#mr yates

[missfisherandjack]

Miss Fisher’s Murder Mysteries (2012-2015) ↳ 1x03 The Green Mill Murder

[pyersiki]

exactly what business do two drovers have walking around with lethal face cards like these……… rly makes you think

[stampedestring]

Poor Pete just can't get the boss to open up sometimes. Like in Incident at Red River Station, when he's just asking gently:

Or in Incident of the Tinker's Dam, when he has entirely valid concerns:

Then along comes Rowdy in Incident of the Night Horse:

Rowdy: Your decision is going to personally impact me!

Favor: *proceeds to dump backstory to account for his actions*

(I kid, I kid. Favor does open up to Pete in Incident of the Blue Fire.)

[joemusclefan]

Mr. Olympia Results '95

[feministsouthpark]

South Park Filler Guide - Season 19

Link for Seasons  1  2  3  4  5  6  7  8  9  10  11  12  13 14 15 16 17 18

You know the drill by now, I’ll judge whether an episode has all the qualities of a canon one, or is it just shameless filler. S19E1 Stunning and Brave is CANON

This is a big one. Principal Victoria gets fired and Peter Charles Principal replaces her at South Park Elementary. S19E2 Where My Country Gone? is CANON

Herbert decides to be a politician which will shift the whole storyline for that character in a big way. Butters also gets into a relationship with Charlotte. S19E3 The City Part of Town is CANON

Three packed episodes in a row! In this one the whole town is evolving, getting updates and new hangout places, we're deep in the gentrification. S19E4 You're Not Yelping is LORE

David gets included with the boys, and I wish it would have stuck, but it really didn't, however in the next few episodes they act like it did. Gerald starts enjoying writing mean things on the internet, which is somewhat of an important character development for him. but it's not enough to be considered ultimately necessary. S19E5 Safe Space is CANON

Reality makes Butters jump out of a window, which causes him to wear a neck brace for the rest of the season, and then he has to execute Reality. S19E6 Tweek X Craig is CANON

The japanese have decided that Craig and Tweek are now a couple. Cupid Me also returns. S19E7 Naughty Ninjas is CANON

Barbrady gets included in a larger conspiracy case which somehow inlcudes both Leslie AND PC Principal? S19E8 Sponsored Content is CANON

The annual Jimmy episode actually invokes the main storyline of the season, fighting against commercials. S19E9 Truth and Advertising is CANON

Leslie moves on from Jimmy and gets into a relationship with Kyle. S19E10 PC Principal Final Justice is CANON

PC Principal expels Leslie, it's revealed that Mr Mackey fired Principal Victoria, and Herbert goes on to run for presidency, setting up the next season.

SPOILER-FREE RUNDOWN

S19E1 Stunning and Brave is CANON S19E2 Where My Country Gone? is CANON S19E3 The City Part of Town is CANON S19E4 You're Not Yelping is LORE* S19E5 Safe Space is CANON S19E6 Tweek X Craig is CANON S19E7 Naughty Ninjas is CANON S19E8 Sponsored Content is CANON S19E9 Truth and Advertising is CANON S19E10 PC Principal Final Justice is CANON *There's a character who gets development in this episode and will be seen hanging out with the boys during the next 3 episodes with little to no lines.

CANON counter:

S1: 9 out of 13  S2: 3 out of 18  S3: 6 out of 18  S4: 10 out of 17  S5: 8 out of 14  S6: 11 out of 17 S7: 6 out of 15 S8: 4 out of 14 S9: 8 out of 14 S10: 4 out of 14 S11: 4 out of 14 S12: 8 out of 14 S13: 3 out of 14 S14: 7 out of 14 S15: 6 out of 14 S16: 2 out of 14 S17: 4 out of 10 + a highly lore based game S18: 8 out of 10 S19: 9 out of 10

Overall: 120 out of 268

Personal notes: At one point I thought S19 will be the first full-canon season, ultimately You're Not Yelping doesn't have enough follow-up for that. However, just like S6 it doesn't have any clear filler episodes.

