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llitchilitchi · 2 years ago

Note

I saw a tag on the au comic of George wrapping the burn from sapnap about making excuses to push that nothings wrong and it’s been churning in my head since, is George’s willingness to ignore the bad stuff something that gets confronted or addressed?

Like does George see it’s affects on dream or when a particularly bad reaction to a trigger gets worse? Does dream bring it up in anger about what he sees as a transactional relation (his life for George’s kingship) or when he pushes down his trauma too much and backfires? Is it something sapnap notices once he doubts dream’s trauma less or (if the situation with the burn isn’t the only time his anger hurts dream physically/mentally) is it guilt that sees how pretending nothing wrong is causing more cracks?

Or does it resolve slowly as they trust more and begin to see what’s really happened?

Sorry if this is too long or a bit confusing! I’m a bit of a sucker when it comes to angst that gets worse before the healing starts 😅

ohhh this is a juicy one, thank you anon

for a disclaimer I want to say that while a lot of the fun in this au is the exploration of how thoroughly toxic c!dream team would be if they were to team up now and address their problems in an in-character way (which is not addressing anything at all lmao), I as a major dteam enjoyer would feel far too guilty about not trying to fix their relationship. so while I have no plans of a direct confrontation of MR!George's attitude and blantant ignorance of issues at hand, especially not by MR!Dream, he will eventually have to face reality and change his attitude and live with the simmering guilt of telling Dream to suck it up after Sapnap defended the man who tortured him for months in his face.

before anything else, Dream does try to make the relationship as close to purely transactional as possible. he finds comfort in putting a pricetag on everything he does and doesn't dwell on anything that happens between him and George or him and Sapnap, at least not externally (though he does keep track of things, for his own safety).

George takes care of him, mentally and physically, but he never goes beyond what is absolutely necessary, and Dream very much sees it as a good thing! it gives him space he needs and the fact that George "doesn't care enough" to pry means that the relationship is transactional and not something much much deeper (even if it hurts and he wishes they could go back, sometimes). he treats it very much like c!dream treats his relationship with c!punz - definitely close, definitely friends, definitely give each other enough space and don't ask uncomfortable questions so they can keep a vague facade of both of them doing it for personal gain.

because George will wrap the burns, and he will check on Dream's injuries daily, and he gives Dream regen potions, and he holds him in his arms when Dream has a particularly bad panic attack, and he knows when to step back because Dream faced an unexpected trigger. but he doesn't ask what the trigger was, doesn't ask why Dream cried for Sam in desperation through a nightmare. and I will not say much more since the next comic should cover this (hint hint: dream has a fringe in this au despite the rest of his hair being long)

it does become significantly easier for them to actually notice things when they are willing to look though. when they actually think about the subtle changes, the flinch away from Sapnap's axe, the crease in his brows when Sam or Quackity are mentioned. it's an equal part of Dream revealing something after being pushed and the two of them being more willing to listen after he has said (in Dream's opinion) far too much.

but the resolution is a slow process. threads unravel on their own when given enough time. and once the unraveling goes too far they can't go back, so might as well make the best of it and maybe for once, in a quite out of character way, sit down and communicate.

tl;dr: it's a mix of natural progression of time and a series of incidents that prompt them to actually confront their views and properly talk. there might have never been much of a change without Sapnap pushing until Dream snaps, or Dream having a moment of weakness and telling Sapnap how he views his attachments, or him melting into the familiarity that is George's hands cupping his cheeks as George counts to 10 and Dream slowly remembers how to breathe.

#monarchy restoration au #asks #dsmp #the eternal battle of 'there is comics for this I will draw them in the future' and 'i dont wanna brush off all asks I get with 'lol SOON''#I still think that some of these things are subject to change depending on how I develop other aspects of the AU #especially the later parts #Im a huge softie that wants everyone to make up and get along but Im also a sadist who wants to push the angst as far as I can go #the real question is 'how far is too far and beyond repair'#and what will Sapnap and George have to do to prove to Dream that the shit they said and did was result of their own ignorance #and how much would dream be willing to have either comfort him #how out of character would it be of him to cry?#how much hurt/comfort can I fit into their dynamics for it to make sense and not just be completely different characters #I walk a thin line #ngl the best way to describe dreamnap relationship in the au at first is the attachments comic except sometimes it results in the argumens #and dnf in this is very much summed up as the two panel 'dream look at me' snippet I drew #gentle demands and gentle hands but they are demands and orders nonetheless #anon if I made no sense or sounded stupid Ive yet to have my coffee I am so sorry

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californialordu · 8 years ago

Text

Krize girdim mk ASSD:DSASDA

#arka sokaklar #kizginligimyalnizliktan #bbkizginligimyalnizliktan #comics #image #caps #inci caps

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s-horne · 6 years ago

Text

23. “The probability of that is zero, but you go ahead.” (Steve/Tony)

“Don’t open that!”

Tony froze as he reached for the cupboard in Steve’s art room, his hand hovering in mid-air. “What? I just need a pencil, that’s all.”

“I have some over here,” Steve said in a rush, jumping up from the couch and steering Tony away from where was still standing like a statue and over to a different cupboard. “I moved them into this one a while ago.”

Tony squinted as he let himself be taken to the opposite side of the room. This whole situation stank to high heaven and Tony was determined to find out what his partner was hiding from him. He hated to be out of the loop, more than he hated decaf coffee and the shopping channels. Taking the pencil that Steve held out to him, Tony tilted his head to one side and clicked his tongue.

“So, babe,” he started casually, “what’s with the redecorating?”

Steve swallowed and shrugged, his shoulders too tight to be convincing as he tried to give a smile. “I just fancied a change, is all. Couldn’t sleep the other night so I came down here and tried to keep busy.”

