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dailynicknews · 2 years

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Two-Time Emmy Award Winner Dana Delany Joins The Cast of Paramount Plus' Original Series 'Tulsa King'

TWO-TIME EMMY AWARD WINNER DANA DELANY JOINS THE CAST OF PARAMOUNT+’S ORIGINAL SERIES "TULSA KING"

Delany Joins Previously Announced Series Regulars Academy Award® Nominee Sylvester Stallone, Andrea Savage, Martin Starr, Max Casella, Domenick Lombardozzi, Vincent Piazza, Jay Will, A.C. Peterson and Garrett Hedlund

Creator and Academy Award® Nominee Taylor Sheridan Serves as Executive Producer Alongside Academy Award® Nominee and Emmy Award® Winner Terence Winter

Produced by MTV Entertainment Studio and 101 Studios

Photo Credit: Greg Doherty/Getty Images

LONDON – June 20, 2022 – Paramount Global (NASDAQ: PARA, PARAA), to celebrate the debut of Paramount+ in the UK and Ireland on June 22, announced that two-time Emmy®-winning actress Dana Delany (“Body of Proof”) will join previously announced series lead and Academy Award® nominee Sylvester Stallone in the new original series TULSA KING. Creator and Academy Award nominee Taylor Sheridan serves as executive producer alongside Academy Award nominee and Emmy Award winner Terence Winter (“The Sopranos,” “The Wolf of Wall Street”), who will also be at the helm as showrunner and writer. Produced by MTV Entertainment Studios and 101 Studios, TULSA KING will premiere with two episodes on Sunday, November 13 on Paramount+.

Try Paramount+ for FREE at ParamountPlus.com.

TULSA KING follows New York mafia capo Dwight “The General” Manfredi (Stallone), after he is released from prison after 25 years and is unceremoniously exiled by his boss to set up shop in Tulsa, Okla. Realizing that his mob family may not have his best interests in mind, Dwight slowly builds a crew from a group of unlikely characters to help him establish a new criminal empire in a place that to him might as well be another planet. Delany will play Margaret, an affluent and influential equestrian and owner of a sprawling horse farm and animal preserve. She is a formidable presence and a trustee of the Annie Oakley Society.

Delany made her mark as Army nurse Colleen McMurphy on “China Beach,” for which she received two Emmy Awards and four nominations for Best Dramatic Actress. Delany also received an Emmy nomination for a guest-starring role on the CBS drama “Family Law.” Delany’s additional television credits include “Body of Proof,” “Desperate Housewives,” “Hand of God,” and most recently “The American Guest.” She has also been the voice of Lois Lane on “Superman: TAS,” “The Batman” and “Justice League” and “Batman: Mask of the Phantasm.” On film, she has appeared in “Light Sleeper,” “Housesitter,” “Tombstone” and “Fly Away Home” among many others. Theater credits include “A Life” and “Translations” on Broadway, “Blood Moon” off-Broadway, “Much Ado About Nothing” at the Old Globe Theatre, the Pulitzer prize-winning play “Dinner with Friends,” “The Parisian Woman,” “The Night of the Iguana,” “Collective Rage: A Play in Five Betties,” and most recently the premiere of “Good Night Nobody” at the McCarter Theater.

The series also stars Andrea Savage ("I'm Sorry”), Martin Starr ("Silicon Valley"), Max Casella (“The Tender Bar”), Domenick Lombardozzi (“The Irishman”), Vincent Piazza (“Boardwalk Empire”), Jay Will (“The Marvelous Mrs. Maisel”), A.C. Peterson (“Superman & Lois") and Garrett Hedlund (“The United States vs. Billie Holiday”).

Mirroring the successful 2021 launches of 1883 and MAYOR OF KINGSTOWN, Paramount Network will air a linear sneak peek of TULSA KING’s debut episode on Nov. 13, as a special simulcast event immediately following the highly anticipated Season 5 premiere of “Yellowstone.” Similarly, the second episode of TULSA KING will air behind “Yellowstone” on Nov. 20. All remaining episodes will be available to stream weekly on Sundays exclusively on Paramount+. TULSA KING will also premiere on Paramount+ in Canada on November 13, followed by a premiere in Australia and The UK on November 14. The series will air later this year on Paramount+ in Latin America and in additional territories upon the launch of the service.

TULSA KING is executive produced by Sheridan, Winter, Stallone, David C. Glasser, Ron Burkle, Bob Yari, David Hutkin, Allen Coulter and Braden Aftergood.

TULSA KING is the latest addition to Sheridan’s growing slate on Paramount+ which includes 1883, MAYOR OF KINGSTOWN and the upcoming series LIONESS, 1883: THE BASS REEVES STORY, LAND MAN and 1923.

About Paramount+:

Paramount+, a direct-to-consumer digital subscription video on-demand and live streaming service, combines live sports, breaking news, and a mountain of entertainment. The premium streaming service features an expansive library of original series, hit shows and popular movies across every genre from world-renowned brands and production studios, including BET, CBS, Comedy Central, MTV, Nickelodeon, Paramount Pictures, and the Smithsonian Channel. The service is also the streaming home to unmatched sports programming, including every CBS Sports event, from golf to football to basketball and more, plus exclusive streaming rights for major sports properties, including some of the world’s biggest and most popular soccer leagues. Paramount+ also enables subscribers to stream local CBS stations live across the U.S. in addition to the ability to stream CBSN for 24/7 news, CBS Sports HQ for sports news and analysis, and ET Live for entertainment coverage.

For more information about Paramount+, please visit www.paramountplus.com and follow @ParamountPlus on social platforms.

About MTV Entertainment:

MTV Entertainment Group is one of the preeminent youth media companies in the world that connects with global audiences through its nine iconic brands – MTV, Comedy Central, VH1, CMT, Pop, Logo, Smithsonian, Paramount Network and TV Land – as well as MTV Entertainment Studios which produces acclaimed series, movies and the award-winning, Oscar-nominated MTV Documentary Films.

About 101 Studios:

101 Studios is a global entertainment company dedicated to the acquisition, financing, development, production and distribution of high-caliber, creator-driven storytelling. 101 empowers content creators through first-class collaboration and innovation. On the television side, 101 produces Taylor Sheridan’s Emmy nominated series “Yellowstone,” “Mayor of Kingstown,” “1883” and the upcoming “George & Tammy,” “Tulsa King,” “Lioness” and “Bass Reeves.” 101 Studios oversees and manages the newly formed Sports Illustrated Studios, a content platform based on the most compelling stories, characters and moments in sports past, present and future. Upcoming projects include “Paradise Found” based on the true story of high school football coach Rick Prinz; a docuseries about the sexual abuse and cover-up at Ohio State University, co-produced by George Clooney and Grant Heslov’s Smokehouse Pictures; and the docuseries “Covers,” a behind-the-scenes look at Sports Illustrated’s top cover stories of all time. SI Studios has also exclusively partnered with iHeartMedia to create and distribute original podcasts through the iHeartPodcast network. On the film side, past releases include “The Current War: Director’s Cut,” the Sundance Audience award winner “Burden” as well as the family comedy “The War with Grandpa.”

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More Nick: Paramount Plus Expands Kids and Family Programming with New Slate of Films and Series from Nickelodeon Studios!

Originally published: June 22, 2022.

Follow NickALive! on Twitter, Reddit, Instagram, Facebook, Google News, Tumblr, via RSS and more for the latest Nickelodeon on Paramount Plus News and Highlights!

from NickALive! https://ift.tt/uScGkZm via https://ift.tt/KDYi9q1

#Nickelodeon #NickALive

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literaticat · 2 years

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Hello! You answered my question about chapter books recently and I REALLY appreciate it! You mentioned a series proposal, can you give me an example of what a series proposal for a chapter book series would look like? (Yes, it would be like Ivy and Bean!) I don't have an agent yet so I so appreciate your openness to answering questions!

