#Tamsin Flowers

[bacchanal-if]

HAHA. Having a normal one. Uh. What kind of novelty bath bomb would each of the cast be.

Yeah, you too? Let me commiserate with you, anon. Here, let me share some of my amarro which is incidentally keeping me totally sane (or whatever you prefer, let's just token) 🥂✨

Fox:

The kind that turns the water midnight blue with glittering swirls. It makes you want to know what lies beyond the surface. Its shape is a smiling moon.

Rabbit:

It is relaxing, probably with chamomile, likely with lavender buds. One breath and your tension melts. A normal sphere but with visible flowers in it.

Butterfly:

The kind that puts on a show. It fizzes grandly and turns from one color to another until it sizzles out into a silky hue, then hugs you in its comforting grasp with notes of bergamont. Its shape is amorphously ornate.

The Uninvited Guest:

It turns your bath wine red and smells like it, too. It makes you want to put your head under and breathe it in; drown in it. The shape is of an ouroborous with jewels lining it.

Edith/Edward:

Bought from some overpriced vendor, but not without its virtues. It is made with high quality ingredients and turns your bath into a molten gold hue. The shape is a gold bar, which dissolves into a molten core.

Tamsin/Thomas:

Theirs is a spring green and akin to blooming teas, where it unfurls, but then it dissolves. The shape is a delicate myrtle blossom.

[oysters-aint-for-me]

books ive read so far in 2024

The Long Way to a Small Angry Planet, by Becky Chambers

A Closed and Common Orbit, by Becky Chambers

Record of a Spaceborn Few, by Becky Chambers (are you seeing a theme)

The House on the Cerulean Sea, by TJ Klune

The Galaxy and the Ground Within, by Becky Chambers

A Psalm for the Wild-Built, by Becky Chambers

A Marvellous Light, by Freya Marske

A Restless Truth, by Freya Marske

A Prayer for the Crown-Shy, by Becky Chambers

Americanah, by Chimamanda Ngozi Adichie

Under the Whispering Door, by TJ Klune

Affinity, by Sarah Waters

The City We Became, by NK Jemisin

A Power Unbound, by Freya Marske

Passing Strange, by Ellen Klages

The Fifth Season, by NK Jemisin

Witchmark, by CL Polk

The Obelisk Gate, by NK Jemisin

The Color of Magic, by Terry Pratchett

Gideon the Ninth, by Tamsin Muir

Winter’s Orbit, by Everina Maxwell

The Stone Sky, by NK Jemisin

Last Night at the Telegraph Club, by Malinda Lo (5/27/24)

Light from Uncommon Stars, by Ryka Aoki (5/31/24)

Tinkers, by Paul Harding (5/31/24)

Strong Motion, by Johnathan Franzen (6/6/24)

The Magpie Lord, by KJ Charles (6/10/24)

Trust, by Hernan Diaz (6/12/24)

The Song of Achilles, by Madeline Miller (6/16/24)

A Case of Possession, by KJ Charles (6/21/24)

Flight of Magpies, by KJ Charles (6/25/24)

Our Hideous Progeny, by CE McGill (6/27/24)

The Hundred Thousand Kingdoms, by NK Jemisin (6/28/24)

Ocean’s Echo, by Everina Maxwell (6/30/24)

Wolfsong, by TJ Klune (7/7/24)

The Broken Kingdoms, by NK Jemisin (7/10/24)

We Could Be So Good, by Cat Sebastian (7/12/24)

Ceremonial Time, by John Hanson Mitchell (7/12/24)

The Employees, by Olga Ravn (7/18/24)

Crossroads, by Jonathan Franzen (7/19/24)

Ravensong, by TJ Klune (7/22/24)

Harrow the Ninth, by Tamsyn Muir (7/31/24)

The Candy House, by Jennifer Egan (8/3/24)

Remedial Magic, by Melissa Marr (8/4/24)

Nona the Ninth, by Tamsyn Muir (8/8/24)

The Seven Husbands of Evelyn Hugo, by Taylor Jenkins Reid (8/14/24 or thereabouts, i was without wifi for a few days)

The Pairing, by Casey McQuiston (8/20/24 or thereabouts)

Gideon the Ninth, by Tamsyn Muir (again) (9/10/24)

Lightning Flowers, by Katherine E. Standefer (9/15/24)

