#dad sam supremacy but also. dad thomas supremacy

[reanimationstation]

a little au spawned from the human ben design i had laying about

[seattlesea]

bad representation in the riordanverse

Racism:

-Gave Hazel and Piper gold and ‘kaleidoscope’/brown-blue-green changing eyes and pretty much went ‘Let’s add some characters of color but they cANT HAVE BROWN EYES THAT’S NOT PRETTY ENOUGH’ as if whitewashing isn’t more than just the skin.

-East Asian characters: Riordan pretty much went 'Here are my East Asian characters- one of them looks like a fat baby on steroids and is super undeveloped, his mother is strict and cold, and all the others are just described as 'Asian' because different countries in Asia don't exist and there's obviously no difference between Japanese, Chinese, and Korean'. His portrayal of East Asian characters went like this: Frank: Chinese, chubby, hates himself, underdeveloped, described to look like a 'Chinese Canadian baby man' and a 'panda' as if that's not stereotyping, and only learned to love himself when he looked hotter.  Drew: Asian, villainized, rude, shallow, vain, and selfish. Ethan: Asian, rude, evil, a traitor, and deceased. Grandma Zhang- rude, strict, cold, traditional, and deceased.

-Hazel: Has gold eyes. Has 'cinnamon brown' hair even though dark brown or black hair would be way more inclusive and realistic. Had a mother portrayed as a rude and selfish witch who sacrificed, used, and trafficked her own child. Was the only character called or described as a witch while African-Americans were usually accused of witchcraft just for their skin color. Was the only character who was cursed. Had a mother who literally practiced voodoo. The only African-American character in the series before ToA who isn't dead (but she also died). Was paired with a sixteen year old guy even though African women are constantly forced with older men and that's blatantly racist stereotyping. 

-Piper: Had 'chocolate brown' and then 'mahogany' hair? Has kaleidoscope eyes. Put a feather in her hair (which is stereotyping)- and it was an eagle feather, which is also wrong because eagles are extremely sacred to First Nation tribes and only spiritual leaders or warriors can wear it or it has to be gifted by an Elder of the tribe, and Riordan basically went 'Feathers are very important and it's racist to make a character wear one at inappropriate times but I'm going to make my character wear one as a cute accessory to make her look cool, pretty, and headstrong and to add to her 'Aesthetic'’ even though Cherokees didn’t wear feathers (which proves he did the bare minimum of research). Constantly oversexualized (56% of First Nation women are sexually harassed and Riordan had the audacity to put Piper in an 'embarrassingly low v-neck' and to have her constantly drooled over by a WHITE MALE and have her sexualized by her 1000+ mother without her knowledge or consent).  It's said that her father was from a reservation in Oklahoma...but there are no reservations in Oklahoma, only cultural centers (which also proves that he did the bare minimum of research).  She's the only First Nations character and she's the only character (besides Nancy Bobofit) depicted as a kleptomaniac (First Nations people are constantly called thieves by racist assholes). “The week before, he’d turned down several million dollars to play Tonto in a remake of The Lone Ranger. Piper was still trying to figure out why. He’d played all kinds of roles—a Latino teacher in a tough L.A. school, a dashing Israeli spy in an action-adventure blockbuster, even a Syrian terrorist in a James Bond movie. And, of course, he would always be known as the King of Sparta. But if the part was Native American—it didn’t matter what kind of role it was—Dad turned it down.” (The Lost Hero, page 165). So her father is fine with playing an extremely racist and stereotypical Middle Eastern role but not a First Nations role. Uses a cornucopia as a weapon (how she got it- cutting it off a half-bull- is disrespectful to her culture as hurting an animal is banned and she used a cornucopia- a symbol of Thanksgiving- as a weapon). Cut her hair, which is basically taboo in First Nations culture.

-Samirah: Had an arranged marriage (at age twelve, and she believed that she was groomed to be married to a rich and respectable family and nothing else). Ripped off her hijab in front of tons of male characters. The only Muslim character. The only Muslim character and she's the only character who married her cousin (you're supposed to break stereotypes, not enforce them).

Thomas Jefferson Jr: Said that he was thankful to the British for not siding with the South during the American Civil War even though they needed the South's cotton (but they didn't side with the North either). AKA a black man and son of a freed slave was thankful to Britain for not openly oppressing him? And at the same time he was named after a racist slave-owner.

Reyna: She's brown and her entire story revolves around her being independent, strong, alone, and self-sufficient but also desperately needing love and support but then Riordan says that she can't get her heart healed AKA she went through an abusive home, killed her father, left her sister, felt alone her whole life, worked a two-person job alone for months, and had to put on a brave face for others throughout all this then was literally told 'Shut up no one wants to hear about your struggles, just suck it up and deal with it’ and have you seen all the shit brown girls have to go through and keep silent about it? 

Extra: -Latino, Puerto Rican, African-American, Chinese-Canadian, East Asian, First Nations, etc. characters and the two most powerful, best, and most skilled characters and who the stories mostly revolve around are two white guys AKA white supremacy.

-"Harriet Tubman, daughter of Hermes, used many mortals on her Underground Railroad for just this reason" and that World War II was caused by a child of Zeus and a child of Hades fighting very blatantly erases the shit those people went through and Riordan just went 'Let's use these racist movements as little easter eggs in my story'.

-Thanatos, who was chained and enslaved, is described with dark skin.

-Riordan writing the characters went a little something like this: Drew: You get common Eastern Asian features like dark hair and eyes because you're arrogant, selfish, conceited, and rude, and because you're an antagonist and you're going to be used to make one of my protagonists- who has unique traits- look good so you're going to have the basic, 'boring' physical traits so the readers know who's the more superior of the two of you. Leo: You get common Latino features like curly dark hair, dark eyes, and light brown skin cause you're the weird, hyperactive unattractive one who's very flirty but constantly gets rejected and you're the only main character without a love interest and the only way you can get a girlfriend is when she's forced to fall in love with you through a curse. Frank: You get common Chinese features like dark hair and eyes cause you're the fat unattractive loser who catches the eye of the African character who already has unique and 'special' traits so you don't have to be super attractive. Reyna: You get common Puerto Rican traits like dark skin, hair, and eyes cause you're the stoic, lonely, intimidating, and cold one who wants all the guys (two white guys for that matter) but none of them want you and they both have girlfriends with traits like blonde hair and gray and kaleidoscope eyes so the readers know who are the more interesting couples.  Piper and Hazel: You two get eurocentric features because you're the main characters I have to set apart from everyone else- including other females whom I'm going to make one of you rivals with- so the readers know who's more superior so I'm giving you unique eye colors that literally cannot be found in humans so I'm going to try to validate it by saying that it's from something mildly associated with your godly parent even though neither of them have those traits. Riordan basically said that the common features are bad and boring and that unique and special features- aka features not found in those ethnicities- are good and cool. Also- if gods don’t have DNA how can their traits be passed down to their demigod children checkmate Riordan.

-Cecil Markowitz is the only Jewish character in PJO and the first thing used to describe him is "That kid, always thinking about the potential payout".

-Lavinia said that she was going to bring her date to her bat mitzvah even though you don't bring dates to bat mitzvahs or bar mitzvahs and she said that it was 'awkward' to tell her rabbi that someone was going to be her date even though you don't explain your guestlist to your rabbi, and they're most likely not even going to be at the party.

-Only three Latino and Puerto Rican characters (Leo, Reyna, and Hylla) and all three came from abusive households.