A series proposal generally contains a paragraph that is a pitch for the series as a whole -- what it is about in an overarching way, to what audience it will appeal, etc.

Then a paragraph about the first book, and a few more ideas that could be a few lines or a paragraph each. At the end of the day, the whole thing would be about a page, and be something like this:

SERIES OVERVIEW: Tilda and Mac is a character-driven comedic chapter book series of about x-number of words each, for kids aged 7-10 who love DOG MAN and CAPTAIN UNDERPANTS. It's about two mismatched friends who hunt bad guys in an unfortunately glitchy spaceship called the Whiz that is shaped like a hot-dog cart and is outfitted with state of the art ketchup rays that only sometimes malfunction. Tilda is a genius engineer and the brains of the operation -- bumbling Mac can't help but get them into trouble with his clumsiness, but is a true-blue friend and what he lacks in balance, he makes up for in loyalty and bravery. Together, they make a perfect team!

BOOK 1: HOT DOGS IN SPACE! Tilda and Mac, the crime-fighting heroes, contend with Doctor Dementroid, a bad guy who is intent on stealing all the hot dogs in the universe, and not even their ketchup rays can seem to stop him. But when Mac trips over a box and unleashes a space-genie, he inadvertently gets a clue that might stop the Doctor's high cholesterol evil-doing forever!

BOOK 2: MUSTARD SHOWDOWN! Tilda and Mac's spaceship, the Whiz, breaks down and sends them through a wormhole to Earth. Specifically, to Tombstone, Arizona, in old-West times. They'll need all their wits about them as they cross paths with the greatest outlaw in the land: Billy the Bib, a giant baby who eats his enemies and has meddling space-varmints on his menu!

BOOK 3: REINDEER GAMES! Tilda and Mac's busted spaceship has sent them through another wormhole -- this time, to the North Pole! It's almost Christmas, but it isn't holly-jolly at all -- Santa is no Saint, but rather a meglomaniacal billionaire who, along with his reindeer henchmen, is cruel to his elven employees and is ruining the delicate arctic ecosystem with his factories! Tilda and Mac unionize the elves and, with the help of their new pal Rudolph, shut down Santa's rein-deer of terror for good!

More possibilities for books in the Tilda and Mac series include TILDA AND MAC vs SHERLOCK BONES, set in Victorian London; TILDA AND MAC: MARTIAN MARSHMALLOWS, set in a little-known candy factory on Mars, and TILDA AND MAC ON BROADWAY, in which our heroes are sent to NYC circa 1928, where they must infiltrate the Ziegfield Follies.

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jellicle-chants · 8 months

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💖⚡️🔡🎤

💝 jemima or victoria? (I hope this is the one you meant, I didn't see one with your particular emoji)

Victoria, although in a perfect world they would be combined back into one character like they were supposedly intended to be at first.

⚡ “macavity” or “magical mister mistoffelees”

AKA "lesbian song vs gay song." Hard choice, but I think I have to go with MMM because the conjuring turns are so iconic.

🔡 london names or broadway names?

I learned everyone's names from the proshot, so that's usually what I go with by default (i.e., mostly Broadway except for Jemima).

🎤 singing mistoffelees or quiet mistoffelees?

I prefer a quiet Misto, at least for his own song and Jennyanydots. (Again, this is basically what the proshot does, and I think they struck a good middle ground.)

#cats the musical #cate talks cats #thanks for the ask!#mercuriallily #cats this or that

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overnighttosunflowers · 1 year

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did you get to see the Katrina Lenk company? what did you think? I kinda wish I'd seen it more than once

I did! My friend and I actually flew to London to see that production before we knew it was going to transfer to Broadway, and then we saw it here on March 9, 2020 and somehow did not catch COVID from the experience, and then I saw it again with my partner in July before it closed.

I thought the American production was all-around better than the UK one with the notable exception of Katrina Lenk, who I felt was miscast. She did a much better job in July 2022 than March 2020—having time to grow in the role helps, I imagine—but for me she’s just a vocal mismatch (and I say this as someone who ADORED her in The Band’s Visit). I have a good music vocabulary but a very poor vocal performance one, so forgive me if this is poorly expressed, but “Being Alive” (for instance) needs to really build and she just didn’t have the power to sustain it, kept dropping back down in volume and intensity at key moments. I suspect this was partially the fault of the arrangement, which could’ve been a better match for her vocal range. I also didn’t like her interpretation of Bobbie as much as Rosalie Craig’s; I think Bobby works best as a sort of affable-if-distant everyman/woman and Katrina played her much more specifically and with more of a sardonic edge.

Also, there are many things I like a lot about the genderswapped production—it really successfully breaks down some of the tired and more stereotyped gendered roles in the couples from the original, for one thing, and the additional layer of Bobbie having a biological clock ticking is interesting—BUT I was disappointed by the way it handled queerness. The US did a better job with this than the UK, where the (originally male) character who asks Bobby if he’s ever had a gay experience is replaced by a tremendously queer-coded woman… who then instead of hitting on Bobbie reveals that she’s pregnant. I was genuinely floored by that. The US toned down her queer-coding, so that change didn’t bother me nearly as much here—no weird foreshadowing for a moment that doesn’t happen. The UK also VERY heavily aligned Jamie (genderswapped gay Amy) with the women in a way that felt almost a little homophobic and the US production was less weird about it. Also, Jamie, who spends the morning of his wedding day freaking out about getting married and almost losing his nerve, has a line—“Just because we can [get married] doesn’t mean we should”—which obviously resonates way differently coming from a gay character vs a straight one. It’s a laugh line regardless of who’s saying it, but in a gay context I think it has more pain and complexity to it, and my subjective feeling was that the US production played it weightier in a way that I appreciated.

But in both productions, I think a lot is lost by a refusal to just lean into the queer vibes that the original itself already has. (In my opinion! But that’s its own essay.) Instead of using the genderswap to get even queerer, the genderswapped production backs away from queerness. (The production team said they’d considered making Bobbie bi and it “didn’t work,” but I feel pretty sure that what “didn’t work” was relatability for mainstream ticket-buying audiences.) Most notably, in the original, Joanne breaks through Bobby’s inertia by saying they should sleep together. “I think you and I should make it.” This was changed to, “I think you and Larry [her husband] should make it.” Wildly different implications, no?

And then after that, of course, she says to Bobby, “I’ll take care of you,” to which Bobby replies, “But who will I take care of?” Or that’s what she says in the original. In the genderswap, she says “You’ll take good care of Larry,” to which Bobbie replies, “But who will take care of me?”

Which. Company is a show about intimacy and vulnerability and finding the courage to want something scary. To commit to something that will ask a lot of you. To let someone need you too much, hurt you too deep, know you too well, crowd you with love, mock you with praise. To stop keeping a safe distance in favor of experiencing life in all its richness.

And yes, there’s the fact that if Bobbie is a woman, socialized to be a caretaker instead of, well, a care-taker, arriving at the question of “Who will I take care of (emotionally)?” with respect to a heterosexual relationship lands differently than when Bobby is a man. But in my opinion, flipping the question is a lazy way out that undermines the overall thrust of the show. Yes, it can be scary and vulnerable to let someone take care of you; but that’s not what Bobb(ie/y)’s struggling with. She’s struggling with the fact that a relationship will ask a lot of her. Who will she take care of?

There are plenty of ways they could’ve handled this that I would’ve liked better. The simplest, I guess, would’ve been to keep the original line and approach the delivery with nuance. That doesn’t solve the weird Joanne/Larry swap, but hey. Or they coulda just made Bobbie queer. The show’s already about wrestling with the complexity of relationships. Queering Bobbie offers a whole lot of depth to play with, imo. BUT that (like the rest of this!) is my own highly subjective take.

