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#film tv jobs sydney
persephonyed · 20 days
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hiiiii cuties and happy friday! woohoo !! ♡
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okay, it's that time again where i caught up on all of my drafts, and i'm finally allowing myself to get some new threads going. below the cut are muses that i really, really want to write with lately ( as well as a couple test muses ) + little descriptions of each of them. give this post a like if you're interested in writing / plotting / etc. with any of them and i'll come to you! you can even just treat this as a like for a starter even if u wanna. i'm really excited to write some new things and potentially find some new people to write with. ☺️
*** if u like the post, when i message u, i can and will ramble on and on about character descriptions and what everyone is like. i just didn't want to put it here because the post is already so long!
arden henderson — olivia cooke fc. late 20s, bisexual, forensic criminologist.
blair bennett — katie douglas fc. early 20s, bisexual, university student.
camille st. clair — jessica alexander fc. early 20s, bisexual, aspiring actress.
cora devlin — daisy edgar jones fc. mid 20s, bisexual, hair stylist.
darby davies — hailee steinfeld fc. mid 20s, lesbian, film & tv actress.
erin nichols — jessica chastain fc. mid 40s, bisexual, housewife.
eve lawson — willa fitzgerald fc. early 30s, bisexual, historian.
jillian "jill" walsh — alva bratt fc. mid 20s, bisexual, freelance photographer.
laia aguilar — fiona palomo fc. early 20s, bisexual, university student.
malia dixon — greta onieogou fc. early 30s, bisexual, indie film director.
margot jensen — sydney sweeney fc. mid 20s, bisexual, diner waitress and cult escapee / survivor.
maude morgan — ella purnell fc. mid 20s, bisexual, unemployed rich girl and secret drug dealer.
nora giuliani — victoria pedretti fc. late 20s, lesbian, true crime journalist and podcaster.
preston fox — rudy pankow fc. mid 20s, bisexual, university student, fraternity president, and lead singer / guitarist of his band.
palmer mckenzie — erana james fc. mid 20s, lesbian, professional athlete.
piper novak — samara weaving fc. early 30s, pansexual, coffee shop owner.
ramona "romy" park — adeline rudolph fc. late 20s, bisexual, professional concert photographer.
ruby brodsky — gideon adlon fc. late 20s, bisexual, arts grad student.
siena norwood — florence pugh fc. late 20s but is really centuries old, bisexual, vampire.
( the ones below this are all test muses ! )
bellamy caldeira — alba baptista fc. mid 20s, bisexual, will take any job that pays the bills.
katia garcia — camila mendes fc. late 20s, bisexual, competitive cheerleading coach.
penelope "penny" sosa — camila morrone fc. mid 20s, bisexual, team usa professional soccer player and secret onlyfans / cam girl.
valeria "val" quintero — rachel zegler fc. early 20s, bisexual, musical theatre university student.
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destinyc1020 · 15 days
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Z and Kaia arent at the same career level or status, i dnt see why folks compare them. The only thing thats the same is they both dated the same messy ass man and Kaia is a gf to Zs coworker. Thats it lol, they aint friends n havent even been photographed together.
I doubt they go for the same roles, besides AHS (which i think she/her team learned from not to start with a leading role 👀) Kaia is always a side character and is doing more comedies (and again a few side character roles roles in drama) and Z has been 1st or 2nd billed when it comes to a variety of genres-drama (Euphoria), action (dune 1 n 2) and drama/comedy (challengers). When yr a side character sometimes u may nt b needed on set as much as the main characters, so yea, it makes sense why Kaia got more roles rn (along with other obvious reasons), she might nt b on set long and can jjst move onto the nxt job quickly. Z acts, produces and shadows her directors- that requres her to b on set more and b involved (probably) pre n post production. I doubt Kaia is doing anything bt acting rn (and thats fine). Folks acting lik Kaia getting more roles mean smthn-it dnt lol good for her for being booked i guess. Bt if folks goimg to compare Kaia to someone, it makes sense to compare her to other model/actors lik her friend Camilla Morone or Lily Rose. Nt Z, who is literally the IT girl rn lol
I totally agree Anon. 👏🏾
Z and Kaia shouldn't even be in the same sentence imo. They're on totally different levels.
Z started from the ground up. Kaia did not. 🤷🏾‍♀️ Z's fanbase is humongous.... Kaia's is not. Kaia was born into privilege, Zendaya was not. Plus, Z has been acting since she was a kid, whereas Kaia has been slowly phasing out of her career of modeling, and doing what EVERYBODY seems to want to do these days for some reason lol, which is ACT. 🥴
We've got models acting, former wrestlers acting, singers acting, etc. It's almost like everybody and their auntie wants to act these days lol 😆 It's funny lol.
Look, I have no issues with Kaia wanting to act, or even that she's a nepobaby (Hollywood is FULL of them, and you can't control who your parents are 🤷🏾‍♀️).
All that I ask is that if you're a nepobaby, PLEASE, for the love of God, get some acting lessons! 🙏🏾😩 Work on and hone your craft. Otherwise, you're basically taking a perfectly decent spot/role in a film or a TV show from an actual REAL actress who actually knows how to act, and it's really kinda sad. 😔
So yea, like you said, quantity doesn't equal quality.
I don't even know why some ppl would even mention Kaia or Sydney (for that matter) in the same sentence as Zendaya. That's like comparing apples to birds. 😅
Re: Lily Rose....
Yes, she's a nepobaby, but at least she can halfway act. She's actually a pretty decent actress imo. It makes sense too, cuz her dad is an awesome actor.
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It's just a shame she sold herself to the devil with that role in Sam Levinson's disaster "The Idol". 😬
She didn't need to do that show imo. She already had acting talent as far as I'm concerned. 🤦🏾‍♀️
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witchybiitchy · 1 year
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c’est ça l’amour | l.n
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fic masterlist
chapter 10
“I think it’s safe to say that everyone, both from AlphaTauri and McLaren, are incredibly disappointed in you two.” Dan Brown’s words echoed around Sydney’s head as she blow dried her hair, Alpha Tauri polo and jeans already on as she prepared for her first day of formal press since, what Daisy is privately referring to as ‘The Pash’, occurred. She’d performed well last week getting to P7, so there was no reason she couldn’t perform just as well this week, and that was what she’d tell everyone who asked. That didn’t stop her hands from shaking as she unplugged her hair dryer, nor her heart from beating at 1000 miles an hour as she stepped out of the hotel lobby and into her provided car with Daisy. Driving always calmed her down, but she didn’t think that anything could truly calm her down before this.
“Lando’s nervous too.” Daisy said sympathetically. She needed to give Sydney updates like this as the pair had been ‘formally discouraged from making non-professional, social contact’ with each other. Corporate speak for ‘make this any worse and you will lose your job.’
“He is not about to be called a slut on TV in front of all his colleagues, now is he?” Sydney’s lack of h’s seemed ever so prominent in her time of stress. Her accent had seemingly thickened in one day, as she’d spent all of the previous day on the phone with Pierre in between their individual duties for the day.
“Well, that’s the patriarchy for you, love. Don’t worry, the interviewers will probably feel just as awkward asking the questions as you will answering them.” Daisy replied. All Sydney could see in her head was Olav winking at her after poking his tongue in the inside of his cheek and already knew that wouldn’t be the case.
As soon as she stepped out of the car and onto the pavement of the Red Bull Ring’s driver entrance, she could feel eyes and cameras on her. They were earlier than a lot of other teams, and earlier than most of their team, as they wanted to avoid the majority of unofficial media personnel asking questions, but of course you couldn’t plan it perfectly.
“Are you and Lando like, dating?” A young girl in an FiA top said as she scanned Sydney’s pass for her. Apparently the machines were broken, but Daisy didn’t seem to be having too much trouble.
“No.” Sydney deadpanned before grabbing her pass back and rejoining Daisy. “One question and I am already wanting to go home.” Sydney groaned.
“Just take it one question at a time.” Daisy said positively.
The format of the Thursday was the same as any other. Sydney would complete all her individual interviews, the official Formula 1 press conference with another randomly selected driver, and then anything extra for AlphaTauri. Today, there was also a Grill the Grid to film, which made her feel physically nauseous as they almost always involved the discussion of fellow drivers. And yet, the entire atmosphere was different. Sydney felt like a zoo animal with all the eyes on her, and she even saw Christian Horner whisper something to Max Verstappen as she walked past them at one point. To his credit, Max didn’t seem overly impressed with whatever Christian had to say, and sent Sydney a comforting smile.
“Sydney, fuck, how are you?” Charles said as he was passing by with his team, seeming tentative to give her a hug but doing so anyway.
“I’m fine, I just need to get through today.” Sydney said softly into his shoulder.
“You’ll be great.” He smiled sympathetically before being swept off to another interview.
She didn’t really pay any attention to where they were going until Daisy stopped walking and got out her phone, probably panic checking Sydney’s schedule. They were basically in the middle of nowhere, in the AlpaTauri pit lane garage surrounded by a couple of engineers and mechanics but definitely no press. She gave Daisy a questioning look at their locale.
“Sky want to meet us here for an interview, something about location variety for their cut-shots before the race, I don’t know.” Daisy trailed off, her fidgeting hands revealing that she was nervous as well.
“Who is the interviewer? I do not want a man.” Sydney said as she closed her eyes and rubbed the heel of her palm into them.
“I think we have Natalie, so you’re in luck.” Daisy said just as a TV crew arrived in the pit lane. Two chairs were set up facing into the garage, so that the background of the video would be the pit wall. Natalie beckoned Sydney over as the crew continued setting up cameras and microphones, and she gave Daisy a questioning look before going over.