“Huh. I didn’t hear you leave.”

The way that Steve flushed red as a couple of beads of sweat appeared on his forehead would have been comical if the man wasn’t meant to be a super-spy.

“No, no, you wouldn’t have. You were – uh, I think you were in the lab.”

Tony rolled his eyes and reached out to catch Steve’s arm. This was ridiculous and Tony had no time for nonsense. “What’s in the cupboard, Steve? Just tell me. If it’s a body, I can get you out of the country with minimal effort. If it’s multiple bodies, we might need to have a chat, but I could still get you out with relatively little fuss.”

Steve’s eyes widened and he shook his head frantically. “No! What? No!”

“Okay, okay,” Tony said, holding up his hands, “just saying I could help you. So, what is it? Worse than a body? I’m not sure what that would be, but I’ve got an open mind, babe. You can tell me anything.”

“God, no, Tony. What the hell is wrong with you? I have your birthday present in there. That’s all, I swear. No bodies.”

“Oh. Oh!” Tony made a dart for the cupboard but Steve stepped in front of him.

“No, Tony. Come on, it’s a surprise.”

Tony pouted. “Give me a clue? Just one clue. An incy, wincy, tiny, little clue.”

“What part of surprise do you not understand?”

“I understand it fine,” Tony said with a shake of his head, “I just don’t like not knowing things. I want to know all the things. Especially if they’re about or directly relating to me.”

“Well, you’re just going to have to wait for this one, okay?”

Tony narrowed his eyes as Steve let go of his arm and went to sit back down on the couch, staring up at Tony with his stupid, imploring eyes and his disarming smile. Now that he had shared a part of his major secret, he was back to being smug-and-smarmy Steve. Tony wanted to stick his tongue out at him and snog him in equal parts.

“I bet I know what it is, anyway,” Tony said, crossing his arms over his chest and sniffing.

“Oh yeah? What do you think it is?”

“I’m not telling you.” Tony walked over and perched on the arm of the couch, reaching out to kick Steve’s leg. “You’re going to have to guess.”

Steve’s brow furrowed adorably as he blinked up at Tony. “I have to guess what you’ve guessed your birthday present from me to you is?”

Tony waited for a moment as he thought that over before he gave a decisive nod. “Yes. If you don’t want to guess, I suppose I’ll just have to make you tell me.”

“Well, the probability of that happening is zero, but you go ahead and try, sweetheart.”

“Oh, baby,” Tony purred, a smirk spreading across his face as he stood up and sauntered over to stand in front of Steve. “You know what I like. Talk math to me.”

Steve laughed but happily reached out when Tony straddled his lap, settling his hands on Tony’s hips.

“You like that?” he whispered, leaning forward to blow against the shell of Tony’s ear as he let one hand dance up under Tony’s shirt. “How about fractions? Or cosine? Hypotenuse or variables?”

Tony threw his head back and laughed, a bright and happy sound that bounced off the walls around them. “You’re such an idiot,” he said when he looked back at Steve, grinning at the smug look on his face. “Just shut up and kiss me.”

#I wrote a thing #march madness #stony fic #stony fic rec #stevetony fic #stevetony fic rec #Steve Rogers #tony stark #stony au #tony stark is a drama queen and i love him #stony crack #it's all i write #let's be honest

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flexiblefish · 6 years ago

Photo

Source:[X]

by Gavanndra Hodge 12 JANUARY 2019

Gillian Anderson is hard to pin down. Is she American or English? (Her accent slips between the two, depending on who she is talking to.) Guarded or warm? (She can be either, based on her mood.) Tough or vulnerable? (Or both?)

