'I almost knock into Andrew Scott before I see him. He’s just dashed out of the Tate Modern, frantic and slightly late: “There’s just so many entrances!” he exclaims. His patrician forehead crinkles, and the brown eyes charmingly plead: Forgive me! He was just inside, picking up his membership card. Surely he can get in for free? “Excuse me,” he huffs, “I’m a fully paid-up member.” Then he flashes the broad grin that seduced a legion of Fleabag viewers, and we’re off.

The plan today is to meander in a loop along the Thames. On a midafternoon Friday in London, this involves much ducking and diving through crowds, which suits Scott just fine. The weather is one of those bright, springlike days that convinces you that winter is over—except the rain-swollen river is now sloshing ominously onto the pavement. We slow down to regard an underwater section of our route. “I don’t think we’re gonna get through there,” he says. “I’ve probably got a hole in my trainers.”

We head for the road instead, words pouring out of the 47-year-old actor in that mellifluous Irish lilt, peppered with “you knows” and interrupted frequently by his laugh. It’s no surprise that his colleagues quickly become friends: “It was clear from the moment that I met and worked with Andrew that he was an exceptionally gifted actor,” says Julianne Moore, who starred alongside Scott on Broadway in 2006’s The Vertical Hour. It was both actors’ Broadway debuts, though Scott has juggled screen and theater from the start. “I’ve always done both,” he says, though he acknowledges modestly: “I used to do maybe a few plays a year and one television show. Now maybe it’s kind of the opposite.” That’s somewhat underselling his dramatic accomplishments. Scott has won two Olivier Awards, for the experimental A Girl in a Car With a Man in 2005 and Noël Coward’s Present Laughter in 2020. He has performed in productions of Eugene O’Neill, Oscar Wilde—he’s played Hamlet, too, and was nominated for an Olivier for that as well. “Scott gives carefully controlled, thrillingly virtuoso physical performances,” wrote The Guardian last year, when he performed eight roles from Uncle Vanya by himself, in a much-lauded West End solo adaptation of the Chekhov play. (A New York transfer could not be confirmed when this piece went to press, but seems highly likely.) “He wore his talent so lightly and modestly,” Moore says. “He was joyful and fun and an amazing partner to have onstage and off.”

Scott was born in Dublin, sandwiched between two sisters; his mother is a teacher and an artist, and his father works at an employment agency. As a child, he was brought to art galleries and theaters. A performance by the great Irish actor Donal McCann in Sean O’Casey’s Juno and the Paycock when he was 11 or 12 made a lasting impression: “There was just something about the power in his stillness—people think that, in theater, it’s all about the grand gesture, but stillness onstage is absolutely mesmerizing.”

An eerie stillness characterizes all of Scott’s performances as well. As Moriarty in Sherlock, the BBC One show that catapulted him to fame in Britain in the 2010s, he requested fewer lines to play up the villain’s spookiness. And then there is that agonizing stretch of silence in Phoebe Waller-Bridge’s Fleabag right after its titular protagonist confesses her love. Has the line “It’ll pass” ever been delivered with so much pathos? Scott’s acting is all submerged passion; when he does speak, his words have depth. “Andrew has an intensity and a precision in his work,” Moore tells me. “I love his vulnerability, the way his eyes glitter onscreen.”

As a child, Scott was sent to drama classes to get over his shyness. He still remembers his first role, as the Tin Man in a production of The Wizard of Oz. “I felt completely free,” he says, seemingly transported to the moment he launched into “If I Only Had a Heart” onstage. “I felt joy—that’s the word. Not only did I feel it, but I felt that other people felt it when they were looking at me…. Some intuition told me as an 11-year-old: ‘You have to be this expressive, that’s what theater is!’ Nobody taught me that. I just felt it.” Then he swerves to avoid a clutch of tourists on Tower Bridge, and the reverie is lost.

These days, walking around London is something of an ongoing pastime for Scott. During the press rollout for Andrew Haigh’s Golden Globe–nominated romance All of Us Strangers, he and costar Paul Mescal went to their PR engagements on foot. One day, two boys on bikes clocked the pair and started chasing after them in an alarming fashion: “We escaped them—it was quite fun, actually!” Does he ever feel slightly protective of Mescal, two decades his junior? “Not any more than I would with any of my other people in my life. Because he’s got his head screwed on, you know? I absolutely adore Paul,” Scott adds, though he wants to make one thing clear: “Bromance is not the word that we associate with it, because neither of us are very bro-ey.”

Waller-Bridge, who has known Scott for 15 years, describes him as “an absolute pixie of mischief.” When asked to elaborate, she continues: “I could write a novel. But I love how naughty he is. He has the magical ability to make you feel instantly present—no matter what’s going on in your life, you’re suddenly there in the moment and feeling joyful. I think that’s what it’s like to watch him as an actor too…like he can stop time with his honesty.”

Between 2020 and 2021, Scott also traversed the lengths of the Thames, pondering the script from Ripley, his upcoming eight-episode project for Netflix, in which he plays the titular protagonist. “Quite unusually, I got sent all eight scripts at the same time,” he remembers. Steven Zaillian, the screenwriter behind Schindler’s List and Gangs of New York and the director and writer behind All the King’s Men, had written all eight at the outset.