-Leo said 'Mamacita' as if that's not stereotyping.

-Made Nico ‘pale’ even though he had olive skin and gave him black hair and dark eyes despite Italians usually having light hair and eyes just to add to his ‘Goth Boy Aesthetic’.

-Hazel described Pluto to look like Adolf Hitler.

-Carter Kane said that Elvis took African-American music and made it sound like rock 'n roll and described it as cool- like no it’s cultural appropriation. 

-Leo was abused and Riordan thought that it'd be funny to make all the other characters line up to punch him and then try to make it look funny. 

-Gave almost every single POC character a white name and sometimes gave them white first names and POC surnames, and Reyna and Bianca are the only POC characters with names from their culture/native language and one of them is dead and reborn as someone else and the other’s full name wasn’t revealed until the fourth book in her series and she hates using it.

-Made two POC characters with names from their culture- Samirah and Olujime- go by white nicknames (Sam and Jamie) to make it ‘easier to read’ despite having white characters with the same amount of syllables in their names (like Annabeth) that didn’t go by nicknames.

-Never actually described the characters of color with physical traits from their ethnicities (Reyna, Hylla, and Leo with big eyes, thick eyebrows, brown hair, wide noses, full lips, etc., Piper with almost-oriental eyes, shovel teeth, high cheekbones, black hair, etc., Nico with light or brown hair and eyes, olive skin, a narrow nose, etc., Hazel with a wide nose and lips, dark brown eyes, black or dark brown hair, big eyes, thick eyebrows, etc.).

Anti-LGBTQ+:

-Nico was forcibly outed by Cupid and Riordan and the fandom didn't care and the only thing they thought was 'Aww, he has a crush on Percy! So cute!' AKA romanticizing a forced outing. 

-Riordan said that he didn't want to make Reyna lesbian or bisexual because he thought it'd be stereotypical making her LGBTQ+ because she didn't want men anymore even though she could've been bisexual all along but Riordan casually dismissed the idea of that saying "Having a girl end up with a woman after dating men is a bad stereotype" and basically said that real bi girls don’t exist.

-The Hunters of Artemis were made so Artemis/Diana could protect those girls from men and their behavior towards women but Riordan dismissed lesbian relationships- even though nothing about that was said in real Greek mythology- meaning that he thinks that women need protection from other women just as much as they need protection from men.

-Alex Fierro is the only gender-fluid or transgender character and she/he’s seen as rude, snarky, and sharp and Magnus could magically tell when Alex changed gender.

-Riordan said that he wouldn’t make Reyna a lesbian because of stereotypes despite the reader asking if Reyna was going to get a girlfriend, not come out as lesbian AKA Riordan thinks ‘Girls liking girls’ is automatically ‘lesbian’ and completely dismissed bi, pan, poly, omni, etc. girls.

-Used a self-insert to make fun of wlw readers who saw themself in Reyna and thought she could be a cool character to relate to.

-Enforced LGBTQ+ stereotypes like the cold-hearted Asexual, the flamboyant bi/pan, the snarky gender-fluid, the emo gay, the laid-back and rebellious lesbian who dyed her hair pink and chews a lot of bubblegum, etc.

-Has one-hundred fifty-five characters total minus gods/goddesses, Titans, giants, nymphs, dryads, satyrs, monsters, etc. and only has fifteen confirmed LGBTQ+ characters (do the math, that’s exactly one out of ten regarding OCs).

-Only one character that isn’t cishet.

-Saves most the LGBTQ+ for the side characters or only confirms characters LGBTQ+ once they’ve become a minor character despite being a main character before.

-Only stated that Reyna was Asexual outside of his books and on Twitter as if that’s not exactly what J.K Rowling is doing.

-Used the LGBTQ+ community to make Piper seem like the ‘special snowflake’ and to set her apart from her siblings to make it seem like she’s better than all of them and used Hera/Juno and Aphrodite/Venus as excuses for his homophobic mindset that believes that straight is the default cause “Suddenly, much of what she and I had talked about started to make sense. Not being defined by Aphrodite’s expectations. Or Hera’s ideas of what a perfect couple looked like. Piper finding her own way, not the one people expected of her” in synonymous words is 'The expectations for love and the idea of a perfect couple are a heterosexual relationship, and anyone who 'finds their own way instead of the ones people expect' are different'. ‘Different’ and ‘default’ are antonyms AKA if he thinks that LGBTQ+ people are ‘different’, he thinks that straight is the ‘default’. Remember- an author writes their own personal beliefs.

-Josephine is the only black LGBTQ+ character.

-Reyna is said to be Asexual despite feeling sexual attraction towards Percy cause no one likes someone five minutes after knowing them and it’s anything but sexual attraction.

-Magnus and Alex are the only LGBTQ+ relationship whose growth and development is actually shown in the story (while there was also Apollo and Commodus, Piper and Shel, Will and Nico, Apollo and Hyacinthus, Emmie and Jo, Lavinia and Poison Oak, etc.).

-Riordan never canonically said the name of any sexuality and is clearly uncomfortable with the LGBTQ+ community shown by his little to no writing regarding physical affection and deep emotions in his LGBTQ+ relationships.

-Only added in LGBTQ+ relationships for publicity- Percy Jackson and the Olympians release dates: 2005-2009. 2005-2009: LGBTQ+ support was nearly at an all-time low. No LGBTQ+ characters, relationships, or references in the books. The Lost Hero-The Mark of Athena release dates: 2010-2012. 2010-2012: LGBTQ+ support was still very low. Still no LGBTQ+ characters, relationships, or references in the books. The House of Hades release date: late 2013. Mid-2013: the giant spike for LGBTQ+ support and allies. One confirmed LGBTQ+ character. The Sword of Summer release date: late 2015. 2015: LGBTQ+ support was good and gay marriage was legalized. A few LGBTQ+ references but no confirmed characters. The Hammer of Thor and The Ship of the Dead release dates: 2016-2017. 2016-2017: LGBTQ+ support was quite high. Two confirmed LGBTQ+ characters and the first canon LGBTQ+ relationship and kiss. The Trials of Apollo release dates: 2016-2020. 2016-2020: LGBTQ+ support was very high. More LGBTQ+ characters confirmed in one book than all the other series combined. Kind of obvious he was just following the public opinion.

-Legit said ‘Reyna can’t like girls cause she has had crushes on guys before’.

Ableism:

-It was heavily implied in The Battle of the Labyrinth that Rachel Dare had schizophrenia/psychosis but it's never brought up again.

-Grover's fake feet made it look like he was disabled from the Mist and it was said that he was bullied because of it but it was never brought up again.

-It was said that Tyson looked like he had down syndrome from the Mist covering his one eye but it was never brought up again. 

-It was stated that every character but Frank has ADHD and dyslexia but never actually showed any symptoms after Percy Jackson and the Olympians and characters like Piper and Leo were even able to read English writing throughout The Lost Hero and the only symptom of ADHD Riordan showed through his characters was ‘a lot of fidgeting’ as if that’s not a blatant stereotype. 

Pedophilia:

-Luke, a twenty-two/twenty-three year old had a crush on Annabeth, a sixteen year old. That's a six-seven year age gap. 

-The only two girls put into relationships with much older men are black (Hazel and Sadie).

-Hazel, a thirteen year old, got together with a sixteen year old guy. Hazel's crush on Frank is normal- a girl having a crush on an older guy, but Frank's crush on Hazel is disgusting- an older guy looking down at a child and thinking about making out with her.