'‘Because my parents were American and we lived here in the UK, there was always a sense of not quite fitting in. Because of that I’ve always felt a bit of an outsider. I have perpetuated that because that is what feels familiar to me, it is what feels comfortable,’ she explains. When we meet Anderson is English and warm, talking about the birthday parties she has to organise (she has three children, Piper, 24, Oscar, 12, and Felix, 10); and although she is very petite, wearing white patent stiletto boots and slender black trousers, she exudes the commanding charisma that makes her perfect for her imminent roles. Rumour has it that she will be playing Margaret Thatcher in an upcoming series of The Crown, the Netflix series created and co-written by her partner, Peter Morgan. No one is confirming this, but no one is denying it either. Meanwhile, this month she stars in a new Netflix series, Sex Education, in which she plays a sex therapist who lives with her teenage son (Asa Butterfield). And in February Anderson has another plum role: Margo Channing in Belgian theatre director Ivo van Hove’s much-anticipated adaptation of All About Eve, also starring Lily James as Eve, with music by PJ Harvey. The play – a modern reinterpretation of the 1950 film, which starred Bette Davis as Channing, a blazing Broadway star who is gradually supplanted by a younger rival – is about ambition and betrayal, femininity and anger, stardom and personal sacrifice. Anderson’s is a bravura role, one that requires not just the cool intensity that we have come to expect from her, but also humour. Channing is deliciously droll, delivering endlessly quotable lines with comic precision (‘I’ll admit I may have seen better days, but I’m still not to be had for the price of a cocktail, like a salted peanut’). ‘A couple of years ago my boyfriend Pete said to me, “You know what would be a great role for you? Margo Channing,”’ Anderson says. ‘So I rewatched the film and I thought, “Oh my God, how much fun would that be!”’ Anderson, not one to wait for opportunity, discovered that theatre producer Sonia Friedman had the rights to the script and was working on it with van Hove – Cate Blanchett was set to be Channing. ‘So I thought, “Ah OK, I’ll just slink into the background.” Then my agents got a call to say that she [Blanchett] had backed out due to scheduling conflicts, and there was interest, and was I interested? So I was like, “Yes! When’s the meeting? Now?”’ Van Hove, on the phone from New York, is equally excited to be working with Anderson. ‘Margo needs someone who understands what the theatre is all about, someone who can carry a play, who can occupy the whole stage, and Gillian can do that; she is a fabulous theatre actress. Although, of course, she became iconic for me in the 1990s when she was in The X-Files.’ There is something a little surprising about Ivo van Hove, an avant-garde director celebrated for his reinterpretations of plays and operas such as Hedda Gabler, Antigone and Lulu, professing fandom for a mid-’90s sci-fi series; but that is to forget the huge cultural impact of The X-Files, its quality and its ingenuity. The series was about two FBI agents, played by Anderson and David Duchovny, who attempt to unravel various natural and supernatural mysteries. No one expected it to become such a success, least of all Anderson, who was 24 when she was cast in the show. It was her first major role and it made her a star. She won multiple awards for her portrayal of the sceptical Dr Dana Scully, including an Emmy and a Golden Globe. But such stardom often involves sacrifice and Anderson was suffering. The production schedule for The X-Files was brutal, involving 16-hour days for nine months of the year. Furthermore, in 1994, aged 25, Anderson married Clyde Klotz, assistant art director on the series, and nine months later she gave birth to their daughter, Piper. After three years she and Klotz divorced. It was while she was pregnant that Anderson started having severe panic attacks. ‘I was having them daily,’ she explains, experiencing palpitations, numbness, ‘hallucinations, all of it’. Things didn’t get better once Piper was born. ‘I was a young mother, and shortly after that we were separating, and I was working these crazy hours. I remember periods of time when I was just crying, my make-up was being done over and over again and I was not able to stop crying.’ Anderson sought solace in meditation. ‘I went to somebody and there was a meditation we did together. We went to some quite dark places and I got to see that I could still survive those dark places, I was stronger than they were, and after that the panic attacks stopped.’ Anderson had been having panic attacks, on and off, ‘since high school’. As a teenager she was a daydreamer and a troublemaker who felt different from her peers in Michigan because of her childhood in Harringay, having left the ‘incy-bincy flat with a bathroom outside’ that she and her parents lived in when she was 11 years old, when her family moved back to the US. ‘I started falling in with groups and trying to fit in, until it got to the point when it was like, “I don’t f—ing want to fit in. I want to look completely different to all of you, and stop staring at me because I have a mohawk.” I’d shave the sides of my head with a razor blade and dye my hair different colours.’ Anderson’s parents, Rosemary and Ed, were living in Chicago and were both just 26 when she was born. Soon afterwards the family moved to London so Ed could attend film school, while Rosemary worked as a computer programmer. ‘My parents were working very hard and would often work late. I have lots of memories of playing by myself in the back garden and searching for friends in the neighbourhood because I didn’t have siblings.’ After moving back to America, Rosemary and Ed had two more children, a son and a daughter. Anderson admits that her adolescent waywardness might have been related to the arrival of two new babies in the house. ‘I made trouble and I got attention that way.’ Acting is another way to get attention, something Anderson learnt early on. ‘I remember being in a play when I was in primary school. I was meant to be a Chelsea fan. I started chewing gum on stage and blowing bubbles and got all the attention. I thought, “This is all right, everybody is watching me!”’ But when she reached 16 and started doing more professional productions in America, performing became fundamentally important to her. ‘I enjoyed the connection between performer and audience, the control. And I remember thinking, “I can do this. They are showing me I can do this.” 'It changed everything in my life, knowing I could do something. Prior to that there hadn’t been that moment yet when I found purpose and direction.’ Anderson decided that she wanted to pursue acting as a career and was accepted at The Theatre School at DePaul University in Chicago. ‘From the very start of school I didn’t go into the dorms, instead I found an apartment with a roommate in a funky neighbourhood. I was the only one who was living out of school. That is my pattern, carving my own thing. 'All through [theatre] school I dressed like I was a member of The Cure. That was how I was in the world, grungy, not considered, not mature. I was forthright and gutsy – I drove myself to Chicago in my dad’s VW van – but slightly falling apart.’ She always knew she would return to England. ‘My childhood here, the smell of north London, it has such a massive tug on me. I really felt, when we moved to the States, that I would eventually have a life back here.’ She and Piper moved to the city after The X-Files ended its original run, and she went on to have two more children, Oscar and Felix, with her now ex-boyfriend, businessman Mark Griffiths (there was also a marriage to British documentary maker Julian Ozanne, which lasted for two years, with the couple separating in 2006).