Tom Ripley is crime novelist Patricia Highsmith’s slipperiest literary creation; a pathological liar and murderer with whom she felt a strange kinship—she sometimes signed letters with some variation of “Pat H., alias Ripley.” It is not so much a spoiler as an ongoing feature of the books that Ripley, despite splurging on Venetian palazzi and Gucci suitcases, never gets caught. If anybody comes close, there is always a conveniently located oar or glass paperweight nearby. Ripley, in other words, is the hero of the tale. “That’s why he fascinates so many,” says Scott. “There’s been so many iterations of him. I think it’s because people root for him.” Actors like Alain Delon and Dennis Hopper have tried the role; Matt Damon played him as an obsequious, lower-class naïf; John Malkovich, as a slimy, camp killer. Scott’s Ripley is different; a watchful loner escaping rodent-infested poverty, more at home among art than he is around people. Musician and actor Johnny Flynn plays his first victim—the monied Dickie Greenleaf—and Dakota Fanning is Dickie’s suspicious ex-girlfriend. “I find Tom quite vulnerable,” Scott tells me. “I don’t think he’s necessarily lonely, but I certainly think he’s solitary…. He seems to me by his nature that he just can’t fit in. He’s trying to survive.”

In Ripley, Zaillian extracts maximum Hitchcockian dread from every creaky footstep. But most sinister of all is Scott’s face, which exhibits a sharklike steeliness throughout. It’s a performance that exudes queasy force. Is Ripley a scammer, a psychopath, or both? “There’s so many things lurking beneath him that I’ve been very reluctant to diagnose him with anything. I never thought of him as a sociopath or murderous,” Scott declares. “It’s up to everybody else to characterize him or call him whatever they want.”

As we weave through tourists near the Tower of London, barely anybody notices Scott, save for a faint glimmer of recognition among mainly young women. He seems to draw reassurance from it. “I don’t like to think about it too much, if I’m honest,” he muses of fame. “I find it a little bit, er, frightening.” He is known but not blockbuster-recognizable, although he is in the upcoming Back in Action with Cameron Diaz and Jamie Foxx. What stunts did he do? “I can’t give that away, I’m afraid, or somebody from Netflix will come and shoot me in the head.”

What’s been on Scott’s mind the most hasn’t been acting at all, in fact, but art. As a 17-year-old, he was offered his first movie role on the same day he was given a scholarship to study painting. He chose acting, but has recently been thinking about Oliver Burkeman’s philosophical self-help tract from 2021, Four Thousand Weeks, which makes the case for focusing on the five things you truly want to accomplish. “For me at the moment, it’s like, What do you want to do? What do you want to say?”

He scrolls through his phone to show me his work. There’s a watercolor of a couple arguing in a restaurant in rich reds and greens, line drawings of friends and people on the beach, and two self-portraits. “It’s a bit weird,” he acknowledges of his depiction of himself, all bulbous forehead and Pan-like tufts of hair. His brisk, nervy lines are reminiscent of Egon Schiele or Francis Bacon, who turns out to be one of his favorite painters. “Well, God, I’ll take that,” he mutters at the comparison. He would like someday to go to art school. “I don’t ever regret it,” he says of acting. “But I suppose you just get to a stage where you think, What else? That’s one of the big painful things in life for me, where you can’t quite live all the lives.” As he gets older, he feels the tug toward revisiting old working relationships, including with Waller-Bridge: “We’ve definitely got things cooking,” he smiles. “I’d love to work with her again. She’s just a singular, wonderful person.” For her part, Waller-Bridge says: “I’d love to see him do a fully unhinged slapstick comedy character. Someone who is outraged at everything, all of the time.”

As we round the pavement and the Tate Modern looms back into sight, he recalls a poster he received in 2017—a monstrously large graphic that detailed every week in a human life span. “It’s your entire life if you live to 80—you have to fill in all the bits that you’ve already lived,” he remembers in awe, “a visually terrifying gift.” What did he do with it? “I didn’t hold on to it for too long.” Easy come, easy go: We finally finish our loop around the Thames and, as Scott disappears back into the throng, anonymous just the way he likes it, it occurs to me that the actor has many lives to live yet.'

An old photo/throwback (from 2018) shared on Instagram by Donal Brophy.

Downton Abbey: A New Era (2022)

Downton Abbey: A New Era (2022)

SIMON CURTIS Bil’s rating (out of 5): BBB United Kingdom/USA, 2022. Universal Pictures, Carnival Film & Television. Screenplay by Julian Fellowes. Cinematography by Andrew Dunn. Produced by Julian Fellowes, Gareth Neame, Liz Trubridge. Music by John Lunn. Production Design by Donal Woods. Costume Design by Maja Meschede, Anna Robbins. Film Editing by Adam Recht. By the time we reached the sixth…

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Dueling primaries in the critical swing state of Michigan added some new data points and, in many ways, built on several preexisting narratives. Here's a basic roundup.

1. Donald Trump underperformed the polling again!

Congrats to Trump on his 42-percentage-point victory over rival Nikki Haley, but the polls still love him more than the people do—a consistent phenomenon this cycle. 

With 98% of the vote in, Trump holds a roughly 42-point edge over Haley, nothing close to his predicted margin. The final 538 polling average had Trump winning by 57 points, meaning he underperformed his polls by about 15 points. 