Anyway this is way more than you asked for, my anon friend, but I hope it was interesting! I love this show very much.

#also the Vulture review is good.#company #asks #mine #musicals #OH I SHOULD ALSO BE CLEAR THAT I LOVED BOTH PRODUCTIONS #I’ve seen a lot of productions of this show because it’s my favorite so I leapt right to the criticisms!#but I loved both!#immensely talented casts and cool staging

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the-cat-at-the-theatre-door · 3 years

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I’ve noticed that I’ve had a recent influx of new followers and noted some new fandom members (Hello everyone! Thank you for following me! I’m sorry!!), so I thought it would be a good time to re-share some of the things with you guys that I’ve put together that may be otherwise useful:

-Full productions available on Youtube

- Toby’s Dinner Theatre

- 1998 Video Production

- MUNY Production (ft. Ken Page) (x x x x)

- La Mirada, California - 2014, April 19th

- Extensive Highlights of Oasis Production, Cast 12, June 5th 2022

-CATS Cast Recordings

-Original Broadway Production Archive Folder

-BTS Playlist

-Youtube Playlist Master Post

-Fandom Starter Pack

-Makeup

-A Word on the Dubbing of the 1998 Video

And two posts put together by other lovely people that also may be useful:

-A List of Swing/Chorus/Ensemble Characters (@theimpossiblescheme)

-A Quick Handy Visual Guide to the Cats and Their Names (London Replica applicable only) (@its-that-horrible-cat)

#there's also other information - regarding replica vs non-replica the golden!alonzo debacle the existence of the shadow dance #the broadway vs london characters #the web i was talking about maybe going into making a bit ago but am unsure if i will have the time for #etc etc #but i haven't made 'master posts' of those things #(yet i guess)#you don't really need to know anything further about me specifically except you can call me jemi my favourite cat is asparagus #i love the 2009 italy tour and the og broadway production and co.#i love talking about cats and its history and i'm a pretty good information sleuth #and i've been in this fandom for quite a while #extemporize back chat #reference list

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sevenkittensinatrenchcoat · 2 years

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Pas De Deux Analysis: How Are Victoria’s Boyfriends Different?

So, having access to an amazing compilation of pas de deux, which I have already reblogged, so I’m not going to link it here unless someone directly asks me to, I decided it’d be fun to look for patterns. All the toms that dance with Victoria dance with Victoria, but they’re different characters, so how does characterization affect the pas de deux?

I mostly compared Plato/Admetus, Tumblebrutus, and Mistoffelees, because they’re the most common. Plato/Admetus is so common that it was difficult to decide which versions to focus on! I was mostly curious about if Misto was different from other toms in this scene in any significant way, because of course I was.

1. Plato/Admetus (based on London, 1998, and Madrid)

Plato/Admetus tends to be confident in his flirting, but still polite. He headbutts Victoria (headbutting is how cats say “hello”) and startles her. She steps back and he waits for her decide what she wants to do. She goes back to him and they flirt for a bit before The Lift. Since Plato/Admetus doubles as Macavity, who lifts and throws Munkustrap around, Plato/Admetus actors have to be really strong, so the lift usually looks effortless. This is especially amazing in 1998, where Bryn Walters had a taped-up, injured hand and Phyllida Crowley Smith was pregnant.

2. Tumblebrutus (based on Broadway, Buenos Aires, and Hamburg)

There was less of a clear pattern in these versions, but I think the pacing of the pre-lift stuff was slightly faster. Tumblebrutus kind of charges right into things. Victoria either immediately turns around for the lift or they both take a startled step back before coming together for the lift. The lift itself is a bit more awkward, but I think that’s deliberate. In these versions, both characters involved are supposed to be inexperienced teenagers. They’re both still figuring stuff out and both are still sometimes surprised by Strange, New Feelings. Plato/Admetus is slightly older than Tumblebrutus, so he gets to be a bit more confident.

I’d like to give credit to Broadway 1994 Tumblebrutus for making the headbutt extremely literal.

3. Mistoffelees (based on Paris, Zurich, and Amsterdam)

As I’d previously suspected, the dynamic here is a bit different. Mistoffelees is probably around the same age as Plato in these productions: They’re both allowed to stand with the adult toms during Bustopher Jones, but they’re young enough to have coming-of-age moments. But, Misto was aged down into this role to be similar to Tumblebrutus: a male counterpart to Victoria. However, his dynamic with Victoria isn’t like either one of them.

Misto isn’t as confident in approaching Victoria as the other toms are. Paris Misto (in 1990. We’ve got two versions now!) looks like he’s expecting to be stopped. Amsterdam Misto is a bit more confident. It’s played like he and Victoria are kind of already a thing (and a surprisingly cute couple, considering how much I usually don’t like Mistoria). Paris 1990 and Amsterdam 1992 are both played by Guy-Paul de St. Germain, so the difference between Shy Paris Misto and Already Dating Amsterdam Misto is a little odd, especially since these are both Vienna-based productions, so it’s not like Zurich Misto vs. Broadway Misto for Lindsay Chambers, playing the character differently to fit two very different productions. Maybe it was a few years of experience that led to the change idk.

Anyway, I think the Paris 1989 clip might actually be Tibor Kovats. Bootleg Quality makes it hard to tell, but during the rare split seconds you can see his face, Paris 1989 doesn’t look like Paris 1990. Meanwhile, even if I didn’t look up the casting, Paris 1990 and Amsterdam 1992 are very clearly the same person.

And, of course, I gotta say something about Zurich Misto My Beloved. He’s the most nervous and awkward out of all pas de deux Mistos. He doesn’t headbutt Victoria as much as firmly nuzzle her. She’s slightly startled and that startles him halfway across the stage. From there, Victoria takes the lead, coaxing him back out to do The Lift.

In general, Victoria paired with Misto initiates more than she does with other toms. In Platoria, Plato takes the lead. In Tumbletoria, they’re equally awkward and equally eager. In Mistoria, Victoria is often the one encouraging Misto to not be so nervous.

4. But Wait. Is It Misto or Is It Vienna?

All productions that have Misto in the pas de deux are Vienna-based, but not all Vienna-based productions have Misto in the pas de deux. I’d originally assumed that Vienna paired Victoria with Tumblebrutus like Broadway did, but, we have evidence somewhere that it’s actually Carbucketty she’s with. I’ve long since given up on identifying most of the characters in Vienna, so I wouldn’t know. I didn’t think he looked like Tumblebrutus, but I also had no idea who he did look like.

Vienna had both a Carbucketty and a Pouncival. Amsterdam only had a Pouncival, so he took Vienna Carbucketty’s role during the early years of Amsterdam. The few other productions that pair Carbucketty/Pouncival with Victoria vary. China 2012 doesn’t have much relation to the Vienna-based productions.

So, I watched three Vienna pas de deux with all the Bootleg Quality, Dark Voids, and Editing Choices that entailed. The results: ???

I personally think these versions most closely resemble the Tumblebrutus versions, though Carbucketty seems a bit more nervous and Victoria sometimes behaves more like she does with Misto. It feels like the Misto versions played up certain qualities of the Pouncebucketty versions, which were inspired by Broadway Tumblebrutus.

So, no, I don’t think it’s a Vienna In General thing. Guy-Paul de St. Germain’s Misto seems genuinely shy and very sweet, though the shyness was downplayed in Amsterdam. Zurich Misto is Baby and as startled by his own actions as Victoria is. He’s not used to Just Doing Things and not getting in any trouble for it.

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dornish-queen · 4 years

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Pedro Pascal on Fame and ‘The Mandalorian’: ‘Can We Cut the S— and Talk About the Child?’