[denimbex1986]

'Fleabag’s hot priest is about to take on his most liberating role yet: a one-man show of Chekhov’s Uncle Vanya in which he will play all nine roles, male and female. He loves taking risks, he says. It seems to be paying off…

I last saw Andrew Scott in the flesh eight years ago. I was sitting in the gloom at the top of what used to be St Martin’s School of Art in the Charing Cross Road – a tiny, temporary theatre had sprung up there – and he was three feet away from me, surrounded by great piles of stuff: newspapers, books, chairs, cupboards… a piano. The occasion was Richard Greenberg’s play The Dazzle, about two compulsive hoarders, the Collyer brothers, and his performance as one of them was mesmerising: in truth, almost too mesmerising. My mind went into overdrive. All that paper and mahogany. What if something toppled, and he was crushed – as the real Langley Collyer was – beneath a chest of drawers?

He wasn’t crushed, of course. But what’s striking and slightly odd is that today I’m seeing Scott in the flesh for the second time, and we’re again at the top of an old building – in this case, a public library – in rooms that feel a bit dilapidated, if not exactly derelict. People imagine the actor’s life to be a glamorous one, particularly if the actor in question has been in a Bond film – and of course it has its enchantments. But then there are the hours spent in spaces like this: long days of sandwiches, bottled water and elusive lines. When we came up in the ancient lift together, I couldn’t decide which of us was the more anxious. He was, I would guess. “MY TWELVE HOURS TRAPPED WITH FLEABAG STAR” ran the ticker tape in my mind as the mechanism creaked and groaned, and we each did our best not to meet the other’s eye.

Scott has spent the past three weeks here, deep in rehearsals for Vanya, a new version by Simon Stephens of Anton Chekhov’s great tragicomedy Uncle Vanya. But there’s new, and then there is… new. This adaptation gives the play, among other things, a contemporary setting. However, when the production opens in the West End, its chief novelty – and its chief draw, given Scott’s huge following – will be the fact that it is a one-man show. He will be playing all nine parts: male and female, young and old, beautiful and not-so-beautiful. It must be hard to learn so many lines, I say, once he’s (semi) comfortable on a battered leather sofa, his old, white T-shirt giving him a slight look of Marlon Brando. Doesn’t he feel like he’s going mad, with all these voices in his head? He laughs – a high-pitched, wicked laugh. “Yeah. I do, and it’s really hard [to learn]. Usually, when you can’t remember a line, another actor will say, ‘What time is it?’ or something, and then it comes to you. But now I’ve no one to cue me.” Alone on stage, he has had to change his mindset completely: “I’ve come to understand that I’m sort of looking after all these characters.”

The idea for a one-man production came about by accident. Scott, Stephens, and Sam Yates, who is directing the play, were workshopping it together (Scott has worked with Stephens twice before, most notably in Birdland at the Royal Court, in which he played a rock star who has made a Faustian pact with fame). “We miscalculated the parts, and I ended up having to act with myself, and it was kind of interesting. It gave birth to the idea that, as much as these characters say they’re different from each other, actually, some of them are very similar. I’m more interested now in those similarities than in, you know, doing a funny voice [for each one]. The production seems to me to be about what the act of creation is. I love the idea that you might be able to represent what a writer experiences on stage, all these characters in his head.”

But how on earth will the audience work out what’s going on? I understand about the funny voices, but won’t Scott have to change his a little bit when he’s acting the part of a woman? He smiles, teasingly. “I don’t think I should tell you that… But you don’t need to worry too much. I feel so liberated! I hope people will start to look at what’s within the performer so that something happens that can only really take place in a theatre – which is that you’re seeing one thing, but imagining something else.” This sounds like reading a novel, visualising scenes and characters for yourself, filling the gaps between words. He nods. “Look, I definitely don’t want to shy away from the ridiculousness of this project, and yeah, I’m nervous, but I’m loving the process. I think it’s a really sexy play. You know, Chekhov was a doctor, and he saw death so much, and I think he was able to understand human beings like no other writer.”

