#Insecure Actors

[livewellnews]

Tabu Opens Up: Refused Films with Shah Rukh Khan and Navigating Insecure Actors

In a recent interview with Galatta India, acclaimed actress Tabu shared insights from her extensive career, including her reasons for turning down projects with Shah Rukh Khan and her experiences with insecure co-actors. With over three decades in the industry, the 52-year-old actress reflected on her journey and the dynamics of working in Bollywood.

Refusing Films with Shah Rukh Khan

Tabu revealed that she has turned down several film offers that starred Shah Rukh Khan. Despite their iconic status, the actress explained that her decisions were based on the roles and scripts offered to her, rather than any personal issues. “I’m not a producer or director,” Tabu clarified. “I can’t dictate who Shah Rukh Khan works with or which films are made. I simply choose or refuse based on what’s offered to me.”

Dealing with Insecure Actors

Tabu also discussed the challenges of working with insecure actors. She acknowledged that while having secure co-actors is ideal, it’s not always possible. “Insecurity is a very primal human emotion,” she said. “You have to make do with whatever you get.” Tabu emphasized that despite the emotional challenges, her commitment to completing a project remains unwavering.

Calling the Shots in Her Career

Despite her long-standing success, Tabu admitted she does not have the power to influence scriptwriting or project decisions. “I can’t call the shots,” she said. “I receive scripts and decide based on my interest. If I like the project, I take it; if not, I decline. But I don’t dictate specific scenes or sequences.”

Current and Upcoming Projects

Tabu, who recently starred in the hit film Crew, is looking forward to her next release, Auron Mein Kaha Dum Tha, where she will share the screen with Ajay Devgn. Her career continues to thrive as she navigates the evolving landscape of Bollywood.

In the interview, Tabu’s candid reflections offer a glimpse into the complexities of maintaining a successful career in the film industry, highlighting both the challenges and the rewards of her illustrious journey.

[heytherecentaurs]

Brennan’s talked before about how as a poor young adult he lived in New York and struggled with food security. He tells a story of going to frozen yogurt places for free samples and a cheap dumpling spot because it was a lot of food.

His opinions on food and his described behaviours around food make a lot of sense in that context. He may be successful now and can be assured he can eat again when he’s hungry, but it appears he has legitimate trauma around his experiences with poverty because what he’s humorously describing is a trauma response. His mind hasn’t gotten rid of the anxiety of “I’m eating now so I better make it count because I don’t know when I will again.”

Because he’s a comedian he manages to frame it as a joke, but there’s certainly an underlying sadness. It also informs Evan Kelmp’s characterization. Capitalism is the root issue here and poverty is state-sanctioned economic abuse.

Anyway, I hope he’s doing well and taking care of himself.

[zanephillips]

JAY ELLIS Insecure 1.04 "Thirsty as Fuck"

[elialys]

THE NEWSREADER | 3.04 | Helen x Dale - "You wanna just watch it one more time?"

[meanderingstream]

Eliot at peace with being Damned

One of the things that makes Eliot hard to write for in-character (but also such an interesting character to explore) is that he believes he is damned to Hell and he is at peace with that. He has a lot of guilt, oceans of guilt, but it's not so much the tortured, anguished catholic guilt à la Nate or like, Daredevil. 

He has done monstrous, unforgivable things. But, on his own, he came to a realization of what he had done, and pulled away from that world. On his own, he left the worst person he ever worked for, and stopped using guns, and stopped killing. On his own, he switched from wetwork to retrievals. This all occurs before we ever meet him, so while there are many hints and inferences, the specifics of how that happened, how he came to those decisions, are left up to the audience’s imagination. 

Eliot wants to make the world a better place, and he works everyday with the team to help people, and he genuinely enjoys helping people and the work he does on the job. But he does not believe that he can be redeemed. (Not my own personal belief about him, but it is what he thinks). When he dies, he will go to Hell for his sins, and there is nothing that can possibly be done to change that. He doesn't need to angst over it, because it’s just a fact. It is what it is. There is no point agonizing over whether his soul can be saved, because he knows it cannot. This is both a keystone of his character, and also something he doesn't spend a lot of time thinking about day-to-day, because it’s a settled matter. 