By Adam B. Vary

Photographs by Beau Grealy

At some point during this particular visit, Pascal needed to go to the bathroom, and his parents let him go by himself. “I didn’t really know how to read yet,” Pascal says with the same Cheshire grin that dazzled “Game of Thrones” fans during his run as the wily (and doomed) Oberyn Martel. “I did not find my way back to ‘Superman.'”

Instead, Pascal wandered into a different theater (he thinks it was showing the 1979 domestic drama “Kramer vs. Kramer,” but, again, he was 4). In his shock and bewilderment at being lost, he curled up into an open seat and fell asleep. When he woke up, the movie was over, the theater was empty, and his parents were standing over him. To his surprise, they seemed rather calm, but another detail sticks out even more.

“I know that they finished their movie,” he says, bending over in laughter. “My sister was trying to get a rise out of me by telling me, ‘This happened and that happened and then Superman did this and then, you know, the earthquake and spinning around the planet.'” In the face of such relentless sibling mockery, Pascal did the only logical thing: “I said, ‘All that happened in my movie too.'”

He had no way of knowing it at the time, of course, but some 40 years later, Pascal would in fact get the chance to star in a movie alongside a DC Comics superhero — not to mention battle Stormtroopers and, er, face off against the most formidable warrior in Westeros. After his breakout on “Game of Thrones,” he became an instant get-me-that-guy sensation, mostly as headstrong, taciturn men of action — from chasing drug traffickers in Colombia for three seasons on Netflix’s “Narcos” to squaring off against Denzel Washington in “The Equalizer 2.”

This year, though, Pascal finds himself poised for the kind of marquee career he’s spent a lifetime dreaming about. On Oct. 30, he’ll return for Season 2 as the title star of “The Mandalorian,” Lucasfilm’s light-speed hit “Star Wars” series for Disney Plus that earned 15 Emmy nominations, including best drama, in its first season. And then on Dec. 25 — COVID-19 depending — he’ll play the slippery comic book villain Maxwell Lord opposite Gal Gadot, Chris Pine and Kristen Wiig in “Wonder Woman 1984.”

The roles are at once wildly divergent and the best showcase yet for Pascal’s elastic talents. In “The Mandalorian,” he must hide his face — and, in some episodes, his whole body — in a performance that pushes minimalism and restraint to an almost ascetic ideal. In “Wonder Woman 1984,” by stark contrast, he is delivering the kind of big, broad bad-guy character that populated the 1980s popcorn spectaculars of his youth.

“I continually am so surprised when everybody pegs him as such a serious guy,” says “Wonder Woman 1984” director Patty Jenkins. “I have to say, Pedro is one of the most appealing people I have known. He instantly becomes someone that everybody invites over and you want to have around and you want to talk to.”

Talk with Pascal for just five minutes — even when he’s stuck in his car because he ran out of time running errands before his flight to make it to the set of a Nicolas Cage movie in Budapest — and you get an immediate sense of what Jenkins is talking about. Before our interview really starts, Pascal points out, via Zoom, that my dog is licking his nether regions in the background. “Don’t stop him!” he says with an almost naughty reproach. “Let him live his life!”

Over our three such conversations, it’s also clear that Pascal’s great good humor and charm have been at once ballast for a number of striking hardships, and a bulwark that makes his hard-won success a challenge for him to fully accept.

Before Pascal knew anything about “The Mandalorian,” its showrunner and executive producer Jon Favreau knew he wanted Pascal to star in it.

“He feels very much like a classic movie star in his charm and his delivery,” says Favreau. “And he’s somebody who takes his craft very seriously.” Favreau felt Pascal had the presence and skill essential to deliver a character — named Din Djarin, but mostly called Mando — who spends virtually every second of his time on screen wearing a helmet, part of the sacrosanct creed of the Mandalorian order.

Convincing any actor to hide their face for the run of a series can be as precarious as escaping a Sarlacc pit. To win Pascal over in their initial meeting, Favreau brought him behind the “Mandalorian” curtain, into a conference room papered with storyboards covering the arc of the first season. “When he walked in, it must have felt a little surreal,” Favreau says. “You know, most of your experiences as an actor, people are kicking the tires to see if it’s a good fit. But in this case, everything was locked and loaded.”

Needless to say, it worked. “I hope this doesn’t sound like me fashioning myself like I’m, you know, so smart, but I agreed to do this [show] because the impression I had when I had my first meeting was that this is the next big s—,” Pascal says with a laugh.

Favreau’s determination to cast Pascal, however, put the actor in a tricky situation: Pascal’s own commitments to make “Wonder Woman 1984” in London and to perform in a Broadway run of “King Lear” with Glenda Jackson barreled right into the production schedule for “The Mandalorian.” Some scenes on the show, and in at least one case a full episode, would need to lean on the anonymity of the title character more than anyone had quite planned, with two stunt performers — Brendan Wayne and Lateef Crowder — playing Mando on set and Pascal dubbing in the dialogue months later.

Pascal was already being asked to smother one of his best tools as an actor, extraordinarily uncommon for anyone shouldering the newest iteration of a global live-action franchise. (Imagine Robert Downey Jr. only playing Iron Man while wearing a mask — you can’t!) Now he had to hand over control of Mando’s body to other performers too. Some actors would have walked away. Pascal didn’t.

“If there were more than just a couple of pages of a one-on-one scene, I did feel uneasy about not, in some instances, being able to totally author that,” he says. “But it was so easy in such a sort of practical and unexciting way for it to be up to them. When you’re dealing with a franchise as large as this, you are such a passenger to however they’re going to carve it out. It’s just so specific. It’s ‘Star Wars.'” (For Season 2, Pascal says he was on the set far more, though he still sat out many of Mando’s stunts.)

“The Mandalorian” was indeed the next big s—, helping to catapult the launch of Disney Plus to 26.5 million subscribers in its first six weeks. With the “Star Wars” movies frozen in carbonite until 2023 (at least), I noted offhand that he’s now effectively the face of one of the biggest pop-culture franchises in the world. Pascal could barely suppress rolling his eyes.

“I mean, come on, there isn’t a face!” he says with a laugh that feels maybe a little forced. “If you want to say, ‘You’re the silhouette’ — which is also a team effort — then, yeah.” He pauses. “Can we just cut the s— and talk about the Child?”

Yes, of course, the Child — or, as the rest of the galaxy calls it, Baby Yoda. Pascal first saw the incandescently cute creature during his download of “Mandalorian” storyboards in that initial meeting with Favreau. “Literally, my eyes following left to right, up and down, and, boom, Baby Yoda close to the end of the first episode,” he says. “That was when I was like, ‘Oh, yep, that’s a winner!'”

Baby Yoda is undeniably the breakout star of “The Mandalorian,” inspiring infinite memes and apocryphal basketball game sightings. But the show wouldn’t work if audiences weren’t invested in Mando’s evolving emotional connection to the wee scene stealer, something Favreau says Pascal understood from the jump. “He’s tracking the arc of that relationship,” says the showrunner. “His insight has made us rethink moments over the course of the show.” (As with all things “Star Wars,” questions about specifics are deflected in deference to the all-powerful Galactic Order of Spoilers.)

Even if Pascal couldn’t always be inside Mando’s body, he never left the character’s head, always aware of how this orphaned bounty hunter who caroms from planet to planet would look askance at anything that felt too good (or too adorable) to be true.

“The transience is something that I’m incredibly familiar with, you know?” Pascal says. “Understanding the opportunity for complexity under all of the armor was not hard for me.”

When Pascal was 4 months old, his parents had to leave him and his sister with their aunt, so they could go into hiding to avoid capture during Pinochet’s crackdown against his opposition. After six months, they finally managed to climb the walls of the Venezuelan embassy during a shift change and claim asylum; from there, the family relocated, first to Denmark, then to San Antonio, where Pascal’s father got a job as a physician.