Since the GOP primary has become a two-person race, Trump has consistently underperformed his polls. Across the four contests so far (excluding Nevada’s overcomplicated primary/caucus system), he has now underperformed his 538 polling average by 9 points. One way or the other, it can’t be bad for Biden. 

2. "Uncommitted" passed their 10,000-vote goal, but President Joe Biden still finished strong 

The "uncommitted" vote—an effort to challenge President Joe Biden's pro-Israel stance on the war in Gaza—set a low bar of getting 10,000 votes in this Democratic primary and easily surpassed it, clearing the 100,000 mark. 

Hillary Clinton famously lost Michigan to Trump by about 10,000 votes. So Tuesday night's results revealed a meaningful level of concern about Biden's support for Israel in a key swing state with a large number of Arab American voters. 

That said, the overall percentage of "uncommitted" voters—a little over 13%—only modestly surpassed the 11% share of uncommitted voters in 2012, the last time a Democratic incumbent president faced a virtually uncontested primary. Later that year, President Barack Obama went on to win the state by nearly 450,000 votes.

The bottom line is that the uncommitted protest vote made a statement, but Biden still finished strong, with more than 80% of the vote in a primary where voters had three other options (uncommitted, author Marianne Williamson, and Rep. Dean Phillips).

3. Marianne Williamson (who wasn't running) bests Rep. Dean Phillips (who was running)

Big night for Williamson, who had suspended her campaign and has now unsuspended it after blowing out Phillips by less than half a point, 3.0% to 2.7%.

Phillips is toast. And Williamson's move to re-enter the race is a laughable over-read of her “victory” over Phillips, who, again, is toast. “Uncommitted” beat both by double digits.

4. The Trump protest vote was far more meaningful than the Biden protest vote

More than 30% of voters in the state’s Republican primary cast what is functionally a protest vote against Trump, who's won every state so far. Haley garnered the majority of those votes and will likely finish with north of 26%. 

At the same time, just under 20% of voters in the state’s Democratic primary didn’t vote for Biden. 

In other words, Biden will win Michigan’s Democratic primary with more than 80% of the vote, despite a lot of suspense around the uncommitted vote, but Trump will win the Republican primary with under 70% of the vote, despite his diehard supporters surely wanting to make a statement against Haley and all non-MAGA Republicans.

5. Haley isn't done bashing Trump

Despite her loss, Haley vowed to stay in the Republican primary until at least Super Tuesday. She is also on pace to hold at least 10 fundraisers in the 10 days before those contests ensue, according to Andrew Romano of Yahoo News. 

Haley also used her spotlight Monday evening to make some astute observations about Trump and the Republican Party. 

"What I am saying to my Republican Party family is, we are in a ship with a hole in it," Haley said.

"The RNC is not about winning races up and down the ticket. The RNC is now about Donald Trump," Haley argued, calling the organization Trump's "legal slush fund."

The Biden-Harris rapid-response account helpfully tweeted out the clip.

Secret World Inside: An independent, multi-muse rp (side)blog featuring original characters that can be fit into some fandoms. Semi-selective with medium to low activity. Occasionally featuring usfw content, though, will tag according. Exploration of human nature.

Quick Links:

Muses & Rules

Sideblogs: Alexei Shostakov/Red Guardian || Nicomund the Red/Santa Claus || Jim Hopper || Chuck Martin || Luigi Largo

Below the cut you will find my muses for mobile friendly navigation:

Declan Rourke: Rancher 49-56 (Jeffrey Dean Morgan)

Tarah Malik: Art curator 23-26 (Amita Suman)

Robert James: Hockey player 25-30 (Joe Keery)

Lily Young: Professor 39-45 (Rachel McAdams)

Han Park: PI/Bounty hunter 31-36 (Andrew Koji)

Gabriella Pena: Criminal 31-36 (Ana de Armas)

Jason Winslow: Medical student/resident, 24-28 (Mason Gooding)

Alejandra Diaz: Theatre actress, 21-25 (Jenna Ortega)

Ezra Thompson: Surf instructor 22-27 (Michael Cimino)

Samantha Jacques: Model 24-28 (Maya Hawke)

Theodore Murphy: Criminal 40-49 (David Harbour)

Connor Henderson: Hospital worker 47-54 (Donal Logue)

Revamped as a main blog 09/2023

November wrap-up

I'm actually posting this somewhat on time this month. This might have something to do with me being too tired & sick to focus on actually reading right now. This might also mean that the reviews are even more unhinged than normal, or maybe that they're just utterly incomprehensible. We'll see.

Anyway

King Henry VI pt. II- Shakespeare- 1/11/22- 1/10

Boring. Also I can't remember it.

In An Absent Dream- Seanan McGuire- 4/11/22- 10/10

Pretty banging. Love this series. Kinda sad though.

Lord of Ravens- A.K. Faulkner- 4/11/22- 7/10

I like this series the more I read it but I'm not sure if I like it enough to read the rest of it. I feel like certain events aren't discussed in enough depth. I'd like more discussion and character development.

From A Low and Quiet Sea- Donal Ryan- 6/11/22- 4/10

Needed speech marks. That would have got it at least another 1/10. Some of the narratives were individually interesting, although not all of them. Felt kinda detached, like it lacked any authorial emotion and passion. Needed speech marks. Also the narratives didn't really come together in a comprehensive way. I would've liked that. Needed speech marks.

Henry V- Shakespeare- 12/11/22- 1/10

They all merge together after a certain point.