And as much as we love Eliot the character, he has a point that lives are not tradable for equivalent exchange. If he killed a specific family 25 years ago, that was snuffing out the light and potential and future of those particular parents and children. The surviving extended family lost those particular relatives. Saving a family now does not balance that ledger, because each person is a unique life and not interchangeable for another. While I may have different beliefs about Hell and redemption than Eliot, I still want to acknowledge that he has a point. That changing now doesn't necessarily help the people he hurt in the past, and unlike Harry, he can’t work down a list of making amends, because almost all of his victims are dead. There is no atonement to the dead. 

Eliot’s redemption is in seeing the light at the end of the tunnel, and helping others get to it. Particularly the team, and particularly the pair he’s going to protect until his dying day. He will stay down there in the dark forever (he believes), but getting the others out is his redemption. 

I do not believe that Eliot will actually go to Hell when he dies, but his belief that he is damned is fundamental to who he is as a character, and he is going to believe that for the rest of his life. It can be really challenging to balance that when writing his POV, particularly when delving into events that dredge this stuff up for him (which we writers love to do because it’s so delicious). Eliot doesn’t exactly have a low self-esteem. He knows he has many skills and is exceptional at them (cooking, fighting, grifting, guitar, sports, etc). He pretty much knows his teammates love him, and care about him, and want him to stay alive for them, and spend the rest of his life with them. He has professional pride, and he will argue when he wants something. He is certainly not a doormat. However, he also believes he is fundamentally and irrevocably a bad person. Balancing between him not being too self-deprecating in normal situations / about his usefulness to the team, with his inherent belief in his own moral depravity can be a thin blade to walk without falling to one side or another. But it is also one of the biggest aspects of his psyche that makes him such a fascinating and complex character to explore.

[balladofthe101st]

Good Morning, Revolution: Uncollected Social Protest Writings by Langston Hughes // Elegy While Listening to a Song I Can’t Help But Start to Move to by Chen Chen // War of the Foxes by Richard Siken // Erika Sanchez // Untitled // The Day You Died Because You Wanted To by Andrea Gibson // Invasive by Ada Limon

[jonny-versace]

Before Aaron went to talk to Robert on the bridge was there a split second Aaron fiddled with where his wedding ring used to be? I've been watching a lot of 2016 after the robron engagement and I'd forgotten how much Danny used to do that. I don't know if I'm imagining it though. But yes, top tier episode!

We love when actors actually give a shit about what they're doing!

[borgialucrezia]

sorry for my newfound obsession with mark ryder's cesare !! he's just so layered and insecure and violent and delusional with a pre industrial facial structure...a #real machiavellian prince ❤️

[broodygaming]

Often I think people need to separate above table stuff and in game stuff, but here I think the opposite needs to happen.

I don't think the narrative is "Fearne NEEDS to do this" it's more "hey Ashley you're allowed to take cool stuff and take risks and it'll be okay."

Like, we all know Travis is gonna pick up the talking sword and wanna keep it, even though it's a risk, right? Why. Why do we know this about him? Think about it. He's always willing to do the risky option. Take the least tred path, because it's THERE and he trusts the story to catch him on the other side.

Ashley from day 1 being on the show, even her telling the story of that first fateful birthday party, she's TALKED about feeling insecure, not wanting to pull focus, wanting to sit back and watch the others play.

For so long, this is great, everyone just wants her to be included. (This isn't me, like, reading into this btw, these are their literal words.) People online would complain about how "wow Yasha was actually here for a full ep and she barely spoke". She's talked so much about how she often just wants to watch what's happening.

Enter Fearne, Ash is here for every single episode. She's chaotic, she's in the moment. She wants to push all the red buttons.

But does she? Does she actually push a lot of red buttons? She steals stuff, sure. But she still has this "I dunno I don't wanna be disruptive" aspect to her, her being Ashley, not Fearne.

This isn't just about "Fearne does or does not want the shard". To me, it seems it's more about telling ASHLEY, hey, you're allowed to take the big magic item. It's okay. You have it. You be in the spotlight. You get the power up. PUSH THE RED BUTTON DO IITTTTTT THE STORY WILL CATCH YOU ON THE OTHER SIDE. It's less about Fearne trusting herself and more about Ashley trusting her castmates.

