#Career Coaching UK

[bidisharay]

Best Career Coach in UK

[interview-skill-coaching]

Navigating the ever-changing landscape of careers and professional development can be a daunting task. Individuals in today's competitive employment market frequently seek assistance and help in order to make educated decisions and accomplish their professional objectives. A career coach can help with this. A career coach is a qualified professional who offers individuals at various phases of their careers important insights, direction, and assistance. In this blog, we will look at the job of a career coach and detail 7 ways they may assist you in reaching your goals

[edwisefoundation]

Top Consultancy in Nepal – Edwise Foundation

Edwise Foundation is a top consultancy in Nepal, offering personalized guidance to students aiming to study in the United States, Canada, UK, or Australia. They assist students with everything from selecting the right universities and applying for scholarships to F-1 interview preparation and test coaching for exams like IELTS, TOEFL, SAT, GRE, and GMAT. With a mission to help Nepalese students achieve their academic goals abroad, Edwise provides tailored support based on each student's unique needs, ensuring the best study experience.

For more information, visit top consultancy in Nepal.

[whatworkuk]

Guiding Your Career Journey: Services Offered by a UK Career Coach

Partner with the top UK career coach for unparalleled career performance solutions. What Work offers personalized coaching to maximize your potential and achieve your career goals effectively.

[whatwork1]

Unlock Your Potential with a Career Development Coach in the UK 

Are you feeling stuck in your career, unsure of your next steps, or longing for greater fulfilment in your professional life? It might be time to consider partnering with a Career Development Coach in the UK. As experts in guiding individuals towards their career goals, these professionals offer invaluable support and resources to help you unlock your full potential.

At WhatWork, we understand the importance of career fulfilment and the impact it can have on your overall happiness and success. That's why we're passionate about connecting individuals with experienced Career Development Coaches who can provide tailored guidance and support.

A Career Development Coach in the UK serves as a trusted mentor, helping you identify your strengths, interests, and goals. Through personalized coaching sessions, they assist you in creating a roadmap for your career journey, whether you're looking to advance in your current role, transition to a new industry, or start your own business.

One of the key benefits of working with a Career Development Coach is gaining clarity and direction in your career path. By exploring your values, passions, and skills, you can align your professional choices with what truly matters to you, leading to greater job satisfaction and fulfilment.

Additionally, a Career Development Coach provides valuable insights and strategies for overcoming obstacles and challenges in your career. Whether it's developing new skills, improving communication, or navigating workplace dynamics, they offer practical advice and support to help you succeed.

Furthermore, a Career Development Coach can assist you in crafting a compelling CV, preparing for interviews, and networking effectively within your industry. With their guidance, you can enhance your professional presence and increase your chances of landing your dream job or advancing in your current role.

partnering with a Career Development Coach in the UK can be a transformative experience, empowering you to unlock your potential and achieve career fulfilment. If you're ready to take the next step in your professional journey, visit WhatWork to find the perfect coach for you. Your dream career awaits!

[stepseduworldblog]

Guiding Your Path to Success: Trusted Higher Education Consultants for UK Universities

[howtofightwrite]

Most traditional boxing instructors will tell you that if the opponent is taller than you, has longer arms than you, or is heavier than you, you're fucked and you need to stay extremely aware and work really hard to compensate for all the advantage he has over you.

In a recent forensic survey, it was determined that most traditional boxing instructors who get into real world altercations die when they're shot in the head.

This is the problem with a lot of these kinds of arguments. No one practices traditional boxing. At least, no one does so publicly. How do I know this? Because traditionally boxers fought in the nude. Yeah, we're not seeing that, are we? Now, maybe they meant bare knuckle boxing, but really no one does that either, these days. Boxing without safety equipment is not a particularly good idea, for fairly obvious reasons.

The only reason the word, “traditional,” is in the ask is to lend their statement unearned credibility. It's an attempt to make their statement sound more authoritative, without offering any evidence to support the statement.

Who said that?

“Traditional people did.”

Okay, but, 'traditionally,' people cleaned shit off their ass with a stick. So, maybe appealing to Hellenic sports isn't the best gauge of how a fight will play out.

Also, I know I just said it, but, who are these authoritative sports guys? Because they're not named. We're simply told, “most,” of them agree. Which starts to sound a lot like “four out of five dentists agree.” Who are these instructors? What do they teach? Why are the currently in prison for indecent exposure? And how much did you pay them to get their uninformed opinion? Salient questions which may need to be answered, if the original question wasn't invalid on its face.

Why do I say it's invalid?

Because boxing isn't fighting.

Boxing is a sport.

Boxing has rules.

Kick your opponent in the groin, or shin, and you're punished.

Step on their foot, push them, and watch them tumble to the ground before you start stomping on them, and you'll be punished.

Throwing your opponent will be punished.

And of course, as mentioned at the top, pulling out a gun and expanding your opponent's mental horizons is extremely frowned upon.

These are all things that can happen in a real fight.

These are all things that do not benefit from increased height or reach.

There is one genuinely accurate statement. In a fight, you do need to be very aware of what's going on around you. Everything else is the product of someone who's been punched in the head repeatedly until the CTEs got them thinking that boxing is analogous to a real fight in any way. (And, statistically, will probably end their career sitting in a jail cell over an aggravated assault charge, because their emotional self-control was completely destroyed by those same head injuries.)

The rules that boxers need to follow are designed to (somewhat) protect the participants. It reduces the dangers of a boxer being killed in the ring. In an observation that I would hope to be self-evident, those rules don't exist in actual combat.

It's also amusing, because the original Asker had to go so far as to single out an ill-defined, “traditional” boxing, because no other martial art they checked gave them the soundbite they wanted.

And, of course, women box. Historically, you could say, “traditionally,” there were even boxing matches between men and women. It wasn't until the 1880s that women were excluded from competitive boxing in the UK. (I'm not sure of the exact date when women were banned from boxing in the US, though that prohibition lasted for less than a century, before the modern return of women to the sport.)