The argument that actors should only play who they are – that a gay character, for instance, may be played only by a gay actor – is made more and more often lately. But this production seems (to me, at least) subtly to resist the notion of identity politics in the theatre; to suggest that such rigidity may sometimes be a cul-de-sac. “It can be a cul-de-sac, certainly,” Scott says. “Of course those arguments have to be heard. The world isn’t a level playing field. But I think transformation is as important as representation. Our first understanding of storytelling happens when we’re young. Our mother or father is pretending to be a wolf. We know we’re safe, but we’re scared, too. Our parent can be a wolf! Human beings can create worlds within themselves. I don’t think we can just slice that out of ourselves.”

He knows some will heartily dislike this Vanya, but the thought seems, if anything, to excite him. “It could go wrong,” he says. “But we need a bit more of people not liking things.” He’s ambivalent, to put it mildly, about standing ovations, which seem to happen in the theatre most evenings nowadays. “My concern is that everything becomes meaningless. I think it’s unfortunate that if someone decides not to stand up, it’s perceived that they hated it. That’s not necessarily true. Maybe I thought it was very good, but I didn’t feel like rising to my feet. My producers are going to hate me for saying this, but I strongly believe that if people don’t feel like standing up, they shouldn’t. People feel lonely, having to stand when they don’t want to. Equally, it’s kind of moving when most people are not standing up, and three people are.”

Does he blame the internet for this? Is it just another form of “liking” something? “I do blame the internet, yes.” But perhaps, too, it has to do with cost. “I was recently on Broadway, and tickets there are astronomically expensive, and I thought: well, these people have to stand up because they’ve spent $390, so it’s got to have been one of the best nights of their lives.” Either way, he doesn’t understand it: the firmness and immediacy of people’s responses. “When you’ve just seen a play, it’s a really sensitive time. It’s weird when people start talking straight away about their new conservatory.” All this may explain why he feels there is more value for him in doing experimental work. “Some people will like it, some people won’t, and that’s great. I feel ferocious about wanting to take risks.”

In the coming months, Scott will be everywhere: a trick of scheduling, rather than by design. Vanya will be followed in January by the release of All of Us Strangers, a film in which he stars with Paul Mescal and Claire Foy (he plays a depressed screenwriter who goes to visit his childhood home, only to find that his parents, far from having died in a car crash when he was 12, are alive and well – though much of the coverage of the movie so far has focused on the fact that his character and Mescal’s are lovers). “It’s a beautiful film,” he says, dreamily. And then there’s Ripley, a Netflix series (its release is expected at the end of this year), based on Patricia Highsmith’s novel The Talented Mr Ripley, written and directed by Steven Zaillian, the screenwriter of Schindler’s List and Hannibal.

“It’s a big, big thing,” he says, of his role as Tom Ripley, grifter and serial killer. And yet, Scott said he wouldn’t be doing any more crazed sociopaths, having played Moriarty in Sherlock (he was also a baddie in the Bond film Spectre). “I know, but what I find interesting about him is not the psycho-ness; it’s the otherness. To me, it’s about what it’s like never to be invited to the party. We all know people who don’t make it easy for themselves, who are maybe a bit strange. But if you’re constantly ignored, or sidelined, or don’t fit in, what happens? Is it that something dark emerges? I don’t mind saying that playing him was challenging. It was very lonely. We filmed during Covid, and the five-day isolation requirements that were in place both here and in Italy meant people couldn’t come and visit, and I couldn’t come home. It’s eight hours of television, and he’s a solitary figure in this version, so I was on my own a lot.”

Scott is 46, though you wouldn’t know it; his enthusiasm, like his fidgetiness, belong to a younger man. He grew up in Dublin, with his two sisters – his father worked at an employment agency; his mother was an art teacher – where he was educated at private Jesuit school, attending drama classes on Saturdays. Art was his first plan – painting is still his great love; he can’t wait for the forthcoming Hockney show at the National Portrait Gallery – and he won a bursary to art school at 17. But then he was cast in a film, Korea, about an Irish boy emigrating to America in the 1950s who’s enlisted to fight in the Korean war, so he turned the place down, and once the movie was done, went to Trinity College to study drama instead. After six months, bored by the course, he left to join Dublin’s Abbey theatre.