Harrow the Ninth, by Tamsyn Muir (again) (9/23/24)

The Stars Too Fondly, by Emily Hamilton (9/27/24)

This Is How You Lose the Time War, by Amal El-Mohtar and Max Gladstone (10/2/24)

Comedy Book, by Jesse David Fox (10/8/24)

Delilah Green Doesn’t Care, by Ashley Herring Blake (10/14/24)

Astrid Parker Doesn’t Fail, by Ashley Herring Blake (11/9/24)

Iris Kelly Doesn’t Date, by Ashley Herring Blake (11/19/24)

Hot Dog Girl, by Jennifer Dugan (11/25/24)

Nona the Ninth, by Tamsyn Muir (again) (11/30/24)

Melt with You, by Jennifer Dugan (12/1/24)

Slaughterhouse Five, by Kurt Vonnegut (12/4/24)

Gideon the Ninth, by Tamsyn Muir (again) (12/8/24)

Some Girls Do, by Jennifer Dugan (12/9/24)

(i only decided to start dating when i finished each book when i was like halfway thru the year oops)

[frstwomn]

thinking about how tamsin poured all her anger, her guilt, her HOPE into her shelter for unhoused veterans and how the one person who believed in her from the very beginning was murdered on television in front of her. how she feels it should have been her….how president king joked with her a few days prior to the attack that he chose her because she’d make a good president.

how every Christmas she pours out a glass of his favorite whiskey and dumps it down the drain. brings flowers to his grave (which is never empty of flowers) and just talks to him until she can’t feel her toes

[sunliights]

a continuation of here for @vacillatcs

"i mean... i don't know, really." tamsin does know, she's only lying to cover the fact she doesn't want anymore flowers. the single gesture already has guilt that she doesn't want to be experiencing filling her. "i guess i've never really thought about it," she shrugs, "since no one gets them for me, y'know?"

[beautifulgiants]

Josh Hartnett: 'People genuinely thought I'd been thrust on them'

Ryan Gilbey

Twenty years ago he was one of the world’s hottest young actors, before he retreated – and ended up in Surrey. He explains why he had to leave Hollywood – and what he knew about Harvey Weinstein

Fri 23 Oct 2020 06.00 BST

Source :

Josh Hartnett is sitting at home in Surrey, thinking about the time he was asked to play Superman. “I had this idea that because he lives in this world where he can’t touch anything without it flying across the room, he has become almost afraid of himself and his own power. He doesn’t know how to be Superman any more. He’s so afraid, he has become almost neutered by the experience of living on Earth, where he can blow things up just by looking at them.”

The studio demurred – “They didn’t really want a fear-based character at the centre of their movie,” he says wryly – and Hartnett walked away. But his Superman concept now feels like a metaphor for what was happening at the time in his own life, as he became increasingly overwhelmed, even horrified, by his status and the hysteria that surrounded it. Twenty years ago, the hottest young male actors in Hollywood were Leonardo DiCaprio, Will Smith, Matt Damon, Ben Affleck – and Hartnett. Michael Bay, who directed him in Pearl Harbor, put it bluntly: “He’s going to be fucking huge.” The actor grimaces at the mention of that. “Huge was never something I aspired to,” he says.

Back then, he seemed like a pretty kid who had got in over his head. Now 42, he has acquired the squinting, quizzical handsomeness of Richard Gere. He and his wife, the British actor Tamsin Egerton, moved to Surrey with their two young children to be closer to her parents, he explains. “And then, of course, coronavirus ...” In other words, they’re not going anywhere. So he has time to talk and a new film to talk about: the factually based thriller Target Number One, which is better than any of its plucked-from-a-hat titles (it has also been known as Gut Instinct and Most Wanted) might suggest.

This is partly due to the dazzling Antoine Olivier Pilon, star of Xavier Dolan’s psychodrama Mommy. He plays a real-life petty drug dealer who was sentenced to life in a Thai jail after being set up by Canadian police. Hartnett is solid in the less showy, meat-and-potatoes role of the journalist Victor Malarek, who fought to expose the truth. In this capacity, he gets to perform the time-honoured All the President’s Men routine of storming into his editor’s office, tossing a newspaper on the desk and demanding to know where the hell his story is.

