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im-me-he-says · 3 months

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(Okay I wasnt going to post this but im actually pissed off.)

((TW INFERTILITY))

Dear Bridgerton fans who are unreasonably angry at Michael being Micheala in the new season,

You still have the book.

Let me bring up points that I've seen in arguments online:

1- "But her story is about infertility! Putting her with a woman changes everything!"

Queer women struggle with infertility too, in fact it can be very difficult for lesbians who wish to start families of their own as not everyone is able to adopt or find a sperm donor, and even if a sperm donor is found THEY CAN STILL HAVE INFERTILITY ISSUES.

Let me list off romance books that deal with cishet women and their infertility issues below-

Untamed Rose, Scandalous Mistress by Bronwyn Scott

The Devil in Disguise by Lisa Kleypas

The Friend Zone by Abby Jimenez

Thief of Shadows by Elizabeth Hoyt

What's Left of Me by Kristen Granata

Lord and Lady Spy by Shana Galen (this one is regency too)

A Secret Sorrow by Karen Van Der Zees

And many more if you google I just dont have all day.

(Extra point, in many of these books the women do not stay infertile and have a miracle baby...not only do many cishet women never get their miracle baby but lesbian couples literally cannot concieve)

And now let me list of books that deal with Lesbian women and their fertility issues-

.....

OH WAIT I COULDNT FIND A SINGLE ONE!!

This leads me to my next point.

2- Bridgerton is a love letter to minorities in romance.

As someone who is south asian myself, I have seen how western beauty standards and racism has treated women in our culture, literally go online and search up "which race would you not date" its disgusting.

I grew up only seeing white women be the desirable one in romances as did many others, you know what changed this for me?

Kate Sharma.

The international audience for Bridgerton especially with brown women of South Asian descent grew TREMENDOUSLY. We had a woman like us portrayed positively and seen as desirable, you guys genuinely do not understand how many brown women watch this show because of season 2.

If we had Kate, WHY should Lesbians struggling with infertility and Black Lesbians not have Francesca and Micheala.

3- "It should have been Eloise and Cressida!"

Why? Because Eloise is a loud mouthed feminist and Cressida is a mean blonde and they shared an understanding? Because theyre both white?

While I do want Eloise to be queer as well just think about that for a moment, while lesbian representation is scarce these days it is even scarcer for Lesbians who do not fit the norm...the mostly white, neurotypical, skinny, cis norm.

Genuinely think about how many times ypu have seen these tropes in wlw fiction, like sit and think about it.

Such as Black lesbians for example, you all are aware they exist right?

I want to reccomend this video by a sunny book nook which talks about how lesbians in a VAST MAJORITY of lesbian romance novels arent really...allowed to be complex characters and it would be some FANTASTIC insight for some of yall

youtube

In conclusion, you are allowed to miss Michael, but don't you dare say this takes away from her story, as it ties into the very aim of the show.

Thank you for reading.

#bridgerton #francesca bridgerton #micheala stirling #kate sharma #bridgerton season 3 #michael sterling #if youre gonna be in the tags or replies spouting racism or crying and screaming after this just get out #the only thing im upset about is them downplaying frannies love for John honestly #But then again #theyre probably going the compet fran route #wlw #lesbian #Youtube #nicola coughlan #luke newton #benedict bridgerton #that being said I hope Sophie is a trans woc just to piss off all the racists and queerphobes #the story would still be a cinderella retelling i would just cry while watching it #Not to mention MICHAEL IS A LITERAL COLONIZER IN THE BOOKS #MF will not shut up about india i wish to THROW HIM #i keep adding tags because im mad not to mention Sophie and Benedict in the books has a disgusting power imbalance like.....#This is a pattern with the male leads why do you not want some stufd changed???#when he was wicked

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nothingunrealistic · 2 years

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When you land the role and you’re alone with the script, is there a typical first step you take to kind of get into the character?

There are a couple things I do right from the start. The first thing is that I, and this may not be directly what you were asking but it’s what comes to mind, the first thing I do is write out all my lines in one long paragraph without any punctuation, without any capitalization, and that’s how I memorize my lines. I memorize them as one long monologue without any inflection or emotional intention.

This is so interesting that it’s one long thing.

