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hanitje · 1 year

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I really want to talk about the scene where Panto, Bart, Priest, and Ken were in front of the portal house (Ken was on a Zoom call, technically). I thought it was such a brilliant and intense scene, I still remember the tension to this day.

Here we have Bart prattling at Ken while Priest is warily looking at her and his eyes dart at this pink-haired tall glass drink of water, Panto. He sees that the silent pink-haired man is holding a giant scissor sword in his holster, like a gun. He doesn't know this man, he doesn't know his power, he doesn't have his file, he doesn't know his ability.

He knows Bart. He knows that he doesn't have a chance to face off against Bart because she can't be killed. He knows her so well, that in order to subdue her is to be manipulative with her.

Mr. Priest is never afraid to face off against all of these people with powers. He gleefully peppered Suzie with bullets not knowing that she can turn him into a frog or other magical item. In fact, it makes him happy that she disappeared like Michael Myers after falling from a building. It was a challenge for him.

So WHY is he looking very nervous when he sees Panto?

Panto on the other hand is very relaxed but attentive. He stares at Priest, smirking a little. His hand is on his weapon, ready to draw when necessary. He observes the situation, knowing that the soldiers are ready to pounce at both him and Bart.

Panto KNOWS that Priest cannot be trusted. He sees the Blackwing soldiers are menacing, and this smiling, manipulative man named Mr. Priest is trying to get her back to Blackwing HQ. But he doesn't say anything, only waiting for Bart to end her conversation with Ken. He even waves and smiles at Ken when she introduces her friend to him. But his smile doesn't reach his eyes. He knows that these people are bad and he can't let his guard down. However, he doesn't look threatening at all. He is so chillaxed with his posture.

What makes it so memorable is the way Panto watches Priest and the rest of the soldiers. His body is relaxed, but he never takes his eyes off Priest. One wrong move, he would take some action.

When Priest offers Bart his friendship and ice cream, and she refuses, Panto looks at her and knows that is her final answer - she will not return to Blackwing. He understands that Priest's sweet talk is poisonous and lies.

Now, I feel like the audience at the time kinda underestimate Panto. Because he's a fantasy prince who speaks in prose and chivalry language and has pink hair. Sure, he can fight and probably slay a lot of dragons and villains. He's in love with his boyfriend and doesn't fit this macho masculinity of a knight or a prince unlike, say, Aragorn from LOTR. But I feel like Panto has so much in common with Aragorn. Even when looking at an alpha man (from society's POV), Panto is still considered not as macho. They are so wrong.

Panto may not be a rough-looking prince, but he's a goddamn Silent Killer. The moment Priest touches Bart, he immediately orders him to unhand her and he draws his sword. With a calm and meticulous precision fighting style, he butchered the soldiers when one of them tries to sneak up on him -- surprisingly he doesn't kill them.

I feel like the reason why he didn't kill them is that he realizes that this is not his world. He is only a guest in Montana, and he only obeys Bart. He protects Bart, even when he knows that she can take care of herself, and he doesn't add more problems or look for trouble more than necessary.

When Panto finally faces Priest, he doesn't even try to kill him. He waits for Bart's instruction. Bart grunts at him, and he just SLICES Priest's face with his scissor sword. When he walks away, he apologizes. The job is done, it's over. and he walks away with Bart. He doesn't do overkill. He doesn't seek killing.

I really want a season 3 so Panto and Priest can face off again. I reckon that Priest wants some revenge after Panto decorated his face. Especially the complicated connection with Ken and Bart, I feel that Panto definitely will also face them too.

But my question still remains: why Priest is so nervous facing off Panto?