So, either these “traditional instructors” don't know the history of their own sport... which doesn't sound particularly “traditional” to me, or they're full of shit.

My advice to everyone would be, maybe, don't take the advice of a sports coach about how he's secretly an absolute badass in all the delusional fantasies he's cooked up about how he'd like to inflict violence on others because they wouldn't date him.

-Starke

This blog is supported through Patreon. Patrons get access to new posts three days early, and direct access to us through Discord. If you’re already a Patron, thank you. If you’d like to support us, please consider becoming a Patron.

[savagewildnerness]

The Vampire Lestat notes...

OK, so I am taking part in a The Vampire Lestat read along on Discord (organised by @old-long-john& @inkyblotposts!)

Don’t expect me to be this in detail every week as I absolutely cannot… but I realised I went SO in detail with my notes/thoughts on my read of the first part that I can’t share it all on Discord! Hahaha!  So, instead, I’ll post it here, link it there and maybe you’d like to discuss here too? Look, I don't do things by halves, OK!? So did I write nearly as many notes as there likely are words in this part of the book? Maybe... And...?!?!?!?! But this is my Tumblr and so I can post the notes in full here and what's more, I WILL!

Introduction:

I enjoy how out-of-touch with 'the youth' of the 1980's Lestat sounds and I hope that the TV show retains this in some way. Lestat, of course, would be pretty out of place in the modern era in some ways in how he speaks, particularly given that it seems the majority of the last century he's been hibernating with a plank piano and an iPad..?

Lestat says that "there was a romance" to modern music and I'm so curious if that's how he'll feel about some kind of modern music now, or, whether Lestat’s rock star career will just be 100% about Louis on the TV show?

"the way electricity could stretch a single note forever; the way harmony could be layered upon harmony until you felt yourself dissolving in the sound. So eloquent of dread it was, this music." - This reads to me like a musical description of vampirism?!

It makes me laugh when we juxtapose how Louis and Lestat describe how broken and scared of everything he is in his wilderness years in the books... yet Lestat here is like "Yeah, I was a bit scared... but in THREE DAYS I was roaring around on a motorbike...!" hahahah... I don't know whether to believe you or not, Lestat?! I also note here that it's impossible for Lestat's strength to have increased like it has here in the book on TV as he's already too strong on the show for that!

Quote I thought might be used on the show - "All people had a right to love and to luxury and to graceful things.”

Potential episode title - "Pure evil has no real place."

Surely this quote will be on tv… “It was enough to make an Old World monster go back into the earth, this stunning irrelevance to the mighty scheme of things, enough to make him lie down and weep. Or enough to make him become a rock singer, when you think about it…”

I was interested how Lestat describes how he jams with the musicians. Will The Vampire Lestat's music incorporate old French songs and brutal rhythms - eerie and disjointed music, as Lestat describes his playing?

"When I Iose my confidence, my powers drain." Found that interesting…

We'd better see Lestat standing stock still beneath a street light, whipping through IWTV at an insane speed till he exasperatedly tears it to shreds on TV!

Lestat dreams of "unprecedented rebellion, a great and horrific change to my kind all over the world." !!!

Lestat had better use the phrase "A velvet-lined motor coach" on telly! MAKE IT SO ROLIN! Please!

The ache for Louis Lestat has - for “his romantic illusions”, “his gentlemanly malice and his physical presence, the deceptively soft sound of his voice.”

There's a self-destructive excitement to how Lestat talks of being hunted and known "as no mythic monster has ever been fought by man before.”

Lestat's psychology… “How could I not love it, the mere idea of it?  How could it not be worth the greatest danger, the greatest and most ghastly defeat?  Even at the moment of destruction, I would be alive as I have never been.”

Lelio Rising.

So first of all… I noted the timeline as I went this time:

Lestat kills the wolves aged 20 (he specifically states that he is 20 on p38 if you have the new UK paperback version of the book… “The Winter of my 21st year” - your first year you are aged 0… when you turn 1 that is your second year.  So Lestat’s 21st year is from the day he turns 20 until the day before he turns 21.

As far as I can tell, all of Lelio Rising takes place when Lestat is 20 (apart from the flashbacks when he is younger.)  Lestat meets Nicolas and they begin their conversation as Winter turns to Spring in the year he is 20…. He first performs as Lelio in late-August of the year he is 20… and he talks of seeing Magnus in October of that year… soon after which, he is made a vampire.  Thus, I think Lestat will have been made a vampire weeks/days before he turns 21.  I’d personally like to imagine it happens on Halloween.

Regarding Lestat’s family… Gabrielle has 8 children.  The oldest boy is Augustin… there is one girl, but we don’t even know where she came in the birth order.  Lestat is the youngest boy.  Only one more boy survives… a boy whom for whatever reason, Lestat doesn’t mention by name even once!!?!

How Lestat self-describes: The dreamer, the angry one, the complainer, the hunter, unhappy, ferocious, a wild creature, bitter (haha, I typed BUTTER first!)

OK… on to the chapter!

The book starts describing the Winter and I was struck by how later in the chronicles, Lestat will often dream of this snow and how this bitter Winter is the opposite of death for a vampire - who die in fire or The Sun…

“In the winter of my twenty-first year, I went out alone on horseback to kill a pack of wolves.”  Wouldn’t that have been magnificent as the actual first line of the novel?!  Just saying…!  I mean, it kind of *is* the first line!  I wonder if Anne wrote the introduction first, or this?

Lestat being brought back with his wings broken made me see Nicolas’ mind-bird in my mind.

“White-wigged Parisians in high-heeled satin slippers” was so redolent of Louis and Lestat at the Mardis Gras ball in S1 to me.

“Though I speak of them as dogs now, they were known only by their names to me then.”�� What a beautiful, sideways way of expressing what the dogs meant to Lestat.