“Now, I know you’re probably nervous, and that’s totally fine, but I just want you to know that I only have one question about, well you know what about,” Natalie began, and Sydney was thanking the omnipotent powers of the world that this was the presenter she was given. “And it’s so open-ended you can basically give a press-statement on it. I'm not gonna try and make you say something risqué, as much as my boss wants me to. The interview’s mainly to talk about feminist shit, the female experience in F1. But don’t worry, this was planned before Tuesday, it’s not some cover up thing.” Natalie smiled comfortingly, and Sydney tried her best to smile back. Maybe she’d over-reacted, maybe the press wasn’t actually going to be that bad.
God, was she wrong. Her interviews all went by fairly quickly, her anxiety-riddled brain relaxing in relief at the questions that would normally seem brain numbing, and most only asked one or two questions about her and Lando. Grill the Grid was also fine, it was about driver heights and she made sure to group the shorter drivers together so that she wouldn’t have to actually say Lando’s name. They even filmed a few jokey AlphaTauri videos while they were in their racing gear. It was the press conference where the day really went to shit.
Her group was made up of Lewis Hamilton, neutral, Sebastian Vettel, kind but never spoken to him, Mick Schumacher, nice enough, and, even though the driver selections were supposedly random, Lando Norris. She made sure to seat herself in the far right-hand chair, hopefully so that the interviewers would forget about her. That was obviously a feeble wish.
“Sorry to Seb, Lewis and Mick, this could be a bit of a boring one for you.” One of the press conference interviewers said as they all settled themselves down. The five of them chuckled good naturedly, but Sydney thought she might vomit again.
“And we’re good to go. Well, I don’t think anyone will be surprised by this first question. Lando, we’ll come to you first, what do you have to say after that photo was leaked on Tuesday?” There was a slightly awkward moment of silence as Lando paused to readjust in his chair, obviously trying to stall as well.
“Well, I mean, obviously it’s not an ideal situation for myself and Sydney to be in,” Sydney noticed him tack on the end of her name like an afterthought, obviously not wanting to use a nickname on air, “because it wasn’t a public place, you know, so it’s unfortunate that even our private lives aren’t very private, but I suppose that comes with the territory.” Lando seemed like he was done, but a stern looked from Charlotte prompted him to continue.
“It’s also not as if we need to apologise, so I guess all I really have to say is that it’s just a photo from a 21st birthday party and people shouldn’t read too much into it.” Lando sank back in his chair, and no amount of eye contact from Charlotte was going to make him keep going.
“And Sydney, what are your thoughts?” The interviewer turned to look at her. She had to stop herself from instinctually looking over at Lando, needing the support of his blue eyes at a time like this.
“I agree with Lando, I think that it is not a photo that belongs to the public, and it is unfortunate that we cannot behave like normal people our age without a big fuss being made. On the other hand,” Sydney continued, receiving a look from Daisy this time, “I do recognise that I have a great privilege in being a Formula 1 driver, and obviously part of that is being, euh, watched? I guess? And although, as Lando said, I do not need to apologise, I can see why certain people have, euh, issues with our behaviour.”
The interviewer moved onto questions about the race for the other three for about 5 minutes, a fraction of the time they would usually spend on official questions, before opening up to the floor.
“David Croft, Sky Sports F1, a question for Sydney. You said before that you can see why certain people would ‘have issues’ with your and Lando’s actions. Why is that?”
“Well, I need to be, euh, diplomatic, non?” Sydney elicited a laugh from a few journalists, but barely cracked a smile herself. “The reason is that people usually have issues when young people in, euh, with fame, behave the way other people their age do. Drinking, dancing, a lot of people have problems with that.”
“And how do you respond to assertions that you’re throwing away your career, or making a mockery of F1?” Sydney’s head began to buzz, and the long words he was using didn’t help. She inferred what ‘assertions’ meant and carried on, hoping she was correct.
“Euh, well, I think that could be how it seems, but I think that some people are forgetting that it was my 21st birthday, and that I do not do this every weekend, if ever, and that I am still capable of racing well even though I am not just a Formula 1 robot with no desire to have fun.” Sydney tried to stop herself from getting too annoyed.
“I think, what I’m more trying to get at here, forgive me for the insistence, is that a relationship between two drivers could be potentially detrimental to the sport as a whole.” The man continued.
“Well, maybe it could be, but we are not in a relationship so that is not a problem.” Sydney said bluntly.
“Okay, I think we’ll move on to somebody else now.” The main interviewer said.
“Peter Vamosi, Racingline. Sydney, how do you think the presence of both genders in Formula 1 will change the sport, especially given the actions of Monday night?” Sydney had to push down a grimace.
“I think that the presence of women in Formula 1 can only be a good thing. There are too many men in this sport, both on the track and off, and I think that, when girls who are interested in karting see female engineers and female drivers, they understand that this is a real career for them. I also think that sometimes this sport can be, euh, negative in that there is too much, euh, trying to prove that you’re the best. I mean obviously we all want to be the best, we all want to win. But I think sometimes, with all the, euh, I think testosterone is the word, with all the testosterone the competition can compromise safety and can create really negative attitudes towards other teams or other supporters.” Sydney knew that that wasn’t the answer he was looking for, but it was how she really felt, and she wouldn’t bow to his will and talk about Monday night when it was irrelevant.
“Matt Kew, Autosport. Sydney, can you really maintain that view, that there are only positives to come from a female presence in Formula 1, when one photo of you and Lando has already thrown the paddock into such a frenzy?” God, she wanted to strangle that little man.
“Euh, well, yes, of course I can. That ‘frenzy’ is because of an attitude problem in this sport, not because of a female presence.” She had completely forgotten about keeping her cool.
“Christian Nimmervoll, Motorsport Total. Christian Horner has just told my colleague that, quote ‘drivers who behave like drunk teenagers in their free time are a poor representation of the serious athletes in this sport.’ What do you have to say about that, and do you think that that is reflective of the attitude problem you mentioned?” Sydney paused for a moment to gather her thoughts, struggling to stay civil.
“You didn’t address the question, can I answer?” Seb said jokingly, representing the thoughts of the other three drivers. Well, potentially even four, given Lando hadn’t been asked a single question so far either.
“Um, Sydney?” The interviewer said awkwardly, and she could hear Lewis exhale in comedic disbelief next to her.
“Euh, I think that, um, well I do not really know what to say.” Sydney half-laughed. She knew exactly what she wanted to say, but if she began crying sexism up and down the paddock she’d be called hysterical.
“I’d like to answer this question, actually.” Lando said from a few chairs down, and all heads in the room, including Sydney’s, turned to face him. “I think that the attitude problem Syd mentioned isn’t just people saying things like what Christian said, which I have my own thoughts on, but that’s besides the point. I think the attitude problem is perfectly represented in this room. She was asked four questions in a row, all of which tried to insinuate that a drunken kiss between us somehow meant that women shouldn’t be allowed to race in Formula 1, which, pardon my language, is the biggest bullshit I’ve ever heard. At least if all of you were interrogating both of us, it could be written off as gossip for entertainment, but the fact that Syd’s getting the blame for something that wasn’t even bad in the first place is ridiculous, given there are two of us in that photo.” The room fell silent after Lando’s short outburst, and Sydney noticed that Charlotte and Daisy had already left the room. They were beyond help.
“Well, maybe we’ll just end it there for today.” The main interviewer said, awkwardly mouthing something to his colleague. Lewis turned to Sydney sympathetically.
“I know how it feels, don’t worry. Just remember that if you’re driving well, and getting good results, there’s nothing they can really say to you.” With that, the older man stood up and left the room, allowing Sydney to make brief eye contact with Lando before he too left the room. It was going to be a long weekend.
She was in the car, in the last minutes remaining of Q3. She would have just enough time to complete one flying lap after this slow lap to let her battery recover. Mattia had told her to aim for the 1:03s, and she had no idea where that would put her but she trusted him. Disappointed my ass, Sydney thought to herself. She’d never qualified so well in her whole life. It was as if a hole had opened up in the middle of the track ahead of her and she was just disappearing through it, the air in front of her splitting like a tunnel.
She rounded the last corner, hitting the apex just right and accelerating out in a way that made her feel as though she had melted into the car and was simply extending her own body parts. As she passed the chequered flag, she heard the telltale crackle of the radio, followed by a cheer that surprised her so much she nearly spun the car.
“P4 SYD! P FUCKING 4!” Mattia yelled over the radio from the pit wall.
“Seriously?” Sydney asked in true disbelief.
“Yeah Syd, well done, well done today.” Mattia continued.
“Fuck me man, fuck, I was not expecting that.” Sydney could feel tears running down her cheeks. If she was Max or Lewis they would’ve been tears of disappointment with P4, but she was elated. A small voice in the back of her head whispered, “Lando had better have done well too, or you’ll look really, really bad.”
“And now, is that Sydney Laurent I see? I think it is.” The voice of Ted Kravitz made Sydney turn her head to face him, stopping her walk through the paddock. She had her hair unplaited and tied into a bun, and her overalls were down around her waist, and she hadn’t taken off the shit-eating grin that she’d been wearing for the past hour and a half. “Well, someone certainly looks happy.” He said in his cheerful voice.
“I think this is the best day of my life since France.” She said happily.
“And France was less than a month ago, you have to be aware that you’re having an astoundingly good season.” The photo flashed through her mind and she winced slightly.
“Well, euh, astoundingly? That was what you said? No, I wouldn’t say that, not after this week. But today, it has definitely improved things.” Sydney laughed.
“Speaking of this week, with you in P4 and Lando in P2 after qualifying, I mean, I think everyone has to eat their words now, don’t they?” Ted said, with a grin still on his face.
“Eat their words? I have never heard that expression before, it is funny. Yes, yes I believe that they do have to eat their words. We are both serious athletes, even if some people don’t think so.” She said, cheekily referencing Christian Horner’s comments from earlier in the week.