We Hunt the Flames- Hafsah Faizal- 14/11/22- 7/10

I wanted to love this more. Still pretty good, but I feel like I've read similar things that were also better. I wanted more from it.

The Many Half-Lived Lives of Sam Sylvester- Maya MacGregor- 16/11/22- 9/10

I don't think I trust neurotypical people's reviews of this. Everyone was saying the 18yo protagonist seemed childish & naive but as someone around that age, who thinks a similar way, I think they're just unfamiliar with reading a character who doesn't understand social cues/situations. The mystery was pretty good, I was invested. Characters were actually brilliant. Loved it all. Tabbed a lot of quotes on being trans & autistic. Thought that was well done.

A Prayer For the Crown-Shy- Becky Chambers- 17/11/22- 10/10

Didn't enjoy this as much as APFTWB, but it still felt kinda enlightening in its own way. Funny moments with Mosscap always rule. Would love to read more about these 2.

Hell Followed With Us- Andrew Joseph White- 18/11/22- 10/10

Absolutely unhinged in the best ways. This book means more to me than I could ever express and I feel so strongly about it. I could write an essay on this. I might write an essay on this. I might write many essays. We shall see. Anyway I love it and you should read it. Very trans. Very autistic. Very cool.

Ship of Magic- Robin Hobb- 20/11/22- 8/10

A different type of story to the Farseer trilogy but not necessarily worse. I think I just really desperately wanted that one guy to get what he deserved to the point at which I couldn't enjoy the book as much as I might have otherwise been able to,

The Kingdom of the Gods- N.K. Jemisin- 27/11/22- 8/10

Hard to comprehend. Interesting to read. An ending.

Venus and Adonis- Shakespeare- 28/11/22- 3/10

Spent so long focussing on trying to understand this that I forgot to understand it,

The Tournament At Gorlan- John Flanagan- 30/11/22- 10/10

This still slaps. Love the humour. Love the vibes. Love the plot. I'm also kinda starting to build up a case for some of these characters being (probably incidentally) ND-coded. Maybe that is one of the reasons I love it so much. Maybe.

Tom Hardy in Locke (Steven Knight, 2013) Cast: Tom Hardy, voices of Olivia Colman, Ruth Wilson, Andrew Scott, Ben Daniels, Tom Holland, Bill Milner, Danny Webb, Alice Lowe, Silas Carson, Lee Ross, Kirsty Dillon. Screenplay: Steven Knight. Cinematography: Haris Zambarloukos. Film editing: Justine Wright. Music: Dickon Hinchliffe. A man driving on the highway alone at night, talking to people on the car phone. It's the stuff of which radio dramas like the 1943 Sorry, Wrong Number were made -- or might have been, if there had been car phones in the 1940s, the peak era of radio drama. Sorry, Wrong Number was "opened up" to show other characters than the woman on the phone when it was filmed by Anatole Litvak in 1948, but Steven Knight's Locke remains alone in the car with its title character, played by Tom Hardy in a performance that leaves no doubt that he's one of our best actors. But the actors whose voices are heard in the film, including Olivia Colman, Ruth Wilson, Andrew Scott, and Tom Holland, are just as compelling in their performances. The chief objection made by critics is that Locke is basically a "gimmick" film, that there's no reason why Knight shouldn't have shown the people on the other end of the line -- or whatever passes for "line" in the era of mobile phones. It's a tour de force that keeps the camera trained on Locke for the film's entire 85 minutes, with only occasional cuts to the surrounding traffic, and it's an added departure from the expected to cast an actor known mainly for his work in action films in a role that puts him in one seat for the whole movie. But I think Knight and Hardy make it work splendidly, focusing our attention on the character of Ivan Locke, and the decision he has made to abandon both the important construction project he supervises and a family gathering in order to drive to where a woman with whom he had a one-night stand is giving birth to his child. Knight hasn't really solved all the problems of motivation: The decision to have Locke deliver a series of monologues directed at his dead father, who abandoned him and his mother, feels contrived. But there's real drama in the conversations with Donal (Scott), the inexperienced and rather feckless man he has left in charge of the crucial concrete pour, with the hysterical Bethan (Colman), who is giving birth to their child, and with his wife, Katrina (Wilson), to whom he is just now confessing that he slept with Bethan. Best of all, Knight has the good sense not to provide closure to Locke's story: When we leave him, he has a marriage in ruins and a baby to help support, and he's been fired from his job. But because we have spent so much time face to face with Locke, and because Hardy has so deftly created the character, it's easy to sense that he's capable of surmounting these problems. 

