#Christopher Locke

[zegalba]

Christopher Locke: 'Spiders' (2012)

[slaterinc]

christopher locke 'spiders' (2012)

[skz-files]

♡ 스트레이 키즈 一 kbs super ꒱ 🧭

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[astroumis]

𓈒 ࣪ 𔘓 ๑ ℬ𝖺𝗇𝗀𝖼𝗁𝖺𝗇 : 𝗌𝗂𝗆𝗉𝗅𝖾 + 𝖾𝖽𝗂𝗍 ❀

사랑 ﹏ 𝗅𝗂𝗄𝖾 𝗈𝗋 𝗋𝖾𝖻𝗅𝗈𝗀 ᵔㅅᵔ

@miniepsds ♡ @dewinniepsd

[buildoblivionthenwewilltalk]

that’s my boy Chris

[mulberry1104]

2023 Books/Series/Author of the year

1. Ann Leckie’s Imperial Radch books. Very fun space opera, very good if you like space politics. Refreshingly minimal combat, even in the book where the main character is a professional soldier whose stated end goal is “kill the ruler of the largest interstellar civilisation in the known galaxy.” Also, the aesthetics and vibes of it is very unique in a very wonderful way, it doesn’t feel like any sci-fi I’ve seen or read, perhaps apart from a very small amount of Dune. Also, the presentation of gender identity in the books is very interesting, and the contrast between Hwaean and Radchaai gender identities is deeply interesting to me.

2. Tamsyn Muir’s Locked Tomb books. This books put my brain through the wringer. Beautiful prose, beautiful story, compelling characters. Incredibly complex worldbuilding. Just. Mwah. Also they are gay and they are so gay and it’s just so gay, I love it. And women with swords.

3. Martha Well’s Murderbot Diaries. Honestly, the only reason why these books are in third place is because the entries above are so damn good (this applies to all of them). The queer rep? Sublime. The autistic rep? Phenomenal. Even though I do sound insane when I say I relate with the character called “Murderbot”. Also ART and Murderbot have an amazing dynamic and, honestly, I just love them. Another thing! Books are nice and short, so you don’t have to fret too hard about reading them.

4. The Blacktongue Thief by Christopher Buehlman. Some of the most immersive worldbuilding I’ve read since Discworld, and it is surprisingly deep without being presented in a way that’s overblown on the exposition. Additionally, the magic system, especially the tattoos, is something I’ve not seen really done before, and the world’s politics are fascinating. Also, one of the main characters is confirmed gay and she has a sword and cool ravens, need I say more?

5. Megan E. O’Keefe’s Bound Worlds. Good duology so far, maybe a bit too fast paced at times. The romance is sweet, but very fast, but I didn’t find myself really that put off by it. She doesn’t waste words. The queer rep is good as well, and is delightfully understated. They don’t make a big thing about some of the characters being non binary, it’s just, a thing that’s part of the world and no one cares.

[little-lovett]

sweeney todd round 3 details (nicholas christopher, delaney westfall, joe locke) 🥹

- first of all, a huge congratulations to the adorable and ungodly talented joe locke on an amazing broadway debut. when he started singing in pirelli’s i said “holy shit he sounds REALLY good” out loud. that VOICE!!! his voice is so beautiful, his accent and movements were perfect, and he really just nailed it overall. his ‘not while i’m around’ actually destroyed me. he sang it so gorgeously IN THE OBC KEY and was so genuinely our courageous, protective, vulnerable little guy. at the end he hugged mrs lovett and collapsed into her lap and i just melted :,,)

- AHHH nik and delaney. they are so good together!!!! they give such a classic sweeney and lovett vibe because they read as literally insane. just absolutely unhinged little devils. they know exactly what they’re doing and they enjoy it. it’s definitely a contrast to josh and annaleigh who read more as normal people who got themselves into an insane situation.