He seems hardly ever to have been out of work, and his CV is such a mixture: Gethin the tense gay Welshman in Matthew Warchus’s film Pride; eccentric Lord Merlin in the BBC adaptation of The Pursuit of Love; an acclaimed Hamlet in 2017 at the Almeida theatre. By this point, his mantlepiece – he has two, one in London, and one in Dublin – must be quite frantic with statuettes (his most recent win, in 2020, was a Laurence Olivier award for best actor for his performance as Garry Essendine in Noël Coward’s Present Laughter). Does he feel blessed? “Yes, and that’s a really nice way of putting it. I’m grateful.” But perhaps this sounds too… humble: “I’ve never understood why there’s some sort of shame associated with being an artist. I feel able to call myself one.”

His fame is at a level that means he can move around London unnoticed, and he’d like to keep it that way. “I’m suspicious of it. I’ve no real interest in the value of it. The idea of being followed by a photographer seems hellish to me.” Does it affect his relationships? He doesn’t believe that it does, though there are “creepy, unsavoury people” out there who might not “have my best interests at heart”. Is he single? “Yes, I am.” Would he like to meet someone? He would. Surely it’s easy in his world? So many lovely new people entering his orbit all the time – and with his looks… He laughs. “That’s a lot of projection, there,” he says, sounding suddenly more Irish.

I read somewhere that some women in Ireland will always think of him as the guy who turned up to their demonstrations in the run-up to the abortion referendum in 2018, even when it was raining (the vote overturned the ban on abortion in the country, and followed one of 2015, which allowed same sex couples to marry). Isn’t it amazing how much Ireland has changed? When he was 16, it was still illegal to be gay, as he is. “Yes, it’s immense for people of my generation to have been emancipated from the shame of the Catholic church. But it’s interesting. Privacy matters to me, but then I remember Sinéad O’Connor being on The Late, Late Show, talking about human rights, and how important that was. Her kindness… We’re only just finding out about it. She didn’t announce it to the world. Again, it brings us back to social media. Does kindness happen if you don’t tell everybody about it?”

Scott is no longer a practising Catholic. But he can’t be certain this means he won’t call for the priest at the end (this conversation has taken a morbid turn, and it’s my fault). Perhaps it’s in the marrow. “It’s the organisation that’s the problem, not the principles behind it, which are very beautiful for the most part. I remember when Simon and I were doing [the play] Sea Wall. One of the lines in it is: show me God, where is he? And then the next line is: well, show me love, where is that? You can’t get evidence for either of them really. They’re just strong feelings. I believe in the power of love. I feel it’s stronger than anything, because you can’t do anything about it. I’ve so much of it in my life, and one of the things I’m most proud of is how much I’m able, not only to receive it, but to give it – and if somebody thinks that’s sentimental or mawkish, well, to me it’s the opposite.” He talks for a while in this vein. “I want to try to be a good person; not just a nice person, but a good person,” he says, his voice racing on – and it makes me think of him as the Hot Priest in Phoebe Waller-Bridge’s Fleabag, the role for which he may now be best known. If every pulpit came with an Andrew Scott, our churches would be bulging at the seams.

Soon after this, there’s a knock on the door. It’s time to begin rehearsal (in the hall outside, his director stands at a lectern, looking quite priestly himself). He has, he says, another three weeks to go before Vanya opens, and when it does, he’ll be looking out for me; I’d better be sitting down at the curtain call, he jokes. Well, perhaps I’ll have good reason to be sitting down, I joke back. But he’s ever serious: “I always remember what my mum used to say. She’s an art teacher, and she used to tell us that a good drawer never rubs out. So, you draw a line, and then you get it wrong, and then you start a new line. The fact that people can see your old line doesn’t make them appreciate your new line any less. It may even make them appreciate it more.” What he means, I think, is that he believes it’ll be all right on the night.'