What if Singularities DO NOT Exist? Sign Up on Patreon to get access to the Space Time Discord & 10% Off All Merch! https://ift.tt/FXMpGcC It's not too often that a giant of physics threatens to overturn an idea held to be self-evident by generations of physicists. Well, that may be the fate of the famous Penrose Singularity Theorem if we're to believe a recent paper by Roy Kerr. Long story short, the terrible singularity at the heart of the black hole may be no more. Roy Kerr Paper: Do Black Holes have Singularities? https://ift.tt/v6lbLDa Check out the Space Time Merch Store https://ift.tt/lsAqDou PBS Member Stations rely on viewers like you. To support your local station, go to:https://ift.tt/C0pI9ZR Sign up for the mailing list to get episode notifications and hear special announcements! https://ift.tt/y102Psi Search the Entire Space Time Library Here: https://ift.tt/qUJkyLE Hosted by Matt O'Dowd Written by Christopher Pollack & Matt O'Dowd Post Production by Leonardo Scholzer, Yago Ballarini & Stephanie Faria Directed by Andrew Kornhaber Associate Producer: Bahar Gholipour Executive Producers: Eric Brown & Andrew Kornhaber Executive in Charge for PBS: Maribel Lopez Director of Programming for PBS: Gabrielle Ewing Assistant Director of Programming for PBS: John Campbell Spacetime is a production of Kornhaber Brown for PBS Digital Studios. This program is produced by Kornhaber Brown, which is solely responsible for its content. © 2024 PBS. All rights reserved. End Credits Music by J.R.S. Schattenberg: https://www.youtube.com/user/MultiDroideka Space Time Was Made Possible In Part By: Big Bang Sponsors John Sronce Bryce Fort Peter Barrett David Neumann Alexander Tamas Morgan Hough Juan Benet Vinnie Falco Mark Rosenthal Quasar Sponsors Glenn Sugden Alex Kern Ethan Cohen Stephen Wilcox Mark Heising Hypernova Sponsors Chris Webb David Giltinan Ivari Tölp Kenneth See Gregory Forfa Bradley Voorhees Scott Gorlick Paul Stehr-Green Ben Delo Scott Gray Антон Кочков Robert Ilardi John R. Slavik Mathew Donal Botkin Edmund Fokschaner chuck zegar Jordan Young Daniel Muzquiz Gamma Ray Burst Sponsors Grace Seraph Frank Plessers Max Paladino Robert DeChellis Tomaz Lovsin Anthony Leon Leonardo Schulthais Senna Lori Ferris Dennis Van Hoof Koen Wilde Nicolas Katsantonis Joe Pavlovic Justin Lloyd Chuck Lukaszewski Cole B Combs Andrea Galvagni Jerry Thomas Nikhil Sharma John Anderson Bradley Ulis Craig Falls Kane Holbrook Ross Story teng guo Harsh Khandhadia Jammer Matt Quinn Michael Lev Terje Vold James Trimmier Jeremy Soller Paul Wood Joe Moreira Kent Durham jim bartosh Ramon Nogueira John H. Austin, Jr. Faraz Khan Almog Cohen Daniel Jennings Russ Creech Jeremy Reed David Johnston Michael Barton Isaac Suttell Oliver Flanagan Bleys Goodson Mark Delagasse Mark Daniel Cohen Shane Calimlim Tybie Fitzhugh Eric Kiebler Craig Stonaha Frederic Simon Tonyface John Robinson Jim Hudson David Barnholdt John Funai Adrien Molyneux Bradley Jenkins Amy Hickman Vlad Shipulin Thomas Dougherty King Zeckendorff Dan Warren Joseph Salomone Patrick Sutton Julien Dubois via YouTube https://www.youtube.com/watch?v=HRir6-9tsJs

The Golden childs

•So Cassidy is Golden Freddy, the other golden Freddy candidates are other animatronics because we have plenty here

•Michael Brooks is Theodore, before it made a lot more sense but it still makes sense

•The Crying Child (not real name here) is Plushtrap because his father is spring Bonnie/William, ok?

•And Andrew is Montgomery Gator because alligator mask, he is much late William victim, he died in the 2010's

Shadows and Golden

William your average spring Bonnie (the exact same as Springtrap before all the rotten) and well Springtrap

Henry is Fredbear from FNAF 4 (basically un-nightmare Fredbear) and also, well nightmare Fredbear

Now the "shadows" are "S.L." performers, they were hired when Fredbear's got very successful and William and Henry become too busy to keep playing the characters for parties, they also are parents of two of William's victims because I think that idea is very cool.

The "S.L." substance is a weird chemical invented by William, is very easy to use, it gets injected on someone and it can change the color of someone's fur entire and temporary, but is also very dangerous if it isn't stored in the good conditions.

Donal Brooks, Michael Brooks father and the first man to be hired as the Spring Bonnie performer by the Fredbear business. His facial structure and physical appearance is based on FNaF 4 Bonnie and his original color palette based on "glitch Bonnie" from the FNAF 3 minigame. After dying because of the "S.L." substance he takes "William's shadow" for his "new form"

Cassidy's father, his name is also Cassidy so he is also called "Cassidy Senior", the first man to be hired as the Fredbear performer by the Fredbear business. Original appearance based on the Fredbear we see in UCN and his original color palette based on "Nightmare" from FNAF 4. After dying because of the "S.L." substance he takes "Henry's shadow" for his "new form"

RWQ... And Shadow Freddy are the names of the "haunted forms" of Withered Golden Freddy (Fritz Smith) and Toy Bonnie (one of the SAVETHEM minigame kid) that are being possessed by Donald Brooks and Cassidy's father during the events of FNAF 2

The Irish Matchmaker by Jennifer Deibel

Goodreads blurb: As daughter of a well-known matchmaker, Catríona Daly is no stranger to the business of love--and sees it as her ticket away from the sleepy village that only comes alive during the annual matchmaking festival. Enter Lord Osborne's son, Andrew, who has returned to the festival after being disappointed by a rival matchmaker's failed setup. Catríona seizes the opportunity to make a better match for the handsome man--and for herself!