Misogyny:

-Aphrodite's kids are seen as useless, weak, snobby, shallow, vain, and selfish just because they’re feminine. 

-Riordan portrayed Aphrodite’s kids as feminine despite Aphrodite being the goddess of love and beauty, not femininity, as if romance and beauty are reserved for women only. 

-Piper is the only 'tomboy' child of Aphrodite and she's portrayed as tougher, stronger, and better than her feminine siblings (and it's portrayed that way multiple times throughout the story like other characters telling Piper she’s "-tough for a child of Aphrodite").

-Piper immediately stereotyped and disliked every single feminine character like Drew and the rest of the Aphrodite cabin just because they liked makeup and skirts as if that’s not shallow criticism. 

-Feminine characters like Drew, Isabel, Khione, and Medea are used or even created solely as antagonists to make Piper- the tomboy- look better.

-Calypso is the only feminine character and she sucks at everything. 

-Riordan’s take on female characters: Drew: a vain, rude, selfish, snobby, and bitchy mean girl. Silena: a shallow traitor. Reyna: a cold-hearted robot. Piper: internalized misogyny that was never brought up again. Calypso: an island whore. Athena: a rude, aggressive bitch with no emotions. Aphrodite: shallow, vain, conceited, and self-centered. Hera: completely evil with no backstory added into it. Marie: an evil witch who selfishly used and sacrificed her daughter.

-The Hunters of Artemis were blessed by Artemis to protect them from men but Riordan made it only about the men in their lives (again) and portrayed the whole 'losing men' thing like it was a burden and that they're 'giving men up' even though they join the Hunters to leave men. He distorted the original meaning of the Hunters- protecting women- by making it about the Hunters hating and being forced to leave men even though they're asking to have no men in their lives, cause that's the point of it. 

-The Amazons and Hunters of Artemis despise men and literally attack them if they so much as speak as if sexism is reserved for women only.

-Portrayed femininity as weakness (and masculinity as strength, it’s even in the word- tomBOY).

-Constantly pit women against women for the sake of romance and love triangles instead of normalizing women getting along despite liking the same people and let the female’s relationships get controlled and influenced by the men in their lives.

-The men always outpower the women in powers and skills. Riordan’s portrayal of powers and characters- Percy: You’re going to have epic water powers and can even create your own personal hurricanes and even though you’ve only been canonically training for eight months total you’re going to be the best swordfighter despite multiple characters having years more training than you. Jason: You’re going to be able to fly, control lightning, create storms, and electric shock people into another dimension. Leo: You’re going to be able to create and control fire and blow shit up with just a screwdriver. Frank: You’re going to be able to shape-shift into any animal you want, even a whole dragon. Nico: You’re going to be able to control darkness and shadows, literally teleport, and raise a whole army of undead soldiers. Reyna: Powers? Nah, your only ability is to lend strength to others as if that benefits you at all. Annabeth: Powers? Nah. Piper: You’re going to be able to manipulate and seduce people and are literally going to use your body and attractiveness as a weapon and your power is literally called charmspeak. Hazel: You have more powers than all the other characters combined that can literally destroy anyone in less than a second but you’re never going to use them or even remember that you have them cause screw the female character being more powerful than the males. 

-The men always accomplish the most incredible feats and if the females ever do accomplish something great (Reyna healing the riff and defeating Orion while the Hunters and Amazons couldn’t combined, Annabeth going through Tartarus, Hazel learning to control the Mist, etc.) they are never praised or rewarded or all the credit goes to the men. 

-Ares/Mars in real Greek/Roman mythology was the feminist patron of the Amazons who loved his daughter very much and killed a rapist but was portrayed as the dumb, cruel asshole who loved nothing but bloodshed and tried to kill a twelve year-old kid who was trying to help him while Poseidon/Neptune in real Greek/Roman mythology was a greedy, short-tempered, and arrogant asshole who raped almost as much women than Zeus/Jupiter but was portrayed as the kind, caring, and gentle father figure. 

Fatophobia:

-Frank is the only chubby character and he hates himself because of it, was constantly fat-shamed, and only learned to love himself after he got rippling abs, muscles, and looked hotter (because fat = ugly in Riordan’s mind, even though it's not). 

-Clovis was depicted with a pot-belly and Drew described him as 'repulsive'.

-Dionysus/Bacchus is also depicted with a pot-belly and he's portrayed as a useless, rude, lazy, and drunken asshole. 

Lookism:

Basically how Riordan wrote his characters- Percy, Annabeth, Jason, Reyna, Hazel, Piper, and most minor protagonists: You’re all going to be super attractive, have at least one character or more pining for you, have your looks constantly commented on, and some of you will even use your looks as a weapon cause that’s not obvious sexualization cause you’re all the main characters and protagonists that readers need to know are the protagonists. Nico, Leo, and Frank: You three are originally portrayed as unattractive but at some points are described as cute and two of you are insecure about your looks cause you’re scrawny and chubby and one of you hates yourself cause of your body and only learn to love yourself once you magically gain abs cause more muscle obviously equals more attractiveness.  Luke, Silena, Chris, and Ethan: You four are going to be super attractive because you’re traitors but all of you make up for your actions and decide to help the demigods and become protagonists again. Octavian, Bryce, Michael, Titans, giants, etc.: You all are the antagonists so you have to be super ugly with multiple physical imperfections cause you’re not allowed to be attractive since you are against the protagonists and I have to set you guys apart and show the readers who’s the better and more superior character. 

-Frank hated himself cause he was chubby and only loved himself once he got skinnier and gained muscle through magic but even then was called ‘cute like a panda’.

-Leo was described as scrawny and unattractive and was insecure about being short but even then was called ‘cute in a scrawny way’.

-Piper had facial imperfections and even a pimple on her nose but once she got claimed all of those disappeared and they stayed gone even after the blessing washed off despite all the magic being gone and only then was Piper’s looks commented on multiple times. 

-Lester/Apollo hated his appearance cause he had a little flab and acne and his physical imperfections were used as comedy by making fun of it as if insecure readers don’t exist.

-Percy and Annabeth had one canon physical imperfection- a gray streak in their hair- and that magically washed away.

-None of the other characters were described with any physical imperfections like pimples/zits/acne, body hair (despite none of the characters having the care or time to wax or shave), bushy/frizzy or messy hair or eyebrows, big or small hands or noses, blackheads, super thick or thin eyebrows, blemishes, birthmarks, scars, stretch marks, braces, lazy eyes, yellow or chipped teeth, eye bags, glasses, moles, dimples, love handles, flab/fat, visible veins, freckles, etc. unless it added to their ‘aesthetic’ despite none of those being bad and saves it only for the antagonists as if ‘physical imperfections’ = ‘evil’. 

Bias:

-Riordan portrayed the Romans as cold, cruel, ruthless, strict, and overall horrible despite them being the more inclusive camp regarding family and godly parents, have multiple families and rules that ensure their camper’s safety, and hold the nicest characters in the series while the Greeks are portrayed as fun, wild, reckless, silly, and cool despite holding the most prejudiced and rude characters, outcasting and ostracizing characters of certain godly parents just for their parentage, stereotype almost every single cabin, and make some campers without siblings live, sleep, and eat alone. 

-Every Greek traitor (Luke, Silena, Ethan, and Chris) were portrayed as powerful, kind, attractive, and awesome and each made up for their actions but each Roman ‘traitor’ (Octavian, Bryce, and Michael, and only one of them are actually a traitor) were portrayed as unattractive, cruel, ambitious, ruthless, and extremely weak and never actually did anything useful.