“We’d better get going, but it was lovely talking to you Sydney, best of luck for tomorrow.” Ted said, rushing off to find another person to interview for his post-qualifying, post-media show.
Once again, it was more due to the pitfalls in other driver’s strategies, with Lewis’ pitstop taking over 6 seconds and the undercut not working in Checo’s favour, but Sydney found herself walking out onto the podium in third place, accepting her trophy and holding it high above her head. You couldn’t call this a fluke anymore, nor luck, nor anything else. She was just a good driver, and no one could dispute it. But the thing that made this podium even better, that made a grin split her face open in two like a madwoman, was who walked out when they announced second place.
“LANDOOO NORRIS!” Cheers erupted from the crowd as the boy stepped out to accept his trophy. Sydney couldn’t help but stare. His brown curls spilled out from under his cap and his smile was bright enough to rival the sun. Her chest ached for what could now never transpire between them, but she also felt elated at what they had achieved. They had managed to make all the doubt and the criticism vanish in just one fell swoop.
The music began to play and Lando and Sydney began spraying their champagne with noticeably more enthusiasm than Max, but that didn’t stop him from dousing the pair in equal measure. Once the cheering had died down, Sydney lifted the comically large bottle to take a well-deserved swig.
“You two are unbelievable.” Max said, laughing.
“What’s that supposed to mean?” Lando said, cringing at the taste of champagne in his mouth.
“You have maybe the biggest scandal between two drivers, and I’m literally dating the ex-wife of the driver I replaced, and then you finish the week with a podium for both of you. I just, it’s unbelievable.” Max continued, laughing to himself.
“Yeah, we’re pretty good.” Lando said, and he swung his arm around Sydney’s shoulders as they walked off the podium. He removed it fairly swiftly upon noticing all the cameras that were on them, but at this point Sydney didn’t care. They could shit-stir all they wanted, because they’d proved that whatever was going on between them, which neither them nor the media really understood, wouldn’t get in the way of their jobs.
That night, after she was interviewed, debriefed and showered, Sydney cuddled under her duna, the warmth of her hotel room nearly lulling her to sleep. Her newly founded phone addiction led her to opening Instagram, despite her better judgement. She saw more notifications than usual, all of which were about the same tagged post. Clicking on the first one to pop up, she was taken to Lando’s account. On the first slide, a picture of Max, Lando and Sydney on the podium, grins wide as Max spoke to both of them. On the second, it was the picture from the pub. Not the one taken by some stranger, nor the video taken by Pierre. It was Daisy’s photo, the one of them laughing. His caption? 🥉+🥈. God, she really did blush like a schoolgirl.
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nghtchngs · 2 months
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🪄๋࣭ ⭑☾˖⋆ (  victoria moroles,  demiwoman,  she/they  )  —  🎬  just  announced,  VALENTINA AYALA  has  been  cast  as  ALEX RUSSO  in  the  upcoming  WIZARDS OF WAVERLY PLACE  reboot.  the  twenty-six  year  old  is  trending  as  people  are  debating  if  the coffee with too much creamer, leather jackets, always sleeping in, one headphone in at all times, late night drives, & always knowing the best food spots that  they  are  known  for  is  enough  to  make  them  as  good  as  original.  a  quick  google  search  shows  that  their  fans  call  them honest,  but  internet  trolls  think  they’re  more careless.  i  guess  their  newest  interview  for  variety  where  they  talk  about  the screenplays they’ve written will  let  people  to  know  them  better.
+ pinterest . + playlist.
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BASICS:
full name: valentina milagro ayala nicknames: vale, val, tina, mili gender: demiwoman pronouns: she/they sexuality: gay gay lesbian gay age: twenty-six date & place of birth: december 28 in el monte, ca faceclaim: victoria moroles character inspo: ahsoka tano (star wars), beca mitchell (pitch perfect), america chavez (marvel comics), taissa turner (yellowjackets), leah clearwater (twilight)
BULLET POINTS:
— acting for valentina started young — what was a passing comment to her mother about wanting to mimic the children on their tv turned into various commercials, small projects, & student films to bulk her resume up. — soon enough she was scouted by disney, & would become a familiar face in all things disney by age 12. — the more money valentina made the less fun acting became ; more of a job and less of a hobby, they were now the main breadwinner for their family. the mortgage payments for their new house depended on her, a happy christmas was a result of a good holiday paycheck, & the newfound stability the ayala family never had rest on valentina’s shoulders. — disney paid well, but it stifled her, in more ways than just creatively. her teen years were spent going through the throes of gender & sexuality confusion, and by the time valentina decided she wasn’t quite a girl and definitely did not like boys, her image was decided for her — and a demigirl lesbian did not fit into that. — this caused her to retreat into herself, walls building up in an attempt to push away what she didn’t want to come to terms with. while they’re much more sure of themselves now, valentina still holds onto those walls tightly, uncomfortable with being herself. they may be rough around the edges but they’re fiercely protective of those they hold close, and are quite easy to talk to when they’re not in a (unfortunately common) judgmental mood. — while she’s ecstatic to play alex (a formative character in her life), valentina is also ready for her time with disney to be over. more serious roles have garnered valentina more acclaim & respect, and have helped them feel fulfilled as they continue their career. she plans to get more into screenwriting after, thinking that maybe her time would be better spent behind the camera than in front of it.
WANTED CONNECTIONS:
— former beard & current best friend ; someone valentina was pushed to have a pr relationship with before they both realized it was doing more harm than good. ended up as best friends & considered their platonic soulmate and most trusted confidant. — ex (ended on awkward terms) ; someone valentina dated before she came out & was still going through inner turmoil about her sexuality. (probably) ended because of vale’s issues & they are now a sore spot for her that she tries to avoid as often as possible. — roommate ; idk could be cute yktv — childhood friends/long term friendships — fwb — frenemies, enemies, other exs — flirtationships (might be one sided idk her way of flirting is being kinda mean) — literally anything ever this is all just me throwing play doh at a wall
PAST ROLES:
— maya hart in girl meets world — mal in descendants — sydney novak in i am not okay with this — mari in yellowjackets — christine in to all the boys i loved before
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umichenginabroad · 2 months
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Beyond Coogee (Week 2)
After a week of exploring Coogee and the surrounding area, my housemates and I felt prepared to embark on a voyage inland. In Surry Hills, a suburb of Sydney known for its stylish cultural and cafe scene, we embraced our duties as college students and went thrifting. I couldn’t name each shop we walked into or every hat I tried on, but I could, with much gusto and enthusiasm, show you exactly where I got the Nutella Latte that changed my life (I just wish it lasted me more than two minutes). Apparently, Australia has a very strong coffee culture which was well established before coffee chains even tried to enter the market - there are less than 70 Starbucks shops in Australia compared to over 17,000 spread across the 50 United States. The coffee tastes even better after converting the cost of the coffee to USD and seeing that it cost me half the price of its counterpart in America.
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With our appetites built up, we made our way towards Chinatown where we enjoyed some authentic Chinese dishes followed by my favorite Oolong Tea Boba.
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A habitual Coogee Beach swim and coastal walk followed later that day joined by Lauren and Shaunak, a student from Georgia Tech. The three of us grew to appreciate each other’s company as we contemplate the philosophical on our walks - everything from how our relationships with our friends and families shape us to commentary on the realities of tourism.
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Before we knew it, the NCAA championship was upon us! Luckily, Lauren and I had prepared a watch party at the same local bar where we’d watched the semi-finals. This time, determined to draw a larger crowd, we created a flyer that could be easily passed around amongst students in the area. Though not all UM fans, students crowded the bar and seats ran out after the first hour to watch us take the trophy. Go blue!
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Later in the week, a trip to Bondi Beach went south when an incident occurred in the water. I had just gotten out of the water when I noticed a large crowd forming in the northern end of the beach. After some inspection, it turned out that somebody had been rescued from the water and was getting medical attention on the shore. Film crews surrounded the area. Bondi Rescue is a TV show filmed at Bondi Beech that follows lifeguards as they locate drownings, carry out rescues, and handle other conflicts in and around the water of the busiest beach in Australia. The sight reminded me of just how dangerous the ocean can be with waves reaching 5ft above the water. Lifeguarding is often regarded as a common summer job for teenagers in the US, but in Australia it’s taken quite seriously. Just a few minutes at Bondi Beach is enough to see a lifeguard tell someone to swim to a designated area, leave the water if it’s declared unsafe, or even make a rescue. Having been a lifeguard myself, safety is always at the top of my mind when I swim, but let me tell you - these waves are not to be messed with.
With week 3 approaching, I’m excited to take my first trip out of Sydney to the Gold Coast! Cheers!
David Bayer
Biomedical Engineering
University of New South Wales in Sydney, Australia
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wolfboy88 · 9 months
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15 questions 15 mutuals
tagged by the lovely @thiamsxbitch
1. are u named after anyone?
nope but my middle name is after my father
2. when was the last time you cried?
um, I’m not much of a cryer but I’d say my grandfather’s funeral last year
3. do you have kids?
no.
4. do you use sarcasm a lot?
Definitely
5. what sports do you play/have played?
I used to play tennis but nowadays? nothing really
6. what’s the first thing you notice about people?
Their face and their body language
7. what’s your eye color?
Bluey-grey
8. scary movies or happy endings?
Scary movies all the way. Love a good horror film
9. any special talents?
I’m a pretty good barista.
10. where were you born?
Australia
11. what are your hobbies?
um writing, reading, watching movies and tv shows,
12. do you have pets?
Two cats - Zen and Xena
13. how tall are you?
6’0
14. favourite subject in school?