Cattle farmer Donal Bunratty is in desperate need of a wife after loss left him to handle the farm and raise his daughter on his own. Shy and lacking the finer social graces, he agrees to attend the matchmaking festival to appease his daughter. But when he arrives, it's not any of the other merrymakers that catch his eye but rather his matchmaker--who clearly has eyes for someone else.

Catríona will have to put all her expertise to work to make a match that could change her life forever. Will her plan succeed? Or will love have its own way?

Review: This was my first book by Deibel, and I have to say I enjoyed it. Catriona was relatable and likable, Donal was sweet and easy to love, and Sara was a doll. I always love single-parent stories, so seeing Catriona step into Sara’s life was lovely, and seeing how Sara and Donal interact was just a treat. Donal is just a wonderful father, and it was really lovely to see how much he loves his daughter. It was also cute to see the parallel between Donal and Sara and Catriona and her own father. Past that, this book is fairly simple, you get exactly what you’re expecting (and that’s just fine). Catriona spends the first part of this book following the wrong man. Personally, I found Andrew to be an awful human being and reading those chapters where Catriona was set on him hurt me. I just knew it was going to go sideways and I didn’t want her hurt. When she finally turned towards Donal I was so happy. Past that, there are no big twists or turns. There are, of course, events NOT mentioned in the blurb above, but there was no major plot test that truly changed what the book was about. Overall, I was happy to see Donal and Catroina end up happy together, and for Sara to have a mother figure back in her life. It was a super cute book, a great read, and I’m thrilled to have read it. 5/5 stars

It should be said, this is Christian fiction. I always approach these with a grain of salt, as I’m not religious in any way. This isn’t OVERLY preachy, but it is certainly discussed. There is a fair bit of romance. There is kissing and romantic touch (which sometimes is hard to come by). This book balances being Christian fiction with also being a romance quite well, and I appreciate that it’s well done. 

Disclaimer: I received a copy of this book from the publisher via the Revell Reads Blogger Program in exchange for an honest review. All opinions are HONEST. All opinions are my own. 

The Irish Matchmaker by Jennifer Deibe

It has been awhile since I have taken the time to read a book, and when I selected this book to read, I was impressed with the cover art. As I took the time to read the back the cover, the story of Catríona Daly, the daughter of a well-known matchmaker who’s job it is, is to find a match for Lord Osborne’s son, Andrew. But as I started reading the book, the story started off with Donal Bunratty,…

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'From Sherlock’s Moriarty to His Dark Materials’ Colonel John Parry; Hamlet to the one-man adaptation of Vanya, Andrew Scott has been a longtime beloved actor of the stage and screen. And now the Dubliner will be taking on another iconic role as he steps into the shoes of Tom Ripley for the upcoming limited series, Ripley. The series, which is based on Patricia Highsmith’s bestselling novels, is set in 1960s New York — and follows Tom Ripley, a grifter who is hired by a wealthy man to go to Italy and try to talk his vagabond son into coming home.

But as Ripley takes the job, he falls headfirst into a life of deceit, fraud and murder.

The cast includes Dakota Fanning, Johnny Flynn, Eliot Sumner, Maurizio Lombardi, Margherita Buy, John Malkovich, Kenneth Lonergan and Ann Cusack.

All eight episodes — which were directed and written by Steven Zaillian — will land on the streaming service on April 4.

The Dubliner told Empire about taking on the role — and the importance of putting “your own stamp” on the character.

He said, “you have to be respectful, but not too reverent, because otherwise there’s no point in doing this.

“You’ve got to put your own stamp on it. Some people will like this version, and some people will like other versions, and that’s okay. What you have to do is understand why this character remains so fascinating for people.”

The Dubliner made his debut on the big screen when he was 17 years old, when he starred in 1995’s Korea opposite Donal Donnelly.

In 1998, he played Edumnd Tyrone in Karel Reisz’s production of Long Day’s Journey Into Night at the Gate Theatre — and was nominated for Best Actor In A Supporting Role at the Irish Times Theatre Award for his role in the show.

Scott had roles in Saving Private Ryan, Nora and the adaptation of Henry James’ The American — and in 2000, he made his stage debut in London with Dublin Carol.

He also appeared in Longitude opposite Michael Gambon, the miniseries Band of Brothers and Dead Bodies.

In 2005, he won his first Olivier Award for his role in the stage show A Girl in a Car with a Man — and made his debut on Broadway the next year, opposite Bill Nighy and Julianne Moore in The Vertical Hour.

Scott starred in the one-man show Sea Wall in 2008 and the next year — and on the screen, he had roles in Little While Lie, Foyle’s War and Lennon Naked, which saw him play Paul McCartney.

And in 2010, he took on the role of Moriarty in the BBC One series Sherlock, which also starred Benedict Cumberbatch and Martin Freeman.

Scott was nominated for a number of awards for his portrayal of the super sleuth’s nemesis, winning the Best Actor in a Supporting Role at the 2012 BAFTAS and Best Actor in a Supporting Role – Television at the 2013 IFTAS.

And in 2013, the actor opened up about the “extraordinary” reaction to the series.

He told The Independent, “Sherlock has changed all our careers, and I’m really pleased about that. It gives you the benefit of the doubt because executives like to see recognisable faces.