In the UK Anderson’s career developed in a way that might not have been expected for the golden girl of ’90s sci-fi. She took juicy roles in big-budget period dramas – Lady Dedlock in Bleak House, Miss Havisham in Great Expectations – and appeared on stage, at the Royal Court and the Donmar Warehouse. But it was her performance in the BBC detective drama The Fall, starting in 2013, that solidified her reputation as the go-to actor for female characters who are charismatic and powerful. Anderson, as DSI Stella Gibson, was imperious in her white silk shirts and high heels, unwavering in her pursuit of the serial killer played by Jamie Dornan. The screenwriter Allan Cubitt created the role of Gibson with Anderson in mind. ‘I wanted Gibson to be an enigmatic figure. Gillian is a riveting actress, but there is an aloofness to her as well. Also I was attempting to reclaim the idea of the powerful femme fatale, without the fatale; someone who is aware that her beauty can be used to help her ends. That she is unafraid of that was radical.’ Anderson was deeply involved in the creation of Gibson’s look, altering the way she thought about herself in the process. ‘What fascinated me about her, and I feel that we were able to find that in the costume design, was that the way she dressed never felt like it was for anyone else but her. I don’t think I have necessarily changed the way I dress since her, but I feel like I am certainly more conscious of what I wear and what it says.’ As a younger woman her style was ‘messy, like a discarded urchin’. She would wear oversized suits and ‘floppy dresses that I had probably stolen from the thrift store’. Whereas now her look is sleek, and she favours brands like Jil Sander, Prada and Dries Van Noten. The Fall was about gender, power and desire; and it was while filming it in Belfast that Anderson began thinking more about the struggles that women face in the 21st century. ‘I was reading all these statistics about young girls being suicidal and having such low self-esteem and I thought, “Surely, given everything that we know, and the fact we are all having these feelings, can we not start a conversation about whether we want this and how to deal with it?”’ This morphed into her writing a book, We: A Manifesto for Women Everywhere, with her friend, the writer and activist Jennifer Nadel, in 2017. Alternating between pieces by Anderson and Nadel, it details their own personal struggles, and includes practical sections on how to deal with issues such as anxiety and low self-esteem using practices such as meditation, affirmations and gratitude lists. ‘We both know how it feels to be in emotional pain,’ says Nadel. ‘Both of us have felt lost, and found a spiritual way out. Both of us have experienced radical transformation as a result of the things that we wrote about in that book.’ Cubitt and Nadel each say that among the most impressive things about Anderson, as a collaborator, are her focus and drive. ‘I have never met anyone with Gillian’s ability to focus. And she has a certainty about things, she is not mired in indecision,’ says Nadel. What this means is not just an incredibly long CV, but numerous satellite projects. Anderson has a line of smart, grown-up clothes that she has developed with the brand Winser London (‘I didn’t realise I was so opinionated about buttons!’). She also works for numerous charities, focusing especially on women’s rights and environmental issues. ‘Because of my work ethic and also having had such high expectations, both of myself and other people’s of me, at such a young age, I think it became near to impossible for me to relax at all, to do anything that wasn’t work-related, so a lot of my later adult life has been trying to force myself to do that, and I struggle so hard, and sometimes I lose sight of it. So there is a part of me that wonders if I am slightly addicted [to work], I learnt it so young.’ The scant spare time that Anderson allows herself is spent ‘going to the cinema, to the theatre, watching documentaries’. Piper, who has just completed a degree in production and costume design, is now living in her mother’s basement, and the two of them recently went on a trip to Amsterdam to see van Hove’s four-hour stage adaptation of the Hanya Yanagihara novel A Little Life. That might not sound like everyone’s cup of tea, but Anderson loved it. And despite all the seriousness and the self-examination (or perhaps because of it), she is good company, thoughtful and witty. She has, she says, got happier as she has got older, less self-critical, more self-accepting. ‘I am constantly reminded of the fact that I am not normal. But fortunately I have enough abnormal people around me to help me feel that it is actually OK.’

#gillian anderson #all about eve #nice article #a little more depth than usual

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heresince93 · 6 years ago

Text

Full transcript of Gillian’s Telegraph interview

When we meet Anderson is English and warm, talking about the birthday parties she has to organise (she has three children, Piper, 24, Oscar, 12, and Felix, 10); and although she is very petite, wearing white patent stiletto boots and slender black trousers, she exudes the commanding charisma that makes her perfect for her imminent roles.

Rumour has it that she will be playing Margaret Thatcher in an upcoming series of The Crown, the Netflix series created and co-written by her partner, Peter Morgan. No one is confirming this, but no one is denying it either.

Meanwhile, this month she stars in a new Netflix series, Sex Education, in which she plays a sex therapist who lives with her teenage son (Asa Butterfield). And in February Anderson has another plum role: Margo Channing in Belgian theatre director Ivo van Hove’s much-anticipated adaptation of All About Eve, also starring Lily James as Eve, with music by PJ Harvey.

The play – a modern reinterpretation of the 1950 film, which starred Bette Davis as Channing, a blazing Broadway star who is gradually supplanted by a younger rival – is about ambition and betrayal, femininity and anger, stardom and personal sacrifice.

Anderson’s is a bravura role, one that requires not just the cool intensity that we have come to expect from her, but also humour. Channing is deliciously droll, delivering endlessly quotable lines with comic precision (‘I’ll admit I may have seen better days, but I’m still not to be had for the price of a cocktail, like a salted peanut’).

‘A couple of years ago my boyfriend Pete said to me, “You know what would be a great role for you? Margo Channing,”’ Anderson says. ‘So I rewatched the film and I thought, “Oh my God, how much fun would that be!”’

Anderson, not one to wait for opportunity, discovered that theatre producer Sonia Friedman had the rights to the script and was working on it with van Hove – Cate Blanchett was set to be Channing. ‘So I thought, “Ah OK, I’ll just slink into the background.” Then my agents got a call to say that she [Blanchett] had backed out due to scheduling conflicts, and there was interest, and was I interested? So I was like, “Yes! When’s the meeting? Now?”’

Van Hove, on the phone from New York, is equally excited to be working with Anderson. ‘Margo needs someone who understands what the theatre is all about, someone who can carry a play, who can occupy the whole stage, and Gillian can do that; she is a fabulous theatre actress. Although, of course, she became iconic for me in the 1990s when she was in The X-Files.’

There is something a little surprising about Ivo van Hove, an avant-garde director celebrated for his reinterpretations of plays and operas such as Hedda Gabler, Antigone and Lulu, professing fandom for a mid-’90s sci-fi series; but that is to forget the huge cultural impact of The X-Files, its quality and its ingenuity.