Pascal was too young to remember any of this, and for a healthy stretch of his childhood, his complicated Chilean heritage sat in parallel to his life in the U.S. — separate tracks, equally important, never quite intersecting. By the time Pascal was 8, his family was able to take regular trips back to Chile to visit with his 34 first cousins. But he doesn’t remember really talking about any of his time there all that much with his American friends.

“I remember at one point not even realizing that my parents had accents until a friend was like, ‘Why does your mom talk like that?'” Pascal says. “And I remember thinking, like what?”

Besides, he loved his life in San Antonio. His father took him and his sister to Spurs basketball games during the week if their homework was done. He hoodwinked his mother into letting him see “Poltergeist” at the local multiplex. He watched just about anything on cable; the HBO special of Whoopi Goldberg’s one-woman Broadway show knocked him flat. He remembers seeing Henry Thomas in “E.T.” and Christian Bale in “Empire of the Sun” and wishing ardently, urgently, I want to live those stories too.

Then his father got a job in Orange County, Calif. After Pascal finished the fifth grade, they moved there. It was a shock. “There were two really, really rough years,” he says. “A lot of bullying.”

His mother found him a nascent performing arts high school in the area, and Pascal burrowed even further into his obsessions, devouring any play or movie he could get his hands on. His senior year, a friend of his mother’s gave Pascal her ticket to a long two-part play running in downtown Los Angeles that her bad back couldn’t withstand. He got out of school early to drive there by himself. It was the pre-Broadway run of “Angels in America.”

“And it changed me,” he says with almost religious awe. “It changed me.”

After studying acting at NYU’s Tisch School of the Arts, Pascal booked a succession of solid gigs, like MTV’s “Undressed” and “Buffy the Vampire Slayer.” But the sudden death of his mother — who’d only just been permitted to move back to Chile a few years earlier — took the wind right from Pascal’s sails. He lost his agent, and his career stalled almost completely.

As a tribute to her, he decided to change his professional last name from Balmaceda, his father’s, to Pascal, his mother’s. “And also, because Americans had such a hard time pronouncing Balmaceda,” he says. “It was exhausting.”

Pascal even tried swapping out Pedro for Alexander (an homage to Ingmar Bergman’s “Fanny and Alexander,” one of the formative films of his youth). “I was willing to do absolutely anything to work more,” he says. “And that meant if people felt confused by who they were looking at in the casting room because his first name was Pedro, then I’ll change that. It didn’t work.”

It was a desperately lean time for Pascal. He booked an occasional “Law & Order” episode, but mostly he was pounding the pavement along with his other New York theater friends — like Oscar Isaac, who met Pascal doing an Off Broadway play. They became fast, lifelong friends, bonding over their shared passions and frustrations as actors.

“It’s gotten better, but at that point, it was so easy to be pigeonholed in very specific roles because we’re Latinos,” says Isaac. “It’s like, how many gang member roles am I going to be sent?” As with so many actors, the dream Pascal and Isaac shared to live the stories of their childhoods had been stripped down to its most basic utility. “The dream was to be able to pay rent,” says Isaac. “There wasn’t a strategy. We were just struggling. It was talking about how to do this thing that we both love but seems kind of insurmountable.”

As with so few actors, that dream was finally rekindled through sheer nerve and the luck of who you know, when another lifelong friend, actor Sarah Paulson, agreed to pass along Pascal’s audition for Oberyn Martell to her best friend Amanda Peet, who is married to “Game of Thrones” co-showrunner David Benioff.

“First of all, it was an iPhone selfie audition, which was unusual,” Benioff remembers over email. “And this wasn’t one of the new-fangled iPhones with the fancy cameras. It looked like s—; it was shot vertical; the whole thing was very amateurish. Except for the performance, which was intense and believable and just right.”

Before Pascal knew it, he found himself in Belfast, sitting inside the Great Hall of the Red Keep as one of the judges at Tyrion Lannister’s trial for the murder of King Joffrey. “I was between Charles Dance and Lena Headey, with a view of the entire f—ing set,” Pascal says, his eyes wide and astonished still at the memory. “I couldn’t believe I didn’t have an uncomfortable costume on. You know, I got to sit — and with this view.” He sighs. “It strangely aligned itself with the kind of thinking I was developing as a child that, at that point, I was convinced was not happening.”

And then it all started to happen.

In early 2018, while Pascal was in Hawaii preparing to make the Netflix thriller “Triple Frontier” — opposite his old friend Isaac — he got a call from the film’s producer Charles Roven, who told him Patty Jenkins wanted to meet with him in London to discuss a role in another film Roven was producing, “Wonder Woman 1984.”

“It was a f—ing offer,” Pascal says in an incredulous whisper. “I wasn’t really grasping that Patty wanted to talk to me about a part that I was going to play, not a part that I needed to get. I wasn’t able to totally accept that.”

Pascal had actually shot a TV pilot with Jenkins that wasn’t picked up, made right before his life-changing run on “Game of Thrones” aired. “I got to work with Patty for three days or something and then thought I’d never see her again,” he says. “I didn’t even know she remembered me from that.”

She did. “I worked with him, so I knew him,” she says. “I didn’t need him to prove anything for me. I just loved the idea of him, and I thought he would be kind of unexpected, because he doesn’t scream ‘villain.'”

In Jenkins’ vision, Max Lord — a longstanding DC Comics rogue who shares a particularly tangled history with Wonder Woman — is a slick, self-styled tycoon with a knack for manipulation and an undercurrent of genuine pathos. It was the kind of larger-than-life character Pascal had never been asked to tackle before, so he did something equally unorthodox: He transformed his script into a kind of pop-art scrapbook, filled with blown-up photocopies of Max Lord from the comic books that Pascal then manipulated through his lens on the character.

Even the few pages Pascal flashes to me over Zoom are quite revealing. One, featuring Max sporting a power suit and a smarmy grin, has several burned-out holes, including through the character’s eye. Another page features Max surrounded by text bubbles into which Pascal has written, over and over and over again in itty-bitty lettering, “You are a f—ing piece of s—.”

“I felt like I had wake myself up again in a big way,” he says. “This was just a practical way of, like, instead of going home tired and putting Netflix on, [I would] actually deal with this physical thing, doodle and think about it and run it.”

Jenkins is so bullish on Pascal’s performance that she thinks it could explode his career in the same way her 2003 film “Monster” forever changed how the industry saw Charlize Theron. “I would never cast him as just the stoic, quiet guy,” Jenkins says. “I almost think he’s unrecognizable from ‘Narcos’ to ‘Wonder Woman.’ Wouldn’t even know that was the same guy. But I think that may change.”

When people can see “Wonder Woman 1984” remains caught in the chaos the pandemic has wreaked on the industry; both Pascal and Jenkins are hopeful the Dec. 25 release date will stick, but neither is terribly sure it will. Perhaps it’s because of that uncertainty, perhaps it’s because he’s spent his life on the outside of a dream he’s now suddenly living, but Pascal does not share Jenkins’ optimism that his experience making “Wonder Woman 1984” will open doors to more opportunities like it.

“It will never happen again,” Pascal says, once more in that incredulous whisper. “It felt so special.”

After all he’s done in a few short years, why wouldn’t Pascal think more roles like this are on his horizon?

“I don’t know!” he finally says with a playful — and pointed — howl. “I’m protecting myself psychologically! It’s just all too good to be true! How dare I!”

#pedro pascal #jose pedro balmaceda pascal #variety magazine

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angryschnauzer · 4 years

Text

Superior Specimen - Chapter 8

Summary: One night when you are following the Archaeology tag on instagram you stumbled across a fun looking dig… and an even more interesting Paleontologist who soon follows you back. Over the following weeks you start chatting and a friendship soon grows.