Which, just for me, helps me not have a preconceived notion of how I’m going to say the line, right? It helps me make sure that I know my lines backwards and forwards, so that when I’m on set on the day and the director says, “Try it this way,” it doesn’t, um, I don’t go, “Oh, well I’ve practiced it this one way, and so now I’m in a rut and I can’t get out of it,” you know. And then, as I’m going through writing out my lines, if there’s a word or something that I don’t know, I look it up, um, which in this script happened a lot. You know, Chad and Keanu thought about every little detail. You know, you don’t see it in the movie but the room the Adjudicator is staying in at the Continental Hotel, you know, has a room number, and that room number, when I looked it up, is a direct reference to something in Greek mythology. You know, so I’m a nerd in that way, I love looking everything up, and, um, so that’s where the process begins. And then, through conversations with Keanu and Chad about how they envisioned the Adjudicator, they wanted someone who could enter a room and really unsettle everyone, including people you didn’t think could be unsettled, like the character of Winston, or John Wick himself. They wanted a character who had, um, a quiet intensity, a quiet power, you know. The Adjudicator doesn’t take up physical arms, so their power really lies in in the confidence they have that everyone knows the rules, and everyone knows if you break them, there are going to be consequences, you know. So really getting into the skin of that attitude was important for me. And then you add the costume, which is really the final piece for me, of literally slipping into the character, you know. Our incredible designer, Luca Mosca, had this vision, combined with Keanu, Chad, and myself, which was of sort of a high femme, very European, very fashion-forward character, a lot of structure to the garments but also soft supple fabrics, silks, velvets, you know. So the costume, combined with what I knew Keanu and Chad were hoping to get out of the character, combined with sort of my own instincts, uh, are what all came together to hopefully, you know, bring this character to life.

Right, and, and what does that, what does that final step of putting that, that costume on do for you as an actor? Like, is that — because some, some people, they put that on first. Right, sure. To slide in. But when you put it on last, like, is it just that this is that final thing now? Now it all feels in place because that’s on?

The moment I’m in costume, having done all the preparation I’ve done, from that moment, you know, if I’m on camera and they call “Action!”, whatever I’m doing is the character doing it. It’s no longer me. You know, the character is walking this way, the character is holding gloves this way, the character is saying this line this way to this person in this moment to achieve the emotional intention of the scene. Um, so it’s, it’s also therefore fun for me to watch myself actually, because I’m like, oh my gosh, that character is doing all this stuff that I, Asia, wouldn’t necessarily do in that situation.

I really want to know what the Actor’s Studio of Ithaca was like. Oh my gosh. I love that you’re asking about that. And, and how, and how did — did that form you there? Was that where you, where your, your forming took place? Or was that, or, because you also went to AMDA, right? But just talk to me about those places.

Sure. So the Actor’s Workshop of Ithaca is a Meisner technique training program in Ithaca, where I’m from. Um, you know, I started taking professional acting, dancing, singing lessons in middle school. And I joined the Meisner program in high school, after my mother wrote a letter to Eliza VanCort, who started the studio, saying, um, you know, “I know that your, the age… whatever, range, you know, starts at 16 for the program, but my child is 15, but they are ready. They’re ready for this program, they, they need, they’re yearning for a real professional theatrical environment, you know, this is really something that they, they want.” And Eliza took my mother’s letter to heart and let me into the class at 15. So I was the youngest person ever to be admitted, and I was still in high school, obviously, And the program itself is a five-semester-long program, with an optional sixth, sixth semester. So, um, before I finished high school, I was able to complete, I think, three semesters of work. Then I came to New York, went to AMDA, was living here for a little while. Then I moved back to Ithaca for a couple of years, and I finished the Meisner training program at that time. Now, the Meisner technique is primarily based on reacting truthfully in imaginary circumstances, and you do that by learning how to listen and respond truthfully in the moment, through what are called repetition exercises, that then you build on, in terms of the training. And I feel really lucky to have been 15, 16 years old, and have been challenged to listen and respond truthfully to my own emotional life. Because not only did I learn that it’s about looking my scene partner in the eye and listening and reacting truthfully and connecting, but it also helped me get in touch with my own emotional life and how deep and vast it was, and then how to, um, titrate those emotions or use them in a scene, depending on what what the scene called for. You know, the Meisner technique — there are so many different techniques that work for so many different people, and Meisner, for me, really gave me, I think, a set of tools that that I still use to this day.

That’s amazing. I mean, do you ever think, like, okay, it’s working for you, “I’m not, I don’t need to go out and look at what other people have have done,” uh, for instance, like, the Stanislavski, whatever. Or, or do, or do you just say, “Look, it’s working, I’m using it, it, it’s great.”

I mean, I suppose I would say, in that I’ve never branched out to study, you know, like, Stella Adler or Stanislavski are sort of some of the other major contributors to the way we think about performance and drama, yeah, Meisner worked for me. And I, because I still feel like that toolbox is something I draw from on a continuous basis, I haven’t felt like there was a tool and I went to reach for it and it wasn’t there.

That would be why you would, then. If that happened.

Totally. I think if I got to a point where I was like, “This is not working, I’m not able to get to a place where I need to get,” or I feel, um, like my emotions are inaccessible or something, then certainly. I mean, you know, being an actor is a lifelong learning process. You’re al— I’m always doing scene work on my own, or, you know, saying Shakespeare out loud in my living room just to keep my diction good, or, you know. It’s a, it’s a lifelong physical, emotional, athletic process, being an actor.