Hartnett does his homework. On The Virgin Suicides, it wasn’t enough to play what the director Sofia Coppola had written; he also raked over his character, a dreamy high-school stud, with Jeffrey Eugenides, who wrote the original novel. On Brian De Palma’s film noir The Black Dahlia, Hartnett trained as a boxer for several months, simply because his character, a cop, used to be one. Naturally he met with the real Malarek before playing him. Why? “I wanted to see if he was full of shit.”

Malarek, he explains, has been accused by his critics of putting himself at the forefront of his own stories. “Ultimately, Victor is a humble man, but he does think of himself as someone who stands up for people in vulnerable positions. He likes to insert himself into a situation, though in my opinion what he’s really doing is putting himself in the line of fire. In a way, he almost downplays his own contribution.” Malarek has said that he had no idea who Hartnett was. As someone who has spent the last 15 years or so running from fame, this must have pleased him. “I didn’t assume he’d know me,” he says. “My interest in going to meet him was not to have flowers laid at my feet.” So he didn’t take along a signed Pearl Harbor poster? “I should have done. That would have been a great introduction. ‘Hi, I used to be somebody …’”

Quite. At the end of the 90s, Hartnett was everywhere. He starred in back-to-back horror hits – the aliens-in-high-school romp The Faculty and the sequel-cum-reboot Halloween H20 – and resembled a walking shampoo commercial in The Virgin Suicides, where he sashayed in slow-motion to the sound of Magic Man by Heart.

“It’s a little bit heartbreaking to see all that time has passed,” he says. “I was a child. I was 19. The Virgin Suicides felt like a group of friends all pulling together. I think I’m still looking for that experience whenever I make a film.”

The Faculty and Halloween H20 were produced by Dimension, the horror arm of Miramax, making Hartnett part of the Weinstein brothers’ stable of talent. “I was a kid who they felt they should invest in, but I didn’t spend a ton of time with them,” he says. “We had a sort of antagonistic relationship because the contract I signed for those first two films guaranteed me to be a part of, like, five more or something. They’re called contract extensions. I was told at the time that nobody ever uses them, but then I guess I became popular and they decided to, um, exercise that right. What they did a few times was to jump on other projects I was working on already and become co-producers.” These included O a modern-day Othello with Hartnett impressively coiled as the Iago figure, and the comic thriller Lucky Number Slevin, in which he seemed to be poking fun at his own image by spending the first half-hour scampering around in nothing but a towel.

He shifts uneasily when I ask whether he was surprised by the revelations about Harvey Weinstein. “There are all sorts of rumours about guys like that which permeate the business and you think, ‘That’s awful.’ The casting couch was a thing people joked about when I was first in the industry, so it was an open secret that this business is a little bit fucked up.”

When he was offered Pearl Harbor, his instinct was to turn it down. “I didn’t necessarily want things to change that much,” he says. “I was happy with the amount of fame I had and the types of roles I was getting. At the same time, I asked myself: ‘Am I just afraid that by doing Pearl Harbor, I’m going to enter a new category of film-making that I might not be ready for?’ I ultimately chose to do it because turning it down would’ve been based on fear. Then it defined me, which means I was right to fear it.”

His co-stars didn’t have it easy either. Kate Beckinsale was told to work out (“I just didn’t understand why a 1940s nurse would do that,” she said) while Affleck was ordered to get new teeth. “Well, they are great teeth,” Hartnett says. “I was asked to work out, too. But you know, I could have used it. I was 165lb wet. I was a really skinny kid.”

As well as his own misgivings about the project, there was the heightened press attention, including a splashy Vanity Fair interview with him from the set of Ridley Scott’s Black Hawk Down. “Oh, that was an awful piece,” he shudders. “Was there even a quote from me in it, or was it just everyone talking about how hot I was? People got a chip on their shoulder about me after that. They genuinely thought I’d been thrust on them. It was a very weird time.”

It was around then that he plotted his calculated retreat. After Superman, there were reports that he had also turned down Batman; in fact, he didn’t get any closer to that part than a conversation with Christopher Nolan. But the perception of him in Hollywood began to change. “They looked at me as someone who had bitten the hand that fed me. It wasn’t that. I wasn’t doing it to be recalcitrant or a rebel. People wanted to create a brand around me that was going to be accessible and well-liked, but I didn’t respond to the idea of playing the same character over and over, so I branched out. I tried to find smaller films I could be part of and, in the process, I burned my bridges at the studios because I wasn’t participating. Our goals weren’t the same.”