Relationship: AU Henry Cavill x Female Reader (No race or body shape mentioned)

Chapter 1, Chapter 2, Chapter 3, Chapter 4, Chapter 5, Chapter 6, Chapter 7

Warnings: Slow Burn, NSFW, 18+, Mutual Masturbation, Phone Sex, Drunken Piggy Back Rides, Oral Sex (Female Recieving), Drama, Theft, Amateur Heroics, Hospital Visit, Shower Sex, Oral Sex (Male Receiving), Blow Job, Fingering, Lavish lifestyle, Henry is loaded, The Shard, Expensive Gifts, Sixty nine, Unprotected Sex, Multiple Orgasms, Public Sex, Exhibitionism, Angst, Argument, Jealousy, Talk of car crashes, heroics, rough sex, use of safe words, Anal play,

I do not operate a tag list, but please follow @angryschnauzerwrites and put that blog onto notifications, as you will then be notified whenever i post something new.

I don’t have a masterlist, but all my works are on AO3, link here. Usually i post oneshots to Tumblr and AO3, and multichapters exclusively to AO3, but as this is my first henry story and its going to be a short series, i’ll post to both places.

Chapter 8

On the tube an old woman had offered you a tissue and had whispered quietly;

“He’s not worth crying over my dear”

You swallowed and smiled weakly at her;

“Unfortunately he was… he was just an idiot too”

“They all are my dear, they all are”

She got off at the next stop, giving you a pat on the arm before leaving the carriage, leaving you ride the rest of the way to Fulham Broadway on your own.

You were on autopilot when you arrived, walking through the small shopping mall that had grown around the tube station, grabbing a pair of overpriced knock-off designer sunglasses from the concession stand to hide your puffy and red eyes, swollen from crying. As you stood in the crowd at the lights to cross the road, a stream of Ambulances and Police cars screamed past, lights and sirens blasting, but it was London, every day there was a crisis or accident and you were used to them.

The walk to your flat was quick, just a few roads from the tube, and you were thankful you’d brought your small clutch bag from the hotel room that had your phone, wallet, and keys in. Once inside you pulled off your clothing, everything Henry had bought for you, tossing it into a heap on the floor before you climbed into bed and curled into a ball, sobbing into the pillow.

You woke to the sound of a metal on plastic crunch from the street outside, familiar with the sound and you knew it was vehicle vs wheelie bin, an all too familiar occurrence when collection day was on a Friday and people went out that night, so the street would still be littered with bins the following day. Staring up at the ceiling you heard the doorbell ring, glaring at the ceiling but refusing to move. You didn’t care if your bin that had ended up a casualty of a car not looking where it was going, so when the bell finally timed out you closed your eyes… only to be rudely disturbed by a loud knocking on the door a minute later, a muffled voice from the other side;

“Princess… it’s me; Henry… please, just tell me you’re ok… I’ve got to know you’re ok…”

You could feel your emotions rising within you; a heat, an anger, and as the knocking continued you grabbed the dressing gown hanging on the back of the door and was still tying it as you pulled the door open, but surprised to see state of Henry, his clothes a mess and his face blotchy;

“What the hell happe…”

Your words were cut short as he pulled you into his arms, hugging you tight;

“You’re alright… my god, you’re ok…”

“Henry, what is going on?”

He let you go and started pacing;

“I was an ass, I didn’t follow you, I was stupid… I tried calling you but you never picked up…”

“I had it on silent… I didn’t want anyone to disturb our date”

“And then the accident, I’d gone back to the hotel, I knew it was the closest tube to where we were...”

“Accident?”

“There was an accident, on the road outside the London Bridge Tube, a bus and council truck collided and ran into the queue… I stayed and helped the emergency services; I was trying to find you… but you weren’t there…”

Your hand was over your mouth, tears pooling on your lashes as you looked at him, and realised he cared so much for you that he had literally pulled people out of the wreckage of an major accident because he thought he had lost you. Wrapping your arms around his shoulders you cradled the back of his head as he slumped to the floor, sobbing into your shoulder and the softness of your dressing gown.

Finally he pulled his head back, a weak smile on his face as he looked into your eyes, and you saw a different Henry, one that was fragile, one that needed you as much as you needed him.

“C’mon, let me put the kettle on”

Sipping on sweet tea as you both sat at the kitchen table, dunking Digestive biscuits in the deep brown steaming mugs, you looked him up and down;

“You are a mess”

He glanced down and realised his shirt and jeans were covered in dirt, grime, and in some places blood;

“You’re right” he paused before looking back to you; “Look, I’ve got a suggestion… pack a bag. Comfy clothing, overnight things. We’ll head back to the hotel and collect our things, then head back to my place. I’ll cook dinner and we can talk… ask all those things we’ve both wanted to ask since we met, yeah?”

He looked at you like a hopeful puppy, his deep blue eyes watery where he feared you would say no, but as you nodded he let out the breath he had been holding, and a genuine smile spread over his face.

Henry opened the door to his place and stepped aside, letting you enter and look around as he shut the door, resting all the bags from the hotel room on the shiny white tiles that covered the floor.

“This is your place?”

“It’s home for the next few months” he shut the door and wrapped his arm around you; “I gave up on having a permanent place about five years ago. I would always come back to a dust filled nightmare and a fridge that was a biohazard. I keep a PO box for any mail and a storage unit for my things that I don’t need when I’m away”

You looked at him;

“It sounds very… lonely…”

He paused, considering your words;

“I’ve never thought about it that way… but, you’re right” he wrapped his arms around you, his gaze intense; “I’m sorry I over-reacted earlier… about your flatmate. I was just… I don’t know, so focused I guess on this amazing thing we have now, and what we were talking about last night… how those I fall for push me away when I have to leave… I could only think ‘this guy will be around when I’m not’...”

You reached up and cupped his cheek with your hand, realising in that moment that for all the bravado and confidence, beneath that Henry was just like you, like anyone else, and feared losing those he cared for;

“I would wait… I will wait…”

You pressed a kiss to his lips, and the pair of you just held each other for the longest time, before he pulled away;

“What kind of host am I? I haven’t even offered you a cup of tea!”

Laughing you followed him into the kitchen, looking around at the sparse worktops, all the cupboards pristine white. Even the appliances were just plain brushed aluminium. As the kettle bubbled away you pushed yourself up onto the central island, sitting on the marble countertop as you watched Henry move around the kitchen, opening the fridge and pulling out the carton of milk, sniffing it and cringing;

“Okay, tea may be off the menu… the milk’s off”

Pausing he opened the cupboard, shoulders slumping when he saw the empty tea caddy;

“No tea either…”

Leaning back you pulled your phone from your pocket and opened google maps;

“This is Warwick Square, right?”

“Yes”

You pinched the screen and zoomed out, jumping off the counter;

“C’mon, there’s a Tesco Express just around the corner”

Walking hand in hand around Pimlico with Henry, it dawned on you that you had never visited this part of London, the sights and sounds much like most of the city, but where each little borough had its own character. Once you reached the supermarket he grabbed a basket and picked up the few things he needed, before his hand hovered over the selection of biscuits;

“Ok, make or break time to find out if we are truly compatible” his voice had an element of mischief in it as he spoke; “Milk or Dark Chocolate Digestives?”

You looked at the selection before you set your hand down on the bright blue packet;

“Trick question, we both know the true answer is Milk Chocolate Hobnobs”

He laughed as you dropped the packet into the basket, wrapping his massive arm around your shoulders and pulling you into his chest;

“I knew there was a reason I loved you” he turned to the row of refrigerators on the other side of the isle, unaware of what he’d said, and how your eyes were a little wider as you took in his admission; “Shall I make some burnt offerings for you tonight? I have somewhat limited culinary skills, but I can rustle up something with meat or fish…”

Nodding you were still a little stunned, finally finding your voice;

“Yeah, I’ll eat anything”

He cocked an eyebrow and you playfully batted at his arm;

“Oh shut up” you laughed

Dinner had been nice. An easy dish of roasted pork, Henry had thrown in some potatoes and had let them roast with alongside, and a simple salad. The one thing he did have readily stocked in his place was alcohol, and between the two of you an entire bottle of vintage Pinot Noir had been sunk over the course of dinner, and as you watched him stack the dishwasher you spread out on the massive white sofa that dominated the open plan space. You couldn’t help yourself but you popped the button of your jeans, letting out a sigh of relief.