Um I always enjoyed ancient history class (and I wish I could remember like half the stuff!) and I guess hospitality, getting to learn and cook different cuisines.
15. dream job?
Probably something that doesn’t feel like actual work or you know creative writing would be pretty cool
Tagging @sydney-winchester @ruthless-rainbow @theoceanismyinkwell @raekensarcher @mmoosen @chasing-chimeras @ksbbb @shinigamimailjeevas @marrowbite @maplefire18 @waterloou @metagalacticx @theclassymike @scalec
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agl03 · 1 year
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Hey, I recently stumbled across an interview where Iain De Caestecker promoted The Control Room via the Sydney Morning Herald a few months ago and he opened the interview by admitting that basically, Jed Whedon and Maurissa Tancharoen lied when they claimed "Yes, yes. There were conflicts, there were other jobs" while Iain's official side of that story is "I had been in a warm country for five years and it didn’t feel like home to me." Is this the final confirmation that there were no conflicts?
Hi Anon,
You are acting like this interview is a gotcha kind of deal. Hate to tell you but this particular horse has been beaten to the point where there is nothing left. I am also aware, if you are who I think you are, that you have been repeatedly posting negative, threatening, and harassing posts on twitter directed at the showrunners, writers, and Iain himself. I have absolutely zero tolerance for that kind of behavior and I will not be responding to any follow up asks. I will not allow my platform to be used merely as a megaphone.
So, you will have to forgive me for being a bit short on this particular subject as I have also answered literally HUNDREDS of asks about Iain in Season 7. Plus....we are over TWO years out from the finale and THREE years from when Season 7 was written/filmed.
As it was so long ago and the nature of how projects are filmed it is absolutely possible that Iain had a prospective project lined up back home that interfered with Season 7's filming but it fell through. Hence Jed and Mo's comments on the matter. And by then things had been written, set, and there was no going back. There is also nothing wrong with someone being homesick and needing a break. He had been working nonstop since Season 4 (which he has pointed out was tough on him).
Story wise I am okay with how it played out. Yes, I adore Fitz, and would have loved a true FItzsimmons family team up episode with Fitzsimmons, Deke, and Enoch, but they handled it all so well, and fit with the narrative. It allowed for some great bonding for Jemma/Deke/Enoch and we got Sousa/Dousy out of it.
I also know those writers and had Fitz been there we would have gone through some terrible awful hell to get that Happily Ever After. So I'll take that anticipation of when he was going to kool aid man in over some sort of angst fest any day of the week. Better for my ask box and my mental health that way.
I've been around for a bit and I've seen main characters leave shows at different times and different terms. Iain worked it out with the show runners so that he could and DID come back for a last hurrah and give Fitzsimmons that Happily Ever After. Other shows, some that ended about the same time didn't get that and it was sad to see.
Most importantly, its over and done with and threatening and berating Iain or anyone else about it doesn't do any good. He's a human who is entitled to his privacy and choices. He created a character that so many love, that speaks to so many of us on so many levels, had two bottle episodes, and is half of one of TV's greatest ships of all time. Nothing will ever change that, not even being in 10/11 more episodes.
TLDR Let it go and enjoy the happy bubble that is AOS's timeline.
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justwannaflex · 3 months
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(—) ★ spotted!! HAZEL BHAGYARAJ on the cover of this week’s most recent tabloid! many say that the 27 year old looks like SIMONE ASHLEY, but i don’t really see it. while the SINGER is known for being OPTIMISTIC my inside sources say that they have a tendency to be EXCESSIVE i swear, every time i think of them, i hear the song DANCE THE NIGHT BY DUA LIPA {she+her / cisfemale}
Headline
I want fabulous, That is my simple request, All things fabulous, Bigger and better and best, I need something inspiring to help me get along, I need a little fabulous is that so wrong?
Stats
name: hazel bhagyaraj
age: 27
nicknames: z, hals , ellie
date of birth: 1996
place of birth: Perth (Australia)
nationality : indian & australian
gender identity: cis woman (she/her)
sexuality: pansexual
family : tba
occupation: singer
career claim: ginger spice
net worth : 14M $
spoken languages : english and tamil
positive traits: optimistic, hardworking, resourceful, caring, free spirited
negative traits: envious, excessive, bossy, compulsive, frivolous
characters/celebrities inspo: tba
zodiac sign : tba
Bio
Hazel was born in Perth (Australia) to Indian immigrant parents. She's the second child of the family. She grew up middle class with an engineer mother and a university teacher father. She had a comfortable life and went to private schools. It is where she grew envious of the children of wealthier family. She never lacked anything and had a great life but she always wanted more. She knew she was destined for something bigger.
After graduating high school, she moved to Sydney to start an acting and modelling career. She got a few jobs in commercials and catalogues. She even starred as an extra or a tiny role in a few soaps, shows and films but nothing big. She never got cast in anything important. Still she knew she would make it somehow so she persevered.
Until her father got into an accident. She agreed to move back to Perth to help her mother take care of him since her career was not going anywhere. After her father got better, she wanted to move again but covid hit, stopping her. After the pandemic, she had lost her momentum and decided to quit acting to become an influencer or a singer.
Hazel worked in Louis Vuitton's shop in Perth before being picked to be a spice girl. She spent all day serving the clients she wished she could be. On her freetime, she posted videos and sang at luxurious venues. She was building followers and she kept hoping to be the next big thing. One evening, she was singing at Perth's Ritz-Carlton when a producer noticed her. That was her big break. Six months later she became a superstar.
Now she lives the life she always aspired to and is obsessed with staying relevant. She is doing everything to keep the spotlight on her.
Career
After being a failed model, actress and influencer, Hazel is now ginger spice on the global girlband sensation that is the Spice girls.
The group reached stardom two years ago. She has been living the dream ever since. She makes cameos in movies and tv shows. She went from being an employee to a Louis Vuitton's brand ambassador. She is always at a party, an award, on set, or on tour. She never takes a minute for herself. She has to keep moving and keep eyes on her. She is not the easiest to work with and push the people around her to high standards. She is starting to build herself a diva reputation and is trying to control her image
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wanderingnork · 9 months
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Horror Movies: News Reporters
For this round of recs, we’re looking at horror movies that focus on news reporters or incorporate them as a major part of the story. Not researchers, not documentary makers, not writers. Just about news reporters. People who actually work for newspapers or news broadcasting, who might even appear live on TV, and find themselves caught up in the events of a horror movie.
The Bay: In this found-footage film, one of the main characters is a young news reporter whose first time on live TV turned from coverage of a local 4th of July celebration to live reporting of an unfolding environmental crisis. Many segments of the movie are from her cameraman’s work. One of the movie’s most haunting moments comes from her.
V/H/S 94: Storm Drain: A news reporter reports on a local cryptid supposedly living in the sewers of her town. Descending into the sewers reveals a much darker truth than she was expecting. And some of the consequences of what she finds come out live on air.
Scream (1990): During a series of attacks by a serial killer, a journalist provides live coverage of the events and actually gets in on the action during the climax. She also has a personal tie to the story, since these aren’t the first murders she’s covered in the area. As a very important footnote here, her on-air fashion sense is amazing.
The Night Flier: This time, it’s tabloid journalists on the hunt for a story, chasing down a murderer who apparently drains his victims of blood. The ethics of tabloid journalism and true crime are a running theme throughout. Also, the murderer travels by plane and that is exactly as surreal as you might expect.
The Tunnel: Investigative reporters delve into defunct sewer tunnels and bunkers under Sydney, Australia to try to discover the truth behind a government cover-up. They find it--or, more accurately, it finds them. This one’s very special because the guy manning the camera in the movie is actually a cameraman in real life, so there’s a fair bit less shakycam than your standard found footage and very well-handled camerawork.
Some questions for thought: What separates stories about news reporters from stories about people making documentaries or researching books? A news reporter’s job is to narrate the action and explain the background--what effect does that have on horror? Does it provide an anchor for the story, or does it take away from the dread? Why was it so hard for me to find horror movies that focus on journalists? Do you have any more that you can add to this list?
(Previous Recommendations)
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TÁR (2022)
Starring Cate Blanchett, Noémie Merlant, Nina Hoss, Sophie Kauer, Julian Glover, Allan Corduner, Mark Strong, Sylvia Flote, Adam Gopnik, Zethphan Smith-Gneist, Mila Bogojevic, Marc-Martin Straub, Egon Brandstetter, Ylva Pollak, Natalie Ponudic, Sydney Lemmon, Nicolas Hopchet, Kitty Watson, Jessica Hansen, Mila Bogojevic, Alma Löhr and Alec Baldwin.
Screenplay by  Todd Field.
Directed by Todd Field.
Distributed by Focus Features. 158 minutes. Rated R.
Amongst many other mysteries, TÁR answers the very basic filmgoing question: Whatever happened to Todd Field?
In the 1980s and 1990s, Field was best known as a character actor, gaining a certain amount of fame and recognition for playing supporting roles in the likes of Radio Days, Fat Man and Little Boy, Gross Anatomy, Twister, Walking and Talking and Eyes Wide Shut.
However, in 2001, he created a major splash releasing his first feature film as a writer and director. (He had made several shorts previously.) In The Bedroom was a fairly large hit and a critical favorite, eventually earning five Oscar nominations: Best Picture, Best Actor (Tom Wilkinson), Best Actress (Sissy Spacek), Best Supporting Actress (Marisa Tomei), and Best Adapted Screenplay (it was based on the Andre Dubus short story “Killings”).
Then, in 2006 he released his follow-up film. Little Children – based on the dark Tom Perrotta novel of the same name – was also a popular and critical success, this time garnering three Oscar Nominations, including Best Actress (Kate Winslet) and Best Supporting Actor (Jackie Earle Haley).