-The Greeks were part of the Union and the Romans were part of the Confederacy (adding on to Riordan adding racist movements as fun little easter eggs in his stories).

-Four out of seven of the main Seven are Greek.

-There are at least 70+ Greek characters and less than thirty named Romans.

-The Battle of San Francisco Bay was used for the sole purpose to weaken the Romans and make the Greeks seem stronger than them and while the Greeks went through two whole wars, their camp laid almost completely untouched but the moment the Romans are introduced, half their population is wiped?

Romanticization:

-Romanticized Annabeth judo-flipping Percy AKA romanticized physical abuse/harassment (emotions, angriness, feelings of love and affection, ‘they went through a lot together’, etc. do not excuse hitting someone) despite Annabeth knowing where Percy’s Achilles Heel was and not knowing he lost it and flipping him on his back anyways (if Percy didn’t lose the Achilles Heel, Annabeth would’ve killed him).

-Romanticized Leo killing himself to see Calypso again and to take her off her island AKA a romanticized suicide.

-Romanticized Calypso yelling at and insulting Leo and Annabeth insulting and canonically lowering Percy’s self-esteem AKA romanticized verbal abuse/bullying.

-Romanticized Will trying to help Nico through his loneliness and depression as if that can’t be portrayed as someone just wanting to help another person AKA  romanticized mental illness.

-Romanticized every character kissing another character without asking first and without their consent AKA romanticized sexual harassment.

-Romanticized Piper taking advantage over Jason’s amnesia and mental state and jumping onto him despite knowing there might be a girl he couldn’t remember AKA romanticized manipulation.

-Romanticized Piper and Annabeth’s possessive, overly-jealous, and controlling behavior over Jason and Percy (even before they were canonically dating).

-Romanticized Nico being forced to confess his crush on Percy AKA romanticized a forced outing.

Rick Riordan:

-Refused to apologize for his actions even after being called out by people from the groups he was writing inaccurately and stereotyping (Muslim, Jewish, African, First Nation, lesbian, gay, Puerto Rican, etc.) and tried to make himself look like the victim.

-Claimed he was being ‘bullied’ by readers half his age who were just pointing out his books’ racist flaws.

-Showed time and time again that he is not willing to listen to the voices of minorities.

-Clearly didn’t do his research on ethnicities, sexualities, religions, etc. shown by how he got the simplest things wrong.

-Tried to say that he- a straight white man- was right when people of the actual groups he was writing about (gay, First Nation tribes, etc.) were wrong.

-Used excuses like having a ‘headstrong’ and ‘stubborn’ character who wants to ‘show their culture in their own way’ for his stereotypes. No, Riordan, you want to show the culture that way, not Piper. She’s a fictional character, you’re real. Dumbass.

-Literally said ‘Sorry I put feathers in Piper’s hair, I can’t change what I wrote in the past and I didn’t know that sensitive readers existed’ then continued to write feathers in Piper’s hair in the future books. 

The Fandom:

Note: Not to all of the fandom, obviously

-Draws Piper with light skin, light hair, and kaleidoscope eyes with feathers, hippie bands, and beads (yes, it's canon, but you're allowed to change it if it's blatantly racist, and the bead and hippie band thing was created by the fandom and that's also stereotyping).

-Almost always draw Reyna, Hylla, and Leo with light skin and Caucasian traits (props to the few artists who drew them with the right skin tones).

-Draws Hazel with gold eyes, ‘cinnamon’/light brown hair, and an adult body.

-Sexualizes female characters by drawing them in sexy and revealing clothes and giving them all the same exact sexy, slim, and perfect hour-glass shaped bodies.

-Almost never include physical imperfections, muscle, scars, stretch marks, etc. in drawings.

-Fancasts white actors for characters of color and puts actors/faceclaims of white people or people of different ethnicities in the moodboards or aesthetics for characters of color.

-Participates in cultural appropriation by wearing feathers when cosplaying Piper and wearing a hijab when cosplaying Samirah.

-Supports Riordan, tries to defend him, and condones his clearly racist and bigoted actions just cause they ‘like the books’ (if you are straight, white, and/or cishet, I definitely don’t want to see you trying to defend a fifty-five year-old multi-millionaire who is clearly racist, sexist, homophobic, and transphobic).

-Romanticize physical abuse, verbal abuse, mental illnesses and panic/anxiety attacks, etc.

-Ship pedophilic, manipulative, abusive, and wrong relationships.

-Barely allow others to have their own opinions (looking at you Perachel haters) without yelling at, insulting, cursing out, and/or even threatening them for liking or disliking different things than them including ships, characters, books, plots/faults, and Riordan himself.

-Straightwashes characters like shipping Nico with female characters or setting him up with a female character in fanfics.

-Whitewashes characters like drawing Hazel and Piper with eurocentric features, Reyna, Hylla, and Leo with white skin and Caucasian traits, Nico with white/pale skin, etc.

-Try to excuse and explain abusive, manipulative, possessive, and overall very wrong and toxic behavior.

-Fail to recognize and/or admit the toxic, racist, homophobic, sexist, transphobic, wrong, abusive, etc. faults in the books, ships, and characters just cause they like them.

The Percy Jackson franchise does not add good representation. You can still like the series as long as you don’t condone Riordan’s racist and toxic writing and actions and don’t try to ignore the horrible and stereotypical faults just cause you don’t want to admit that your favorite or childhood story is horrible. 

[insanityclause]

Exactly two months to the day they closed their acclaimed run in London, the cast of Harold Pinter’s “Betrayal” is stepping into the Bernard B. Jacobs Theatre on Broadway for the first look at their new surroundings. On Aug. 14, they will begin previews of the drama for a 17-week limited engagement of what is widely regarded as one of the Noble Prizewinning writer’s greatest works.

Directed by Jaime Lloyd, who has become one of the foremost interpreters of Pinter, this version is designed so that none of the actors ever leave the stage. The trio are all recognizable from their screen exploits — Tom Hiddleston and Charlie Cox are beloved characters from the Marvel universe as Thor’s trickster brother Loki and blind attorney Matt Murdock in “Daredevil,” respectively. And Zawe Ashton recently made a splash opposite Jake Gyllenhaal in Netflix’s “Velvet Buzzsaw.”

Told backwards in chronology, the play tracks married couple Robert (Hiddleston) and Emma (Ashton) as their relationship unravels after Emma begins an affair with her husband’s best friend Jerry (Cox). But it also dives into the destruction of Emma and Jerry’s affair, as well as Robert and Jerry’s friendship. As with most Pinter, the characters are often sparse in their language in emotion, and words left unsaid often cut the deepest. A simple game of squash takes on much significance — the camaraderie, the competition, and ultimately what it means when they stop playing together.

The cast sat down with Variety to discuss squash and other games people play, with what Pinter means to them, and how their paths have crossed in the past, leading to this moment.

What does it mean to you to be here in New York, making your Broadway debut?

Zawe Ashton: It is a dream come true, actually. I’ve seen some of the best things I’ve ever seen in this very theater, including the show previous to us, “The Ferrymen.”

Tom Hiddleston: I first came to Broadway with my dad and my sisters when I was 17. It was my first time seeing the city and I remember going into Times Square and we went to see “Follies.” This was before I was even thinking about being an actor — or maybe in the back of my head I had decided. The first time I was in this theater I saw Samuel L. Jackson and Angela Bassett doing “The Mountaintop.”

