I am so excited for the Theon/Ramsay scenes, just purely from a loving-great-acting standpoint.
Alfie is just phenomenal as Theon and he is arguably the best male actor on the show. In the hands of a lesser actor, I don’t think my heart would break for Theon as much as it does with Alfie- he just breathes life and emotion into Theon. I KNOW that’s what he’s supposed to do as an actor but like I said, in the hands of a lesser actor, Theon could’ve ended up catastrophic. Alfie seems to have such a grasp of Theon, I am not worried.
Iwan…we know he can act, he’s won an Olivier but I think we’re going to see new heights to his talent on this show. We already saw it in the last twenty seconds of his scenes in the last episode- the way his face transformed, the way his voice/accent changed…he’s going to show the world what he can really do. He’s an acting chameleon in the best possible way when you consider the variety of roles he’s played in about five short years and I’m so impressed with him.
So yes, I’m so completely nervous for the future of the Theon plot due to Alfie’s statements because it’s going to be hard to watch and really intense, but I am also so very excited because you just KNOW Alfie and Iwan are going to fucking kill it.
Men still have trouble recognizing that a woman can be complex, can have ambition, good looks, sexuality, erudition, and common sense. A woman can have all those facets, and yet men, in literature and in drama, seem to need to simplify women, to polarize us as either the whore or the angel. That sensibility is prevalent, even to this day.
I had to reconcile the real person and the character of Anne Boleyn as created in the text. For the actor, the text is your bible. You can try to put a spin on the nuances, but in the end our job is to be the vehicle of the text. But I got tired of flying the flag of Showtime in interviews, [justifying the show’s sexuality and inaccuracies] when in the pit of my stomach, I agreed wholly with what the interviewer was saying to me. I lost many hours of sleep, and actually shed tears during my portrayal of her, trying to inject historical truth into the script, trying to do right by this woman that I had read so much about. It was a constant struggle, because the original script had that tendency to polarize women into saint and whore. It wasn’t deliberate, but it was there.
I begged Michael Hirst to do it right in the second [season]. He listened to me because he knew I knew my history. And I remember saying to him: `Throw everything you’ve got at me. Promise me you’ll do that. I can do it. The politics, the religion, the personal stuff, throw everything you’ve got at me. I can take it.’ I wanted to show that she was a human being, a young woman placed in a really difficult and awful situation, manipulated by her father, the king, and circumstances, but that she was also feisty and interesting and had a point of view and tried to use her powers to advance what she believed in. And I wanted people to live with her, to live through her. To see her.
So here we are. Overlooked and forgotten. Unnatural and… supernatural. Watching the dance from the sidelines. At least I was surrounded by friends and family. At least I got that bit right.
You know the worst thing about being a ghost? It’s lonely. You’ll give everything for that crumb of comfort. That feel of skin against skin that says “It’s okay, I’m here.” It’s a hunger. The most basic instinct. You might even drag others into this world of the dead. Even if that means turning them into monsters too.
Then there are the ones like George. The ones that should have died. But shattered and bloody, they walk away from the train wreck. But at what cost? They’re scarred, transformed, they’re monsters now too. Aberrations. The stuff of nightmares. The big bad wolf.
So what have we got left to look forward to? Us refugees. The flotsam and jetsam of death. Maybe, if we deserve such a thing as mercy, we find each other