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girlsdit · 1 year

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queen charlotte (2023)

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behindfairytales · 8 months

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icons of Corey Mylchreest in Queen Charlotte: A Bridgerton Story (2023) as young King George III

#corey mylchreest icons #qcabsedit #bridgertonedit #period fc #coreymylchreestedit #king george #george iii #young george #corey mylchreest #qcabs #bridgerton #rp icons #icons #rpg resource #*icons #*mine #n:50

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cinderellc · 11 months

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corey mylchreest dash icons. in this post you’ll find #14 corey mylchreest dash icons. please consider leaving a like or reblog if you find these useful! enjoy!

#corey mylchreest #corey mylchreest dash icons #corey mylchreest icons #dash icons #icons #mine.

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showmeyouricons · 1 month

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#Corey Mylchreest #corey mylchreest avatars #m:20s #roleplay #face claims #avatars #200*320 #icons #showmeyouricons #pbf #rpg #200x320 #200320

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ifvholmes · 11 months

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corey mylchreest icons

like if you save/use or credit on twitter @safedynevor

#corey mylchreest #bridgerton #icons twitter #bridgerton family #bridgerton books #queen charlotte #india amarteifio

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icons-ornot · 11 months

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Se pegar de like ou reblog xoxo

-Anne

#anne #icons #ornot #icons tumblr #famouse #corey mylchreest

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jecxt · 1 year

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EDIT PINKE NAYEON TWIC🩶✨️

#kpop #kpop edits #wallpaper #twice icons #nayeon #soft layouts #twice nayeon #my edit #foryou #pink #wow #women #soft icons #corey mylchreest #cute pink

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dailybridgerton · 1 year

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Stepping into the title role of Queen Charlotte — originated by the inimitable Golda Rosheuvel — would be a massive challenge for any actor. But India Amarteifio (Doctor Who, Sex Education), who plays the young queen in the new Bridgerton prequel spinoff, was a perfect fit for the role. “India Amarteifio is just brilliant,” says series director Tom Verica. “She provides the canvas for someone who’s going to learn the rules and the ways of this world very quickly and use that to her advantage.”

Queen Charlotte: A Bridgerton Story turns the clock back to the iconic queen’s early years in London, beginning with her arranged marriage to King George (Corey Mylchreest). “What’s really exciting about this show is finding how to bridge the character that we know, the boldness of who she is, with how young Charlotte learns to breathe and grow into the power that she now possesses,” says Verica. “I had big shoes to fill,” adds Amarteifio, “Not only as young Charlotte, because Golda has created an iconic role, but just entering the [series’] sphere itself.”

Like the new actor entering the exciting world of Bridgerton, Queen Charlotte: A Bridgerton Story finds the young Charlotte making her entrée into an unfamiliar London society and finding mentors and lifelong friends in the young, and newly titled, Lady Agatha Danbury (Arsema Thomas) and a young Brimsley (Sam Clemmett), always following five footsteps behind. “He is more than her right hand, he is her stability, her guidance,” says Amarteifio of the queen’s relationship with her ever-present servant. “Brimsley is the only person in Charlotte’s life who is stable, gives her a voice of reason, and is someone to come home to, really.”

While charting their pasts, the new series also continues Bridgerton characters’ Regency-era stories with Golda Rosheuvel’s Queen Charlotte trying to figure out how to marry off just one of her many children to produce a legitimate heir, with the support of Lady Danbury (Adjoa Andoh) and Lady Violet Bridgerton (Ruth Gemmell). “Thinking about dynasty and hierarchy and the next generation takes us into thinking about how these relationships were formed, how they last, the ups and downs of these relationships,” explains Andoh.

As Queen Charlotte: A Bridgerton Story producer Betsy Beers puts it, the new series is, “absolutely classic Shonda Rhimes because it is this beautifully precise and very unique combination of humor, pain, conflict, elegance, excitement — all in the face of events that seem to be unmanageable and insurmountable.” And Rosheuvel issues a challenge to Bridgerton fans, “The universe just kind of cycles and swirls within itself, so it would be really interesting to see whether the fans notice little nuances and Easter eggs that we’ve put in both productions.”