He has put his movies where his mouth is, working with idiosyncratic directors such as Tran Anh Hung on the thriller I Come With the Rain and Atsuko Hirayanagi on the comedy Oh, Lucy. Nor is he averse to the mainstream: he will next be seen alongside Jason Statham in Guy Ritchie’s Wrath of Man. But it’s a measure of how unusual it is for a star to withdraw so early in his career that by the time Hartnett made The Black Dahlia in 2006, GQ magazine was already referring to it as his comeback.

“I’m happy to be done with that era and to be making films that are more personal to me,” he says. “Directors are coming to me to play characters as opposed to versions of a hero I played in a movie once.”

He is nothing if not conscientious. A few days after our Zoom conversation, he phones me because something has been bothering him: he doesn’t feel he made his feelings about Weinstein clear. This time, he puts it as plainly as he can. “I wasn’t surprised he was a creep,” he says. “But I guess I was surprised at the extent of his creepiness.” He’s concerned, too, about what comes next. “The shameless seem to be finding it easy to make a comeback. Louis CK has been pretty shameless. Harvey Weinstein, if he had the tiniest bit of daylight in there, would find a way to get back in. Those are situations that freak me out.” But there are, he says, visible changes taking place. “Different things are expected of the way people act on set. There’s an open line of communication now for anyone who feels they’re being harassed. And there’s less of the so-called locker-room humour that people used to hide behind.”

Was he ever harassed as a young actor? “The last thing I want to do is come across like … You know, I’ve been in situations where I’ve been uncomfortable with my boss’s behaviour but I’m not gonna say …” He changes tack. “That’s not my experience and it’s not my place to claim that. It makes me feel icky to try to do so.”

He also tells me that he went back to that Vanity Fair article and realised it wasn’t so bad after all. “It’s just that it happened at a time when I wasn’t that famous, and it seemed to already be asking whether I should be or not. I felt like: ‘Oh my God! I’m not the tallest poppy yet – don’t cut me down!’ I was being compared to Tom Cruise and Julia Roberts and that’s insane. It was a set-up-to-fail moment.” He gives a sigh. “It was actually an interesting look at the nature of fame. If only it wasn’t about me.”

[kaijuposting]

Who is Tamsin Sevier? The Rundown on Stacker Pentecost's Co-Pilot

Note that there will be spoilers for Tales From Year Zero in this post!

I think we all remember the iconic scene where Stacker Pentecost looks down at Mako Mori while standing atop Coyote Tango. But the Pacific Rim film never tells us who Stacker's co-pilot was.

However, the tie-in comic Tales From Year Zero gives us a proper look at Pentecost's co-pilot, and shows us what becomes of her.

In the comic, Pentecost's narration informs us that his co-pilot blacked out while fighting Onibaba. Then we learn that after this fateful battle, it was discovered that Tamsin had developed cancer. The PPDC took both them both off the roster at this point.

At this point, she and Pentecost effectively part ways. Soon after, Pentecost adopts Mako Mori. Eventually he takes Mako to meet Tamsin in the hospital:

Sadly, Tamsin does not survive. The comic shows us a panel of Mako Mori placing flowers on her grave in November of 2024 (for reference, the film takes place in January of 2025):

On his blog, Travis Beacham shares some of his further thoughts on Tamsin. He says that Tamsin was like a "big sister" to Mako, and implies that Tamsin may have been attracted to women. (Shipping Tamsin with Stacker Pentecost's sister Luna was a thing that was going on at the time.)

So yeah, we don't get a whole lot on Tamsin Sevier, but there's no denying that she was very important to both Stacker Pentecost and Mako Mori.

[historicalreusedcostumes]

This Red/blue with flowers in front of dress is worn on an extra in Tom Jones (2023) and later worn on Tamsin Greig as Helen Gwinear in The Completely Made-Up Adventures of Dick Turpin (2024)

[forensicated]

TRIGGER WARNING: Discussion of cancer and bereavements

Smiffina Episodes - Episode 308

Sun Hill officially reopens but sadly, due to the loss of his family the day before, Adam can't be present so it's left to Jack and Gina to deal with the re-opening after the fire.

