You're stanning a patchy bearded, balding, mediocre actor, who has been portraying the same charater for almost 10 years. His career is over, that's why he keeps doing those aweful Marvel movies. He'll be forever known as the fame thirsty dude who dated Taylor Swift.
Gee.
I guess I’ll just delete my blog and cry myself to sleep now.
Sorry, made myself laugh there.
Do you need a hug, cowardly little gray face?
I think you need a hug.
You also need a spelling lesson and probably several decades of therapy to fix however mommy and daddy screwed you up, but I can’t help you with that. So here, have some hugs from the Golden Globe winning, golden-haired, golden-hearted actor I proudly support:
Right? That part is…I don’t know, it’s simply not even worth disproving. There’s a part in Sense & Sensibility when Elinor is stuck in an encounter with a moron who loves the sound of his own voice and is talking nonsense and Austen wrote: “Elinor agreed to it all, for she did not think he deserved the compliment of rational opposition.” 😉
You can’t love people in halves; embracing their light and rejecting their darkness. This is what breeds insecurities and the more you dismiss the presence of their darkness, the more hollow and unworthy they'll feel. Maybe it’s hard to embrace their darkness as easily as you embrace their light because you have yet to become acquainted with your own untapped reservoir of darkness. But just because you’re not yet ready to acknowledge its existence doesn’t mean it’s not there. You may feel like running at the first sighting of one’s darkness yet resist the urge and stay. The more you resist, the less hollow others will feel in your presence and the stronger their flickering light will become. In some, the light is blinding, and in others it flickers periodically but it’s capacity to be lit will always remain. What keeps the darkness contained in some is the fear of God, self-discipline and a refined character. Know that staying is not for the faint of heart, it requires immense courage at times. The deeper you tread into the darkness of another, the clearer your own reflection becomes. If we valued the lives of others more and committed to loving them despite their shortcomings and our fears, people may be much less likely to spend years living behind an agonizing mask of perfection. They may decide to seek help because your love and courage to stay planted a desire for change within them. And ultimately, this love will carry them farther and farther away from giving up on life. The departed at times leave a path of destruction and intense pain for those left dealing with their loss. You may not be able to help mend what’s broken within another’s soul, but all it takes is for others to know that the emergence of their darkness at any given point in the relationship won’t leave them abandoned and feeling unloved. Because you’ll still be there, believing in their capacity for goodness and allowing your light to serve as a spark for theirs when their light starts to diminish.
I was talking to a kid in my daughter’s class today, and she said that she thought it would be fun to write a story about the Titanic, but with supernatural creatures.
So I said, “Yeah, that would great! What would the creatures do? Would they save the Titanic from sinking?”
And she gave me the most disgusted look. I have never seen a 9 year old face look so appalled.
“No,” she said, speaking very clearly so as to never be so grossly misunderstood again, “they’re going to eat the passengers.”
When I first saw Harold Pinter’s Betrayal in its first Broadway production in 1980, it had a high-octane cast with Raul Julia, Blythe Danner, and Roy Scheider in a naturalistic setting. The current Broadway revival (the third since then) at the Bernard Jacobs Theatre takes a different tack. Directed by Jamie Lloyd, it transplants the London cast for a production that is spartan and less obviously starry, but altogether riveting.
The play presents the classic love triangle involving Robert (Tom Hiddleston), his wife Emma (Zawe Ashton), and their best friend Jerry (Charlie Cox). Using reverse chronology, it begins with Emma and Jerry reconnecting for a drink two years after their seven-year affair has ended and ends with the moment it was sparked. Sometimes that approach, as with Sondheim and Furth’s Merrily We Roll Along, is problematic, but not in Pinter’s hands.
Lloyd dispenses with virtually all scenery and chooses to keep all three onstage the entire time, even when there are only two characters in a scene. As a result, the dynamics of the affair (and the sense that there’s always another in the relationship) are clear to see. This austere approach couldn’t work without extremely precise direction and acting. The three actors each have the beautiful, lithe bodies of dancers who don’t miss a step in their moments, even on turntables.
Hiddleston, the marquee name in the mix, thanks to the Avengers movies and The Night Manager mini-series, is intense and skeptical, with a closed, narrow face. Cox is more trusting, with a broader, open face. Their friendship is perhaps not as deep as they avow, more professional than deeply personal, their squash games a sign of competitiveness. Ashton, of African-English parentage, has a feline quality that sets her apart and shows the strain of the triangle for “the other woman.” As it turns out, there are multiple betrayals, with secrets within confessions, and conflicting memories of what took place.
The famously Pinteresque pauses apply here, though with less menace than in The Caretaker or The Homecoming. (Take them out, and the 90-minute intermission-less drama would be even shorter.) There’s not flash in this production, but the satisfaction of seeing Pinter’s words brought into sharp relief by acting and direction of the highest order.
The collection includes the theatre's acclaimed 2011 production of Frankenstein, starring Benedict Cumberbatch and Jonny Lee Miller.
The National Theatre is opening up its archives as part of a new educational initiative that will release decades of unseen archival tapes documenting some of the theatre’s most celebrated productions.
Created in partnership with Bloomsbury Publishing and ProQuest, The National Theatre Collection includes in-house archival tapes, never before seen by the public, as well as the theatre’s roster of NT Live broadcasts from the past 10 years.
Available to libraries, schools, and the educational sector, the streaming service launched September 30 with an initial slate of 19 titles, including Frankenstein, starring Benedict Cumberbatch and Jonny Lee Miller; Coriolanus starring Tom Hiddleston; as well as James Corden’s Tony-winning performance in Richard Bean’s One Man, Two Guvnors.
An additional 30 titles are pegged for release by March 2020.
The National Theatre Collection is available through Bloomsbury’s digital library Drama Online, as well as a stand-alone resource through Proquest. Access is granted through a one-time payment, or subscription option.
This keeps happening! I think I’m going to have time to come to Tumblr to play with all of you lovely people, and Real Life keeps happening. I promise I’m not ignoring all the tags and fic updates—I will be over to play as soon as I can!
Meanwhile, here’s a well-dressed Tom to keep you company!
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