And then, nothing. No follow up films. He didn’t even go back to his former day job of acting – post-In the Bedroom, Field has only done two voiceover guest performances on the animated TV series Aqua Teen Hunger Force in 2002 and 2003.
Well, not nothing, exactly. Apparently over the years Field has been extremely busy trying to create several projects for film and television, all of which were interesting attempts that came close but never quite were produced.
Recently, Field told The New York Times, “I set my sights in a very particular way on certain material that was probably very tough to get made.” Of course, neither In the Bedroom and Little Children were exactly light Hollywood entertainment either, and those made it to the theaters.
Now, 16 years down the line, Field has finally released his follow-up to Little Children. And to be honest, TÁR is hardly a safe commercial bet, either – a two-hour-and-40-minute film about the personal, professional and mental state of a prickly classical music conductor. (Unlike his two previous films, TÁR is not an adaptation, it is based on an original story idea by Field.)
Field wrote the film with actress Cate Blanchett very specifically in mind for the lead. In another recent interview, Field said flatly that had she turned down the role, this script would also never have been made.
But it has been made. So now the big question: Was it worth the wait?
Mostly.
TÁR is a fascinating character study and the look at the fall from grace of a very flawed protagonist. It’s very well put together. It takes a smart look at a world that is not often explored. It also figures out an intriguingly different look at a current hot-button topic – the #MeToo movement – which turns some of the preconceptions we have on the subject on their head. It has some spectacular acting and an intriguingly off-kilter plot structure, with some offbeat editing choices.
Honestly, though, a good half-hour to 45 minutes of this stuff could have been cut out.
Still, it’s not often enough these days that you get a truly challenging and original film, so I’m glad TÁR is out there. And I’m glad that Todd Field is back in the director’s chair, where it seems he belongs. Hopefully his next film will be even better – and much less long-delayed.
Jay S. Jacobs
Copyright ©2022 PopEntertainment.com. All rights reserved. Posted: October 7, 2022.
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Ten Terrifying Questions with Luke Arnold!
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Luke Arnold was born in Australia and has spent the last decade acting his way around the world, playing iconic roles such as Long John Silver in the Emmy-winning Black Sails and his award-winning turn as Michael Hutchence in the INXS mini-series Never Tear Us Apart. When he isn’t performing, Luke is a screenwriter, director, novelist and ambassador for Save the Children Australia. He is also the author of the Fetch Phillips fantasy series.
Today, to celebrate the release of the latest Fetch Phillips book, One Foot in the Fade, Luke Arnold is on the blog to take on our Ten Terrifying Questions! Read on …
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1. To begin with, why don’t you tell us a little bit about yourself – where were you born? Raised? Schooled?
I was born in Adelaide and spent my primary school years in the Adelaide Hills, which were really pretty ideal for that time of my life. Our house was at the bottom of a cul-de-sac street where every home had a kid close to my age, a dog, a place to build a cubby and, over time, either a Sega or Nintendo system. I moved to Sydney for High School until year 11, then I finished up on the Sunshine Coast, before heading over to WAAPA in Perth to study acting. All the moving around likely prepared me for the unpredictable life that would come from being in the arts.
2. What did you want to be when you were twelve, eighteen and thirty? And why?
At twelve, I wanted to write and draw comics. I loved writing stories and did art classes after school, so creating comic books seemed like the perfect combination of my passions.
At eighteen, I was deciding whether to train to be a writer or an actor. I was working my first job in the film industry, behind the scenes, and had applied to writing courses, film school and WAAPA. The lead actor in the film I was working on told me that writers and directors generally have happier lives than actors, and my principal told me that I was a great writer but a terrible actor so I should definitely go do writing or directing. Despite all advice to the contrary, I ended up going to drama school and I don’t regret it at all. We didn’t have a lot of money growing up so I didn’t leave the country until acting started taking me around the world.
At thirty, Never Tear Us Apart, where I played Michael Hutchence, had just aired and I was working on a brilliant pirate show called Black Sails. I loved performing both of those roles, it left me feeling creatively fulfilled as an actor for the first time, so I felt I was ready to get back into developing my own work.
3. What strongly held belief did you have at eighteen that you don’t have now?
For better or worse, I’ve never been one to firmly believe in much of anything. I’ve always been aware of my own naivete and try to stay open to having my world turned on its head. My parents instilled that at an early age. Rather than enforce a particular view of the world, they promoted openness, malleability and curiosity. There are some downsides to this though. A strong world view and set of beliefs can help propel you through the world, but I don’t mind the fact that I can look at most accepted ideas, rules, or ways of doing things and think “yeah, but what if it’s all nonsense?”
4. What are three works of art – this could be a book, painting, piece of music, film, etc – that influenced your development as a writer?
The Big Sleep – Both the book by Raymond Chandler and the film starring Humphry Bogart. My Dad recorded it off the TV when I was young and after we watched it together on some rainy Sunday, I was hooked. It inspired me to go back through classic cinema, and then follow the influences of film noir through Chinatown, Blade Runner, and beyond. Those films clearly set the foundations for the Sunder City series, while also pushing me towards a career in cinema. The Chandler books would have also been some of the first adult books I read, opening up a world of literature outside the school library.
Return to Oz – This is a weird one but, like a lot of those children’s films from the 80’s and 90’s – things like The Witches, The Peanut Butter Solution, The Never Ending Story – it really got under my skin. There was something about seeing the yellow brick road shattered into pieces that woke my little brain up to mortality, aging and impermanence. Or at least showed me a story that expressed those complex feelings that were bubbling up inside but I was as yet incapable of grasping, let alone expressing myself. The fact that the characters were inexplicably different from the first film, and the continuity was all over the place, only added to the nightmarish quality of the whole thing. Horror filmmakers have to work really hard to create the kind of existential terror that film activated in my little mind.
Sesame Street – It‘s probably the most important TV show ever made. I love to go back and watch old episodes and I’m constantly awed at the creativity, care and respect that the program has for its viewers. It’s educational but also so full of joy, humour, heartfelt sincerity and perfectly crafted nonsense. It’s truly one of humanity’s greatest creations and it features a bunch of googly-eyed puppets that we all, in some part of our brain, believe are real. There is no doubt that the sensibilities, rhythms, poetry, humour and heart of that show imprinted on my brain at an early age, and I’m sure I’m a better person for it.
‘These books aren’t really designed to make you slam down the back cover with a smile on your face and jump online to write a glowing review, but I hope that there are enough moments where the reader feels connected to Fetch’s inner world and relates to his hope and his pain.’
5. Considering the many artistic forms out there, what appeals to you about writing a novel?
I love that – for the most part – I can do it on my own. The beauty of the film industry is that it’s collaborative. You get hundreds of dedicated specialists and bring all their brilliant hands and minds together on one project. But getting to that point is an arduous task that, more often than not, eventuates in an unproduced script sitting in a drawer. I’m never short of ideas and have ambitions in a variety of mediums, but most of them require other people to come on board early, and bring money, skills and support. With a novel, I can be anywhere in the world, without any special equipment, and get to work. And when it’s done, I can give it to someone else and they can enjoy it as it’s intended. They don’t need to imagine a film crew bringing it to life, or a great piano player underscoring it, or a brilliant artist rendering what I’ve described. It’s just my imagination dancing with theirs.
6. Please tell us about your latest novel!
One Foot in the Fade is the third book in the Fetch Phillips Archives, following The Last Smile in Sunder City and Dead Man in a Ditch. They are set in a fantasy world where, six years ago, the magic faded from existence. For two books, Fetch Phillips has been working as a Man for Hire, trying to do a little bit of good in a broken world, dealing with the fallout of the catastrophe and the complicated process of what they will build from the ashes. In this third book, he breaks out of his usual alcohol-fuelled self-loathing routine and kicks things up a notch. An angel has fallen on the streets of Sunder City, as if dropped from a great height; higher than any of the nearby buildings. Fetch sets out to discover how an angel might have flown without magic, and the case sends him out of the city on the kind of adventure that he thought this world had left behind.
These books are a mix of noir and fantasy, and while the first two are mostly urban crime novels in a dystopian magical setting, this one flirts with a more traditional magical quest.
7. What do you hope people take away with them after reading your work?
That’s a tough one because it’s never any specific thought or realisation, more of a mood. And it’s tough again because this series is noir, and noir has an inherent level of dissatisfaction. These books aren’t really designed to make you slam down the back cover with a smile on your face and jump online to write a glowing review, but I hope that there are enough moments where the reader feels connected to Fetch’s inner world and relates to his hope and his pain. He is a mess of a man but, despite his trauma and his vices and his self-doubt and self-loathing, he’s trying to work out what he can do to put some good back into a broken world rather than just be part of the problem.
8. Who do you most admire in the writing world and why?
I’m bad with absolutes, so I’ll just say that someone I’m in awe of right now is Donald Glover. Atlanta is a phenomenal piece of art that perfectly balances social commentary and drama with humour, surrealism and irreverence. It is clearly a very personal piece that deals with a specific lived experience but is also universally accessible and relatable. There is a boldness and confidence that makes you want to dig into the surreal elements to find out what they might be hinting at, but even when you don’t know the context it’ll get under your skin and into your head. It’s always interesting to watch an artist who isn’t afraid to reinvent themselves and push beyond what they or anyone else has done before.
9. Many artists set themselves very ambitious goals. What are yours?
Every piece of art is ambitious. Most stuff doesn’t work and even when it does, usually nobody cares anyway. I’m in the middle of a bunch of projects now – mostly things I can’t yet announce – in mediums that are completely new to me, and I really just try to deal with what’s in front of me at any given time. I’m working towards bringing my experience as a writer and actor together, creating more of my own projects in different fields, but there’s no particular place in the future I’m trying to get to. If I get to work on interesting projects with friendly, talented people, then I’m going to continue to be happy.