#Dirk Gently's Holistic Detective Agency #Panto Trost #Alan Tudyk #Osmund Priest #Christopher Russell #Mr. Priest

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elmorapper · 1 year

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i wuv lil evil fellas. absolutely disgusting man who i hate <3 horrible rancid evil man <3 babygirl <3

#accidentally made his scar a p ssy. idc idc idc.#lmk what u think of the lineless look i picked it up from frantically figuring out how to paint for an art portfolio. it's kinda neat.#tw gore #?#tw blood #dghda #dirk gently's holistic detective agency #mr. priest #art #fanart #my art

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lacking-hydration · 1 year

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dudes from the deep south see a person and be like "is anyone gonna shoot that," and not wait for an answer

#mr. priest #osmond priest #dirk gently's holistic detective agency #my arts

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ruporas · 11 months

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pet names

[ID: Black and white comic of Vash and Wolfwood from Trigun Maximum. Vash overhears a conversation from a nearby table at the restaurant they're seated at, the unnamed character saying, "Honey, can you pass me that?" Their partner says, "Sure thing, angel." The unnamed character begins again, "Say, did you hear the news from earlier?" In response, "Haven't got the chance. Tell me about it?" Vash smiles fondly, listening in as the conversation continues, "You'd never guess, babe! The runner--" Abruptly, the conversation is cut in by a "Needle nogging", Vash's expression changing instantly and no longer smiling. The panel cuts to Wolfwood who smiles lop-sidedly, pointing at Vash's plate and says, "If you're not going to eat that. I'll take it." Vash grabs the plate and holds it away and says, "Mine" while Wolfwood clicks his tongue. He pauses for a moment before asking slowly, "Hey, is there any reason you don't use cute names with me?" Wolfwood lifts a cup of water up to his lips, looking confused. He says, "I do though." Vash cuts in, "Spikey and needle nogging aren't cute!"

Vash continues with a shy expression, "Since we're together now..." he trails off and Wolfwood picks up, taking a sip of water as he says thoughtfully, "Together, huh..." Vash pauses in his sentence with a look of confusion before reaffirming, "We are together, right?" Wolfwood nods, "Right." Vash says, "Right", before continuing, his shy expression returning, "Then you can use stuff like... honey or-" Wolfwood cuts in this time and says casually, "You're not a honey though." A panel cuts of Vash's expression changing again, shocked. He asks, "Huh? Then who is?" Wolfwood says immediately, "Milly." Vash exclaims, "Milly?!" Wolfwood continues, "She's sweet, just like honey." A bubble pops up of Milly smiling as Wolfwood speaks. Vash continues, "Okay, true... What about sweetpea?" Wolfwood responds, "Kids. Kids are sweetpea. And pumpkin too." Vash continues, "Okay... What about baby?" Wolfwood says without hesitation, "Meryl." Vash exclaims again, "Meryl?!" Wolfwood explains," Noisy, like a baby." Vash mutters, "Hey, that's a bit mean..."

Vash continues persistently, "Then what about babe?" Wolfwood shrugs with a grin, "You are not a babe." Vash looks at him, slightly frustrated before exclaiming with flushed cheeks, "Then what am I?!" Wolfwood points at his hair and smiles softly, "I told you. You're the one and only needle nogging." A panel closes in on Vash's widen eyes, cheeks still red, pausing before he ultimately resigns, planting his face into the palms of his hands and muttering, "I give up..." At the same time, Wolfwood sneaks and grabs the plate of food that Vash left unattended, saying in response, "You get up cuaght up about the dumbest things, y'know that?"

The comic then picks up again to a jump in time, after they've left the restaurant. Wolfwood muses to Vash, "You said all that about the names earlier, but I don't hear ya using them for me." Vash looks to him excitably and asks, "Did you want me to?" Wolfwood looks at him with an uncertain expression, "Not really, but I guess I am curious..." Vash beams, "Then let's try some, okay... dear?" He fingerguns Wolfwood with a grin, little hearts surrounding him. Wolfwood just looks at him neutrally and says, "Okay," while thinking to himself, "Cute..." Vash exclaims, "So unenthusiastic!"