I love how hunter-Lestat is described almost like a beast himself and it makes me so excited to see this on screen.  I also love the way he understands the wolves’ strategy - thinking like the wolves think.  We’re gonna see a FLAIL, folks!

Lestat’s horse’s death is the first truly gothic description…. It always makes me wonder too whether that Lestat found it in himself to kill his horse in mercy for her suffering isn’t as much a reason for Magnus to pay attention to him as the fact that he killed the wolves? Also I’ve begun to notice Anne Rice loves to compare things to insects…

When Augustin says Lestat didn’t kill the wolves, then retracts it & Lestat says the next thing he knew he was lying alone in his room… I mean… it can be read at face value, but I also wonder - is there something that happened here that Lestat doesn’t write?  And if so, might the TV show go there?

Breaking the bullet points up as tumblr won't let me post...

I noticed a lot of what Lestat will later seek in his relationships and how he is in relationships in his relationship with Gabrielle.  Gabrielle is not a touching-person, but the moments she allows a tiny bit of conversation… it leans into me thinking of Lestat and Nicolas’ conversation… the way she gives him gifts and *things* when he struggles… it creates Lestat the gift-giver, it seems to me…?  This is how he is shown love and so this is how he learns to give love.  The way withdraws surely creates Lestat’s sense of being “too much” as much as his Father and brother telling him his is ‘wrong’ does?

“I wanted to be enclosed forever with people who believed I could be good if I wanted to be.” - I wonder if the TV show will go down the route of Lestat’s quest for goodness?  I hope so!  At this time, I think 12-year-old Lestat found goodness in the order of the monastery versus the chaos he felt in the family castle (haha, the family castle!) And I also feel like he felt goodness in being made “ordered” rather than “chaotic” himself.  However, I don’t think Lestat would have been happy in the end in so restrictive a place, much as I am sure he would have loved learning.

Gabrielle buys Lestat his first mastiff puppies, a good horse and a rifle when he is 12.  She creates Lestat-the-hunter.  She later will say she feels Lestat is the man in her, the man she cannot be in this era.  And she literally chooses what Lestat will be.  She doesn’t teach him to read, even though she knows his curiosity to learn, even from the way he talks.  No, she decides the boy will become a hunter and so Lestat does.  Becoming a hunter is also something that will bond him more tightly to his home.  It’s not something that’s ever going to lead to a route to escape for him.  Teaching Lestat to read might have led to Lestat fleeing for Paris far sooner…. I don’t know.  Gabrielle will later say she kept Lestat prisoner as surely as his Father and brothers and I really felt that on this re-read…. Even when Lestat runs away with the theatre at 16 and so Gabrielle truly then knows how Lestat wants to escape… what does she buy him?  A fancier rifle.  A thing to keep him more tightly where he is, hunting here for the family.  She begins to talk to Lestat in conversation.  But it’s like she’s placating on both sides - so Lestat will stop getting beaten (to keep him here) and so he’ll have just-enough mental stimulation to keep him where he is too: here with her…?  I understand it from her perspective.  Imagine how alone she’d be otherwise.  But it’s interesting to me.

“The silent ebb and flow of life felt deadly to me.” - surely Lestat will say this on TV?

I got annoyed thinking about Lestat playing Harlequin as I read the Commedia Dell’ Arte talking about how an actor plays a single role for life… although… metaphorically, could we say Lestat truly *is* kind of playing Lelio for life once he is immortal?!

After Lestat returns from the theatre, this is when he really begins to despair and to believe he will never be free.  I was struck by how he says he becomes more useful in this time.  Isn’t it often the way - with no hope for his own future, he sinks into the role of provider and caregiver and the only way he can ‘be good’…. It also makes me think how in the future, when in despair, Lestat will rush to *do* some mad scheme or other.

Hahaha at Lestat valuing his Mother’s physical beauty as having inherent value, the vain little irritant!

I did wonder, when Lestat tells Gabrielle how he dreams of killing his family… given how they have made all the characters worse on the show, I really HOPE they don’t make Lestat LITERALLY kill his family.  It crossed my mind that they *could*… PLEASE DO NOT.  I don’t think they will as it counters the ensuing conversation, but I had a sudden flash of FEAR!

This conversation though, Gabrielle takes Lestat seriously.  She always takes Lestat seriously, which I love her for.  Much as I believe Gabrielle doesn’t love Lestat enough… I think it’s probably pretty rare and a very special thing for a parent to take the thoughts of their child and who they are so seriously and not to dismiss them?

Gabrielle seems to love Lestat more now he’s 20 as she can see him as a man rather than as her son.  She likes to talk to him as if he were not her son.  She hates to be called Mother.  She seems to love to feel him as a comrade.  And I will say here that if I feel Lestat isn’t loved enough by Gabrielle… his brothers… she literally despises them.  I know they seem awful, but imagine not receiving even one iota of love in your entire life from your mother, which must be their experience.

“You don’t have to take upon yourself the burden of murder or madness to be free of this place.  Surely there must be other ways.” - This is the spark that makes Lestat first believe he might not have to be obedient in order to be “good”.

I love Gabrielle’s quote “I am purely myself.  I belong to no one.”

I love too that even in this introduction we get Lestat the hunter, the killer juxtaposed with Lestat the aesthete and Lestat the thinker, feeler and (he wishes!) learner…

Little break, because my favourite time is now starting - it’s Nicolas time!

Lestat describes Nicolas (at different times) as: a vision, witty, dismissive, sneering, excited, sarcastic, intelligent, melancholy, cynical, bitter, full of energy, passionate, handsome, ironical, sad, scornful, mocking, miserable, weary, dejected.

Will Nicolas say “I too am impossible, Monsieur.  Only the impossible can do the impossible.”  Surely he will, and surely “Only the impossible can do the impossible” will be the title of the episode where Lestat kills the wolves?