Jack and the Collision Team at Traffic have made Gina Adam's FLO without asking her due to their past relationship and current friendship. Gina tells him she has to be somewhere later on and Jack guilts her by asking if it's more important than being there for Adam. Gina tries again to get out of it but Jack won't hear of it.

Gina is outside Adam's house trying to get hold of him and - at the same time - try to put back her scheduled combined cancer treatement. She can only delay it until 12.30pm. Adam doesn't answer his phone, nor does he answer the door. Jack rings Gina and tells her that Denise was on a mobile call just moments before the collision. The accident could have been her fault and he wants her to gently warn Adam. Gina tracks Adam down to the scene of the accident where he's wandering in a daze trying to lay some flowers in memory of his family. He's horrified to hear Gina's update and refuses to believe that it could be Denise's fault after a potential red light run.

Gina reassures him that she doesn't think Denise would do that but 'we all make mistakes' and everything has to be looked into and investigated. It's nothing personal. He's adamant that Denise didn't cause the crash and refuses to return home - he's going to the station with Gina to find out what is happening.

The other driver arrives to talk to Jack and the PC from the Traffic division. They have to tell her that the other victims have passed and that the husband is receiving support. Adam enters into the new look Sun Hill front office and is startled. He leans against the wall to the front interview room where the other driver is without realising. She is sobbing to Jack that she doesn't remember what happened. "Does this mean it's my fault? Did I kill those people?"

Jack is surprised to enter his office to find Adam waiting for him with Gina. Jack reveals there's been no other witnesses come forward, but the other driver is being interviewed. Jack tells him that they've spoken to the mother of the Taylor Family - who Denise's last call had been to. He confirms that Helen, the mother, only spoke to Malcolm, not Denise, because Malcolm had left his school bag at their house. The call ended literally a few seconds before the crash happened so Helen did not hear anything from the scene. Gina leads Adam downstairs as he insists on speaking to PC Minton from Traffic, only to be confronted by the other driver in the background. He doesn't understand how she can barely have a mark on her when he has lost everything. PC Minton tells him that Tamsin can't remember what has happened yet - giving her full name so that Adam can conviniently find her later (!).

Gina talks him into going home and asks him if he wants her to come in with him. "Don't you have better things to do?" he asks. Gina, clearly mindful of her chemo but also being Adam's friend just reassures him. "No, I don't." Adam lets them in for clearly the first time since the accident has happened, the wind knocked out of him as he sees the house left as it was with his children and wifes things all over - including the childrens toys dropped where they'd left them and Denise's mug on the table. Gina gently hugs him and tells him he has to let himself grieve for them, he can't keep fighting it off. Adam says he had the impression Gina needed to be somewhere as she makes him a cup of tea but she reassures him it can wait. She reassures him that Denise loved him very much, despite his concerns he was away from the house and family too much due to work. She tells him also that Denise was very calm and in control at the scene. Adam is angry that he never got to tell her about the kids, phrasing it as though he felt like he was lying to her despite them always being honest -he works himself up and then asks Gina to leave.

As Adam's on his own, someone calls the house and Denise's voice cuts in on the answerphone. Adam keeps replaying it over and over again so he can hear her, breaking down into tears. His anger grows and he returns to the station, noting Tamsin Parker - the other drivers - address - going over to her house. Tamsin tries to tell him that she doesn't remember anything - before Adam reveals himself as the husband of the other family who died - barging into her house.

[steampunkenglish]

I Missed Last Friday, Sorry

What Happened Last Week

You may have noticed my absence on this forum last week (all five or six of you who follow me regularly--by the way, thank you). I hit that portion of the semester known by all as finals. Last week, I was finishing my grading so that this week, finals week, I could focus on test proctoring, answering last-minute emails of drama, and planning for next term. This Friday, I'm waiting on one last student to complete a final (technical difficulties) so that I can post grades for my last class. Once that's done, I can relax a little (or so I tell myself).

I was also recovering from JordanCon, which was beyond fantastic! I had a wonderful time and sold books at the Falstaff table (as usual). I got to room with Tamsin Silver, who is just the best roomie ever. It's always good to get to know people who love history and historical figures as much as you do.

I got to hang out with so many people I love that weekend that it's hard to name everyone. If you haven't come to JordanCon in Atlanta yet, you should give it a try. It's a small con and there are a lot of writers and small publishers who attend. This makes it a great place to network and just meet people. Even if you only go to a few of the sessions or workshops, the con is worth it because of that. I kind of consider it my genesis con because that's where I met my publisher.