The next comic picks up at a different time, but on the same theme of pet names. Vash hugs Wolfwood and says to him, "Thank you, my love." A panel close up of Vash steadily opening his eyes before he sees Wolfwood's reaction up close, his eyes glancing away, cheeks flushed, and the smoke out of his cig forming soft hearts as he mutters, "Sure..." In a smaller, cartoonish style, Vash has a comedically exaggerated expression of shock and widened eyes as he grips Wolfwood by the shoulders while Wolfwood still wears a shy expression. He then nudges his head to the side of Wolfwood's with a close eyed happy smile, hugging him close and says, "So, there WAS one you liked!" Wolfwood, still looking away, but now with an irritated and embarrassed expression, grumbles, "Shut up..."

The final image is a short sequence. Wolfwood is working on something, spacing out as he does, while Vash from off screen calls for him, starting with "Babeeee? Babe? Beautiful? Honey? My love?" All of which gets no reaction from Wolfwood. Vash pauses for a moment before piping up again, "wolfwood?" Wolfwood turns around, finally noticing that Vash was calling for him and asks, "What?" A box at the bottom of the page says, "Unresponsive to anything other than his names." END ID]

#vashwood #vash the stampede #nicholas d wolfwood #trigun #trigun maximum #ULTIMATELY the most convenient is to stick to needle noggin and wolfwood because it just makes the most sense to them. i also think the way #they refer to each other is such a like.. distancing manner at first.#because i think wolfwood DID call vash by his name at first right?? i mean it was spiraling from vash the stampede to vash and then to #spikey in that one town near the beginning of maximum #i dont know how to word it but the fact they call each other these particular monikers that dont get regularly echoed by others #IN PARTICULARLY needle noggin being SO specific to vash from wolfwood really pushes in the special place wolfwood has in vash's life.#wolfwood doesnt get the name wolfwood used for him often too. hes been called priest chapel nicholas nico....#but vash uses wolfwood out of all of them. kills me every time #its just like the safest name for him. the thing about wolfwood is that it still is universally used for him too. he introduces himself as #nicholas d wolfwood to others as seen from when he first met vash.... regular citizens or kids mightv called him mr wolfwood and stuff...#so it kind of settles itself as a name for the mundane for safety for comfort.#but then they call each other by their first names in vol 10 and i . shatter sfx. needle noggin and wolfwood are so Precious to them for #each other but they're capable of using each other's first names too in such a gentle manner. i mean when vash used nicholas #it was in comforting gesture too. nicholas is who melanie and the kids know and that nicholas is still very much there even pass #the bloodshed. and when ww uses vash so his family knows of vash and his identity and the safety the name vash reflects...

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jamiepridejester · 2 months

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tihihhehhehheh doodle of priest jekyll !?!

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zedortoo · 3 months

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A very cheesy greasy anniversary to you all!

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thephantom · 5 months

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@theriddletrades' master.

#*mine #sweeney todd #josh groban #annaleigh ashford #mrs lovett #broadway #a little priest #they are soooooooo sillygoofy they killed like 100 people #i want to be their third so bad i look like an IDIOT #please note his fucking old man 'OOF!' at the beginning #that poor man almost went down to the floor #watch this blog turn solely into a sweeney blog. i may have a fucking issue #her fucking EVIL ASS LOOK WHEN SHE COMES UP WITH THE PUN IN HER HEAD #YOU CAN /SEE/ IT #NELLIEEEEEEEEEE I LOVE YOUUUUU #SHE'S SO GOOFY #i'm gonna touch the buttttttt

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gremlin-den · 9 months

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#Alan Tudyk #Mr. Priest #DGHDA #Memes

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denimbex1986 · 10 days

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We are lucky to be alive in the age of Andrew Scott, an actor of extraordinary breadth, skill and sensitivity, who can terrify as Jim Moriarty in Sherlock, make us fall in love (inappropriately) as the hot priest in Fleabag and cry in All of Us Strangers. He can also astonish, last year playing eight parts in a stage adaptation of Chekhov’s Uncle Vanya. He recently became the first actor to win the UK Critics’ Circle awards for best actor on stage and screen in the same year. And his latest project, Ripley, is a beautiful and chilling adaptation of the Patricia Highsmith novel The Talented Mr Ripley, with Scott playing the lead, dominating all eight one-hour episodes. It’s been a wild, crowning year for the 47-year-old Irish actor. But in March his mother, Nora, died of a sudden illness; she is who Scott has credited as being his foremost creative inspiration. His grief is fresh and intense and for the first half of the interview it seems to swim just beneath the surface of our conversation.