Lovely foreshadowing that Gabrielle says Nicolas was inspired to play violin by watching a virtuoso so impressive people said he sold his soul to the devil and then suggests that maybe Nicki can do the same.  “I laughed a little uneasily.  It sounded tragic.”  Oh Lestat, you have NO IDEA!!!!!

Will Mozart be in S3?  I HOPE SO (& think so!!?!).  And Marie Antoinette, too!  Surely!

Obviously we’ll hear Nicki’s Father was threatening to break his hands for the foreshadowing too!

“I think I loved him already, doing what he wanted like that.”  A few pages later… “I think I loved him.”  Lestat falls hard and fast, like love at first sight.

I just want to add here that it’s an absolutely ridiculous concept that Nicolas STARTS playing the violin aged 20 and immediately is able to be as good as he gets!  He might feel he can never be good enough… but he must be literally a genius if he’s become even that good at the violin when he’d never even picked one up a year ago! How do you think playing an instrument works, Anne?!?!?!?!  You just pick it up and instantly - BAM you not only can just do it, but you’re great!  If only!  And Mozart is willing to take on a complete beginner as a pupil, too?!

In Lestat and Nicolas’ first conversation, it feels to me as though Lestat is infecting Nicolas with his light and optimism and it really made me understand how much Nicolas truly did need Lestat - like he is Nicolas’ hope.  Until…. (We’ll return here later in the book!)

I wonder how the fact that Lestat is born in The Enlightenment - a new age of Reason will impact how he is portrayed on the show?  Obviously we’ve seen already how it’ll affect Armand!

When Nicolas brings up The Witches’ Place, Lestat doesn’t immediately remember - as if he has repressed the memory as it is traumatic.  I need The Witches Place on TV, but I can’t imagine how we can get to it?  Nicolas would have either not yet been born or have been a baby when this happened, so he cannot remind Lestat; Gabrielle would absolutely never bring up such a story in retrospect… and Lestat has repressed the memory… so how can we now get to The Witches’ Place?  Also, I find it interesting that Lestat says Nicki studies him as they talk about this… to ascertain how Lestat feels about it now?

I spoke of Lestat’s love for Nicolas, but when Nicolas is saying “Ah, you are a dreamer! My lord, the wolfkiller.” It feels Nicolas loves Lestat as well.  And of course, Nicolas also says “I love you” to Lestat, in Paris.  I love how, in this first conversation they both discover what it is to be truly known by another being - in how they share their lives and their longings and their dissatisfactions and they truly listen to and empathise with each other.  It definitely feels like (beyond his Mother, who really was more sporadic in her attention), this is Lestat’s first experience of truly being seen by another being.

“I think I was happier than I had ever been in my life.”  Lestat is so joyous here.  When he hears Nicolas play for the first time, he kisses Nicolas on both cheeks and then the violin!  You can just imagine the infectious joy!  And it’s such a contrast to how Lestat is afraid to touch his Mother

Lestat then (of course!) promptly cries!  (Is Sam’s Lestat going to burst into tears as often as Lestat describes it, because get him ten thousand gallons of water to drink - he’ll need them!!!!  Lestat also cries at the most random moments… but we know Sam is up to the task!) Nicolas seems deeply moved too that his music had this effect.  Perhaps Nicolas initially expected to find a kindred spirit in ferocity and rebellion in Lestat?  And he did!  But he found a match in sensitivity too.

As conversations go on, Lestat and Nicolas find their differences with opposing worldviews and interestingly they often clash about the goodness inherent in art… and yet they then come together in art (for example as Nicki plays violin and Lestat dances…)

The idea to go to Paris actually comes from Nicolas - he is the instigator.  And it feels like they are both, at this point trying to escape the meaninglessness of life.

Lestat’s “Oh, oh, oh!” crisis moment really reminds me of… *warning - slight spoiler for first time readers* what Lestat will later see in Nicolas’ mind… and it gives a different vibe to things to know that Nicolas is Lestat’s comforter in this moment and tries to relieve Lestat’s pain, but basically this is Nicolas’ mind 100% of the time.

“It was not better in the morning.”  In fact this existential crisis, his malady of mortality becomes Lestat’s eternal yearning ache of questioning than can never be fully assuaged (maybe on the TV show, the answer will be - Louis’ love.)  It never goes away, and any time someone describes Lestat as just FUN, I think back to this - because at the core of Lestat (and as I see it, at the core of The Vampire Chronicles) is this terror that existence is meaningless and that no life has any meaning at all.  That there are no answers we’ll ever receive, not even when we die.  That there will be no retribution or reward or even knowledge in any way.  That all there is is existence and non-existence.  This will obviously only be heightened once Lestat becomes a vampire, so must take life in order to survive and force countless souls into non-existence…. In in fact, Lestat’s focus on death and chaos has this nihilistic hint to it which is so the opposite to how Lestat is generally perceived.. and, admittedly how he tries to come across, too!  Lestat says he doesn’t believe in presentiments, but narratively this all is a presentiment and literally it is to be Lestat’s eternal malady of immortality as well.

I had some very personal thoughts at this point, when Lestat goes about questioning everyone… which perhaps I won’t share….  Well just to say that sometimes when something big happens in your life, you literally see the world in a different way.  I am thinking on a time when all of a sudden I began to look at people & it felt like I could *see* the weariness of their souls and internal fragilities, just looking at strangers’ faces and it was really unnerving and overwhelming, especially going about in crowds…

“Drew me as strongly as it scared me.”  Isn’t this always the way?  I hope the writers always have this quote in mind throughout the entire show’s creation!

It’s interesting that before Lestat heads to Paris he is now toning down how much he tells Gabrielle and instead it is Nicki he will fully open up with.