“It was overwhelming to be on a TV show that is quite so popular. That took me totally by surprise. People had an instant affection for it from the first episode. The reaction was extraordinary.”

He followed that up with a number of roles on the big and small screen over the next few years, including The Scapegoat, The Stag, The Town and Dates.

In 2014, Scott played Gethin Roberts in the film Pride, for which he was nominated for Best Actor in a Supporting Role at the 2015 IFTAS and won the Best Supporting Actor award at the 2014 British Independent Film Awards.

The same year, he starred in Locke and Jimmy’s Hall. In 2015, he had a role in the 007 film Spectre — and the next year, he had roles in Alice Through The Looking Glass, Denial, This Beautiful Fantastic and Handsome Devil.

In 2017, he played Hamlet on the stage — and was nominated for the Olivier Award for Best Actor in a Leading Role. The stage show was filmed and broadcast the following year.

Scott starred opposite Anthony Hopkins, Emma Thompson and Florence Pugh in 2018’s King Lear — and that summer, it was announced he would be joining the cast of Fleabag.

He captured hearts around the world for his portrayal of The Priest, and was nominated for the Golden Globe for Best Supporting Actor in a Series, Miniseries or Television Film in 2020.

During an appearance on Late Night with Seth Meyers earlier this year, he opened up about being cast in the show — and stepping away from some of the more villainous roles.

He said, “when I was in my 20s, I had a little baby face and I felt like I had this kind of darkness inside me. And I was like ,‘why can’t I get a part as a villain?’

“And then that happened — and then there were loads of villains happening, and I was like, ‘why can’t people see the real me?’

“Phoebe and I had done a play together in London that nobody saw, and she came a knocking — and that’s where the Priest came from.”

The same year, he played Lieutenant Leslie in 1917 and had roles in Black Mirror — which he got an IFTA and Emmy nomination for — and Modern Love.

Scott also took on the role of Colonel John Parry in the BBC’S His Dark Materials, an adaptation of Philip Pullman’s trilogy of the same name. The series ran from 2019 until 2022, and Scott was nominated for Best Supporting Actor (Drama) at the 2021 IFTAS.

On the stage, the actor played Garry Essendine in the revival of Noël Coward’s Present Laughter — and won the Olivier Award for Best Actor. The following year, he played Patrick in The Three Kings.

In 2021, he played Lord Merlin in the three-part adaptation of The Pursuit of Love and Terje Rødlarsen in the film Oslo. The next year, Scott played Lord Rollo in the Lena Dunham-directed comedy Catherine Called Birdy.

Last year, he starred in an adaptation of Vanya which saw him play all of the characters in the show.

He also starred opposite Paul Mescal in All of Us Strangers, which saw him nominated for Best Actor in a Motion Picture Drama at the Golden Globes.'

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Sinéad O'Connor, Irish singer of 'Nothing Compares 2 U' and more, dead at 56, Irish media says

Irish singer Sinéad O’Connor, who became as well known for her remarkable music as her personal struggles, has died, according to RTE, Ireland’s public broadcaster. She was 56. 

According to a family statement shared by RTE:

“It is with great sadness that we announce the passing of our beloved Sinéad. Her family and friends are devastated and have requested privacy at this very difficult time.”

No cause of death was immediately available. CNN has reached out to representatives and family members of O’Connor.

The information you need to know, sent directly to you: Download the CTV News App

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MUSICAL ACHIEVEMENTS 

O’Connor was a vocalist known for her pure and crisp voice, paired with exceptional songwriting abilities that evoked her views on politics, spirituality, history and philosophy. Her first album, “The Lion and the Cobra,” was released to critical acclaim in 1987, but it was O’Connor’s 1990 sophomore album, “I Do Not Want What I Haven’t Got” which broke her through as a well-known artist.

Her rendition of the Prince song “Nothing Compares 2 U” shot to No. 1 in 1990, buoyed by the iconic music video which featured O’Connor, with close-cropped hair and a dark turtleneck. 

The song was nominated for multiple Grammys and scored O’Connor wins for both MTV video of the year and best video by a female artist. Other songs on the album that reaped praise for the singer included the pointed and politically charged anthem “Black Boys on Mopeds.”

In the years following, the singer-songwriter was embroiled in controversy, once ripping a photo of the pope on “Saturday Night Live,” later becoming a priest of a Catholic group and taking to social media to air personal problems and outbursts.

In recent years, O’Connor was open about her struggle with addiction and mental health, and detailed her experience in her 2021 memoir “Rememberings.”

The singer is survived by her three children. Her 17-year-old son Shane died in 2022.

ORIGINS

Born in Dublin in 1966, O’Connor spoke often of her difficult childhood as the third of four children. Her mother, she said, was troubled and abusive.

“She used to go to houses that were for sale just so she could rob s–t out of them,” O’Connor told The Independent in a 2013 interview. “I suppose it was funny, in a way, without being funny at all. You know, she’d go to hospitals and nick the crucifixes off the wall.”

O’Connor said her mother, who died in a car crash when the singer was 19, “couldn’t help herself, God rest her soul” and that she began to steal as a way to appease her. 

“It was an illness,” the singer said. “And so that was part of what was going on at home: I’d steal to pacify her. 

Sent away to reform school as a teen after she was caught shoplifting, O’Connor turned to music for solace and was discovered at the age of 15 by the drummer for the band In Tua Nua while singing at a wedding.