“We go through so many different types of emotional weather all the time,” he says. “And even on the saddest day of your life you might be hungry or have a laugh. Life just continues.” We are in a meeting room in his management company’s offices, talking about his ability, in his work, to modulate between emotions, to go from happy to sad, confused to scared, all within a matter of seconds. How does he do it? Scott laughs. “I would say that I have quite a scrutable face — is scrutable a word? — which is good or bad depending on what you are trying to achieve. But my job is to be as truthful as possible in the way that we are, and I don’t think that human beings are just one thing at any particular time. It is rare that we have one pure emotion.”

It’s an approach that is particularly appropriate for the playing of Tom Ripley, an acquisitive chameleon who inveigles his way into the lives of others (in this case Johnny Flynn, as the careless and wealthy Dickie Greenleaf, and his on-off girlfriend Marge, played by Dakota Fanning). “Ripley is witty, he is very talented. That’s gripping, to watch talent. I can’t call him evil — it is very easy to call people who do terrible things evil monsters, but they are not monsters, they are humans who do terrible things. Part of what she [Highsmith] is talking about is that if you dismiss a certain faction of society it has repercussions, and Ripley is someone who is completely unseen, he lives literally among the rats, and then there are these people who are gorgeous and not particularly talented and have the world at their feet but are not able to see the beauty that he can see.”

The show was written and directed by Steven Zaillian, the screenwriter of Schindler’s List. It’s set in Sixties New York and Italy, and filmed entirely in black-and-white, its chiaroscuro aesthetic evoking films of the Sixties — particularly those of Federico Fellini — while also offering an alternative to Anthony Minghella’s saturated late-Nineties iteration that starred Matt Damon and Jude Law. This has a darker flavour. “I found it challenging,” Scott says, “in the sense that he’s a solitary figure and ideologically we are very different. So you have to remove your judgment and try to find something that is vulnerable.”

It was a tough shoot, taking a year and filmed during lockdown. Scott was exhausted at the end of it and had intended to take a three-month break, but delays meant that he went straight from Ripley into All of Us Strangers. “Even though I was genuinely exhausted, it was energising because I was back in London, I was getting the Tube to work, there was sunshine,” he says. “I found it incredibly heartful, that film, there were so many different versions of love … I feel that all stories are love stories.”

All of Us Strangers, directed by Andrew Haigh, is about a screenwriter examining memories of his parents who died when he was 12. In it Scott’s character, Adam, returns to his family home, where his parents are still alive and as they were back in the Eighties. Adam is able to walk into the memory and to come out to his parents, finding the words that were unavailable to him as a boy. Some of it was filmed in Haigh’s childhood home, and there was a strong biographical element for him and his lead. Homosexuality was illegal in the Republic of Ireland until 1993, when Scott was 16. He did not come out to his parents until he was in his early twenties. I ask if he was working with his own childhood experiences in the film. “Of course, so in a sense it was painful, to a degree, but it was cathartic because you are doing it with people that you absolutely love and trust. I felt that it was going to be of use to people and I was right, it has been. The reaction to the movie has been genuinely extraordinary — it makes people feel and see things, and that isn’t an easy thing to achieve.”

The film is also a tender and erotic love story between Scott’s character and Harry, played by the Irish actor Paul Mescal. The two found a real-life kinship that made them a delight to watch on screen and off it, as a double act on the awards circuit. “I adore Paul, he’s so, so … continues to be …” Scott pauses. “Obviously it’s been a tough time recently and he just continues to be a wonderful friend. It’s everything. The more I work in the industry, I realise, you make some stuff that people love and you make some stuff that people don’t like, and all really that you are left with is the relationships that you make. I love him dearly.”