10. Do you have any advice for aspiring writers?
This advice works for all creative industries and probably most things in life. Your main reward for doing something well is the opportunity to do more of that thing. Don’t do something because you think it will get you to a place where you can be someone else or live some other kind of life. Do the thing you want to do. When you have to sit alone all day pulling ideas out of your head to get something down on paper, know that even if you’re successful, the praise and prizes will be fleeting and you’ll soon have to go back in that room alone again to do some more work. So make sure you write the thing that, when people tell you they want more, you’ll be happy to write again. Write about the things that keep you up at night, write them the way you want to write them, and then when people want more of what you offer, you only have to look inside yourself to see what comes next.
Thank you for playing!
—One Foot in the Fade by Luke Arnold (Hachette Australia) is out now.
Source: Booktopia Australia
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lesbiancolumbo · 2 years
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hi sydney, hope ur doing good 💛 kind of a random question but as my go to film blog, do u have any tips on making time to watch films? I just finished college and started working full time and find now I really struggle to fit in more than 1 or 2 films a week and keep up the attention span for them :/
hi beloved, congrats on finishing college!
honestly this will make it sound like a chore, and i don't mean to make that comparison, but i think you need to treat movies like any other standard hobby and make the time. i also want to say that watching 1-2 movies a week isn't anything to slouch at either! like, most people do that and that's great. don't look to my watch habits for what's normal because A of all i'm crazy and cut my teeth working film festivals which made me crazier and B of all i work from home which means i get paid to watch TV all day. but anyways, back to my point. ask yourself what feels realistic to you with your attention span/workload/work-life balance? it might not be one movie a day. maybe every other, or a couple times a week. or weekends only? there are no rules, which means you get to make your own! once you know what's realistic, you just gotta look at your schedule and pencil that shit in. i'm very schedule-oriented, so that's how i do it. work until 5, dinner at 6:30, and a movie after that etc. as awkward and stilted as that can feel in the beginning, eventually you just get used to your routine. kinda like a workout that way.
so to summarize, my tips are this: go easy on yourself, carve out some time in your schedule and be consistent until it stops feeling like a chore, remember that you get to make and shape the "rules" here, but also remember that movie-watching is supposed to be a fun activity, and so if there's a night you're not feeling it, do something else instead. i usually plan what i'm going to watch that night the day of, and then sometimes i get too caught up in my book or decide to work on another square of my knitting, and go days without watching anything. i don't know if any of this was helpful, but i hope so! good luck and honestly go easy on yourself, starting a new job is exhausting
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destinyc1020 · 2 years
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although i would assume Sydney congratulated her privately, bt doing so publically (esp wit her being a fellow nominee and Z making history with her emmy nominations) wouldv been nice. once Z WINS thats wen im actually going to b lookin at folks tbh.
i think Z being a producer on the show (having a higher position than her fellow actors/actresses and possibly directing in s3 euphoria), her emmy win, her getting the most consistent n best storylines in euphoria and working closely wit Sam, there may be a intimidation factor to her wen compared to her euphoria colleagues n i wouldnt b suprised if there is a little bit of jealousy on their ends (with some of them). ik somebody used to send you (fake lol) updates on the euphoria set, n one of them was about jacob e being jealous on Z n Hunter for getting better storylines n although it was debunked i wouldnt b shocked if that were true for him n some other actors n actresses
Oh yea, that Anon was a fake 🙄🙄
I always take certain claims on set with a grain of salt, because ppl can always make up stuff just for kicks smh.
But yea, while I'm sure the cast gets along and stuff, smthg just felt a bit "off" this season for some reason (compared to Euphoria S1 filming), so maybe your suspicion might be right? I have no clue 🤷🏾‍♀️
I feel like during S1 the closeness of the cast was genuine, but S2, it felt a bit forced, or like some weren't as close as before (which, is understandable given the breakup of Z and JE 👀). So, who knows? Maybe some ppl took sides. Or maybe they weren't really as close as we thought, and the pandemic kind of made ppl grow a little further apart?
All I know is that Z and Hunter seem genuinely close like sisters, and you can always tell when Z is GENUINELY close friends with her cast mates and not just "acquaintances" with them, because she will spend time with them OUTSIDE of filming, and usually on a consistent basis.
Filming is like doing a temp job. You're working with ppl for a few months, and then that's it. You leave lol. 😂 Maybe you might see those ppl again if you have to film sequels or multiple seasons with them, but otherwise, you may get close to some, or you may not. 🤷🏾‍♀️
It's not a big deal imo.
I'm not close to EVERY single person I work with either. I'm friendly with ALL people, but some I'm more close with than others. And I've been working at my job for years. I can't even imagine how short it might feel just working for a few MONTHS with people lol. 😂
Some ppl you just instantly click with, and others... maybe not? Again, no big deal imo. As long as everyone is respectful of others on set, and you work well together, that's all that matters imo.
Most don't work on films or TV shows to become everyone's best friend lol 😆 It's great if you DO make friends, but that's not what happens all the time. Even Tom has talked about how he hasn't always felt like he clicked with ppl on some film sets.... and that's okay!
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ccohanlon · 2 years
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my generation, part 2
So much history, so much incident, and yet so little of substance has stuck in the collective subconscious of the Baby Boomers, let alone been carried forward by them. For thirty years, we have perceived ourselves, and encouraged younger generations to perceive us, as having been among the instigators of the ’60s ferment, those in whom its unarguable revolutionary and creative energies — not to mention its elusive ideals — coalesced, and yet our memories of that decade are remote, vaporous, and not quite real.
Most of us were too young to have been anything other than spectators in the early ‘60s, despite the saunter we feign now in late middle‐age as survivors and faux‐savants. True, we had been among the casualties at Kent and Jackson States, at Berkeley and several other American universities. We had been roughed up and arrested by police in Brisbane, Sydney and Melbourne. We had even hurled rocks and Molotov cocktails beneath clouds of noxious tear‐gas on the streets of Paris, Rome, Prague, Belfast and London — or of Watts, Hough, Detroit and Newark, where those of us who were black had come under fire from police and National Guards during bloody race riots between 1965 and 1967. In the end, though, they were not our battles. They belonged to the Silent Generation. We lent our support, if we were old enough, but we were on the periphery of most of the struggles, and our understanding of what was really at stake — however genuine our sympathies — was often incomplete.
Instead, we watched on television, and listened to the soundtrack on our record-players. We read eye‐witness accounts in Rolling Stone.
A generation born and raised in peacetime, during a prolonged period of economic well‐being (even in Europe, thanks to the billions invested by the USA under the Marshall Plan), Baby Boomers had no more certainty than the previous generation — forty years on, I sometimes relive the visceral chill of a seven‐year‐old’s terror of The Bomb: cowering with other children under desks during a Los Angeles school drill for a nuclear attack, air raid sirens wailing in the streets — but we were less inclined to hold strong beliefs, let alone agitate for change. We learnt to adjust, to be fluid, to “go with the flow”. In our mediated, proto‐virtual understanding of the world, everything was, and still is, fungible.
We dreamed instead. More than any previous generation of the twentieth century, Boomers had been raised amid the constant white noise and screen clutter of increasingly ubiquitous mass information, entertainment and communication media. By the late ’60s, the counter‐culture already had its own media, including magazines like Rolling Stone, New Musical Express and Creem, and aspects of it — all necessarily youth‐oriented — were being assimilated by the mainstream through films, TV and advertising. Gradually, we came to believe that these same media, with their McLuhan‐esque seductive power and their apparent free flow of images, information and ideas, rather than protest and confrontation, were the key to building the new world of our imaginations. It’s a notion borne out by the flood of Baby Boomers — among them Steve Jobs, Bill Gates and Timothy Berners‐Lee (all born in 1955) — who, since the late ’70s, have nourished an age of technological invention to rival the late nineteenth and early twentieth centuries, even if a genius comparable to Tesla or Edison is less apparent.
Baby Boomers preferred the surface of things, the context rather than the content. We were easily distracted. We grew up with the passive, low‐level attention required by ‘old’ electronic media such as TV, radio, film and recorded music to reading — one of the few things we still have in common with other, younger generations. We wanted easy access and the ability to switch between content (we already called it channel surfing) whenever our attention lagged — which was more often than we liked to admit.
Well before the benign effects of the early ’60s counter‐culture seeped into the community at large, we were drawn less to its ideals than to its image. For us, the medium wasn’t just the message: it was everything. For the rest of the century, the Baby Boomers’ unconscious reverence for Marshall McLuhan’s contention that a medium affects society not by the content it delivers, but by the characteristics of the medium itself was evident everywhere. The best entertainment (and advertising) for Boomers was, to use McLuhan’s own jargon, hot or data‐plenty, demanding less concentration but delivering ever‐greater effect. Social protest gave way to the profane. Rock concerts became ‘shows’, each an extravagant gesamtkunstwerk with complex staging and lighting. No longer happy to stand in one place and just sing or play as older performers did — even Elvis, who insinuated the snakey promise of hillbilly rutting into middle America’s subconscious, was still pretty tame — band‐members turned manic and feigned sex with a Fender Stratocaster guitar (or a half‐naked fan), destroyed a wall of speakers, or bit the head off a live chicken before swan‐diving into the crowd. Vinyl LPs were no longer two twenty‐minute sides of discrete, three‐minute songs, but multi‐disc concept albums that were almost Wagnerian in duration and structure.