I love the part where Lestat hugs Gabrielle and she gives herself over to him and he witnesses her cry for the first time and loves it.  I had a very similar experience with my Dad once when I was a child, heading into being a teen and I can still conjure the scene and how it felt… and I felt similarly about it too…

At the end of chapter 6 it seems Gabrielle is saying she’s always lived vicariously through Lestat & now in sending him away as she’s dong, she hopes to continue to live vicariously through him still in some way as she approaches what she thinks will be her death?  Reading this time gave me big Magnus vibes in how he perceives Lestat too… weird!  Like somehow, both seem to desire to live vicariously through Lestat?  Could we even say it of Nicolas too, in a way?  He needs Lestat, to feed on his capacity for joy… hmm… I don’t know… I’m thinking as I type…

I love the feeling of freedom and optimism when Lestat and Nicolas first arrive in Paris  - the true start of living life!

And yet, Lestat still talks of his trembling, terrifying existential dread that settles upon him every night and which Nicolas tries to encourage him to let go.

Vampires have preternatural ability to mimic, but as described, Lestat already learned in this way it seems, in the theatre.  I love how he describes his fear evaporating and how he loved being on stage.  I love his determination and how convinced he is he will be a great actor.  I love how Lestat and Nicolas are described here and there’s a tantalising feeling of how their future might be…

The Autumn arrives with it’s personification of Dread.

Malady of mortality surely has to be an episode title?

When Lestat wraps he and Nicki together in his cloak against the show and rain, it feels simultaneously real and metaphorically poignant.

Lestat genuinely thinks if he could just get Nicki to understand the truth Lestat feels certain of (goodness in art and making others happy through your art), all would be well, but Nicolas still believes goodness can only come from obedience and self-sacrifice and denial and, thus, he knows himself to be evil.

“Light and beauty come together in you in a thousand different patterns” is such a beautiful thing Lestat says to Nicolas.

Nicki’s final words to mortal Lestat are a soft “Let’s go to bed.”  (Do you think show-Lestat will be ripped out of post-coital Nicolas’ arms..?)

Finally: Questions:

At the start of TVL, Lestat has been In The Earth. Do you think he will have been In The Earth in this era on the TV show? (As Louis has seen him pretty recently, which makes it seem like perhaps he won’t have been?)

The ‘spirit’ of 1984 reminds Lestat of the 1700’s. Will there be anything about the 2020’s that Lestat will associate with/that will remind him of the late eighteenth century?

“I did a lot of thinking about this sinless, secular morality, this optimism” - will this be a driving force for modern day Lestat? What will he think about in relation to right now?

What music will Lestat listen to? He listens to a lot of Bach when he first rises in the book (while driving his Harley-Davidson.  Is there a security both in the structure of Bach and in the fact his music is from an era predating even mortal Lestat that makes Lestat feel safer entering the modern era?

Lestat talks about coming back after killing the wolves and feeling that he was ‘not-Lestat’, so I thought we could discuss - did killing the wolves change Lestat, and if so: how?

When Lestat goes into a depression post-killing-the-wolves, is this essentially a human version of “Going into The Earth” as Lestat will do numerous times as a vampire?

How will the French Revolution impact the TV telling?

When Lestat talks of how he could have poisoned meat to kill the wolves, but meat was too scarce… is he in a veiled way saying that his life has less value than a piece of meat?

“I don’t think I felt the slightest fear then.  But I felt something, and it caused the hair to rise up on the back of my arms.” What exactly is the “something” Lestat feels when he sets out to kill the wolves?  And why is he not afraid? Bravery? His hunting spirit? His impulsive, adventurous nature? Stupidity? Naivety? Only feeling truly alive in moments that contain the potential for death? A lack of care whether he lives or dies (borne of despair}?

Reading the wolves section, with the dying animals and even after this too when Lestat talks of his ignored/thwarted farming plans for his family’s land… It made me wonder, just a curious ponder - if Sam might have had any experiences in real life connected to any of this stuff, given his family’s line of work…?

Is performing with the theatre troupe at 16 the first time Lestat truly feels pure joy - he describes it as ecstasy?

How can we now get to The Witches’ Place if Nicki can’t have witnessed child-Lestat there, Gabrielle would never tell the story and Lestat has repressed the memory…?

[glennk56]

Jefferson Mappin in 1980s & 1990s.

Jefferson Mappin is a Canadian actor born in Montreal. His film career started in 1978 with a small role in the Canadian/UK crime drama Tomorrow Never Comes starring Oliver Reed and Raymond Burr. I had never heard of him until I saw him in The Freshman a couple of weeks ago. At 6'5" he is always able to find work.

Jefferson Mappin

Most of Mappin's early work was in small roles in Canadian films that as of yet haven't been digitalized. The above stills are from the 1988 Canada/US Sitcom about a professional wrestler, Learning the Ropes, starring football player Lyle Alzado and often real professional wrestlers of the time made guest appearances. Only 13 episodes were produced. The first photo was from the pilot episode and it looks like it was from somebody's old VHS home recording. The next photo is a little better. Jefferson Mappin played a wrestler called Cheetah. It isn't known how many episodes he appeared in.

In 1990 Mappin played a pro wrestler again on an episode of the US/Canada crime drama, T and T, starring Mr. T of course.

Jefferson Mappin played an insane asylum resident in the film Beautiful Dreamers based on true events in 1990.

The Freshman, 1990, starring Marlon Brando and Matthew Broderick would fit in right here but Jefferson was barely visible in his scene, so I left it out any photo.

In 1991, Jefferson Mappin plays a real estate agent in the fantasy/drama White Light.

and Mappin as a dry-cleaning employee in an episode of Tropical Heat (nee Sweating Bullets).

Here is Jefferson Mappin as Fatty Rossiter in 1992 in Clint Eastwood's western, Unforgiven.

Here is Jefferson Mappin as a gun shop owner being questioned about a gun purchased in an episode of the TV series Counterstrike in 1993. I like the way he is pressed up against the counter.

Jefferson Mappin is a suspect responsible for a missing girl and human trafficking in this TV movie Spenser: Ceremony in 1993 made 5 years after the series Spenser for Hire ended.