#bridgertonedit #bridgerton #queen charlotte #queen charlotte: a bridgerton story #qcabsedit #qcabs s1 #images #news #liz

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charlottegeorgesheart · 8 months

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Young Queen Charlotte, played by India Amarteifio, keeps to innocent pastels in her early scenes, but her colors grow bolder as her power does too. (Liam Daniel/Netflix)

BY VALLI HERMAN

In the first minutes of the “Bridgerton” prequel “Queen Charlotte,” the namesake character complains heartily how her elaborate gown and its restrictive corset made of brittle and sharp whalebone means that if she moves too much, “I might be sliced and stabbed to death by my undergarments.”

Oh, dearest gentle reader, young Queen Charlotte hasn’t suffered in vain. Her every ensemble, and those of the show’s sizable cast, are crafted with such sumptuous detail, that surely all who view them would gladly have them suffer even more.

Even though period costumes are notoriously cumbersome, Emmy-winning costume designer Lyn Elizabeth Paolo and co-costume designer Laura Frecon dispel notions that the actors suffered much (thanks to light, modern fabrics and stretchy panels in their corsets). Still, the yearlong shoot in grand estates across the United Kingdom overlapped the pandemic lockdown and required worldwide sourcing. It seems that their brand of elegant finery was a tonic for distress, and a cause for celebration. The work, helped by a 220-person costume crew, has earned them a 2023 Emmy nomination for period costumes.

Replica undergarments were crafted from light, modern fabrics and stretchy panels to be slightly more comfortable than the actual period clothing. (Liam Daniel/Netflix)

“This [shoot] was challenging, but also joyful. Every time a piece of a costume would come back, it was, ‘Oh, my God! It looks better than we thought it would.’ There was a lot of joy there,” says Paolo, the longtime designer for other Shonda Rhimes productions, such as “Inventing Anna” and “Scandal.”

The six-episode costume drama on Netflix explores the early days of the difficult marriage of Queen Charlotte (India Amarteifio) and King George III (Corey Mylchreest). The fictionalized story of the actual royals takes place in two time periods — the Georgian era of the 1760s and the later Regency era in which “Bridgerton” is set — and includes key characters from the original show. There are several grand balls, a royal wedding and a coronation to wardrobe. No biggie.

Or so Paolo was led to believe.

“I remember Sara Fischer, who is head of production at Shondaland, called me and said, ‘Shonda has this idea for a small, intimate show. She really wants you to do it.’ And, what are you going to say?” recalls Paolo, who was a consultant on Season 2 of “Bridgerton.”

She invented a time-twisting concept inspired by Monet and Matisse paintings and modern fashion designers who themselves referenced historical costume such as John Galliano, Alexander McQueen, Moschino, Zuhair Murad and Christian Dior in his New Look era. Yet Paolo kept the silhouette appropriately Georgian.

“The pitch was, we kind of want it to look like a Met Ball … but to be slightly more on point with the period. We still wanted to have our own stylistic elements that would make sure that the modern eye understood the costumes,” Paolo says.

Corey Mylchreest as King George and India Amarteifio as Queen Charlotte all but sparkle in their lustrous clothing. (Nick Wall/Netflix)

“For the men, we had images of rock ‘n’ roll icons from the ‘70s and ‘80s. So a lot of images of Prince, the New Romantics and Adam Ant. All those people back then who had that pirate chic going on.”

That vision required a mostly custom-made wardrobe that sourced from London, Los Angeles, New York, Budapest and Spain. Jewelers Joseff of Hollywood, Manhattan’s Larkspur & Hawk and Italy’s Pikkio custom made the period jewelry and other adornments. British manufacturer James Hare supplied traditional fabrics as did a mill hours from London that wove custom fabrics. Smaller artisan shops focused on hand embroidery or a particular character.

“It was sort of a small army,” says Paolo, who relied on the organizational skills of Frecon. A giant calendar and flow chart helped them track the flow of work, particularly of the embroidered pieces, which were outsourced to UK specialists Twan Lentjes Creations, Beth Parry and Hattie McGill, whose Instagram accounts illustrate their handiwork.

Other members of the court stand out in patterned fabrics (on Tunji Kasim as Adolphus) and brightly colored gowns with hats (Arsema Thomas as Agatha Danbury).