The Boomers’ preoccupation with scale and spectacle at the expense of nearly everything else became apparent in other media. Steven Spielberg — born in 1946, the first of many successful Baby Boomer directors — turned his back on the sort of smart, unsettling, contemporary character‐driven dramas directed by Robert Altman, Francis Ford Coppola, Bob Rafelson, Martin Scorsese and others that had revitalised American cinema during the late ’60s and early ’70s to create Jaws, a film in which the main ‘character’ was a man‐eating shark, and any semblance of coherency in the narrative was subsidiary to the gradual amplification of suspense and the timing of set‐piece action sequences. Jaws was the first ‘blockbuster’ (a word only a Baby Boomer could love, meaning then a big‐budget Hollywood production that grossed over $US100 million in revenues in the United States alone). More importantly, it was a watershed in the entertainment industry’s perception of what the mass audience really wanted — excitement, the more intense the better. With uncanny intuition, honed during a decade of almost obsessive fascination with cause and effect in a variety of media, Baby Boomers knew how to give it to them.
It didn’t take long for this talent to be adapted as a means of exerting greater control. If the Silent Generation had been raised during times when the whole concept of control, let alone the means to exert it, must have been impossible to imagine – a sense of impotence was yet another compelling motivation for it to try to demolish the rickety postwar social order and establish something in which it could have some say — the Baby Boomers understood (as did the Roman Emperor Titus when he completed the Coliseum in 80BC and ordered that it be used for gladiatorial combat) that attention was a form of currency: acquire enough of it and you could transform it into real capital — which, in turn, gave you power.
And what better way to gain attention than by gaining the upper hand in entertainment media? It was an idea that would come into its own during the ’90s technology boom, when Generation X entrepreneurs, in harness with Boomer venture capital, would use the equation to leverage unimaginable value for their development of a new medium, the world wide web, inverting the idea of using fixed programming to capture the passive attention of a faceless mass audience of millions — the measure of value in old media — to create something a great deal more valuable, an infinitely customisable, two‐way interaction with a million‐fold audience of just one.
Control was — and still is — a big driver for Boomers. It underscored our relationship with the rest of the twentieth century, during which we tried to impose our views on others and to regulate their social and sexual behaviour with a zeal that smacked of a new Puritanism. We were stricter with our children, giving them less leeway to make their own decisions than our parents gave us. We were more ready to get involved in their education, or in any other area where we thought we might be able to exert influence on the shape of their lives. (To give us the benefit of the doubt, maybe we figured that if we didn’t, television would do it for us.)
The first of the Boomer legislators, judges and prosecutors were a lot less sympathetic and humanist than those of previous twentieth century generations. They were almost eager to limit or dispense with inconvenient legal and civil rights, impose stiff sentences or resort to the death penalty. As for Boomer politicians, if the Bush and Blair governments are anything to go by (their Silent Generation deputy, John Howard, could be said to be ‘aspirationally younger’), they are conservative, pragmatic, unethical, secretive and suspicious of free speech. They don’t much like the idea of a free press, either. Even if they are not as malignant as Bush, Boomer politicians can be little more than artful constructs (the former New South Wales premier, Bob Carr, springs to mind): a shiney, media‐friendly façade, a few well‐ turned, anodyne phrases and a lack of real empathy. All Boomer politicians have tried to cloak their legislative forays into social engineering as timely, well‐intentioned ‘modernising’ of existing political and social frameworks, but their version of modernity is always more intrusive, restrictive and careless of our rights.
There have been several Boomer political leaders who have tried to adhere to a more liberal, pluralistic and inclusive social philosophy, but there appears to be among them a disturbing propensity to engineer their own failure — as the former Australian Federal Labor party leader, Mark Latham (an on‐the‐cusp Boomer), appears to have done — or to self‐destruct. William Jefferson Clinton, the first Boomer to be elected President of the United States, and arguably one of the most intelligent and charismatic men to have occupied the Oval Office, ended up betraying the expectations of his generation because of a shallow preoccupation with what can only be described as ‘surface effect’, a disquieting moral ambivalence, and a tendency to self‐indulgent excess and hubris that are archetypal of our generation’s flaws.
At the edge of politics, straddling faded dividing lines between church and state, Boomers are among the most vociferous proselytisers not only for Christian fundamentalism — what better way for Boomers to exert control than through a belief system that behaves like an entertainment medium? — but, it might also be argued, for Islamic fundamentalism as well (Iran’s Islamic President Mahmoud Ahnadinejad, born in 1956, and Osama bin Laden, born a year later, are notable examples). Whatever side of the political, religious or cultural fence they’re on, Baby Boomers have a predilection for dogma that stems from their discomfort with — and inability to control — the confusion and contradictions of the times through which they have lived.
Even before the last Baby Boomer came of age — at eighteen, not twenty‐one, entitled to vote and drink — we had stepped out of the long shadow of the Silent Generation, looking for the main chance. We were never really idealists: we were — and still are — innately selfish and cynical (if not downright hypocritical). We focus on achieving a semblance of order, of control — we like to get the façade just right — in the context of right now, but we tend to overlook what it might cost us in the future. The idea that just because something can be done doesn’t necessarily mean that it should doesn’t occur to Boomers. Maybe it’s another indication of our hubris, but we don’t waste much time thinking about consequences.
The Magic Christian, a film directed by Scotsman Joseph McGrath, was released in 1969, the same year as Easy Rider. Adapted by the American satirist Terry Southern from his novel of the same name — Southern also cowrote Easy Rider with its stars, Peter Fonda and Dennis Hopper — The Magic Christian was an absurdist comic fantasy starring Peter Sellers as Sir Guy Grand, an Englishman of egregious wealth and a wicked sense of irony. Grand adopts a naïve, homeless young man, played by The Beatles’ drummer, Ringo Starr, to be his heir, renaming him Youngman Grand. He instructs Youngman in the operation of the “family business”: exposing and exploiting in most lurid ways the unquenchable greed of everyman. In one of the film’s funniest — if least subtle — moments, Sir Guy fills a swimming pool with excrement and tens of thousands of dollars, then invites passers‐by to retrieve as much money as they want. Soon the pool is overflowing with people fighting each other for fistfuls of cash as they struggle to keep their heads about the foetid shit, all under the gaze of a bemused Sir Guy and a troubled Youngman: “Grand is the name, and, uh, money is the game. Would you care to play?”
Indeed we would.
Film supplanted literature in the late ’60s (if not comic books, which we reconceived as ‘graphic novels’ to market them to a younger generation) as the repository of all our myths and parables. The medium appeals to restless Boomers because it enables us to rework these narratives from time to time. Eighteen years after the premiere of The Magic Christian, Sir Guy and Youngman Grand were transformed into Gordon Gekko, a rich and ruthless corporate raider (played by a middle‐aged Michael Douglas), and Bud Fox, a young if not‐so‐innocent stockbroker Gekko sets out to corrupt (a still fresh‐faced Charlie Sheen), in Wall Street, American director (and Baby Boomer) Oliver Stone’s celluloid eulogy over the fresh corpse of a decade notorious for its avarice and self‐interest. Boomers don’t like to acknowledge it any more (maybe, in part, because it reminds us of just how old we are now), but the ’80s were our best of times. The stern, Boadicea‐like Margaret Thatcher in the United Kingdom, and the doddery, paternalistic B‐movie actor and pretend‐cowboy, Ronald Reagan went out of their way to reassure us that the worst aspects of our generational character, the very traits that still grated on the Silent Generation, were not just OK but desirable in a world in which old‐fashioned values like ambition, self‐interest, wealth, privilege, heartlessness — oh, and empty‐headed celebrity — had made a comeback. The decade’s bible (or, as another writer would have it, Yuppie porn), was Vanity Fair, a glossy magazine edited by the Baby Boomers’ own brainy It girl, Tina Brown.
Even the collapse of the stockmarket on October 19, 1987 — so‐called Black Monday, when the New York Stock Exchange suffered its steepest‐ever one‐day decline and stripped the Dow Jones Industrial Average of nearly a quarter of its value (by the end of the month, the Australian stockmarket had lost over forty per cent of its value) — couldn’t deflate our confidence. Within a decade, Boomers would set in motion another bubble in stockmarket values, this time partnering with tech‐adept geeks of Generation X — our myriad neuroses and obsessive compulsive tics an unlikely match with their tendency to Attention Deficit Disorder and Asperger’s‐like syndromes — to conceive a New Economy, an alternative system of values underpinned by an entirely new medium of communication, information, interaction, transaction and entertainment.
It was a quartet of Silent Generation scientists at the US Defense Advance Research Projects Agency — Lawrence Roberts, Leonard Kleinrock, Robert Kahn and Vincent Cerf – that developed the technology and architecture to interconnect remote computer networks and thus create the internet, although it was a Baby Boomer, Timothy Berners‐Lee — an Englishman working at the European Organisation for Nuclear Research (better known as CERN) – who came up with something he called the world wide web. The far‐reaching revolution inherent in Berners‐Lee’s creation was at first lost on his peers (including the hyper‐intelligent head of Microsoft, now the world’s wealthiest individual, Bill Gates), so it was left to a younger generation — the Xers, whose very namelessness reflected a disconsolate sense of being a generation adrift, disenfranchised from a mainstream economic and cultural agenda now dictated (or, more accurately, obscured) by Baby Boomers — to recognise the liberating possibilities of the web’s capacity to interconnect not just documents — text, static images and, later, sound and video — but also ideas.
The Boomers were never big on originality. We were, after all, the generation that invented technology to make the appropriation or ‘sampling’ of anything as simple as a few keyboard strokes on a computer. We were good at refining existing ideas — the World Wide Web was a case in point, so too were the first iterations of Microsoft’s DOS operating system — but what we were, and still are, best at was hype. Our aptitude for effect — the gesamtkunstwerk of those ’60s rock shows — allied to our almost forensic absorption of mass media over the previous forty years meant that we were well prepared for the ’90s dot.com boom. Most of us were less interested in the web’s technology than we were in devising its business models (where, almost instinctively, we sensed the real power would be) and articulating the precarious value equation that turned attention into cash. Nonetheless, the early years of internet entrepreneurism were the apotheosis of the Boomer generation. Too bad that they resurrected in us an ethos that had tainted us during the previous decade — excess in all things, especially greed.