[musclefetish]

Dorian Yates. Look at this monster! About 310 at just under 5'9". With his training partner, Matt Nicholson and ex-wife Debbie during the 1997 offseason. He had one more Olympia in him (his sixth) before retiring. Ronnie Coleman would win his first of eight straight Olympias the following year.

[thedogslegart]

Directly inspired by @khazadspoon 's posts/anons lol

[missfisherandjack]

Miss Fisher: “Unfortunately I’m already known to the boxing troupe, but I’m sure you two can mingle without attracting too much attention.”

Miss Fisher’s Murder Mysteries (2012-2015) ↳ 2x04 Deadweight

[bethanydelleman]

Sir Thomas arriving home from Antigua (at least from his perspective)

The Bertram children and Mrs. Norris:

"No fire here, that's a screen saver!"

Mr. Yates:

The fire of course being the play/theatre.

Mansfield Park Memes, Ch 19

[stampedestring]

S2E1 Incident of the Day of the Dead begins with Rowdy doing the opening monologue, rather like the narrator of a documentary:

On a trail drive, each and every man has his chore.

The eye of the drive is the scout, riding out in front to test the trail and find water and bed ground.

Others are stationed around the herd, hazing it when it moves and soothing it when it's bedded down.

A very important man is the master of the chuck wagon, because he's not only got to be a good trail cook but a jack of all trades as well.

The man who holds the whole caboodle together is the trail boss.

There's one man in the outfit who's got no chores of his own. He's got to be ready and willing to take over anyone else's. Yeah, that's me, ramrod of this outfit -- Rowdy Yates.

Then he goes into town to wait for the mail, which is presumably the chore he's taken on for the day, and a whole Incident later, the episode concludes without any further word on the mail, which I thought was pretty funny.

[joemusclefan]

Mr. Olympia Results '95

[quietmtntown]

[feministsouthpark]

My Top 10 favorite South Park characters

Also known as the top 10 best women, bc of course from a writing standpoint the boys are written with much better understanding, but these are my top 10 characters I'd like to see more of 😊 10. Maggie Yates Ok, so the reasoning is that she's an inspiration to her husband, but she also deserves much better than him. She's better than him even in his hobbies and his job, still her fate is to be the stay-at-home housewife which i find realistic, as a lot of talented women end up this way. I'd like to see her come into her own, but that's hardly Trey's intention with the character. She'll stay our relatable housewife.

9. Sheila Broflovski In the early days of the fandom, especially because of the movie, people see her as the villain. However she is one of the best mothers in the show, even if she's overprotective helicopter parent, her kids are some of the best, and we all know it's not her husband's doing. As you can tell, I especially enjoy her Jersey backstory and the ways she overcame her past and protects her friends now.

8. Sharon Marsh She is the main example of a wife trapped in an awful marriage, which is pretty common in real life. Honestly, when she made an OnlyFans, I was like, go girl! Still, she loves and protects her children even from their father, I'd say considering the circumstances she's doing a very good job at that.

7. Laura Tucker Remember The Magic Bush? She was so real for that. She deserves any recognition and appreciation she gets for being a wonderful wife, mother and woman while being true to herself.

6. Mrs. Helen Tweak TBH For recency bias I might put her in the number four spot, since I underestimated her pretty much all these years. A month before she would be in the place of Maggie as another housewife type, but her performance in The End of Obesity was incredible, her new hair and attitude was fresh and energetic, I'M happy for her finding her independence seemengly away from her restricting husband. Can't wait to see more of her in the future! And also planning to review her past episodes in a new light after the fact.

5. Principal Victoria I wish there were a few more episodes of her even after she is not a principal anymore. She is a strong woman in her own right, her speech in Breast Cancer Show Ever alone earns her a spot on this list.