What I Plan to Do on Summer Break

I'm not getting a huge summer break. I'll get about a week where I can take a few days off from the day job (not enough hours this time--do not get me started on how I feel about using vacation hours for summer break when there are no students on campus anyway). Still, I do have some plans during this time of no students and no classes:

I am going to work in earnest on the second Kate and Shadow novel, which still is untitled (maybe #supersecretsecondkateandshadownovel?). I am getting a grip on the real evil in this novel and it's going to make things difficult for our heroine. I've been flailing around trying to figure out how this will work, but I think I've got it, so we'll see.

I will be at the Georgia Renaissance Festival May 20 and 21 with a bunch of other authors (some Falstaff, some not) to sell books. There will be hardcovers as well as paperbacks of Children of Menlo Park. There may also be copies of a certain anthology I have a story in at my table if it releases in time (I'm hoping).

I'm going to help my dad plant our annual vegetable/flower garden in the front yard. It's going to be bigger than ever this year. There will be photographs, and you all will have to just endure that. I'm also going to help him finish laying gravel under the back porch. And yes, my dad is 83 but can still outwork you and me and three other people.

I plan to take lots of walks and possibly a day trip somewhere fun. We shall see.

The rest of the summer is looking to be interesting and full. Stay tuned!

#childrenofmenlopark #writinglife #dayjob #summerbreak #georgiarenaissancefestival #jordancon

[bacchanal-if]

If MC were sick- not major drama, but a proper illness or cold, and was on bedrest, how would LI care for them?

Fox:

They would try their best to be with them as much as they could just so they weren't without someone to care for them. The MC would have everything they need and more within reach.

Rabbit:

They would keep the MC company, read to them, and make sure they were cared for.

Butterfly:

They would suggest that the MC come outside for some fresh air.

The Uninvited Guest:

They would make sure the MC has all the creature comforts, but there's not much else they can do. It's a cold and will go away.

Edith/Edward:

They would make sure the MC has the best doctor tending to them and would check in on them when they aren't working. The MC doesn't really need a nurse with them the whole time but for some reason they end up with a really attentive one...

Tamsin/Thomas:

They would bring the MC fresh flowers, air out the room, bring them soup, lots of little things to keep them comfortable. Francis would be annoyed by T bossing them around over the whole thing while they're out 😂

[iggylici0us]

I've been tagged by @lunarlegend to share 8 songs I'm currently listening to. Thank you! 💕

I've been on a bit of a 90s binge lately so please don't judge me too harshly. 😂

1. Linger - The Cranberries 2. Lilac Wine - Jeff Buckley 3. Dance Macabre - Ghost 4. Coraline - Måneskin 5. Wasted on You - Evanescence 6. Thank You for the Venom - My Chemical Romance 7. Flowers - Miley Cyrus 8. Sleeping Satellite - Tamsin Archer

I'm gonna tag @phoenixiancrystallist @purrfectleoboy @ringnis @deamon-noctis @nekoabi and anyone else who wants to get in on this. No worries if you don't!

[londranotizie24]