Charlie, you actually live out here, are you planning on showing them around? Charlie Cox: Oh, yes. There’s a few places I want to take them.

Ashton: [Laughs] How can you make that sound sinister?

Cox: I’m not sure the places I like will be what you’re imagining. I want to take them to Bubby’s. It’s a restaurant with a great all-American brunch.

What does “all-American” mean to Brits?

Cox: Fried chicken and waffles.

Hiddleston: And big portions.

Cox: And coffee that keeps being filled up. You have to put a napkin over it to stop them.

Hiddleston: Right. If you have a second coffee in the UK you have to pay for it.

Cox: It’s crazy. When I get my coffee, I need to put my milk and sugar and the proportions have to be right. When they fill your coffee up over here, the proportions are all off. Also, you feel like you’re on rocket fuel and you don’t know why.

Ashton: Anything else we need to experience?

Cox: Well, these two are too healthy but I’d love to introduce you to half-and-half. It’s one of the best inventions in the world. It’s cream and milk.

Hiddleston: I know about that. This isn’t, like, my first time in America.

Cox: Oh, and I’d love to introduce you to McDonald’s. [Laughs.]

Hiddleston: I’m really excited about the seasons. I’ve spent time in New York before but it’s only been for like two weeks at a time. To be here from summer into fall into winter…

Cox: Fall is an illusion in New York. You get a weekend in the 70s, and that’s it.

Ashton: No, but the colors and the trees! And Thanksgiving is going to be amazing!

How did you first become familiar with the work of Harold Pinter and specifically “Betrayal”?

Hiddleston: For my A-Level English literature, we did a play of Pinter’s called “The Homecoming.” What I found so interesting was “The Homecoming” was so spare and so precise and so grown-up. I remember my teacher encouraging us to think about this play as about power and sex and family, all in a very brutal way. That it’s a father and sons competing for supremacy. I remember thinking: “This is reading a bit too much into it, isn’t it?” But it isn’t. As a 17-year-old, I just didn’t realize there was a writer engaging so consciously at this level.

Then I read “Betrayal” at the Royal Academy of Dramatic arts as an exercise for a dramaturgy class. I read it in one sitting and I did think, at the age of 21, “This would be an amazing thing to do one day.”

Ashton: We did a couple months of scene study at drama school and I played Anna in “Old Times.” I was 19 and I loved it and we actually nailed the scene study. I mean, we were 19-year-olds, maybe it was terrible. But my head of year said to me: “If I had known how easy Pinter was going to be for you, I would have given you something else.”

Was it easy?

Ashton: No! It wasn’t easy! But what I think he identified that if you vibe with Pinter, you’re kind of a special breed of person. If you can lean into all the violence and brutality and also see the tenderness and experience the special viewpoint he has of human relationships, you have a friend for life.

And you vibed with him from the start? Ashton: 100%. And now I love him even more. Doing “Betrayal” is about having to invest in a love affair with these two men, but I also feel I’ve invested in a love affair with Pinter. I’ve wanted to read his poetry, I’ve wanted to think about him, I’ve wanted to read the books Joan Bakewell and Lady Antonia Fraser wrote about him. Just to try and piece together the man who I’ve never met. Charlie has.

You’ve met Pinter?

Cox: The first play I did in the West End was with Jaime Lloyd, “The Collection.” Harold was part of numerous rehearsals and came to see the play many times. I got some great Harold stories that I’m still dining out on! During that time, I read “Betrayal.” Harold died the following year. It’s funny, my wife and I live in Connecticut and when I was offered this play I walked into my local bookshop and it was sitting right there.

A year ago, you didn’t know you’d be doing “Betrayal” in London, let alone here.

Cox: Four weeks ago we didn’t know we’d be here! It all happened very fast. When we closed in London, we thought we were done.

My understanding is this all began last October, when Tom and Zawe did a reading from the play at the “Pinter at the Pinter” gala?

Ashton: It sprung from that gala and people thinking we were rehearsing it already. People kept coming up to me and asking if we were doing a full production. So at the gala I basically came up to Tom and said, “What are you doing in March 2019?” And you were like, “Uh, get away from me, crazy lady.”

Hiddleston: It was an interesting night because it was celebration of all his work as a gift to [his widow] Antonia Fraser and it was 10 years after he died. But it wasn’t a heavy night, it was a celebration. And people came back to do extracts. The production Jaime Lloyd directed of “The Homecoming” came back. Jeremy Irons came back to do “No Man’s Land.”

Wait, Jeremy Irons starred in the film version of “Betrayal.”  Were you intimidated to do a scene in front of him?

Hiddleston: Well, less intimidated because I played his son in “The Hollow Crown.” There were several “Betrayal” alumni. Sam West was there, who played Robert at the Donmar Warehouse. Kristin Scott Thomas, who has played Emma, was also there. There was something very generous about this company of great, established actors who had made a great impact with Pinter’s work saying to Zawe and myself, “If you’re not doing it, you should do it.”

Ashton: It was such a compliment.

Hiddleston: Then Antonia Fraser also said, “Would you like to do it?” And Jaime leaned across and said, “Let’s do it!” So it came together very fast. And Jaime’s first suggestion for Jerry was Charlie, but he said you couldn’t do it.

Cox: The show I was doing [“Daredevil”] was going to be scheduled for another season at the time. So they went out to find somebody else. Then my show got cancelled and I called my agent and said I would love to do a play. I didn’t hear for a bit and I finally got him on the phone and was about to say “I’ve been trying to call you!” — but in a very nice, English way. And before I could say anything he said, “How would you like to do ‘Betrayal’ with Zawe Ashton and Tom Hiddleston?” I paused and said, “I’d like that very much.”

Ashton: If “Daredevil” hadn’t been canceled you wouldn’t have been able to do it.

That has to take some of sting out of cancellation.

Cox: It did, yeah.

This play doesn’t work without the chemistry between the characters, even when they are constantly competing and  one-upping each other. Did you know each other prior to working together and was that chemistry pretty instant?

Cox: Tom and I knew each other. We were bouncing around L.A. at the same time early in our careers.

Hiddleston: The truth is, we first met bumping into each other auditions for the same films that neither of us would get. After like the fourth time, we said, “Let’s go get a burger.”

Ashton: We’d been intersecting for years. Weird things have happened: Tom and I sat next to each other years before at the theater. We did the gala but weirdly, we’d also done a reading a couple weeks before that. And then Charlie and I realized we had auditioned together years ago.

Cox: I’m almost sure it was you. I didn’t get it.

Ashton: I didn’t either. And it was definitely you.

Hiddleston: That’s how most actors know each, they audition for things they don’t get.

Ashton: This could be the most unpleasant experience; it could really be toxically bad. What has happened is it has been the most joyful experience ever. That’s not to say we’re not completely embedded in the raw pain of the play. But I think you realize when you get to a certain age that you don’t need it to bleed into your lives and you don’t need to carry it home. I don’t want to do that with Harold Pinter because you can and you will go mad.

Hiddleston: It’s one of those things, you can’t put your finger on why it works, but it works and it’s a great pleasure

Cox: That one-upmanship you talked about that’s in the text; if that were to manifest between us as actors, it would be awful.

Ashton: However….there was a squash game.

Cox: Let’s not talk about that.

Ashton: It did spill over into that game.

Cox: Look, it’s not about who wins or loses, it’s about who’s fitter. And Tom is fitter than I am.