Jefferson again as a gun shop owner in 1995 in an episode of the comedy/drama Due South.

Jefferson Mappin as a tech scientist who loses his memory in an episode of TekWar in 1995.

Jefferson Mappin as a Little League Coach in the TV Movie Shining Time Station: Second Chances in 1995.

Jefferson Mappin plays a Federal Agent in the Sci-Fi Action film Expect No Mercy in 1995.

[bidisharay]

"Bidisha Ray’s Resume Writing Services in the UK are designed to craft tailored, impactful resumes that capture the attention of employers. With a focus on your unique skills and career goals, we ensure your CV stands out. Trust us to help you land your dream job with a professionally written resume."

[interview-skill-coaching]

Choosing and navigating a career path in today's quickly changing professional world can be a challenging job. With so many possibilities, evolving work markets, and unique objectives, many people seek help to make educated employment selections. This is where career counseling comes in: it is a transforming process that enables individuals to realize their full potential, discover their true purpose, and navigate their path to success. In this article, we will discuss the meaning of career counseling and how it may help you advance professionally.

[retiredkat]

Red-UK Magazine Raising the Stakes interview with Jacob Anderson

Must give email address to read the full article

“Jacob Anderson has a very sweet tooth. ‘I’m, like, addicted to sweetness, ever since being in America,’ he says, sipping tea with a sheepish smile. Having come to meet me in North London after dropping his daughter at nursery, the 34-year-old star of AMC’s hit series Interview With The Vampire is sitting with his face towards the morning sunshine, a move unlike the supernatural being he plays. ‘It’s good to have everything in moderation,’ he muses, opening a sachet of sweetener. ‘But the minute you start paying too much attention to quantities of things…’ he pauses, ‘it’s like sucking the joy out.’

It’s an apt metaphor for the show we’re meeting to discuss. Based on Anne Rice’s 1976 novel, the lavish revamp sees Anderson play the brooding vampire Louis de Pointe du Lac as he recounts a life of eternal love and bloodlust to journalist Daniel Molloy (Eric Bogosian). In an era when television feels increasingly bland, the show pulls off theatrical magic with its epic, queer reinvention of Rice’s work. ‘You don’t really get weird stories with scale,’ notes Anderson. ‘And I feel like this show has managed to hit the sweet spot of scale and oddness.’

Having attempted to despatch his paramour Lestat de Lioncourt (Sam Reid) and then moved to Paris with his adopted daughter Claudia (Delainey Hayles), Louis works to untangle his manipulated memories in the second season. ‘There’s a lot of tension building,’ says Anderson. ‘In episode one, in particular, I remember thinking Louis has a tension headache for years. It affects his decision-making, and his outbursts. And he makes a lot of poor decisions in season two.’ There’s a great deal of unresolved trauma, he observes, ‘Louis is very emotionally constipated in that way. I think he’s not quite able to embrace his grief, embrace his first 30 years of vampirism. He’s also unravelling in the present; all of that suppression and repression is coming back to get him.

Therapy is the place where Anderson goes to figure things out. ‘I don’t want to be like a ball of confusion and contradiction. I have two daughters to raise,’ he smiles. ‘I don’t want to be another angry man, because they’re gonna meet a lot of angry, oppressed men in their lives.’ Since playing Louis, though, he suspects the boundaries between fiction and real life have become blurred. ‘There are things about Louis that I justify, like, “I understand this decision, and therefore we’re the same.”’ he laughs. Getting deep into character, I suggest, must lend itself to overthinking. ‘Yeah, I’m a huge overthinker,’ he says emphatically. ‘Sitting here, I just noticed my own body language, and my brain is firing off.’

Despite having been in the public eye for most of his life (both on TV and in his music, which he records under the name Raleigh Ritchie), Anderson keeps a low profile. ‘I’m quite a private person,’ he chuckles. He largely avoids social media, as he has an ‘internal compass’ that guides him towards negative criticism. ‘I think it would be unhealthy to spend too much time indulging in how other people are looking at me,’ he says. ‘I feel like I’d lose my sense of self; the sense of self that I’ve been trying to build up all this time.’

As a child, he was always waiting for adulthood to begin. He moved to London at the age of 17, not specifically to pursue a career in acting, but mainly to leave his home city of Bristol. ‘I have a really healthy relationship with my home city now,’ he says, ‘but at the time, I just wanted to escape.’ He was always resourceful in his pursuit of opportunities. ‘In the beginning, I would get coaches up to London at four in the morning to get to an audition at nine. And I would do that a few times a week. And then if I stayed over for some reason, I’d stay at like a backpacker’s hostel for £19.’ Since that point, he’s worked solidly. ‘I think I have a bit of a work thing,’ he confesses. ‘I really feel like myself when I’m working. I feel like I can key into the version of myself that I most want to be, and it gives me a real sense of purpose.’

Playing the stoic Unsullied warrior Grey Worm in HBO’s Game Of Thrones was an ‘emotionally taxing’ experience at times. ‘The challenging bit was giving myself something to do sometimes, like, keeping myself alive in the scene,’ he recalls. ‘Trying to stay present was a real challenge.’ But it also proved to be a valuable learning curve. ‘You don’t need lines, you don’t need words to tell your part of the story. You can do it with your face. You can do it with your body language. So I learned a lot from doing that. But I was ready for it to be over.’

When he finished the show in 2018, he felt burnt out. ‘That last year was so brutal. It was an amazing experience in lots of ways, but I was also very low and so I just took a break for a bit.’ He considered giving up acting. ‘I was just losing my love a little bit,’ he says. The thing that inspired him again was playing recurring character Vinder in Doctor Who, a show that he aspired to be on as a child. ‘That gave me back my play. It re-energised me.’