4. Liane Cartman So the fact about Liane is... She isn't as horrible as a mother as the problems with her child. She can't deal with him that's for sure, but her son is bad on levels she couldn't even imagine. She knows he is uncontrollable and still tries her hardest as a single mother to help him. As a person she is kind and sweet who doesn't deserve this much struggle and her character development over the years has been outstanding.

3. Mayor McDaniels South Park has too few major female characters. Which Trey and Matt try to compensate sometimes, and one of their greatest decisions in the 90s was that the mayor of the titular town would be a woman. She is smart, hard-working and quite possibly living through a rich emotional journey as alluded to in Tweek x Craig, with her possible deceased lover. She also has enough flaws to be funny, like her being vain and dismissive of her town sometimes.

2. Strong Woman She is feminism personified, how could I not love her? And also... Her looks and personality remind me one of my real life heroes, a teacher (the best teacher I ever had -academically speaking as well, no less- ) who introduced me to everything I stand for. I wish I could tell her how much that meant to me, I usually get reminded her through this character. Also, just in-story she is still a great teacher and her dynamic with PC Principal is flawless.

1. Harriet Biggle Not only my favorite character of the whole show, but a severly underrated one as well. She’s like a Desperate Housewives character (specifically a lot like Martha Huber) and she steals every scene she’s in, when she invites Sharon to a “school shooting”, tries to bribe the boys with video games and tries to shoot Eric in the realtor episode all while speaking in a melodic voice never fails to make me laugh. She also has an adopted son who she cares for, so we know she has a lot of heart, still, she has blatant fatphobia which makes her even funnier, I always hope she gets more focus, and am sick of how underappreciated she is as a character.

[denimbex1986]

'The list of acting greats who have taken on the role of Uncle Vanya is a long one: Laurence Olivier, Ian McKellen, Peter O’Toole, Simon Russell Beale, Derek Jacobi. Earlier this year, Steve Carrell brought his distinct pathos—and humor—to Anton Chekhov’s classic meditation on money, class, work, the environment, and masculinity in a production at Lincoln Center Theater. Yet none of these actors have, it’s safe to say, attempted to turn it into a one-man play.

Last fall, in London, Andrew Scott did just that, playing all the parts in Uncle Vanya—and somehow, by all accounts, carrying it off. That stripped-down, modernized production offered no distraction from Scott as he nimbly pivoted between the eight characters: the professor returning to his country home with his young wife, the brother-in-law (Vanya) who has been bitterly managing the estate that has funded the professor’s exploits, and everyone in between. The performance was described as virtuosic, the foundation for a captivating show that included a one-man sex scene. Scott (also one of the co-creators) was, unsurprisingly, nominated for best actor at the Olivier Awards, and the play won best revival.

Though widely known (now and probably forever) as the “hot priest” from Fleabag, Scott has moved definitively beyond the role that made millions of viewers question their inclinations toward the clergy. He starred last year in Andrew Haigh’s gently devastating All of Us Strangers, and earlier this year in Ripley, the moody Netflix adaptation of The Talented Mr. Ripley that earned 13 Emmy nominations, in part due to his sinister reinvention of the chameleonic central character.

And now, Scott, along with co-creator and adaptor Simon Stephens, designer Rosanna Vize, and director Sam Yates, is bringing Vanya to New York for its American premiere. (Vanya will arrive just over a century after the vodka-soaked tragicomedy had its Broadway premiere in 1923.) “Performing this play in front of an audience was one of the most magical, exhausting and thrilling experiences of my life," says Scott. "I’m so excited to come back to New York and share that experience with the audiences at the Lortel.”

“The connection between the wondrous Andrew Scott and audiences in London was unlike anything I’ve witnessed before in the theater,” says Yates. “I am honored and excited to share this production and Andrew’s remarkable performance with audiences in New York.”

Previews will begin at the Lucille Lortel Theatre off-Broadway on March 11, with an opening night set for March 18. Tickets are on sale today.'

[doctorwormcore]

i rewatched twenty-five acts and why is barba literally so cute when they introduce him?