actors on actors | tom blyth
summary: tom and reader are paired for variety’s actors on actors.
an: full credit goes @prettylittlels for the idea!! thank you!!🫶🏼 you can choose what film you’re in and your character for this fic :)
“were you a hunger games fan growing up?” you asked tom. you and tom were paired together to be in a new edition of actors on actors for variety. you were seated across tom.
“i did read the books, watched the movies, but they were unavoidable. i remember going to midnight screenings of the movies with my mum.” tom nodded.
“i loved going to midnight screenings! we need to bring those back,” you replied. midnight screenings were your favorite when you were a teenager. you loved going with your best friends and sometimes your parents, but they always ended up sleeping halfway through the movie.
tom then asked about your character. “i definitely made multiple playlist for them. i just love making playlists. they for sure listen to some sad stuff like mitski. but i enjoyed everything about them.”
“i think snow would listen to money, power, glory by lana del rey. it’s going on his playlist while he’s getting his hair ready.” he laughed.
“oh my god, snow is a lana stan.”
after a while, you talked about your upcoming projects. tom’s new project was an adaptation of ernest hemminway’s novel alongside olivia cooke while you were finishing up filming the remake of nosferatu as ellen hutter.
“then i might take a break. i’ve been working nonstop for about three years and i’m forever grateful for all the opportunities. i just want to lay down for a bit.” you admitted with a laugh.
“i’ll join you.”
TWITTER
@/blythupdates “I’LL JOIN YOU” IM SCREAMINGGG
@/ynsocar pls they’re so cute together 😭
@/onedirectioncomeback no you don’t understand i need them in a movie together NOWWW
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multi-muse indie rp blog with canon muses. medium to low activity. 21+. penned by am. millennial. CET. likes rare fandoms. very slow writer.
rules memes open starters muse list under the cut
mains and affiliates: neverfittedin / dcyswclking, entangledmuses / ofthexnight, sarcaasmic
graphics by the amazing @neverfittedin
muse list
all canon muses can be treated as OCs and are adaptable to (almost) any fandom/setting
🚩 marks villainous/dangerous muse
Primary Muses
🚩 Trevor Anderson, 21-27, bi, Hellraiser (2022), fc Drew Starkey
your casual criminal crush
(🚩) Peter Rumancek, pan, 19-22; or 27-31, Hemlock Grove, fc Aaron Taylor-Johnson (post-series, headcanon-based portrayal)
your sexy man-beast who tore his own heart out
🚩Barry, 24-28, Outer Banks, fc Nick Cirillo
your local drug dealer with a good heart and a gold tooth
Zach MacLaren, 20-24, The Other Zoey, fc Drew Starkey (intro)
your typical jock that is literally a puppy dog (aka the other Zach)
Secondary Muses
🚩James “Junior” Rennie, straight, 21-28, Under The Dome, fc Alexander Koch (intro)
your sociopathic obsessive boy next door
Dale “Barbie” Barbara, straight, 30-36, Under The Dome, fc Mike Vogel
your brooding anti-hero
(🚩) Liam/Angelus/Angel, 270 and forever 23 vampire; or 20-25 human, Buffy the Vampire Slayer, fc Jacob Elordi (headcanon-based portrayal; also modern non-vampire verse)
your ever-brooding, moody vampire cursed with a soul
Dylan Massett, straight, 21-27, Bates Motel, fc Max Thieriot
your white knight in a leather jacket
Selective/Exclusive Muses
James M. Beaufort, straight, 18-23, Maxton Hall, fc Damian Hardung (exclusive to @entangledmuses' Ruby Bell)
your way too attractive rich boy
🚩Rafe Cameron, 19-26, Outer Banks, fc Drew Starkey
your @unhlnged rich boy
JJ Maybank, pan, 18-23, Outer Banks, fc Rudy Pankow
your chaotic, quick-tempered @salt-lifer
Natalie Scatorccio, 18-23, Yellowjackets, fc Sophie Thatcher (very selective)
your i-don't-give-a-shit-but-also-care-too-much queen of misfits
New Muses (pending)
Troy Otto, Fear the Walking Dead, fc Daniel Sharman
your severly broken psycho boy
Fox Mulder, The X-Files, fc tbd
your tbd
Coriolanus Snow, The Hunger Games: The Ballad of Songbirds and Snakes, fc Tom Blyth
your tbd
Louisa "Wheezie" Cameron, 18-23, Outer Banks, fc Victoria Justice (aged-up headcanon-based portrayal)
your little miss always overlooked
Nadia Godfrey, 18-23, Hemlock Grove, fc Elle Fanning (aged-up headcanon-based portrayal)
tbd
Grayson Ernest Theodor Spencer, ace, 24-28, Silber Trilogy, fc Josh Hutcherson (heavily headcanon-based portrayal)
Muses on Hiatus
your permanently tired loser boy, who will do anything for a cup of coffee