He certainly wasn’t prepared for the phenomenon that Thrones would become. ‘It was really surprising,’ he recalls. ‘Whenever we went through the press for it, it felt like being in The Beatles or something. But when we were making it, it was really intimate.’ In any case, he isn’t driven by conventional measures of success. ‘The processes are really important. I’ve really learned that, for me, it doesn’t matter if the thing is good. If making it isn’t a pleasant experience, or joyful in some way, fulfilling or cathartic, then it wasn’t worth it. I don’t really care if something is, like, quote unquote, a hit or success, if making it was miserable, you know?’

What really drives Anderson, is creating work that helps people feel seen; and the enthusiastic response to Interview With The Vampire (plus an early season three renewal) has proved that it’s resonating with audiences on a deep level. ‘To be a part of something that people take into their hearts so much is really special,’ he says. ‘Through music and films and TV was how I learned how to be a human, you know?’ He pauses, looking deep in thought. ‘To see that I’ve contributed in some way to something that does that for other people gives me a sense of “it’s the right thing to do”. Like, I’m still doing this for the reason that I got into it.’ He smiles, ‘So yeah, it’s lovely.’”

[absolutebl]

In one of your weekly roundups you talked about Century of Love and Offroad chewing the scene disrupting your enjoyment. Two questions:

What do you mean by 'Chewing the scene'? I think I get it but am not exactly sure

There have been some discussions of the on-set atmosphere and perhaps the director's attitude towards the actors (Offroad specifically), how much does this impact the actor's ability to do their job. I say this as I think Offroad has a lot of potential, but wonder if on-set drama may have negatively impacted him.

BTW, love all your posts!

Chewing the scenery? Here's the definition:

2. I can't/won't comment on the specifics of this. But Imma gonna try to explain a bit.

Directors yell at actors all the time in my experience, but yelling at someone in Thailand (out of anger or frustration) is NOT normal, culturally speaking.

The answer in general (broad brush strokes) is the impact of this kind of abuse (for lack of a better term) depends on the personality of actor in question. Some get stuck in their heads with a difficult director and their performances deteriorate, some can switch it on an off. Generally, younger actors will have a harder time with director conflict, but that is not a universal.

It's a little like asking how much does a coach impact their athlete's performance in a competition. It's more significant early on in a career, but talent/natural ability counts for a lot. BUT we still see very seasoned athletes switch coaches and that's for a reason usually personality related.

In other words: a bad/difficult director may or may not impact a very good/seasoned actor but will impact a very green or not great actor.

In Offroad's case, we can only compare this performance to his pervious one (Love in Translation), and I personally loathed that character (and likely would regardless of performer) and thus I can't really judge.

I still have an opinion, of course I do. I personally think he has a tendency to overact, just going from LIT and this one. He may be being directed to do so, because that is part of Thailand's style - especially with more comedic, cheerful, and uke characters.

IMHO a good director could/should rein this tendency in, but I'm not seeing it on my screen in Century of Love. So this could be the director's fault, or the director might not see this as a flaw. I have no idea.

That said, this could also be where his current director's frustration is coming from. If Offroad is being consistently directed to pull back to match Daou's style and not doing it, that would piss of any director.

Which is a very long way of saying, from this side of the screen, we have no idea what is actually going on, even with the BTS leaks. Any set is a boiling pot of emotions and tensions, mistakes and one crisis after another.

I will input a warning tho. If the set is VERY toxic it can detrimentally impact the actor's career and feelings about acting. If Offorad breaks his pair or leaves the industry after this show finishes it's promo run, it is a pretty solid sign that this director was a BIG problem.

An actor can be forced out of the industry by a director, but it almost never goes the other direction (unless there is a criminal legal element).

[stargazer-sims]

Random Pictures of Mr. Fujikawa (because you know you want more of him)

Random Facts

His full legal name is Satoru Stephen Fujikawa. His non-Japanese friends, acquaintances and business associates all call him Stephen. Only his family and most Japanese-speaking friends call him Satoru. His kids introduce him to people as Stephen, though. They like the cohesiveness of the whole family having English-sounding names. Even Stephen’s ex-wife has an English name she prefers.

His son and daughter don’t have Japanese given names at all. They’re Sebastian and Sofia Fujikawa, with no middle names.

Stephen learned English at boarding school in the UK

He’s a former competitive skier. After his athletic career, he joined his father and aunt in their sports equipment company, Gnome Sports (most well-known for their snowboards. Just ask Victor Okamoto-Nelson). Currently, Stephen is a deputy director in the company.

He loves cycling and water sports, and he’s still obsessed with skiing

He’s extremely high-maintenance and has no shame about admitting it

He and his ex-wife got married young, and divorced when Sebastian was six. The whole thing was highly publicized due to his status as a world class athlete and hers as a J-pop performer. Stephen was awarded sole custody of Sebastian.

After the divorce, Stephen decided to try to adopt a child because he didn’t want Sebastian to grow up without a sibling. He adopted Sofia, who’s only a few months younger than Sebastian. Sofia’s birth name was not Sofia; Stephen had it legally changed because Sofia wanted to have an English name like her brother.

Stephen is kind of a chick magnet and enjoys going on casual dates with interesting women, but he hasn’t pursued a serious relationship with anyone since the divorce. For the last ten years, he’s only held space in his heart for one woman; his son Sebastian’s figure skating coach, Ginger Holmes. They’ve gotten to know each other well, and she’s often been invited as his “plus one” to social and business events, but unfortunately he feels like she’s unattainable as a real partner.