Hiddleston: It was very instructive, playing squash. Some of those scenes, the competition is in the subtext, the brutality to each other is underneath it while they’re being civil on the surface. After we played squash, those scenes played themselves.

Cox: I still have a buttock injury from that last game. I was desperately trying to reach a ball because I was so determined to keep up! We had one day where we had five solid sessions and then Zawe joined us for the spa.

Leaving behind these characters at the end of the day could be a challenge. Are you able to do that?

Cox: Sometimes I’ll be at the end of the day and I’ll be agitated in some way and then I remember; of course, I just got off stage.

Ashton: I’ve often said I’ve felt like a baby who needed to be burped. There’s so much repression in the play and people aren’t saying what they mean and you want to cry but you have to hold it in. Sometimes I want to cry for three days.

Hiddleston: My favorite actor of all time Paul Scofield said: “The emotions are real, but they aren’t mine.” Which I think sums it up. Actors investigate something real but the situation doesn’t belong to them. So I know consciously I’m not Robert, I know I haven’t been betrayed. But when I investigate his sadness, some aspect of that belongs to me. It sometimes leaves a shadow.

“Betrayal” has been performed in America before, obviously, but are you curious about how Broadway audiences will respond versus London audiences?

Cox: We get a lot of Americans in London. I don’t think it’s going to be radically different.

Ashton: I think it’s going to be radically different. I think there’s going to be some exciting new things having an American audience is going to illuminate. I think it’s going to be interesting.

“Betrayal” runs at the Bernard B. Jacobs Theatre through Dec. 8.

[maryxglz]

Exactly two months to the day they closed their acclaimed run in London, the cast of Harold Pinter’s “Betrayal” is stepping into the Bernard B. Jacobs Theatre on Broadway for the first look at their new surroundings. On Aug. 14, they will begin previews of the drama for a 17-week limited engagement of what is widely regarded as one of the Noble Prizewinning writer’s greatest works.

Directed by Jamie Lloyd, who has become one of the foremost interpreters of Pinter, this version is designed so that none of the actors ever leave the stage. The trio are all recognizable from their screen exploits — Tom Hiddleston and Charlie Cox are beloved characters from the Marvel universe as Thor’s trickster brother Loki and blind attorney Matt Murdock in “Daredevil,” respectively. And Zawe Ashton recently made a splash opposite Jake Gyllenhaal in Netflix’s “Velvet Buzzsaw.”

Told backwards in chronology, the play tracks married couple Robert (Hiddleston) and Emma (Ashton) as their relationship unravels after Emma begins an affair with her husband’s best friend Jerry (Cox). But it also dives into the destruction of Emma and Jerry’s affair, as well as Robert and Jerry’s friendship. As with most Pinter, the characters are often sparse in their language in emotion, and words left unsaid often cut the deepest. A simple game of squash takes on much significance — the camaraderie, the competition, and ultimately what it means when they stop playing together.

The cast sat down with Variety to discuss squash and other games people play, with what Pinter means to them, and how their paths have crossed in the past, leading to this moment.

What does it mean to you to be here in New York, making your Broadway debut?

Zawe Ashton: It is a dream come true, actually. I’ve seen some of the best things I’ve ever seen in this very theater, including the show previous to us, “The Ferryman.”

Tom Hiddleston: I first came to Broadway with my dad and my sisters when I was 17. It was my first time seeing the city and I remember going into Times Square and we went to see “Follies.” This was before I was even thinking about being an actor — or maybe in the back of my head I had decided. The first time I was in this theater I saw Samuel L. Jackson and Angela Bassett doing “The Mountaintop.”

Charlie, you actually live out here, are you planning on showing them around? Charlie Cox: Oh, yes. There’s a few places I want to take them.

Ashton: [Laughs] How can you make that sound sinister?

Cox: I’m not sure the places I like will be what you’re imagining. I want to take them to Bubby’s. It’s a restaurant with a great all-American brunch.

What does “all-American” mean to Brits?

Cox: Fried chicken and waffles.

Hiddleston: And big portions.

Cox: And coffee that keeps being filled up. You have to put a napkin over it to stop them.

Hiddleston: Right. If you have a second coffee in the UK you have to pay for it.

Cox: It’s crazy. When I get my coffee, I need to put my milk and sugar and the proportions have to be right. When they fill your coffee up over here, the proportions are all off. Also, you feel like you’re on rocket fuel and you don’t know why.

Ashton: Anything else we need to experience?

Cox: Well, these two are too healthy but I’d love to introduce you to half-and-half. It’s one of the best inventions in the world. It’s cream and milk.

Hiddleston: I know about that. This isn’t, like, my first time in America.

Cox: Oh, and I’d love to introduce you to McDonald’s. [Laughs.]

Hiddleston: I’m really excited about the seasons. I’ve spent time in New York before but it’s only been for like two weeks at a time. To be here from summer into fall into winter…

Cox: Fall is an illusion in New York. You get a weekend in the 70s, and that’s it.

Ashton: No, but the colors and the trees! And Thanksgiving is going to be amazing!

How did you first become familiar with the work of Harold Pinter and specifically “Betrayal”?

Hiddleston: For my A-Level English literature, we did a play of Pinter’s called “The Homecoming.” What I found so interesting was “The Homecoming” was so spare and so precise and so grown-up. I remember my teacher encouraging us to think about this play as about power and sex and family, all in a very brutal way. That it’s a father and sons competing for supremacy. I remember thinking: “This is reading a bit too much into it, isn’t it?” But it isn’t. As a 17-year-old, I just didn’t realize there was a writer engaging so consciously at this level.

Then I read “Betrayal” at the Royal Academy of Dramatic arts as an exercise for a dramaturgy class. I read it in one sitting and I did think, at the age of 21, “This would be an amazing thing to do one day.”

Ashton: We did a couple months of scene study at drama school and I played Anna in “Old Times.” I was 19 and I loved it and we actually nailed the scene study. I mean, we were 19-year-olds, maybe it was terrible. But my head of year said to me: “If I had known how easy Pinter was going to be for you, I would have given you something else.”

Was it easy?

Ashton: No! It wasn’t easy! But what I think he identified that if you vibe with Pinter, you’re kind of a special breed of person. If you can lean into all the violence and brutality and also see the tenderness and experience the special viewpoint he has of human relationships, you have a friend for life.

And you vibed with him from the start?

Ashton: 100%. And now I love him even more. Doing “Betrayal” is about having to invest in a love affair with these two men, but I also feel I’ve invested in a love affair with Pinter. I’ve wanted to read his poetry, I’ve wanted to think about him, I’ve wanted to read the books Joan Bakewell and Lady Antonia Fraser wrote about him. Just to try and piece together the man who I’ve never met. Charlie has.

You’ve met Pinter?

Cox: The first play I did in the West End was with Jamie Lloyd, “The Lover/The Collection.” Harold was part of numerous rehearsals and came to see the play many times. I got some great Harold stories that I’m still dining out on! During that time, I read “Betrayal.” Harold died the following year. It’s funny, my wife and I live in Connecticut and when I was offered this play I walked into my local bookshop and it was sitting right there.

A year ago, you didn’t know you’d be doing “Betrayal” in London, let alone here.

Cox: Four weeks ago we didn’t know we’d be here! It all happened very fast. When we closed in London, we thought we were done.

My understanding is this all began last October, when Tom and Zawe did a reading from the play at the “Pinter at the Pinter” gala?

