysterious world behind what you could see.
“To this day, I get that childlike curiosity and excitement about being backstage — before you step on stage and everything changes. You are on your own, completely, then in a second you are in the company of hundreds. It’s an amazing transition.” He adds pensively: “I feel more comfortable on stage than I do off. That’s the weird thing.”
Morgan’s talent and determination took him to drama school in Glasgow; in his final year, he met Rufus Norris, then associate director of the Young Vic, who cast him in Vernon God Little. He was off and running in an unbroken line of work that has taken in film — he recently starred opposite Rupert Everett in The Happy Prince — TV and the stage. “I want to do that juggling act my whole life if I can. I never want to be just the one thing.”
Yet theatre holds his heart. “I will never, ever not do theatre,” he says firmly. His pleasure at rehearsing A Number under the direction of Polly Findlay is obvious. “What’s great in the room is that there is a combination of fun and seriousness. I’ve never done a two-hander before. It’s a different ball game — thankfully a good game, this one.” Predictably, it was “the impossibility of it” that attracted him to the part. “I had so many questions.” Normally, he prepares by trying to put himself in the environment of a play: for Translations, he took a trip to Donegal, where the drama is set. “Just to breathe that kind of air up there and bring that back over to London with you.”
For A Number, it’s different. “A lot of time was spent with the script as a catalyst for the imagination.” Churchill herself has been in rehearsals — but, like her plays, she doesn’t provide any easy answers. “You might ask her something specific, and she will literally say it could be that. Or it could be that. She is fantastic and liberating.” He looks cheerful. “You mustn’t put any of your inhibitions in the way. You just have to be incredibly open and disciplined to what’s there.” He might be talking about his entire career.
A Number, Bridge Theatre, London SE1, until March 14
Link here: (Behind Paywall)