Ginger taught Stephen how to dance (and he still gets butterflies just thinking about it)

He’s absolutely dramatic when he’s sick, which his kids tease him mercilessly about, but if Ginger should happen to show up when he’s not feeling well, he makes a mighty effort to give the impression that there’s absolutely nothing wrong (even though he’d like nothing more than to be taken care of by her)

Oatmeal with butter and maple sugar is his comfort food

He likes socks with fun patterns, and his love of “lucky socks” has become an inside joke between him and his kids

He enjoys cooking, and hosting dinner parties

He loves to travel

He shares a birthday with his daughter

His favourite colour is sky blue

A few more pics:

When he's thinking about business deals:

When he's thinking about Ginger:

[leupagus]

Beard and Nate: friends to enemies to God I hope they get to be friends again

One thing I found interesting about this episode is Beard and Jane's axe-throwing date with the bespoke Nate Crotch Targets. Leaving aside Beard's 17 axes, which he cannot imagine having in a different country (and I do love that at some point between probably season 1 and 2, when he and Ted decided to stay in the UK for the forseeable future instead of going home after those first four months, Beard had his axes shipped and has added to the pile since then. Also that Ted is aware of Beard's axe problem), the vitriol of that is something that's really narratively significant, I think. Because it speaks to the fact that Beard has not remotely forgiven Nate for what he did. And I think that says a lot about Beard as a person, and as a friend.

Beard and Ted have been friends for a long time — long before Wichita (remember, they were only there for one year) — and whatever their past may be, they have a loyalty to each other that is really remarkable. Yes, Beard came to the UK along with Ted; but Ted must have insisted on them as a package deal, and Beard would have a pretty nice salary from Richmond too, not to mention comparable company housing to Ted's pad. They're very close and comfortable talking about complicated, messy emotional stuff with each other — part of the reason the Diamond Dogs formed was because Ted and Beard's rapport began to expand to encompass Higgins and Nate. He sees those two as similar kinds of men, willing to honestly express their feelings and mutually support each other.

And then Nate starts to change.

Beard and Ted first clock it in the very first episode of season 2, in Nate's attitude toward Will (which I think is more Nate repeating the mistakes that his father made with him than Nate actively reveling in abuse — I have a whole BOOK I want to write about Lloyd and Nate's conversation in this past episode, I absolutely cried, don't look at me). Neither of them say anything, which I think would be a mistake if this was real life but in the show is meant to reflect the idea that "sometimes you can let people make mistakes and improve on their own, but sometimes you have to step in early." But Beard, throughout the season, watches Nate a little more carefully, and then when Nate really goes over the line with Colin, he finally steps in. Nate makes his public apology to Colin and things are seemingly fine — remember, Nate's awful comment to Will happens out of Beard's sight.

But Beard obviously doesn't stop watching Nate, because he figures out pretty much instantly that Nate was Trent's source for the story about Ted's panic attacks. Not only that, but the first thing Nate does when Beard sees him is to ask where Roy is, and then lie to him when Beard makes a pretty blatant comment about the article. Then later, when they're all talking with Roy about the Jamie & Keeley situation and Nate confesses about the kiss, Beard makes the flat "I'd be happy to punch you in the face" comment. Because from his perspective, Nate's done something absolutely awful and won't even admit to it, even though he'll readily admit to trying to kiss Keeley. (I'm not making any claims as to which one is "worse," but the show clearly wants to portray Nate talking to Trent as the bigger problem.) Then you have the fight between Nate and Ted (which Ted 10000% told Beard about, I cannot imagine a world where he didn't), the ripped sign, and Nate leaving the club to coach for Rupert Mannion.

As far as Beard can see, Nate took what Beard and Ted had given him — not the assistant coachship, but the camaraderie and trust — and used it to hurt Ted in the most cowardly way possible.

And I don't think Beard is right.

We still don't know exactly why or how Nate told Trent about the panic attacks (what I wouldn't give for THAT flashback), but I think the folks who assume he did it to advance his own career or at the behest of Rupert or something are way off. I think Nate's anger at Ted is a whole other essay, and this past episode has really made it clear how much it's tangled up in his expectations for himself as well as for his father-figures, but I don't think that it's something Beard has been able to understand. All he sees is the fallout from Nate and Ted's broken friendship, and the grief that caused Ted this past year. He's only seen the pain on one side and not the other.

So we have Beard celebrating Nate's departure from West Ham, despite (and maybe because of) the fact that Ted's already forgiven Nate. We see Beard slowly trusting Trent — who after all did write the article but who wasn't Ted's friend or confidante at the time and owed him absolutely nothing — but still willing to erect boundaries when he wants to (even if he pulls them down within 30 seconds). And what I hope we get in the next two episodes is Beard understanding Nate more and accepting that his friend still needs him.

And that his friend is Nate.

[denmark-street]

"It’s pretty scary, but it’s certainly not anything I would dream of saying no to. Look, I’m about to turn 80 next year. I’ll be 80, I’ll be 86 or 7 at the wrap party for this one. It’s a wonderful winding down role. That’s how I see it. I know that I’ll be working with, at the very top of the food chain, these are superb people. And I will be working with among the best English speaking actors in the world. I mean, the talent pool right there in London is at their disposal. I’m really excited about it and just revisiting Harry Potter in depth these days. I just want to do it justice." [...] Lithgow confirmed that he would be adopting that mightily impressive English accent that has served him so well throughout his career, noting that there would be nothing else he could possibly do for such an iconic role, and even humorously pointing out the controversy around an American taking on the role. "[He's] certainly an Englishman. In fact, there’s a good deal of controversy that an American has been hired to play him," said Lithgow. "He’s such an icon. I’m half-English," he joked. "I’ve just played Roald Dahl. I’ve played Winston Churchill. I’ll spend some time with a dialect coach. Don’t worry about that. But no, I mean Dumbledore couldn’t possibly be anything other than English. I just have to do my best. The wonderful thing is, I was welcomed by every English actor I worked with on The Crown. They had far more confidence in me and my Englishness than I did myself." As noted, Lithgow also recently portrayed Roald Dahl on stage in the UK, and will be continuing it until the moment he starts filming Harry Potter, adding that he would be doing hair and make-up for Potter while still on the West End. He said: "I do Giant, the Roald Dahl play right up until, August 2nd. I’m available to work on August 4th, so I go right out of the frying pan and into the fire. I’ll be doing makeup and hair tests for the last couple of weeks that I perform Roald Dahl on the West End."