- delaney… omg. she’s a gorgeous little thing but she is fierce. she’s loud, brash, maternal, and sexy all at once. she’s very belty and she has this beautiful BEAUTIFUL vibrato. her lovett was super energetic and scrappy and tough as nails. but her love for nik’s sweeney was so softening and beautiful. she felt like a lansbury x ashford hybrid and i adored it.

- nik was absolutely wonderful. i loved that his sweeney sounds much more australian than british, it kind of makes him stranger and more mysterious. he was cold and angry and often stoic so he was definitely more unsettling than josh. and still, sometimes he’d let those delicious little peaks into his love shine through. i felt for him and absolutely believed him. but he really was chilling. his movements, his anger, his sadness, his MANIC MOMENTS!!! holy shit. everyone was screaming for a whole minute after his epiphany because it really was crazy. on “nor a hundred can assuage me i will have you” HE WENT UP A WHOLe STEP AND BELTED IT OUT HELLO he was fucking terrifying.

- whenever he and mrs. lovett are sharing an intimate little moment and someone walks in, nik really snaps up and tries to act normal. it makes them look so suspicious and i love it 👀

- the jump into hell really really got me today idk why. it always hits, but today it just made me burst into tears and start screaming my head off. them finally surrendering to eachother and just taking that final leap together. idk. it went really hard.

- daniel torres was on as pirelli and he’s gotta be in my top 3 fav ensemble members so i was SUPER excited. and he devoured. SO flamboyant and vocals were excellent.

the biggest of congratulations to joe and our incredible understudies on a beautiful brilliant show ❤️🩸🔪🥧

[kpopbestie96]

Me and my neice's phone lock screen:

[mewkwota]

You may or may not have noticed in a previous comic of mine that I was missing a Belmont. On one hand, I ran out of room to squeeze him in a panel, but also I had a different approach in mind.

I don't find Christopher to be the type to act super sassy, even for this little secret he's keeping for his great grandson.

[bluesturniolo333]

besties!! i need to know if anyone of my fellow sturniolo triplet fans have watched young royals or heartstopper!! i watched both this past week and i am obsessedddd. i need someone to talk about these shows with. pleaseeeee

anyways, if this is you, send me a message!

even if it’s not you and you still wanna talk, message me!!!!!

[prplocks]

♡☆♡ bang chan wallpaper

reblog if you save ▪︎

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[koilarist]

A feral woman dressed up to the neck in all black rolls up to your door, kicks it down in one fell swoop, and drags you off by the ankles to commit crimes against humanity together. What do you do?

Locke belongs to @krokaxe

[quirkwizard]

Lock Down X Flight?

New Quirk Name: Hold Off

This Emitter type Quirk allows the user to make a skin-tight barrier around their body. This barrier works to weaken the inertia of what comes into contact with it, slowing it down and freezing it in place. This primarily works to protect the user. The user can extend and sheer off parts of the barrier by making contact with other targets, applying the same slow-down effect to them. This affect can extend to the user around the user. The user is protected from the effects of the barrier and can be selective with it, like slowing down their descent to glide. This gives the user a good mix of support and defense, turning anything in a fight into a crawl. They can hold up and catch falling objects, stand their ground against major attacks, keep enemies from moving, improve their defense by surrounding them with barriers, prevent damage to the area, shield allies from harm, or simply use it to keep themselves from falling over. Though the object can have issues with higher-speed objects, still potentially powering through to hurt the user. Trying to apply the barrier too much, whether it be with too many objects, too fast or too big, can hamper them and make them break. The slowdown effect isn't as noticeable on other people, and they can fight their way out of it.

[skz-files]

♡ 방찬 一 bang chan ꒱🐺

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[denimbex1986]

'At the start of our interview, Andrew Scott and I are squeezing into a booth in the restaurant at the British Film Institute. It is very similar to the one occupied by Billy Crystal and Meg Ryan's characters in When Harry Met Sally. Quick as a flash, the actor smiles at me and says, “I'll have what she's having.”