The series was about two FBI agents, played by Anderson and David Duchovny, who attempt to unravel various natural and supernatural mysteries. No one expected it to become such a success, least of all Anderson, who was 24 when she was cast in the show. It was her first major role and it made her a star.

She won multiple awards for her portrayal of the sceptical Dr Dana Scully, including an Emmy and a Golden Globe. But such stardom often involves sacrifice and Anderson was suffering.

The production schedule for The X-Files was brutal, involving 16-hour days for nine months of the year. Furthermore, in 1994, aged 25, Anderson married Clyde Klotz, assistant art director on the series, and nine months later she gave birth to their daughter, Piper. After three years she and Klotz divorced. It was while she was pregnant that Anderson started having severe panic attacks.

‘I was having them daily,’ she explains, experiencing palpitations, numbness, ‘hallucinations, all of it’. Things didn’t get better once Piper was born. ‘I was a young mother, and shortly after that we were separating, and I was working these crazy hours. I remember periods of time when I was just crying, my make-up was being done over and over again and I was not able to stop crying.’

Anderson sought solace in meditation. ‘I went to somebody and there was a meditation we did together. We went to some quite dark places and I got to see that I could still survive those dark places, I was stronger than they were, and after that the panic attacks stopped.’

Anderson had been having panic attacks, on and off, ‘since high school’. As a teenager she was a daydreamer and a troublemaker who felt different from her peers in Michigan because of her childhood in Harringay, having left the ‘incy-bincy flat with a bathroom outside’ that she and her parents lived in when she was 11 years old, when her family moved back to the US.

‘I started falling in with groups and trying to fit in, until it got to the point when it was like, “I don’t f—ing want to fit in. I want to look completely different to all of you, and stop staring at me because I have a mohawk.” I’d shave the sides of my head with a razor blade and dye my hair different colours.’

Anderson’s parents, Rosemary and Ed, were living in Chicago and were both just 26 when she was born. Soon afterwards the family moved to London so Ed could attend film school, while Rosemary worked as a computer programmer.

‘My parents were working very hard and would often work late. I have lots of memories of playing by myself in the back garden and searching for friends in the neighbourhood because I didn’t have siblings.’

After moving back to America, Rosemary and Ed had two more children, a son and a daughter. Anderson admits that her adolescent waywardness might have been related to the arrival of two new babies in the house. ‘I made trouble and I got attention that way.’

Acting is another way to get attention, something Anderson learnt early on. ‘I remember being in a play when I was in primary school. I was meant to be a Chelsea fan. I started chewing gum on stage and blowing bubbles and got all the attention. I thought, “This is all right, everybody is watching me!”’

But when she reached 16 and started doing more professional productions in America, performing became fundamentally important to her. ‘I enjoyed the connection between performer and audience, the control. And I remember thinking, “I can do this. They are showing me I can do this.”

'It changed everything in my life, knowing I could do something. Prior to that there hadn’t been that moment yet when I found purpose and direction.’

Anderson decided that she wanted to pursue acting as a career and was accepted at The Theatre School at DePaul University in Chicago. ‘From the very start of school I didn’t go into the dorms, instead I found an apartment with a roommate in a funky neighbourhood. I was the only one who was living out of school. That is my pattern, carving my own thing.

'All through [theatre] school I dressed like I was a member of The Cure. That was how I was in the world, grungy, not considered, not mature. I was forthright and gutsy – I drove myself to Chicago in my dad’s VW van – but slightly falling apart.’

She always knew she would return to England. ‘My childhood here, the smell of north London, it has such a massive tug on me. I really felt, when we moved to the States, that I would eventually have a life back here.’

She and Piper moved to the city after The X-Files ended its original run, and she went on to have two more children, Oscar and Felix, with her now ex-boyfriend, businessman Mark Griffiths (there was also a marriage to British documentary maker Julian Ozanne, which lasted for two years, with the couple separating in 2006).

Anderson, as DSI Stella Gibson, was imperious in her white silk shirts and high heels, unwavering in her pursuit of the serial killer played by Jamie Dornan. The screenwriter Allan Cubitt created the role of Gibson with Anderson in mind. ‘I wanted Gibson to be an enigmatic figure. Gillian is a riveting actress, but there is an aloofness to her as well. Also I was attempting to reclaim the idea of the powerful femme fatale, without the fatale; someone who is aware that her beauty can be used to help her ends. That she is unafraid of that was radical.’

Anderson was deeply involved in the creation of Gibson’s look, altering the way she thought about herself in the process. ‘What fascinated me about her, and I feel that we were able to find that in the costume design, was that the way she dressed never felt like it was for anyone else but her. I don’t think I have necessarily changed the way I dress since her, but I feel like I am certainly more conscious of what I wear and what it says.’

As a younger woman her style was ‘messy, like a discarded urchin’. She would wear oversized suits and ‘floppy dresses that I had probably stolen from the thrift store’. Whereas now her look is sleek, and she favours brands like Jil Sander, Prada and Dries Van Noten.

The Fall was about gender, power and desire; and it was while filming it in Belfast that Anderson began thinking more about the struggles that women face in the 21st century. ‘I was reading all these statistics about young girls being suicidal and having such low self-esteem and I thought, “Surely, given everything that we know, and the fact we are all having these feelings, can we not start a conversation about whether we want this and how to deal with it?”’

This morphed into her writing a book, We: A Manifesto for Women Everywhere, with her friend, the writer and activist Jennifer Nadel, in 2017. Alternating between pieces by Anderson and Nadel, it details their own personal struggles, and includes practical sections on how to deal with issues such as anxiety and low self-esteem using practices such as meditation, affirmations and gratitude lists.