Di Roberta Leotti Dal Theatre503 di Battersea, arriva "Back to Terra Firma", la nuova drammaturgia scritta e diretta da Tamsin Flower, con la partecipazione dell’attrice italo-inglese Barbara D’Alterio (già nota al pubblico UK per Hollyoaks). Uno spettacolo che unisce amore, cambiamento climatico e sopravvivenza in un futuro distopico. "Back to Terra Firma": Una Storia d'Amore Speculativa nel Regno Unito del 2080 Tutto pronto per la serata di apertura di Terra Firma al Theatre503 di Battersea, la drammaturgia scritta e diretta dall'attrice, regista e sceneggiatrice Tamsin Flower. Lo show segue il successo della lettura scenica dello scorso giugno al Bush Theatre, dove la prova dei quattro attori in scena aveva registrato consensi entusiasti del pubblico e l'interesse dei professionisti del settore. La durata è di 90 minuti e si concentra in un atto unico (senza intervallo), l'idea del Regno Unito catapultato nel 2080 fa da sfondo a una storia d'amore speculativa, dove oltre all'amore per se, la narrazione fornisce spunti di riflessione su diverse tematiche attuali. Prima tra tutte il cambio climatico, un problema che sebbene molto discusso, tutt'oggi non sempre è affrontato con provvedimenti adeguati. Protagonista nel cast di "Back to Terra Firma", Barbara D’Alterio – attrice italo-inglese conosciuta per il ruolo di Silvia nella soap opera Hollyoaks (Channel 4) – porta la sua interpretazione carismatica in questa storia speculativa. In un’intervista social, l’attrice ha descritto la drammaturgia come: "Una narrazione che parla di famiglia, amore e persone che cercano di cavarsela…" La sua presenza aggiunge un tocco internazionale a uno spettacolo che, nonostante sia ambientato nel 2080, riflette problematiche molto attuali. Trama e Tematiche: Un Futuro che Sembra Già Presente Lo spettacolo, della durata di 90 minuti senza intervallo, è un mix di dramma, amore dark e critica sociale. Questo ritorno alla terra ferma pur essendo una rappresentazione futuristica del Regno Unito non è poi una visione così distante dal nostro presente, anzi, e ben si adatta ad altre realtà che non appartengono alla Union Jack. Forse sta proprio nella nostra natura di prenderci cura di noi stessi e salvare gli altri, nonostante i mezzi spesso siano limitati e nonostante quello che ci circonda. Ambientato in un Regno Unito diviso tra megalopoli e campagne, la storia segue: - Ollie, una donna di città in missione commerciale - James, un funzionario delle terre agricole - Un ragazzo misterioso caduto letteralmente dal cielo Con il cambiamento climatico come sfondo (non piove da tre anni!), lo spettacolo è un invito a riflettere sul presente. Informazioni Utili Back to Terra Firma vi aspetta tutte le sere fino venerdì alle ore 19.30 al Theatre503 (il teatro è ubicato sopra il pub The Latchmere) ed è facilmente raggiungibile con i mezzi pubblici. - Dove: Theatre503 (sopra il pub The Latchmere, Battersea) - Date: 8-11 aprile 2025 - Orario: 19:30 - Biglietti: Theatre503 | Back to Terra Firma - Avvertenze: Contenuti potenzialmente disturbanti (consigliato +15). ... Continua a leggere su

[sunliights]

a continuation of here for @invcntions

it had been an off-hand comment, not one that tamsin had expected sasha to latch on to... or do something about. it makes a part of her melt — which feels disastrous to her. "no, i don't hate them," she's quick to reassure her, looking up from the bouquet to sasha's face. she feels the need to quickly look away again and so focuses back on the flowers. "it was sweet of you to bother. i wasn't hinting, i swear."

[frstwomn]

It never gets easier.

Tamsin has lost so many people in her life. Seen death first-hand, nearly died herself once. But death never gets easier. Crouched in front of the tombstone, her gloved hand gently touches the petals of the flowers she had just placed. President King had not deserved fate he had gotten. But none of them had deserved it.

Glancing upwards to Nate, she shakes her head, pulling her beanie down tighter against her cold ears. "At least there's no pain where he is now." It was a pathetic consolation to her. He didn't have to handle the knowledge of a betrayal, of the United States' own citizens betraying them.

"..It ain't easy, that's for sure."

Nate rocks back on his heels, his hands shoved into his pockets. It's funny--D.C. can get pretty cold, but it feels colder somehow, the chill settling into his very bones. Fitting, maybe, for the situation. "Yanno? I've been around for...way longer than anyone and it never gets easier. You'd think it would," he says as he finally steps closer and kneels down next to her. "We just gotta honor him the best we can. It may be goodbye for now, but death isn't the end, just another part of the journey."

He lightly pats her on the shoulder, giving her a reassuring smile. "We'll be okay, and I know he is, too."

[zuzcreation]

Design for DRACARYS (Game of Thrones RPG) - Iron born theme.

link : http://dracarysgot.forumactif.org

Fancast : Marco Islo as Theon Greyjoy, Jordan Patrick Smith as Maron Volmark, Tamsin Egerton as Alana Greyjoy, Daisy Ridley as Myria Flowers

[cosmic-shine]

For the event! DW Flowers: Tamsin Drew - Ipomoea :D I used one of BF photos for clothes reference ^^ Cosmic: Tumblr|Deviantart|VK|Redbubble|Teebublic|Instagram|Ko-fi