“It’s so complicated,” Paolo says, describing a process of sample making, initial embroidery, further tailoring and additional hand embellishing before a pattern piece is ever fitted into a garment. Even fabric-covered buttons were embroidered.

The women’s gowns are especially intensive. The earlier dresses, from 1760 onward, required 13 to 20 yards of fabric and at least four weeks of construction; five if they’re heavily embellished. Each ensemble requires petticoats that can add five to 10 more yards each, plus a corset, a pannier (a cage-like underpinning), a padded bum roll, shoes, stockings and garters. The jewelry sets were matched to each costume and included rings, earrings, necklaces, bracelets and tiara-like hair jewelry that was fitted into fantastical wigs by hair and makeup designer Nic Collins.

With two sets of characters to dress in two different eras, the costume designers were careful to build visual continuity, typically with color. Young Queen Charlotte, for example, keeps to innocent pastels in her early scenes, but her colors grow bolder as her power does too. The designers cannot precisely count the number of costume changes, or quantify the number of pieces they used, only to say “in the thousands.” Paolo says Jeff Jur, director of photography, was on board to capture the spectacle and regularly texted her and Frecon to say, “‘I’m doing a full head-to-toe shot of this one.”

Still, it’s tricky to absorb all of the detail, even though it’s there on the hand-embroidered initials on a man’s handkerchief, or the restored antique jet beading and lace on Queen Charlotte’s mourning gown, or the Easter eggs, as Paolo calls the references she wove into many costumes, particularly those in the final episode, which features an astronomy-themed ball, hosted by the king and queen.

King George loves astronomy, so stars and moons are embroidered and beaded into their clothes. The ball was shot outdoors at night, which usually obscures costume details. Jur expertly lit the scene to illuminate the clothes that were so laden with sparkly bits that they twinkle.

Though the final episode was picked to submit for Emmy consideration, the choice was “brutal,” Paolo said. “It’s a huge group of amazingly talented people who all deserve recognition. If we are lucky enough to win, I would want 220 miniature ones to hand out to everyone.”

#queen charlotte: a bridgerton story #india amarteifio #corey mylchreest #queen charlotte #king george iii #charlotte x george #charlottegeorge #tunji kasim #arsema thomas #prince adolphus #lady danbury #netflix #!

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super-unpredictable98 · 10 months

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When directors say he was the "only choice" they mean the only choice that will get them attention and money and not the only choice perfect to play the role and yes Rob is a bit old for it but there are countless actors? Come on studios bring fresh faces - it actually helps when you bring a completely fresh face to an iconic role, it's easier to digest

I would've loved to see a new actor, even though I still think Rob could've played 26-28 with the right haircut and clean face.

But at least they could've hired someone like Jeremy Allen White (who looks just like Gene Wilder), Ncuti Gatwa, Joseph Quinn, Jordan Fisher (if they wanted to make a musical), or Corey Mylchreest.

#about that...#flor rants #anon ask

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aworldofgoldfish · 30 days

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youtube

Step into the spotlight with illustrious actor Mark Gatiss, know best for his iconic roles in television series like 'Sherlock' and his captivating performances on stage. In this episode, Gatiss breaks down the layers of his favourite speech: a Hamlet monologue but as used in Jack Thorne’s recent hit, 'The Motive and the Cue', in which Gatiss has wowed critics in his portrayal of John Gielgud. Join Lucy and Mark as they delve into the intricacies of Thorne's adaptation, exploring not only significance of Hamlet’s advice to the players but also Gatiss' personal insights and experiences as a performer, writer and director. From portraying real-life figures to navigating the idiosyncrasies of different audiences, Gatiss' anecdotes offer a fascinating glimpse into the life of a true theatrical virtuoso. Catch Mark in 'The Motive and the Cue' at the Noël Coward Theatre, playing until 23 March 2024. And audiences worldwide can also enjoy the National Theatre Live capture of the original production in cinemas from 21 March. Tickets are available from NTLive.com. Hear Me Out is hosted by Lucy Eaton, a theatre producer and West End / screen actress best known for her role as Lucy in hit BBC comedy ‘Staged’. Other episodes of Hear Me Out include Adrian Lester, Brendan Coyle, Patsy Ferran and Corey Mylchreest.

#to watch later #podcast #Youtube

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behindfairytales · 8 months

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