Checking your phone you reopened your roommates’ email and read it again, before hitting reply. You knew deep down you wouldn’t be able to get a mortgage, but asked that you be kept in the loop and would start looking for another place come Monday. Having hit send you saw another email, this time from your Manager, requesting that you attend a review on Monday morning;

“Huh, so much for giving me a week off” you muttered to yourself, before looking up and seeing Henry approaching you, two full glasses of red wind in hand.

“Everything ok?”

Taking the glass you smiled;

“Yeah, work want me to go in for a review on Monday morning”

“Did they say what it was about?”

“No, but I’m guessing ‘playing heroics and injuring yourself on the job isn’t in your job description, please don’t sue us’ is probably on the agenda”

Settling next to you he rested a hand on your thigh, giving it a squeeze;

“I’m sure you’re right” he sipped at the wine before setting it on the small table at the side; “Hey I meant to ask, does your roommate have an Instagram account or Facebook page?”

“Yeah, I’ll pull it up. Its where he’s trying to do more serious photography”

He nodded and tapped at his phone for a few seconds before setting it aside, raising his glass again and clinking it against yours;

“Cheers”

By the time the last dregs of the 2nd bottle of wine were drained from your glasses you were drunk as skunks and just an amorous. You were draped over Henry’s lap, his hand was attempting to sneak under your t-shirt as you curled one hand in his hair, wrapping a deep brown strand around your finger as you kissed him lazily. When his hand finally found your breast you moaned at his touch, his lips brushing against your neck;

“I think we should take this to the bedroom”

You giggled;

“With the amount of wine we’ve had? Can you still get it up?”

He pushed his crotch up against you;

“Princess I’m already ‘up’, now I need to be in, and I don’t care which hole, I just want to feel you around my dick as we have some nasty drunk sex”

You attempted to slide off his lap and land on your feet, but what really happened was you tumbled into a heap on the soft white rug, one leg still on the sofa as the other hit the coffee table and your ass in the air;

“Help!” you cried out, giggling as Henry stood and swayed, before wrapping his arm around your waist and carrying you under his arm to the bedroom like a misbehaving poodle in Harrods.

He dropped you onto the bed and in the light from the lounge you watched as he yanked his t-shirt over his head, and started to unfasten his jeans, letting out a sigh of relief when the massive bulge in his boxers was allowed more room to grow. With a growl be bent over you and pulled your jeans down your legs, your panties following suit, before flipping you over so you were on your front. He went to reach for your ass but had forgotten his jeans were still around his thighs, and he proceeded to trip-tumble onto the bed beside you. You couldn’t help but to giggle into the soft duvet, and it earned you a single spank on your ass that make you squeal.

Rolling onto your back you looked at Henry as he huffed and puffed to take his jeans and boxers off, and you spread your legs as your hands strayed to your pussy;

“Are you doing to fuck me, or shall I just get myself started?” you said with more sass than needed, but it earned you a low groan and you could have sworn you heard seams ripping as he finally rid himself of his clothes.

“Cheeky wench!” Henry pounced on you, pulling your top over your head before fumbling with your bra, finally getting you out of it as he flung it across the room and you heard it hit something in the darkness; “I’ll show you, gonna fuck you so good you’ll have to sit on a cushion when you go into work on Monday”

He flipped you over and pulled your ass up, and you instinctively arched your back and bared yourself to him, prone and ready, begging for attention. You felt his hands smooth over your ass before dipping between your legs;

“Already so wet for me, you need me to fuck this cunt Princess? Fill you up with my cum? Or should I cum over your beautiful tits, so you can watch me as I spray my load on you, huh?”

He slid two fingers into your soaked hole, stretching you as his thumb found your clit and he rubbed harshly at it, the wine making him lose his finesse but up his pressure. When he pulled his fingers out you let out a needy whine, only to feel him press his dick against you, rutting into your crease and smearing your juices over himself.

The friction was delicious, and you found yourself pressing back and eager for more, earning a low chuckle to rumble up from Henry’s chest;

“You like that Princess? Like me rubbing my dick against your asshole?”

“Oh fuck… fuck… more…”

You felt him spit on your ass as he lowered his dick and slowly but firmly filled your pussy. As you were getting used to be filled so deep you felt his thumb press against your asshole;

“NERD!”

Suddenly Henry stopped;

“Princess?”

You turned, looking over your shoulder;

“Look Hen, I may be up for some anal play, but lube… you gotta use lube…”

You saw him look back and forth between your ass and his bedside drawers, as if trying to work out whether to forget the ass play and just fuck your pussy, or to give up your pussy for just a few seconds and get the lube. In the end the lube won, and he quickly slid out of you, leaning across the bed and yanking the drawer open, before pulling out a small bottle of Durex Lube. You saw it and grinned;

“Ooh nice one. Make sure there’s enough for a tit-wank in the morning”

Henry paused and looked at you, and you could almost see his brain short circuiting at what you’d said as it fought through the wine haze;

“Fuck, if I didn’t want to fuck you doggy style quite so much I’d say let’s do that now…”

He settled behind you and rammed his dick straight back into you, making you squeal as he filled you. You heard the quiet squeeze of the pump on the bottle before the cool gel fell on the crease of your ass and his fingers started to massage against your back door. He ran his finger around and around your brown rose, and you could feel yourself relaxing and trying to push back to get him to go further, making you whine;

“Please Hen… do something…”

He ran his thumb over your asshole and rested it on it before finally pushing in, holding the digit inside just up to the first knuckle, and that’s when he started to move in your pussy.

“So. Fucking. Good. My dirty little Princess…”

You whined for more, for him to go harder, deeper, and he did so with glee;

“You want more? Fuck yes, take my dick, can feel your insides parting for me, you like my thumb in your ass? Like being double stuffed?”

“Fuck…” your head was swimming, your chest resting against the bed as you snuck your hand between your legs and started to strum at your clit, urging your orgasm on as Henry turned into a feral beast behind you, fucking you raw and dirty, you pushing back for each thrust to feel him deeper and split you wider.

Your orgasm happened without warning, screaming out his name as you came so hard he was sure if he hadn’t pulled his thumb out your muscles would have broken the bones in it. Your knees gave way and you slumped down onto the bed, Henry still deep inside you, fucking you as you lay spent on the bed;

“So close… almost there…

“Cum on my ass Hen…” you muttered as he railed into you, and you heard a groan as he pulled out of you, seconds later the splash of his hot seed landing on your naked ass, back and thighs.

For a moment everything went quiet before you felt him wiping his cum from you, and he moved you in the bed until you were curled up in his arms, the little spoon to his big;

“You’re fucking amazing Princess, I fucking love you so much” he slurred, before the two of you feel asleep in drunken stupors.

Chapter 9 >>>

#henry cavill #henry cavill x reader #henry cavill smut #henry cavill x you #henry cavill au

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a-clockwork-justice · 4 years

Note

You mentioned you have a long story as to why lgow is your fave joe iconis song and I am invested in that story. Only if you want to, of course!

Hoo boy, strap in mate. I’ve told this story quite a few times to people on Reddit as well as my friends here on Tumblr, but here it is, laid out in full - Loser Geek Whatever or: How My Perception Of Be More Chill Was Flipped In Six Minutes Or Less.