Again. Don't be weird. This isn't like, reading into anything that deep haha. C'mon. Like Matt literally told her in a 4SD you gotta take risks and do the scary thing and trust it'll be okay sometimes. That's the game.

[millidew]

I posted art of my actor au YEARSSSS ago but I never expanded on it. I believe the best actor aus retain the themes of the media, just dialed back. in this case it’d be parasocial relationships and believing people’s masks:

Danganronpa began as a video game to TV adaptation but grew into reality TV once they ran out of games

It’s still massively popular and basically inescapable, the month before a season airs you CANNOT escape the ads

But even more inescapable are the ads promoting joining that start practically the moment a season ends, BECAUSE:

The characters are based heavily on the actors themselves, even taking their names. Being associated with such a popular franchise known for uplifting smaller actors into big, memorable roles, it’s of course imperative that any up and coming actor apply!!!!

However, writers also use other aspects of the actors: hobbies, friends, family, insecurities… all written into a consumable fictional character, one that the public will likely always associate with that actor. This is the ‘DR model’: exchanging parts of yourself for near instant success

This blurs the line between fiction and reality, and makes fans assume they know that actor through their DR character

For characters like Korekiyo and Angie… this isn’t a really good deal

Actors have a history of method acting, encouraged for authenticity, further blurring that line. There’s either a lot of tension or camaraderie between casts

They’re expected to live and breathe this caricature of themselves, one that audiences see as a peek into the ‘real them,’ affecting their future projects

Indeed, a lot of actors are later typecasted as their DR character

That doesn’t mean they all have been though! I think first chapter victims and killers are usually pretty ok since they pretty much show up for cameos. I think Kaede is a famous pianist irl and was one of the least affected by the DR model despite being a protagonist

there is a thriving rpf community that sees DR as a godsend

writers that double as actors are uncommon but not unheard of, they usually stay in the background so to not outshine the other characters. tsumugi has had some minor roles, and even more roles as an extra. s53 might be a cry for help tbh

s53 was a HUGE campaign. DR had been steadily losing interest (and money) over the years, but tsumugi managed to revitalize it. the only problem is in order for her season to stick to its themes… they’ll have it hold off on another season. maybe an all stars one day? either way, during the final trial, you really couldn’t escape the projections of shuichi, maki, and himiko blasted all over japan

[robbyykeene]

i just think of that sarcastic "love letter to fans" video tb3 made criticizing fans for criticizing their decisions made on the show JUST ahead of the part 3 drop. they're so defensive of themselves but can't bother to stand behind the actors their toxic fanbase would bully smh.

Yeah that video was incredibly cringe and embarrassing for them tbh. Like, I don’t believe people should ever resort to personal insults or threats or hate comments etc., and I’m sure they’ve received their share of those and that’s not okay. But to complain about people simply criticizing your show is like…sorry, did you think that you’re somehow immune to people’s opinions?? Like I get it, you work hard on something and you love it and you put it out into the world, and people responding negatively to that can cut deep. But that’s literally the entire foundation of the industry they’re in. Anyone who publishes something publicly is inherently opening their work up to criticism and scrutiny. Idk I think it’s an incredibly bizarre to act lkke they are somehow entitled to an exclusively positive fan reception. And also like…why do they care so much. If they made the show they wanted to make and put out the story they wanted to tell and made millions of dollars doing it, literally why are they getting so pressed about a minority of people disliking it. There is just something deeply emblematic of this entire series about watching these men sit in front of a camera and victimize themselves, but making sure to put “funny” in the title so we all think they’re just being funny 🥴

[cuddling-siren]

don’t mind me thinking out loud here…. 💞

[severe-intense-gaze]

Alec Guinness talking about his charming Pocket laugh in Great Expectations (1946)

David Lean -- a biography (1996), Kevin Brownlow

[soclearly]

i think there's a lot to say about the popular opinion of evan hansen and ableism... how people turn away from a story about mental health because it shows a realistic, not sugarcoated mentally ill teenager because it makes them uncomfortable and his characterization doesn't make them want to romanticize him or excuse his actions or give him the "he did all of it but i don't care" treatment. people don't like stories about mental health when they're about the not-cool, obviously mentally ill.

[your-average-gay-dork]

[bluedesertbruja]

they couldn't get someone hot bc wyle would have been threatened by him, i see.