Scott and Mescal were also both notable on the red carpet for being extraordinarily well dressed. Scott loves fashion and has a big, well-organised wardrobe that he admits is in need of a cull. “I don’t like having too much stuff. I really believe that everything we have is borrowed — our stuff, our houses, we are borrowing it for a time. So I am trying to think of people who are the same size as me so I can give some of it away, and that’s a great thing to be able to do.” One of his favourite labels is Simone Rocha. “I love a bit of Simone Rocha. What a kind, glorious person she is. I just went to her show.” Fashion, he says, is in his DNA. “My mother was an art teacher, she was obsessed with all sorts of design. She loved jewellery and jewellery design. Anything that is visual, tactile, painting, drawing, is a big passion of mine, so I have tremendous respect for the creativity of designers.”

Today Scott is wearing Louis Vuitton trousers and a cropped Prada jacket, dressed up because he is collecting his Critics’ Circle award for best stage actor for Vanya. I ask how it feels to have won the double, a historic achievement. “Ah …” he says, looking at the table, going silent, having just been so voluble. “I’m sorry …” His voice cracks a little. “It’s bittersweet.”

At the ceremony Scott dedicated the award to his mother, saying of her “she was the source of practically every joyful thing in my life”. Is it difficult for him to carry on working in the circumstances, I wonder. “Well, you know, you have to — life goes on, you manage it day by day. It’s very recent, but I certainly can say that so much of it is surprising and unique, and there is so much that I will be able to speak about at some point.”

He is looking forward, he says, once promotion for Ripley is over, to taking some time off, going on holiday, going back to Ireland for a bit. He has homes in London and Dublin. To relax he walks his dog, a Boston terrier, dressed down in jeans and a hoodie “like a 12-year-old, skulking around the city” or goes to art galleries on the South Bank — he was considering a career as an artist until he was 17 and got a part in the Irish film Korea. He goes to the gym every day, “not, you know, to get …” he says, flexing his biceps. “More that it’s good for the head.” He is social, likes friends, likes a party. When I ask if he gave up drinking while doing Vanya, which required him to be on stage, alone, every night for almost two hours, he looks horrified. “Oh God, no! Easy tiger! Jesus … Although I didn’t drink much, I did have to look after myself. But we had a room downstairs in the theatre, a little buzzy bar, because otherwise I wouldn’t see anybody, so I was delighted to have people come down.”

Scott was formerly in a relationship with the screenwriter and playwright Stephen Beresford and is currently single, although this is not the sort of thing he likes to talk about. He is protective of his privacy, not wanting to reveal where he lives in London, or indeed the name of his dog — but he swerves such questions with a gentle good humour.

He is famous on set for being friendly and welcoming, for looking after other people. “The product is very important, but most of my time is spent in the process, so I want that to be as pleasant and kind as possible. I feel like it is possible to do that, that it is an honourable goal.” He is comfortable around people, with an easy charm — no one I have interviewed before has said my name so many times. And although when we talk he sometimes seems reflective or so very sad, there are also moments when he is exuberant, silly, putting on accents. “I feel like, as a person, I am quite near my emotions. I cry easily and I laugh easily, and there is nothing more pleasurable to me than laughing.”

Scott was raised a Catholic and is no longer practising, but says his view about religion is “ever changing — I definitely have a faith in things that cannot be proved”. When he was younger and felt overwhelmed, just before or after an audition, he would go to the Quaker Meeting House in central London and sit in silence, something that made its way into the second series of Fleabag, in which Scott’s priest takes Waller-Bridge’s character to that same meeting house. “It’s just around here,” he says, standing up, looking out of the window at Charing Cross Road. “When Phoebe and I first talked, we met at the Soho Theatre. We talked about love and religion, we walked all around here. And I said, ‘This is a place I go,’ so we called in and there was no one there, so we sat in there and we talked. It was a really magical day.”

Scott says he sees all the different characters that he has played as versions of himself. “It’s like, ‘What would this version of me look like?’ rather than, ‘Oh, I’m going to be somebody else.’ You filter it through you, and you discover more about yourself. I think that is a very lucky thing to be able to do, to find out more about yourself in the short time that we are here.”

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