Ashton: It sprung from that gala and people thinking we were rehearsing it already. People kept coming up to me and asking if we were doing a full production. So at the gala I basically came up to Tom and said, “What are you doing in March 2019?” And you were like, “Uh, get away from me, crazy lady.”

Hiddleston: It was an interesting night because it was celebration of all his work as a gift to [his widow] Antonia Fraser and it was 10 years after he died. But it wasn’t a heavy night, it was a celebration. And people came back to do extracts. The production Jamie Lloyd directed of “The Homecoming” came back. Jeremy Irons came back to do “No Man’s Land.”

Wait, Jeremy Irons starred in the film version of “Betrayal.”  Were you intimidated to do a scene in front of him?

Hiddleston: Well, less intimidated because I played his son in “The Hollow Crown.” There were several “Betrayal” alumni. Sam West was there, who played Robert at the Donmar Warehouse. Kristin Scott Thomas, who has played Emma, was also there. There was something very generous about this company of great, established actors who had made a great impact with Pinter’s work saying to Zawe and myself, “If you’re not doing it, you should do it.”

Ashton: It was such a compliment.

Hiddleston: Then Antonia Fraser also said, “Would you like to do it?” And Jamie leaned across and said, “Let’s do it!” So it came together very fast. And Jamie’s first suggestion for Jerry was Charlie, but he said you couldn’t do it.

Cox: The show I was doing [“Daredevil”] was going to be scheduled for another season at the time. So they went out to find somebody else. Then my show got cancelled and I called my agent and said I would love to do a play. I didn’t hear for a bit and I finally got him on the phone and was about to say “I’ve been trying to call you!” — but in a very nice, English way. And before I could say anything he said, “How would you like to do ‘Betrayal’ with Zawe Ashton and Tom Hiddleston?” I paused and said, “I’d like that very much.”

Ashton: If “Daredevil” hadn’t been canceled you wouldn’t have been able to do it.

That has to take some of sting out of cancellation.

Cox: It did, yeah.

This play doesn’t work without the chemistry between the characters, even when they are constantly competing and  one-upping each other. Did you know each other prior to working together and was that chemistry pretty instant?

Cox: Tom and I knew each other. We were bouncing around L.A. at the same time early in our careers.

Hiddleston: The truth is, we first met bumping into each other auditions for the same films that neither of us would get. After like the fourth time, we said, “Let’s go get a burger.”

Ashton: We’d been intersecting for years. Weird things have happened: Tom and I sat next to each other years before at the theater. We did the gala but weirdly, we’d also done a reading a couple weeks before that. And then Charlie and I realized we had auditioned together years ago.

Cox: I’m almost sure it was you. I didn’t get it.

Ashton: I didn’t either. And it was definitely you.

Hiddleston: That’s how most actors know each, they audition for things they don’t get.

Ashton: This could be the most unpleasant experience; it could really be toxically bad. What has happened is it has been the most joyful experience ever. That’s not to say we’re not completely embedded in the raw pain of the play. But I think you realize when you get to a certain age that you don’t need it to bleed into your lives and you don’t need to carry it home. I don’t want to do that with Harold Pinter because you can and you will go mad.

Hiddleston: It’s one of those things, you can’t put your finger on why it works, but it works and it’s a great pleasure.

Cox: That one-upmanship you talked about that’s in the text; if that were to manifest between us as actors, it would be awful.

Ashton: However…there was a squash game.

Cox: Let’s not talk about that.

Ashton: It did spill over into that game.

Cox: Look, it’s not about who wins or loses, it’s about who’s fitter. And Tom is fitter than I am.

Hiddleston: It was very instructive, playing squash. Some of those scenes, the competition is in the subtext, the brutality to each other is underneath it while they’re being civil on the surface. After we played squash, those scenes played themselves.

Cox: I still have a buttock injury from that last game. I was desperately trying to reach a ball because I was so determined to keep up! We had one day where we had five solid sessions and then Zawe joined us for the spa.

Leaving behind these characters at the end of the day could be a challenge. Are you able to do that?

Cox: Sometimes I’ll be at the end of the day and I’ll be agitated in some way and then I remember; of course, I just got off stage.

Ashton: I’ve often said I’ve felt like a baby who needed to be burped. There’s so much repression in the play and people aren’t saying what they mean and you want to cry but you have to hold it in. Sometimes I want to cry for three days.

Hiddleston: My favorite actor of all time Paul Scofield said: “The emotions are real, but they aren’t mine.” Which I think sums it up. Actors investigate something real but the situation doesn’t belong to them. So I know consciously I’m not Robert, I know I haven’t been betrayed. But when I investigate his sadness, some aspect of that belongs to me. It sometimes leaves a shadow.

“Betrayal” has been performed in America before, obviously, but are you curious about how Broadway audiences will respond versus London audiences?

Cox: We get a lot of Americans in London. I don’t think it’s going to be radically different.

Ashton: I think it’s going to be radically different. I think there’s going to be some exciting new things having an American audience is going to illuminate. I think it’s going to be interesting.

“Betrayal” runs at the Bernard B. Jacobs Theatre through Dec. 8.

[tomhiddleslove]

Betrayal Cast Tom Hiddleston, Zawe Ashton and Charlie Cox on Pinter, Broadway and Fate

The cast sat down with Variety to discuss squash and other games people play, with what Pinter means to them, and how their paths have crossed in the past, leading to this moment.

What does it mean to you to be here in New York, making your Broadway debut?

Zawe Ashton: It is a dream come true, actually. I’ve seen some of the best things I’ve ever seen in this very theater, including the show previous to us, “The Ferryman.”

Tom Hiddleston: I first came to Broadway with my dad and my sisters when I was 17. It was my first time seeing the city and I remember going into Times Square and we went to see “Follies.” This was before I was even thinking about being an actor — or maybe in the back of my head I had decided. The first time I was in this theater I saw Samuel L. Jackson and Angela Bassett doing “The Mountaintop.”

Charlie, you actually live out here, are you planning on showing them around?

Charlie Cox: Oh, yes. There’s a few places I want to take them.

Ashton: [Laughs] How can you make that sound sinister?

Cox: I’m not sure the places I like will be what you’re imagining. I want to take them to Bubby’s. It’s a restaurant with a great all-American brunch.

What does “all-American” mean to Brits?

Cox: Fried chicken and waffles.

Hiddleston: And big portions.

Cox: And coffee that keeps being filled up. You have to put a napkin over it to stop them.

Hiddleston: Right. If you have a second coffee in the UK you have to pay for it.

Cox: It’s crazy. When I get my coffee, I need to put my milk and sugar and the proportions have to be right. When they fill your coffee up over here, the proportions are all off. Also, you feel like you’re on rocket fuel and you don’t know why.

Ashton: Anything else we need to experience?

Cox: Well, these two are too healthy but I’d love to introduce you to half-and-half. It’s one of the best inventions in the world. It’s cream and milk.

Hiddleston: I know about that. This isn’t, like, my first time in America.

Cox: Oh, and I’d love to introduce you to McDonald’s. [Laughs.]

Hiddleston: I’m really excited about the seasons. I’ve spent time in New York before but it’s only been for like two weeks at a time. To be here from summer into fall into winter…

Cox: Fall is an illusion in New York. You get a weekend in the 70s, and that’s it.

Ashton: No, but the colors and the trees! And Thanksgiving is going to be amazing!

How did you first become familiar with the work ofHarold Pinter and specifically “Betrayal”?