‘We both know how it feels to be in emotional pain,’ says Nadel. ‘Both of us have felt lost, and found a spiritual way out. Both of us have experienced radical transformation as a result of the things that we wrote about in that book.’

Cubitt and Nadel each say that among the most impressive things about Anderson, as a collaborator, are her focus and drive.

‘I have never met anyone with Gillian’s ability to focus. And she has a certainty about things, she is not mired in indecision,’ says Nadel. What this means is not just an incredibly long CV, but numerous satellite projects. Anderson has a line of smart, grown-up clothes that she has developed with the brand Winser London (‘I didn’t realise I was so opinionated about buttons!’).

She also works for numerous charities, focusing especially on women’s rights and environmental issues. ‘Because of my work ethic and also having had such high expectations, both of myself and other people’s of me, at such a young age, I think it became near to impossible for me to relax at all, to do anything that wasn’t work-related, so a lot of my later adult life has been trying to force myself to do that, and I struggle so hard, and sometimes I lose sight of it. So there is a part of me that wonders if I am slightly addicted [to work], I learnt it so young.’

The scant spare time that Anderson allows herself is spent ‘going to the cinema, to the theatre, watching documentaries’.

Piper, who has just completed a degree in production and costume design, is now living in her mother’s basement, and the two of them recently went on a trip to Amsterdam to see van Hove’s four-hour stage adaptation of the Hanya Yanagihara novel A Little Life. That might not sound like everyone’s cup of tea, but Anderson loved it.

And despite all the seriousness and the self-examination (or perhaps because of it), she is good company, thoughtful and witty. She has, she says, got happier as she has got older, less self-critical, more self-accepting.

‘I am constantly reminded of the fact that I am not normal. But fortunately I have enough abnormal people around me to help me feel that it is actually OK.’

All About Eve is running at the Noël Coward Theatre from 2 February to 11 May 2019

#gillian anderson

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atolyepapirus · 4 years ago

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"Çikolatanın Sırrı" adlı çizgi hikayemizin 52'inci sayfası tamamlandı..Öykünün geri kalanını hazırlamaya devam ediyorum. Öyküyü "Çizgi Öyküler" android uygulamasını google play store'dan indirerek takip edebilirsiniz... 52. page of "The secret of chocolate" comic story now ready in "illustrated stories" android app at google play store.you can read this story by download this app... #çikolatanınsırrı #atolyepapyrus #dijitalçizgiroman #çizgiöyküler #kurguçizgiroman #çizgiroman #resimliroman #türkçeçizgiroman #dailycomicpages #digitalcomic #digitalstories #illustratedstories #thesecretofcocolate #dailydigitalsketches #comicstory #turkishcomics #superherostory #fantasticcomics #dailysketches #digitalsketches #superkahraman #comicstoryofday @atolye_papirus www.atolyepapirus.com https://www.instagram.com/p/CO8GlmTD9Jo/?igshid=c18gxpm127ez

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inciexec · 1 year ago

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Part 3

Part 1 // Previous // Next

this ones shorter cuz i need to make her a new design skjdfhskjdfh

#art #digital art #tmnt leo #tmnt raph #tmnt splinter #tmnt donatello #tmnt mikey #tmnt leatherhead #rise of the teenage mutant ninja turtles #save rise of the teenage mutant ninja turtles #tmnt #rottmnt #tmnt fanart #inci's first meeting comic

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xfilesnews · 7 years ago

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‘The X-Files: Cold Cases’ Recap and Review

By Keva Andersen. For a fandom that’s always looking for more adventures of Mulder and Scully, Joe Harris and Audible delivered with “The X-Files: Cold Cases” on July 18. The audiobook is based on the Season 10 comics from IDW Publishing written by Harris and executive produced by Chris Carter that were released starting in 2013. The stories take place after I Want to Believe but before the television Season 10 that aired in 2016. You don’t need to be familiar with the comics to get enjoyment out of the audiobook, as the stories are more fleshed out than they were on the page. I had read the issues when they first came out so I could picture some of the scenes very easily, and while that was entertaining, I know I would have been fine without it. There are six chapters in total, with a brief introductory chapter, and then five different story arcs. Like the TV series, there is some mythology and some “monster of the week” throughout the chapters but there is a definite through-line idea throughout the whole experience.

So does what does this comic-book-turned-radio-play experience have in store? Does The X-Files work well in audio format? Find out more after the jump.

We’ll begin our recap with Chapter 2, as the story starts there, after an introduction in Chapter 1. Chapter 2 follows the “Believers” arc in issues 1 through 5 of the Season 10 comics. This first story is very much a mytharc story and a nice reintroduction of our heroes. We find Mulder and Scully living together as a married couple with the last name Blake. They’ve been hidden by the witness protection program. Scully is working as a doctor and Mulder appears to be writing his memoirs. Walter Skinner, now deputy director, finally, gets in touch with the pair after a security breach at the FBI shows someone or something is looking for information on agents who had been assigned to the X-Files.

After their meeting, Scully is attacked at her clinic while Mulder saves Skinner from an attack by the same group.

As the story weaves on, some familiar faces return. We get brief flashes of Agents Doggett and Reyes, now separated but still affected by their ties to the X-Files. We dig up the Lone Gunmen, literally, in a bunker under Arlington National Cemetery and find that they’ve been working to help the government in exchange for witness protection. Old Smokey is back too, but unlike in the TV series, this version of the Cigarette Smoking Man appears to be some type of clone that doesn’t always function very well. Some elements of the old mythology like missing time and magnetite make a good jumping off point for the introduction of a new alien force known as the Acolytes. And despite everything Scully did to try and keep him safe, William is still very much of interest to these Acolytes. The action of the story takes us to the wilderness of Wyoming and ends with a showdown between Scully, Mulder, and this new faction.