Scott goes on to remark that he often dreads reading interviews with actors and hopes this won't be another that he recoils from. “Sometimes talking about acting can be reductive and a bit boring. Of course,” he adds, breaking into a wry, self-mocking grin, “I'm not like that. I'm completely fascinating. Everything I say is a bon mot. It's epigram after epigram. It's like sitting with Oscar Wilde... Although I have better hair!”

Witty. Mischievous. Charming.

These are precisely the qualities that catapulted Scott to stardom as Moriarty in BBC1's worldwide hit drama, Sherlock. People were already talking about him as a striking new talent after his first brief, if completely scene-stealing, 10-minute appearance in Steven Moffat and Mark Gatiss's compelling modern-day reworking of Sir Arthur Conan Doyle's classic detective stories.

His performance as Holmes's dastardly foe – by turns mesmerising and menacing – won Scott the best supporting actor Bafta award last year, beating his co-star Martin Freeman (who plays John Watson in Sherlock) in the process.

It was not exactly an overnight success for Scott – the 37-year-old Irishman had for many years been turning in very creditable, if not such conspicuous performances in dramas such as Lennon Naked (in which he gave a memorable Paul McCartney opposite Christopher Ecclestone's John Lennon), The Hour, John Adams and Band of Brothers.

But Moriarty, who appeared to come to a sticky end at the end of the last series on Sherlock, transformed Scott's profile. Moriarty is the archetypal baddie who has all the best lines, and his popularity meant that the actor was soon being offered leading roles in ITV1 dramas such as The Town and The Scapegoat.

Scott, who was raised in Dublin, where his father worked in an employment agency and his mother was an art teacher, has the volume turned down in real life and has no need to turn the dial up to 11 in the way that Moriarty does. But you can see that he still possesses the same razor-sharp instincts as Sherlock's arch-enemy.

The actor is the first to acknowledge that playing the role of Moriarty has moved his career up several notches. Picking at a croissant, he reflects that: “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. People still come up to me in the street all the time, wanting to talk about it.”

Sherlock fans are known as some of the most passionate in the business, but Scott says they are generally delightful. “There is this impression that the fans are crazy, but they're not – they're very respectful. They don't overstep the mark. I get a lot of fan mail. Of course, some of it is a bit creepy, but mostly it's very moving and creative. People send me drawings and their own versions of Sherlock stories. It's a source of escapism for people and that's great.

“I'm an enthusiast for people, and I don't want them to become the enemy. I've seen that happen to colleagues who are disturbed the whole time, but there's a certain degree of control you can have if you keep yourself to yourself. The kind of actors I admire move through different characters and genres. That's the kind of actor I try to be. If you want that, you have to be circumspect about your private life.”

Scott thinks the character made such an impact because, “Moriarty came as a real surprise to people”. He adds: “He doesn't have to do the conventional villain thing. He is witty, and people like that. He is also a proper match for Sherlock. He's very mercurial, too. I have since been offered to play a lot of different characters, and that's because Moriarty is a lot of different characters. He changes all the time.”

The next legacy of the “Sherlock Effect” is that Scott is starring in a one-off BBC2 drama entitled Legacy. An adaptation by Paula Milne of Alan Judd's bestselling 2001 espionage novel, this is an absorbing contribution to the BBC's “Cold War” season. In this film, set at the height of the conflict between the UK and the USSR in 1974, which goes out on Thursday 28 November, Scott plays Viktor Koslov, a KGB spy.

Charles Thoroughgood (Charlie Cox), a trainee MI6 agent, tries to reconnect with Viktor, an old friend from their Oxford days, in an attempt to “turn” him. However, Victor adroitly turns the tables on Charles with a shocking revelation about the British spy's family. Deliberately shot in Stygian gloom, Legacy captures the murky world of the secret services where cynicism and duplicity are part of the job description. Its tagline could well have been: “Trust no one.”