🚩Carlisle Cullen, 400 and forever 35, Twilight, fc Alexander Skarsgård (headcanon-based portrayal) (intro)
not your teen romance novel's friendly vampire daddy
🚩Chase Collins, 30-36, bi, The Covenant, fc Sebastian Stan (also younger version and non-magical version)
your power-hungry warlock with a wicked sense of humor
Luke Riordan, 21-26, Gen V, fc Patrick Schwarzenegger
your golden boy with a dark future
Zachary "Zach" Shan-Yung Dempsey, demi, 21-28, 13 Reasons Why, fc Ross Butler
your former jock turned musician that will literally come pick you up
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Joan Crawford and Eve Arden in Mildred Pierce (Michael Curtiz, 1945)
Cast: Joan Crawford, Jack Carson, Ann Blyth, Zachary Scott, Eve Arden, Bruce Bennett, Butterfly McQueen, Lee Patrick, Moroni Olsen, Jo Ann Olsen. Screenplay: Ranald McDougal, based on a novel by James M. Cain. Cinematography: Ernest Haller. Art direction: Anton Grot. Film editing: David Weisbart. Music: Max Steiner.
Mildred Pierce provided Joan Crawford with her shining Oscar moment, even if she had to accept her statuette from her sickbed -- surrounded, to be sure, by press photographers. But I don't think it's her best performance. I prefer her as Crystal Allen in The Women (George Cukor, 1939), who although she loses her sugar daddy still manages to kiss off the "respectable" women with a splendid curtain line. Or as Helen Wright, the consummate rich and predatory patroness in Humoresque (Jean Negulesco, 1946), treating the Fannie Hurst melodrama as if it were Ibsen, inhabiting every absurd moment with full conviction. Or even as Millicent Weatherby in Autumn Leaves (Robert Aldrich, 1956), in which she fights against the hardness into which her face was beginning to settle as she turned 50 by crafting an image of a younger, more vulnerable woman. There are things about Mildred Pierce that don't quite work, particularly the shifts from film noir, shot with expressionist flair by Ernest Haller, to "woman's picture" opulence of setting. But it is still an indispensable film, as essential to defining Crawford's career -- and hence to an understanding of how Hollywood viewed women in the 1940s -- as Now, Voyager (Irving Rapper, 1942) was to Bette Davis's.
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having finally listened to other noel coward plays, design for living is god damn INSANE. ive listened to hay fever and present laughter, and read the first act of blythe spirit. all these plays are comedically structured, hilarity building on the goofy relationships btwn the characters. there’s a “oh you!” sense to the humor. there’s also constant play w social conventions in these plays. the climax of present laughter is the successive moments ppl propose to join him at the end — one a girlfriend who SAYS she doesnt expect marriage and another a man who is obsessed with him (which is explicitly made a joke of when our main says something like “i suppose he doesnt want to get married either”). hay fever has both romantic unconventionalities (the mother and the guy she invites who is funnily pursued by the daughter to prevent an affair i think?) and social ones (the daughter pointing out how rude their family is). i mention all these examples by name because theyre easy enough to mention. theyre moments, not stories. and they contribute to the screwball hijinks of the play. a mess is funny.
SO alls to say that design for living isnt like this at all. to start off, it isnt very funny. definitely not zany like these. the situation isnt side-splitting, it’s sad! the love is well-established which makes the break ups depressing. coward couldve written this play to be like how love triangle comedies are often written. leo walks out and otto arrives and gilda treats him like she treated leo and she has to hide him a la present laughter and oh the hilarity! but that hilarity is never entertained. the audience doesnt know about leo in act one when ernest is there so there’s no comedic tension. and when we do find out, they tell otto as soon as he’s back. it isnt funny when ernst (and the audience) figures it out. it’s dramatic. and that tone continues the whole show. even the ending isnt one last laugh. it’s a gasp moment. “havent you figured it out? ive given in.” it’s a full-on romance. i get the sense coward wrote a dramatic play under the veneer of a comedy because the situation is better received in the ambiguity of comedy. the non conformity being the whole premise of the show rather than a one-off is another irregularity that furthers that
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