At the end, Scully meets with the FBI’s OPR to try and explain what happened in Wyoming and asks to be reactivated. We hear from the CSM again and get more of an idea of what he’s really become and how the Syndicate may be using him now. We end with a sweet moment between Mulder and Scully at home.

“Cold Cases” gets off to a very strong start with this chapter, if you’re a fan of the mytharc. I love that we’re “seeing�� so many familiar faces and getting back to some of the weirder alien elements. I think having the CSM be some sort of clone makes a lot more sense than the way we saw him onscreen in the TV series’ Season 10. It can get frustrating to have Mulder and Scully separated for so much of the action but hearing how they fight to get back to each other warms the heart. It’s not The X-Files if we don’t get a few good SCULLLAAAYYYYYYYYY’s!

Though we see Scully taken again, she manages to fight for herself just fine. She gets to kick a lot of ass in this and I’ve missed that side of her. I also think Mulder’s weird sense of humor is captured well. The biggest thing I took issue with, however, was the re-working of William’s parentage. The “I forgot she had a baby” and the constant “my son” made me want to put my foot through a wall. I think it’s fine to play with canon but we do know that William is their son, not just hers. Overall, I think the thing I liked most about this chapter is that we see how it’s possible to have tension while keeping Mulder and Scully in a committed relationship. They’ve grown as characters and them being together doesn’t overwhelm the story. No breakup or stupid dates with Tad needed.

Chapter 3 takes us back into Monster of the Week territory and follows Issues 6 and 7 titled “Hosts.” The title alone should tell you exactly which monster from the past pops up in this one.

We start in Mulder’s old stomping grounds of Martha’s Vineyard where a young woman is attacked while swimming. Mulder and Scully share a cute moment in the basement office before meeting their new assistant director, Anna Morales. Morales assigns them the case, which looks suspiciously similar to one they dealt with years before, good ol’ flukeman. Morales sends Scully to re-examine Fluky while Mulder heads to the Vineyard to investigate. There he meets a sheriff who happens to be from Ukraine, and who has more insight into this monster than he initially lets on. Mulder gets to do most of the field work in this one, but as usual lands himself in a world of hurt that Scully has to fix for him. Before he gets hurt Mulder discovers that Fluky wasn’t exactly the only one of his kind.

I think “Hosts” is a fun jump back into the world of monsters. Flukeman is a good choice, in that Scully joked that would be the one thing she would change if given the chance. I also enjoyed the backstory of the creature, though I felt at times it dragged on a little too long. The Mulder and Scully banter is pretty great as well, though I could have done without the “Mulder scoping out the beach babes” bit. Getting back in the autopsy bay with Scully was a blast, and while, again, it was kind of a bummer to have our heroes separated, they kept things moving nicely with all the phone conversations so it wasn’t too bad. The line “we now have flukemen crawling out of every inlet of the sewage chamber” will keep you up at night.

Chapter 4 follows Issue 8 and is titled “Being for the Benefit of Mr. X” so I bet you can guess which ghost shows up in this episode. We start off with more basement banter and a snoozing Mulder who claims he was meditating instead. Their sparring is interrupted by mysterious beeping messages on Mulder’s phone. The last one is a garbled voice that sends him to his old apartment at Hegal Place. This sends Mulder chasing the ghost of his old informant after the things they find at #42 seem to be more than just coincidence. The original Mr. X is still very much dead and his clone has a physiology we’ve seen before. We get some great insight into X’s backstory and how he almost went public with what he knew back in 1987 but Deep Throat had talked him out of it. The look at how far the Syndicate would go to test their work is truly disturbing.

I enjoyed the historical aspect of this episode, especially the part about how X ended up pointed towards Mulder. We know a little bit about what Mulder was up to before he and Scully were partners, so, for me, any additional insight is welcome. The school shooting with the test subjects can be pretty hard to listen to, and I found myself thinking it would have worked just as well to choose some other horror to demonstrate how far the Syndicate would go with their goals. In an episode that’s pretty dark overall, I think that made Frohike’s eavesdropping on Mulder and Scully’s phone call that much funnier. It makes you wonder what else he’s heard over the years….. I will say, I definitely missed Steven Williams as X and Jerry Hardin as Deep Throat.

Chapter 5 is the shortest of the book, and probably also my least favorite. The story is based off Issue 10 and is titled “More Musings of a Cigarette Smoking Man.” In an effort to learn more about the man he is supposed to be, the clone of CGB Spender is sorting through an archive. We follow the CSM through the Bay of Pigs in 1961, Homestead Air Force Base in 1962, Fort Bragg in 1970, Rhode Island in 1965, the State Department in 1972, and back to the present day. We learn more about his interactions with Bill Mulder, Teena Mulder, and young Fox. The memory with Cassandra Spender is heartbreaking and shows how broken that relationship was from the start. The ending explains more about what this CSM really is, and how little power he has compared to the original. He’s but a tool of Prime Elder. He may look like the Cancer Man of old but this time he’s a pawn in the game.

I’ll admit I’m not much of a fan of the TV episode “Musings of a Cigarette Smoking Man” so I wasn’t too excited about this one as it started. But for fans of the CSM, I think it’s a must-listen. William B. Davis does an excellent job, Spender’s words are just as slimy and loaded as they are on screen. I did appreciate getting more of the backstory of Spender, and I love that he’s back in a way that seems more plausible than “Nah, we just burned part of him even though you watched his flesh burn away from his skull in 2002.” I also like that despite the fact that this is a CSM heavy episode, Mulder and Scully are still part of the action by introducing us to the story and bouncing ideas around.