She eventually left boarding school at the age of 16 and struggled to support herself while singing before moving to London, where she worked with U2 guitarist the Edge on the soundtrack for the 1986 film “The Captive” while also putting together her debut album.

CONTROVERSIES

By the time she broke through with her second album, O’Connor was a mother, having given birth to a son, Jake, by first husband, musician John Reynolds. She would go on to have three other children: a daughter, Roisín, from a relationship with journalist John Waters; a son, Shane, from a relationship with musician Donal Lunny; and son Yeshua from a relationship with businessman Frank Bonadio.

In 1990, she boycotted appearing on “Saturday Night Live” in protest over plans to have Andrew Dice Clay host, as she complained that his humor was both misogynistic and homophobic. That same year singer Frank Sinatra said during a concert that he would like to “kick her a–” because of O’Connor’s stated policy that she did not allow the national anthem to be played at her shows.

In 1992, O’Connor made headlines around the world after a controversial performance on “Saturday Night Live” in which she ripped a photo of Pope John Paul II in half while saying “Fight the real enemy.” The incident was lampooned and ultimately harmed O’Connor’s career because of the outrage.

She continued to make music, with standouts including her cover of “Don’t Cry for Me Argentina” in 1992 and 1994’s “Fire on Babylon.” Her sound spanned various styles and genres over the years, and the singer released a total of ten studio albums, including the ethereal 2000 record “Faith and Courage.” Her last album, “I’m Not Bossy, I’m the Boss,” came out in 2014.

Nonetheless, O’Connor never reached the commercial or critical success of her earlier work. Instead, she made headlines in 1999 after she was ordained as a priest in the Latin Tridentine church, though in 2014 she told Billboard she had stepped back from that office.

“I’m not interested in causing more trouble than I already am, and neither am I interested in making a circus of the sacraments,” she said.

She also took a similar approach to her sexuality, coming out as a lesbian in 2000 and then telling Entertainment Weekly a few years later that “I’m three-quarters heterosexual, a quarter gay. I lean a bit more towards the hairy blokes.”

In 2011, O’Connor married Barry Herridge, whom she met on the Internet. The couple split 18 days later before reuniting.

PERSONAL STRUGGLES AIRED PUBLICLY

The advent of social media made it possible for fans to witness first-hand the events unfolding in O’Connor’s life. In 2012, she used Twitter to send out a plea for help: “does any1 know a psychiatrist in dublin or wicklow who could urgently see me today please,” she wrote. “im really un-well… and in danger.”

In 2015 and 2016 authorities were asked to find her – the former because she had posted on Facebook that she had overdosed in an Irish hotel and the latter after she was reported missing after failing to return from a bike ride in a Chicago suburb. In both instances, she was found safe.

She continued to struggle with her mental health in 2017, and posted a tearful video of herself discussing her mental illness to her Facebook page. The footage showed her crying in a motel room and lamenting that her family had abandoned her in the wake of mental health issues.

“People who suffer from mental illness are the most vulnerable people on Earth,” O’Connor said in the video. “You’ve got to take care of us. We’re not like everybody.”

That same year, she changed her name to Magda Davitt, a name she took to be “free of parental curses.” She changed her name again in 2018 to Shuhada’ Davitt, after announcing her conversion to Islam following a series of posts at the time that included O’Connor singing the Islamic call to prayer.

The singer went on to release her memoir in 2021 titled “Rememberings,” where she told her story of “growing up in a family falling apart; her early forays into the Dublin music scene; her adventures and misadventures in the world of sex, drugs and rock’n’roll; the fulfillment of being a mother; her ongoing spiritual quest - and through it all, her abiding passion for music,” according to an official synopsis.

The following year, O’Connor’s 17-year-old son Shane died after going missing in the days prior. At the time, she shared a sequence of brief statements on her Twitter account saying her son “decided to end his earthly struggle” and called him “the very light of my life.”

She was admitted to the hospital a week after Shane’s death after posting a series of statements on her social media describing her plans to take her own life, and expressing guilt for her son’s death. She later updated her fans with an apology for the alarming posts, and reassured her followers that she was seeking help.

Earlier this year, O’Connor contributed her vocals to the opening credits of Season 7 of the acclaimed series “Outlander.”

TRIBUTES

Later on Wednesday, Irish leader Leo Varadkar paid tribute to O’Connor, among many others.

“Really sorry to hear of the passing of Sinéad O’Connor,” Varadkar wrote on Twitter.

“Her music was loved around the world and her talent was unmatched and beyond compare. Condolences to her family, her friends and all who loved her music,” he added.

In a statement shared with CNN, Irish president Michael D. Higgins said his “first reaction on hearing the news of Sinéad’s loss was to remember her extraordinarily beautiful, unique voice. What was striking in all of the recordings she made and in all of her appearances was the authenticity of the performance, while her commitment to the delivery of the song and its meaning was total.”

“To those of us who had the privilege of knowing her, one couldn’t but always be struck by the depth of her fearless commitment to the important issues which she brought to public attention, no matter how uncomfortable those truths may have been,” Higgins continued.

“Sinéad O’Connor’s voice and delivery was in so many different ways original, extraordinary and left one with a deep impression that to have accomplished all she did while carrying the burden which she did was a powerful achievement in its own way,” he added.

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The Equalizer S3.16 Love Hurts

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