Summer of 2019, I was getting back into musicals through Dear Evan Hansen. In my fandom consumption, I got wind of the musical Be More Chill and its standout song/gateway drug, Michael in the Bathroom. (It’s worth noting that the reason I got back into musicals in the first place was because I watched a video called Top 10 Broadway Songs that Make You Ugly Cry. Michael in the Bathroom was #9 on the list and Words Fail was #5).

After reading up about Be More Chill and informing myself on the plot and characters, I felt like I had a decent impression of the fandom - Michael was everyone’s favourite character, MITB was the best song, Michael Mell Protection Squad all round and Jeremy was totally wrong to abandon his one real friend. I decided to give the original Two River soundtrack a listen, because I didn’t yet know about its history and that there were two versions of the soundtrack. I got as far as Be More Chill Part 1 before losing interest.

Then, February 2020, I was listening on the free version of Spotify and had ran out of skips, but because I was listening to DEH, algorithmic osmosis caused Spotify to suggest Loser Geek Whatever, I think it was the single version. I recognised it as a Be More Chill song and I had no more skips so I gave it a listen.

And

Was

Shook.

In six minutes, my entire perception of the story and characters had been flipped on its head. Jeremy wasn’t a selfish asshole who abandoned his loyal best friend with anxiety for popularity. He was a deeply insecure kid who hated himself so much that he believed every possible instinct he had was the wrong one - including the one telling him that he’ll be failing Michael. The amount of pain and desperation in Will Roland’s vocals definitely added to that too.

And I could sorely relate to that. Feeling inherently defective and wired all wrong and unable to change or fit in no matter what I did or how hard I tried. I would’ve KILLED for an external, omniscient source that would tell me the “right” way to speak and act. And I had a best friend then! I loved her to pieces and I’ve since never had a friend like her, but I still felt lonely on the regular and it was, indeed, “stupid tough.”

I’m far from the only person in history to have felt like this, as a teenager or otherwise, but the amount of people talking about how relatable MITB was vs likewise for LGW was a pretty steep difference. Later, I found out about the history of BMC, how it ran for a short time at a tiny theatre in New Jersey before it surged in popularity online over a year later. LGW wasn’t part of the OCR - it came after the BMC fandom peak and didn’t generate as much Jeremy feels as corresponding Michael feels. I still wonder what the fandom perception would’ve been if LGW had been part of the OCR.

Even though the comparative lack of fandom response was disappointing, this also helped LGW feel much more personal than MITB. Michael in the Bathroom may belong to everyone, but Loser Geek Whatever is mine. That song deserves the same status as Michael in the Bathroom, Words Fail and Burn and all the other huge, dramatic, emotional musical solos.

And that one Spotify suggestion threw me down a rabbit hole of Will Roland love that led me to most of my current friends. Almost enough to make me miss the free version of Spotify. Almost.

(So you can imagine my ire when I found out that the London production of BMC decided to cut LGW in half and tacked the latter half of Upgrade back on. I've made a whole post about why I REALLY don’t think this change works from a storytelling and character perspective, but from an audience perspective, I can see why they went that route.)

#be more chill #loser geek whatever #ask #will roland #be more chill 2.0 #be more chill 3.0 #long post #this story isn’t actually that long #I just have a habit of making stories longer #because I wanted to convey all my thoughts and feelings #in all honesty i’m just as guilty of bias as the people who won’t listen to the Broadway album #or who dislike lgw because it’s different #but what the hell #in the words of a wise enby #live laugh love and feast on those who would subdue you #jeremy heere #joe iconis

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bizarre-blorbo-bracket · 8 months

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Round 2 poll 4: Fraszka from the 2004 Warsaw production of Cats! the musical vs Otto the Otter

Propaganda under the cut:

Fraszka:

Okay, so in 2004 there was a production of Cats which is widely known as the first Non-Replica, which means it doesn't use the same costumes/choreo/theming as the West End and Broadway productions. Cats has a lot of nonreps, like a weird number of "what if they were cats.... in a circus" productions, and at least one "what if the cats were in a WWII bunker in London?" production. So Cats Warsaw is kinda set on a closed film studio, and kinda on a roof in Warsaw. And for some reason in this nonrep they had just loads of characters. Like 36 characters, and seven of them are original. That's where Fraszka comes in. She's a Warsaw exclusive kitten and she is the love of my life. She's so bubbly and excitable and lovely. She looks a little like a racoon. She's a random chorus character. She's inexplicably on the Wikipedia page for Cats. She's almost indistinguishable from Kocik Le Miau, an adult character. I had to recheck my reference guides for Warsaw to double check the Wikipedia pic is her. I have included her in a fic. I don't have a 100% rate of recognising her. I think I might be her 2nd biggest fan on all of Tumblr. I'm not sure if she sings any lines by herself. And I don't speak a word of Polish. Well that's a lie, I know several Cats themed words in Polish. The picture included is the one of her on Wikipedia.

Otto the Otter:

I love all big animal statues, but Otto is very special to me. I've brought him up in conversations with friends to let them know how cool he is. (We do not live by him). I just think he's so neat and cute.

#Otto the Otter #Fraszka #polls #round 2 polls

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theimpossiblescheme · 3 years

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As someone who you know is very interested in Broadway/London character perception differences, I am inclined to ask if you have more headcanons regarding Broadway!AJ vs London!AJ (for science, of course)

I actually imagine the two of them as sisters, with London!AJ as the younger one and Broadway!AJ as the older one! London!AJ is named Hippolyta, and she’s like a more subdued version of Etcetera--very excitable and curious with a huge silly side, but also a little quieter and more “ladylike.” She thinks Coricopat and Tantomile are the coolest cats she’s ever met and wants to be just like them, especially Cori, when she grows up.

Broadway!AJ is named Aphrodite Jinx (shout-out to @rumplteazer for coming up with the name), and I can best describe her as a rough-and-tumble punk girl--she’s very adventurous, scrappy, no-nonsense, and always up for a good time. She’s also good friends with Alonzo and very transparently has a crush on Victoria.

#At the moment that's all I've got but if anybody wants to tag on please do--the more the merrier! :D #asked and answered #ride-a-dromedary #cats the musical #swing cats #my headcanons

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leepace71 · 4 years

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When Pedro Pascal was roughly 4 years old, he and his family went to see the 1978 hit movie “Superman,” starring Christopher Reeve. Pascal’s young parents had come to live in San Antonio after fleeing their native Chile during the rise of dictator Augusto Pinochet in the mid-1970s. Taking Pascal and his older sister to the movies — sometimes more than once a week — had become a kind of family ritual, a way to soak up as much American pop culture as possible.At some point during this particular visit, Pascal needed to go to the bathroom, and his parents let him go by himself. “I didn’t really know how to read yet,” Pascal says with the same Cheshire grin that dazzled “Game of Thrones” fans during his run as the wily (and doomed) Oberyn Martel. “I did not find my way back to ‘Superman.'”

Before Pascal knew anything about “The Mandalorian,” its showrunner and executive producer Jon Favreau knew he wanted Pascal to star in it.

“The transience is something that I’m incredibly familiar with, you know?” Pascal says. “Understanding the opportunity for complexity under all of the armor was not hard for me.”

“I remember at one point not even realizing that my parents had accents until a friend was like, ‘Why does your mom talk like that?'” Pascal says. “And I remember thinking, like what?”

“And it changed me,” he says with almost religious awe. “It changed me.”

And then it all started to happen.

“It will never happen again,” Pascal says, once more in that incredulous whisper. “It felt so special.”

After all he’s done in a few short years, why wouldn’t Pascal think more roles like this are on his horizon?

“I don’t know!” he finally says with a playful — and pointed — howl. “I’m protecting myself psychologically! It’s just all too good to be true! How dare I!”

#pedro pascal #variety #interview

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