In Wall Street’s best‐remembered scene, Gordon Gekko confronts the restive shareholders of the fictional corporation, Teldar Paper, to convince them to sell off the company’s assets. With the fervour of a TV evangelist leading his congregation in prayer, Gekko tells them: “Greed ... is good. Greed is right. Greed works. Greed clarifies, cuts through and captures the essence of the evolutionary spirit. Greed, in all of its forms – greed for life, for money, knowledge – has marked the upward surge of mankind and greed, you mark my words, will not only save Teldar Paper but that other malfunctioning corporation called the USA.” This wasn’t just another of those cinematic moments that resonated briefly in the media‐sensitised subconscious of Baby Boomers before receding into the ambient low‐frequency noise. Gekko’s words became our mantra (Greed is good. Greed is right. Greed works.) They permeated our attitude for the next twenty years.
The irony is delicious: Baby Boomers turned out to be the Sir Guys for at least two generations of Youngmans.
Part two of three.
First published as part of a single essay in Griffith Review, Australia, 2006.
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mermaidsirennikita · 2 years
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Yeah but weren't the rumors that she was walking off from set in response to his behaviour? Plus at this point we've had cast members talking about not great experiences on set and several talking about being uncomfortable with the sex scenes and nudity.
Some rumors said she was responding to his behavior. Some said she was walking off set because she disagreed with the writing for Kat. Either way--you literally can't walk off a job and not expect repercussions. Sometimes it's worth it, sometimes it's not.
Personally, I'm kind of over a lot of allegations about Sam Levinson being levied with very little concrete evidence that he's done anything abnormal, beyond being the type of guy who probably wears a beret and talks about his vision and is generally insufferable and dumb (remember when people on TikTok were saying that he clearly sees Sydney as a stand in for his mom, who he wants to fuck, because they're both busty blondes? Okay then). I've seen extras complain about being on set for 8-12 hours and only having shitty craft food... Welcome to being an extra on a TV set. I don't see why anyone thinks those hours are especially wild, when television shows have been filming with them from the dawn of time. You have Zendaya, who to be frank is known for being a professional above anything else, not only praising him but repeatedly choosing to work with him. Hunter Schafer had tons of praise when she worked with him on her solo episode. As much as people like to cite Sydney Sweeney, what she said was actually? Not damning at all? She was presented with more nudity than she wanted. She requested less nudity. He gave her less nudity.
I don't think he's an angel by any means. In fact, I think he's an annoying navel gazer who sometimes strikes brilliance but most of that is due to hiring the right people, both in front of and behind the camera (which, I suppose, is in itself a talent). I never liked how Kat was written. (I actually had a ton of complaints about season 1--it was a ritual for me to log on after each episode aired and bitch about it in the DMs with a friend of mine.) I'm sure he and Barbie had disagreements about that, which led to friction.
But here's the thing: I've been watching this show since the night the pilot aired. Most people were cool and groovy with Euphoria when season 1 was new--then season 2 blew the fuck up due to a lot of people watching season 1 during the pandemic, and everyone suddenly acted like Euphoria was a walking hate crime against literally everyone known to man, including white guys. And then, as with the above conspiracy theory TikToks, the rhetoric became weirdly more personal and more... fucked. Almost like nobody cared about being socially correct and fair, and it was actually just typical fandom bullshit masquerading as activismy concern We'll talk about how Jules being confused about what the fuck she wants (as a teenage girl) is homophobic, apparently... But we won't talk about how for a minute there a chunk of Twitter was suggesting that Sam Levinson, a Jewish man, must be secretly powering the IDF with a show adapted from an Israeli television series? And how that's an incredibly anti-Semitic thought process? You're gonna worry about the depiction of drug use on the show while calling a recovering drug addict a crackhead on Twitter, and blaming his uneven writing on his brain being "fried by meth"?
Like, I honestly can't believe I'm defending Sam Levinson on main, but I don't have to like you to be fair, and I do try to be fair. There's speculation and picking apart quotes, and there is KNOWING WHAT HAPPENED. And when you don't know what happened, you tend to start spinning out into some pretty wild shit; something I've been guilty of myself, and I'm trying to get away from that.
As for discomfort with sex and nudity... There's a difference between being uncomfortable with something because it's new and being pressured to do something you don't want to do. I have seen nothing about people being pressured to do something they don't want to do--the opposite, in fact. As I stated above, Sydney said the nudity got toned down because she asked for that. Personally, I think a lot of people just don't like the plot lines for season 2 and are looking for a political reason to validate their feelings so that they can win an argument. You can't like season 2 if everyone was being pressured into going nude! Ignore
Who knows? Maybe it'll all come out that the show was an incredibly abusive environment. But thus far... I'm not seeing the actors who've worked on the set saying that.
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ncisfranchise-source · 2 months
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NCIS: Sydney 1×08 “Blonde Ambition” is the perfect season finale for an outstanding first season of NCIS: Sydney. The newest entry in the NCIS franchise was always a complicated bet – it is, after all, set in Australia with a mostly Australian cast and no real connections to the two current shows in the franchise, NCIS and NCIS: Hawai’i. But NCIS: Sydney, which filmed during the strike and ended up helping CBS fill the time until the rest of its procedural lineup came back did more than just be a convenient fill-in.
In fact, the show’s way-too-short first season, which consisted of eight episodes, managed to introduce a team fans of the NCIS franchise quickly warmed to, and that they would really love to see more of. Not just that, the show also provided more than a few dynamics fans are eager to see grow and the kind of characters that would mesh really well with, let’s say, Jane Tennant or Jessica Knight. Just throwing that out there.
NCIS: Sydney 1×08 “Blonde Ambition” is the perfect example of that. The episode, which focuses on J.D. – his son is the one kidnapped, after all – still manages to showcase the team, and of course, J.D.’s relationship with Mackey in an outstanding way, all while providing the team with an interesting antagonist that we will surely see again if this show is renewed, and leaving us with quite a cliffhanger for a possible Season 2.
And I say possible because I understand that we weren’t likely to get a decision on that till the season finished airing on CBS, but please, let’s go ahead and renew this show already. Thank you.
J.D. THE FATHER
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Seeing J.D.’s kid, and even his ex-wife, is a big step towards understanding who this character is and the journey he is on. Because from what we’ve seen of him within the context of his job, J.D. comes off as a pretty well-adjusted guy. Scratching beneath the surface of this episode allows us to see that he might have more issues than we had suspected before.
The first is clearly an inability to prioritize and balance. I don’t think J.D. is a bad father, or at least I don’t think he’s the kind of father who doesn’t really care about his kid. What he is, however, is guilty of thinking his kid isn’t as important as his job. Which happens when you do a job that is literally life and death – nothing outside of it feels nearly as crucial.
In real life, this is a really bad trait. In a procedural TV show, it’s a very interesting one, because there’s so much growth that could come from exploring this side of J.D. How will he react now that his son is safe? Will he overcompensate? Will he attempt a real balance? Does he even understand what that is and how to get it?
Then there’s the team, which has quickly become like a family for J.D. Does he know how to have a work family and still have a good relationship not just with his kid, but with his ex-wife? We don’t know, and he might not figure out the answers right away, but there’s a lot for the show to explore there if (when) it comes back for Season 2.
J.D. THE PARTNER
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In this episode the person who gets to calm J.D. down, the one holding his hand and telling him things will be okay, is Mackey. And it’s obvious why she is – she’s the boss. That’s what she does for everyone. And yet, there’s never been a part of Mackey that has treated J.D. as just someone on her team. In fact, from the beginning, Mackey has treated J.D. as a real partner. This means that when his son is kidnapped, Mackey cannot stay detached.
Neither can the team, of course, we’ve established the familial bond they’ve quickly formed. It’s why they let J.D. take the hostage (though of course, the decision comes down to Mackey) and why Evie and DeShawn get on a car to try to tail him. It’s why Blue and Rosie are there with Mackey, staring at the image of J.D. and his son and hoping it all goes well.
But the thing with Mackey and J.D. is different and special. We haven’t learned enough from them to say this for sure, but it certainly feels like neither of them have really had a partner. They’ve had teams, and coworkers and people they care about – J.D. was married, of course, but neither of them has had the “I will be with you in good and bad and questionable” kind of partner.
And having that is an adjustment. First because it’s hard to believe you really have it, and then because once you get it, even without meaning to, you get used to it. You start to rely on it. And very quickly, it becomes the kind of thing you cannot live without. They’re not there yet, but NCIS: Sydney has laid the foundation. With more time, J.D. and Mackey could end up giving us one of the most memorable partnerships in NCIS. Now they just need that second season.
Things I think I think:
I still believe the show is setting up J.D. and Mackey romantically and not just as co-leads and partners, but it’s doing so very, very well by setting up the co-leads and partners part first.
They have chemistry to take it romantic, though. A lot of it. It would just have to be a slooooow burn.
No one has ever complained about a sloooow burn done well, though.
Clowns are evil. Everyone should know this.
“You’re an ex-husband, not an ex-father” is A LINE. And the show has a lot to play with in this regard. Need that Season 2, please.
Look, I got emotional when Mackey tells J.D. “whatever it takes, whatever I have to do, I’m going to get him back.”
Evie and DeShawn were also a MOOD this hour. And boy, were they in sync.
This is probably my favorite new show of 2023.
Am I shocked at the ending with Rankin? Hell nah.
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