The film convincingly conjures up the drabness of the 1970s, all three-day weeks, petrol rationing and power cuts. Scott says: “Characters in those days called from phone boxes – whoever does that now? The film fits the era. It has a melancholic tone. It's very brown and downbeat.”

Scott particularly enjoyed playing the ambiguity of Viktor's character. “I like the idea that you don't know who he is. It's important that you feel for Viktor and his predicament. You have to feel he's a human being with a family. But both he and Charles are elusive figures – it's not clear whose side they're on. It's not at all black-and-white, and that's why the film is so shadowy.”

The actor boasts a terrific Russian accent in Legacy. Where did it come from? “There isn't a huge amount of footage of Russians speaking English as a second language, so I started looking at Vladimir Putin videos on YouTube. But then Putin introduced anti-gay legislation this summer – so, being a gay person, I switched to Rudolf Nureyev videos instead. It was another Nureyev defection of sorts!”

Scott is low-key on the subject of his sexuality. “Mercifully, these days people don't see being gay as a character flaw. But nor is it a virtue, like kindness. Or a talent, like playing the banjo. It's just a fact. Of course, it's part of my make-up, but I don't want to trade on it. I am a private person; I think that's important if you're an actor. But there's a difference between privacy and secrecy, and I'm not a secretive person. Really I just want to get on with my job, which is to pretend to be lots of different people. Simple as that.”

Scott is very much getting on with the job at present. He has many intriguing projects in the pipeline, including starring in Jimmy's Hall, the new Ken Loach movie about a political activist expelled from Ireland during the “Red Scare” of the 1930s. He is also appearing with Tom Hardy and Ruth Wilson in Locke, a film about a man whose life is falling apart, and in The Stag, a movie about a stag weekend that goes horribly wrong. In addition, he is headlining alongside Bill Nighy, Dominic West and Imelda Staunton in Matthew Warchus's movie Pride, a true story about an alliance between the mine workers and the lesbian and gay community during the 1984 miners' strike.

If he can possibly find any spare time, Scott is also open to comedy offers. “Everything in life has to have an element of comedy about it. I did Design for Living at the Old Vic in 2010 – Noël Coward was a master of comedy. The audience were convulsing every night. It's such a joyous feeling to hold a pause and wait for the laughter. There is no better high. Forget about drugs!”

But despite the fact that producers are now cold-calling him like overeager mis-sold PPI salesmen, Scott won't be rushing into the first role he's offered. One positive by-product of his success is his ability to be choosy about what he does. He observes: “You have to be brave to turn things down, but there is a certain power to that. I've had offers to do more regular TV series, but I don't regret rejecting them. If money and fame are not your goals, then it becomes easier. American agents use the expression, 'this could be a game-changer'. The implication is that you want the game to change. But I don't. I don't have a plan. I like unpredictability and randomness.

“People get distracted by box-office figures and take jobs because they think it will advance their careers. Of course, it's nice to get a big cheque and be able to buy a massive house, but my view is that we're not here long, so why not do something of value?”

So Scott is very happy with where he's at. “To do all these different things is a dream for me. My idea of a successful actor is not the most recognisable or the richest – it's someone who is able to do a huge amount of different stuff. I don't want to be known for just one thing.”

It's true that Scott is now broadening his career far beyond Moriarty. But I can't resist one final question on the subject: Is there any chance that Moriarty will, like his nemesis, be making a Lazarus-like comeback in the new series of Sherlock? Scott has, after all, been photographed filming scenes for the upcoming third season.

“People ask me that every day. It's a small price to pay for having been in such a wonderful show,” he teases. But he is forbidden from spilling the beans about Moriarty's fate in Sherlock even to close family members.

So has Moriarty played one more dastardly trick on us by faking his own suicide? Or are the scenes the actor has been shooting merely flashbacks? Scott could tell us, but then – like some ruthless Cold War spy – he would have to kill us...'

[takenoprizners]

Early curly_1