Hiddleston: For my A-Level English literature, we did a play of Pinter’s called “The Homecoming.” What I found so interesting was “The Homecoming” was so spare and so precise and so grown-up. I remember my teacher encouraging us to think about this play as about power and sex and family, all in a very brutal way. That it’s a father and sons competing for supremacy. I remember thinking: “This is reading a bit too much into it, isn’t it?” But it isn’t. As a 17-year-old, I just didn’t realize there was a writer engaging so consciously at this level.

Then I read “Betrayal” at the Royal Academy of Dramatic arts as an exercise for a dramaturgy class. I read it in one sitting and I did think, at the age of 21, “This would be an amazing thing to do one day.”

Ashton: We did a couple months of scene study at drama school and I played Anna in “Old Times.” I was 19 and I loved it and we actually nailed the scene study. I mean, we were 19-year-olds, maybe it was terrible. But my head of year said to me: “If I had known how easy Pinter was going to be for you, I would have given you something else.”

Was it easy?

Ashton: No! It wasn’t easy! But what I think he identified that if you vibe with Pinter, you’re kind of a special breed of person. If you can lean into all the violence and brutality and also see the tenderness and experience the special viewpoint he has of human relationships, you have a friend for life.

And you vibed with him from the start?

Ashton: 100%. And now I love him even more. Doing “Betrayal” is about having to invest in a love affair with these two men, but I also feel I’ve invested in a love affair with Pinter. I’ve wanted to read his poetry, I’ve wanted to think about him, I’ve wanted to read the books Joan Bakewell and Lady Antonia Fraser wrote about him. Just to try and piece together the man who I’ve never met. Charlie has.

You’ve met Pinter?

Cox: The first play I did in the West End was with Jamie Lloyd, “The Lover/The Collection.” Harold was part of numerous rehearsals and came to see the play many times. I got some great Harold stories that I’m still dining out on! During that time, I read “Betrayal.” Harold died the following year. It’s funny, my wife and I live in Connecticut and when I was offered this play I walked into my local bookshop and it was sitting right there.

A year ago, you didn’t know you’d be doing “Betrayal” in London, let alone here.

Cox: Four weeks ago we didn’t know we’d be here! It all happened very fast. When we closed in London, we thought we were done.

My understanding is this all began last October, when Tom and Zawe did a reading from the play at the “Pinter at the Pinter” gala?

Ashton: It sprung from that gala and people thinking we were rehearsing it already. People kept coming up to me and asking if we were doing a full production. So at the gala I basically came up to Tom and said, “What are you doing in March 2019?” And you were like, “Uh, get away from me, crazy lady.”

Hiddleston: It was an interesting night because it was celebration of all his work as a gift to [his widow] Antonia Fraser and it was 10 years after he died. But it wasn’t a heavy night, it was a celebration. And people came back to do extracts. The production Jamie Lloyd directed of “The Homecoming” came back. Jeremy Irons came back to do “No Man’s Land.”

Wait, Jeremy Irons starred in the film version of “Betrayal.”  Were you intimidated to do a scene in front of him?

Hiddleston: Well, less intimidated because I played his son in “The Hollow Crown.” There were several “Betrayal” alumni. Sam West was there, who played Robert at the Donmar Warehouse. Kristin Scott Thomas, who has played Emma, was also there. There was something very generous about this company of great, established actors who had made a great impact with Pinter’s work saying to Zawe and myself, “If you’re not doing it, you should do it.”

Ashton: It was such a compliment.

Hiddleston: Then Antonia Fraser also said, “Would you like to do it?” And Jamie leaned across and said, “Let’s do it!” So it came together very fast. And Jamie’s first suggestion for Jerry was Charlie, but he said you couldn’t do it.

Cox: The show I was doing [“Daredevil”] was going to be scheduled for another season at the time. So they went out to find somebody else. Then my show got cancelled and I called my agent and said I would love to do a play. I didn’t hear for a bit and I finally got him on the phone and was about to say “I’ve been trying to call you!” — but in a very nice, English way. And before I could say anything he said, “How would you like to do ‘Betrayal’ with Zawe Ashton and Tom Hiddleston?” I paused and said, “I’d like that very much.”

Ashton: If “Daredevil” hadn’t been canceled you wouldn’t have been able to do it.

That has to take some of sting out of cancellation.

Cox: It did, yeah.

This play doesn’t work without the chemistry between the characters, even when they are constantly competing and  one-upping each other. Did you know each other prior to working together and was that chemistry pretty instant?

Cox: Tom and I knew each other. We were bouncing around L.A. at the same time early in our careers.

Hiddleston: The truth is, we first met bumping into each other auditions for the same films that neither of us would get. After like the fourth time, we said, “Let’s go get a burger.”

Ashton: We’d been intersecting for years. Weird things have happened: Tom and I sat next to each other years before at the theater. We did the gala but weirdly, we’d also done a reading a couple weeks before that. And then Charlie and I realized we had auditioned together years ago.

Cox: I’m almost sure it was you. I didn’t get it.

Ashton: I didn’t either. And it was definitely you.

Hiddleston: That’s how most actors know each, they audition for things they don’t get.

Ashton: This could be the most unpleasant experience; it could really be toxically bad. What has happened is it has been the most joyful experience ever. That’s not to say we’re not completely embedded in the raw pain of the play. But I think you realize when you get to a certain age that you don’t need it to bleed into your lives and you don’t need to carry it home. I don’t want to do that with Harold Pinter because you can and you will go mad.

Hiddleston: It’s one of those things, you can’t put your finger on why it works, but it works and it’s a great pleasure.

Cox: That one-upmanship you talked about that’s in the text; if that were to manifest between us as actors, it would be awful.

Ashton: However…there was a squash game.

Cox: Let’s not talk about that.

Ashton: It did spill over into that game.

Cox: Look, it’s not about who wins or loses, it’s about who’s fitter. And Tom is fitter than I am.

Hiddleston: It was very instructive, playing squash. Some of those scenes, the competition is in the subtext, the brutality to each other is underneath it while they’re being civil on the surface. After we played squash, those scenes played themselves.

Cox: I still have a buttock injury from that last game. I was desperately trying to reach a ball because I was so determined to keep up! We had one day where we had five solid sessions and then Zawe joined us for the spa.

Leaving behind these characters at the end of the day could be a challenge. Are you able to do that?

Cox: Sometimes I’ll be at the end of the day and I’ll be agitated in some way and then I remember; of course, I just got off stage.

Ashton: I’ve often said I’ve felt like a baby who needed to be burped. There’s so much repression in the play and people aren’t saying what they mean and you want to cry but you have to hold it in. Sometimes I want to cry for three days.

Hiddleston: My favorite actor of all time Paul Scofield said: “The emotions are real, but they aren’t mine.” Which I think sums it up. Actors investigate something real but the situation doesn’t belong to them. So I know consciously I’m not Robert, I know I haven’t been betrayed. But when I investigate his sadness, some aspect of that belongs to me. It sometimes leaves a shadow.

“Betrayal” has been performed in America before, obviously, but are you curious about how Broadway audiences will respond versus London audiences?

Cox: We get a lot of Americans in London. I don’t think it’s going to be radically different.

Ashton: I think it’s going to be radically different. I think there’s going to be some exciting new things having an American audience is going to illuminate. I think it’s going to be interesting.

“Betrayal” runs at the Bernard B. Jacobs Theatre through Dec. 8.