Chapter 6 is the longest of the episodes and brings us back into heavy mytharc territory. Titled “Pilgrims,” this follows Issues 11 through 15. We begin, like any good X-Files episode, with Mulder’s underwear. Ok, maybe we shouldn’t start every episode that way but it’s pretty funny. Mulder and Scully have been called to Saudi Arabia to investigate an incident at an oil drill site. At first, the agents seem curious as to why they’ve been called in for such an incident, but as we all know, if there’s oil involved, it’s probably an X-File. Assistant Director Morales is back, and she accompanies the agents to the oil field to investigate. Of course, they don’t turn up much there, but Mulder is up to his old evidence-stealing tricks. He takes a card containing video of the incident he believes to have been edited. The agents go their separate ways, with Mulder headed to make contact with the Gunmen and Scully meeting with a woman who was injured in the incident at the oil field. After they split is when things start to get truly interesting. Another ghost from XF past appears, and who should it be? When I consult the notes I was taking while listening, all it says is ALEX FREAKING KRYCEK!!!! But as with our other returned-from-the-dead nemeses, Krycek isn’t exactly as he seems either. As the story unfolds, it would seem Krycek hasn’t been who we thought he was for a very very long time. Though just when you think he’s back, those pesky aliens come calling again.

With the black oil on the loose, Mulder and Scully head to the desert in search of UFOs. You’d think Mulder would have learned his lesson by now, but no. This time, it’s Scully’s turn to get abducted. Thankfully, the aliens were kind enough to drop both her and Krycek outside the Lone Gunmen’s bunker. We also get a return to Skinner’s apartment, who seems thrilled to have a chance to torment Krycek all over again.

Mulder is still in Saudi Arabia trying to make his way back to Scully but ends up an unlucky host to the black oil. This time the being made of black oil has a name, Sheltem.

Sheltem-as-Mulder makes his way home to Scully, who at first believes this to be Mulder but soon realizes her mistake. Sheltem is familiar in that he’s of the black oil but different in that he’s part of a race called the forsaken ones. After more disappearances and reappearances by both aliens and Syndicate, the story comes to a close in a familiar place, Skyland Mountain.

The tension builds to the very end, with new alien factions warring with those we’ve seen before, the Faceless Rebels. The chapter ends with some answers, but also plenty of questions, and another look at what CSM has become.

As far as mytharc goes, I thought this chapter was really well done. The blending of the old with newer ideas works well to keep things moving. I did question at first Mulder’s possession by Sheltem. If memory serves me correctly, he should be immune to the black oil after his exposure in Russia. But it seems that Sheltem is “different” enough that I could stretch to let that go. I was also glad there was one element they changed slightly from the comics. The comics insinuated that Scully had sex with Sheltem-as-Mulder, thinking he was Mulder, and that he hurt her, which I found really unnecessary. The X-Files has a history of problematic consent scenes, like “Small Potatoes” and “Post-Modern Prometheus” and I think they made the right choice in not including that scene in the audiobook beyond just a kiss.

Having Krycek return was fantastic, but Nick Lea was sorely missed. I loved how they traced Krycek’s abduction all the way back to the 1013 silo from Season 3’s “Apocrypha.” It would seem then that none of his actions from poisoning Skinner with the nanobots, to selling Mulder out with the UFO in “Requiem,” to his actions in “Existence” were all the work of this clone from the Syndicate, and not Krycek himself.

It also wouldn’t be an X-Files episode without someone making some kind of joke about Mulder’s porn habits. I’m sure David Duchovny was thrilled that that joke made its way from TV to audio. I also got a kick out of Scully’s “I should pull the fire alarm more often.” I liked that she got to take charge of the investigation at points, and how she knew the faceless rebels were coming at the end. A nice throwback to “The Red and the Black.”

A few final thoughts now that we’ve wrapped up the series. I liked the stories, but at times I found them a little hard to follow. Though, I also found myself getting so engrossed in the story I couldn’t listen while driving because I would get too distracted! And while I’m sure voice acting in a booth by yourself without your co-stars isn’t easy, I did find Mulder and Scully to be a little stiff at times. I think the quality of some of the dialogue they were given probably added to that. But they did have some great moments of banter between the two of them and let’s be real, I’d listen to Mulder and Scully read the phone book at this point. Mulder’s sarcasm and deadpan humor comes through really well, and I appreciated that Scully got the chance to be snarky and funny as well. Also, because it’s audio, there’s even more exposition than we’d get on the TV series which sometimes feels silly.

Of all the stars who returned to their characters, I think Mitch Pileggi knocked it out of the park. His Skinner felt spot on to me, just as gruff and no-nonsense as we’ve come to expect. His interactions with Krycek were some of my favorite things. It was a joy to have Tom Braidwood, Dean Haglund, and Bruce Harwood back as the Lone Gunmen, as well as William B. Davis, and they also felt pretty in character as well. I do think it’s a shame that for whatever reason they weren’t able to get Robert Patrick, Annabeth Gish, and Nick Lea to reprise their roles as Doggett, Reyes, and Krycek. Having other actors playing those voices we knew so well was really distracting, to the point I sometimes forgot who was supposed to be talking.

Overall, I really enjoyed the series and I think it’s well worth a listen for any fan of the show. Small criticisms or no, it’s a fun ride and makes a great accompaniment to any road trip or other places you might take an audio book. If “Cold Cases” left you hungry from more, you’re in luck. Audible has announced a second book in the series. “The X-Files: Stolen Lives” will be available on October 3, 2017. You can pre-order it here. So, we’ve got that to look forward to as we wait for Season 11 to air in 2018.

#The X-Files #XFiles #the x-files: cold cases #david duchovny #gillian anderson #mitch pileggi #william b. davis

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