Yeah. I like that. I like that. It’s like, it’s like, you gotta work out in the gym, you gotta keep the diction going, yeah.

Yeah. I mean, you know, it could sound, I suppose, sort of cheesy, but it’s like, my body really is my instrument. It is, I’m using my full self the way an athlete does, um, to, to perform, you know.

And you can see that in the, in the way you literally are being in Billions, and how that’s different from the Adjudicator. Yeah. Well, thank you. Thank you. You could really see that, yeah. Thank you. Speaking of Billions. I heard you say that you read the script and wept.

So that is referring to, um, episode 2 of season 2. Ah. Not the, not episode 1, um, but in episode 2, Taylor, the character that I play, says for the first time, “My pronouns are they, theirs, and them.” And I knew that it would be the first time that had ever been said on screen, by a nonbinary character, being played by a nonbinary actor. And just the, the overwhelming emotion of that moment, um, well, overwhelmed me, you know. And I was just incredibly moved and proud and humbled to get to play a character and say a line on screen that I know would have meant so much to me, had I been a kid and, and seen it.

I think for cis people, for white people, for men, it’s very hard to understand how representation matters. But it’s almost impossible for a cis white man to understand, and that’s what I am, and let me tell you something. It has taken me a long time, and, but I have, I, I have, I understand it now, and it’s a very powerful thing to realize. And I am just inspired by your patience with this. You’re patient that people aren’t, you know, quite there yet, or they might even be standoffish or worried about offending or whatever. But this is all, all the first steps that a trailblazer has to go through with this, right?

Yeah. Well, first of all, I really appreciate that question, and the way you phrased it, and your own awareness of your identity as well, and being able to speak to that. It’s really important and powerful, so thank you for that. I, um, you know, we’re all ignorant of what we’re ignorant of until we’re not anymore, you know? I didn’t have a full understanding of my own identity from the very beginning. I mean, I knew from the time I was young that I didn’t feel like a boy or a girl, but I didn’t have the language, really, to describe what that was. I didn’t know what nonbinary was when I was younger. And so if I acknowledge that I myself am ever-growing, ever-changing, ever-learning, then I have to acknowledge that that’s true for other people. And all I can do is, um, hope to engage in conversation with people, to hopefully create understanding, you know. Um, but it has to start with a conversation, you know, and as I said, we’re all learning, you know, as we go, so.

Yeah. Yeah. From what I’ve heard, especially on Billions, and maybe other sets you’ve been on, people are very good about telling people, “This is what you want to be called, you know, let’s, let’s have a talk about pronouns.” But is there still, struggles, like, on the set? Do you feel a burden to make other people feel comfortable about, about this, or something like that? Or is there, is there tiny things that you have to do that you wish you wouldn’t, or eventually you won’t have to, about this?

Well, as you said, I, I’m, I feel really lucky that on Billions, and also on John Wick, you know, it, everyone around is so incredibly supportive. And that isn’t to say that people don’t misgender me accidentally. Sure. But I can tell the difference, when someone is trying, you know, and they’re, they’re doing it accidentally, versus someone who is just blatantly disrespecting me and ignoring my identity, which fortunately did not happen on Billions or John Wick. And when people do misgender me accidentally, you know, either they self-correct, which is great, or I just very gently say, “Remember, it’s they,” you know. And then they go, “Oh my gosh, thank you so much for telling me,” you know. I think, um… I sort of liken it to, like, someone tells you their name is Tom. You know, they’re only going to let you call them Jack so many times before they’re like, “Listen. My name is Tom. And if you continue to call me Jack, like, at this point, I’m gonna have to assume that you’re doing it on purpose to be mean or antagonizing, you know?” And so there is a period of time, I think, which is totally natural to learn a new thing, and then there’s a point where you go, “Okay. I’ve, you know, told you ten times now,” or whatever. But as I said, I was really fortunate that, both Billions and John Wick, everyone is so incredibly supportive. And also, you know, David Costabile, who plays Wags on Billions, he and I had a conversation recently. Because he is, um, as they all are, right there if someone like, say, a photographer who comes in for the day or whatever, um, or if we do a shoot for the show, misgenders me, and David will just say, “It’s they!”, you know, “It’s them!”, you know. And he said to me, he’s like, “I can’t imagine how hard it must have been for you to come to an understanding of your gender identity and then live in your truth, out in the open, and all you’re asking for is help. Like, why wouldn’t I give that to you?” You know? And just hearing him reflect that back to me is incredibly — I mean, one, he’s incredible, and that’s exactly how an ally should be thinking. Just, like, you’re just asking me to help you, um, be able to be safe and free, and like, who would say no to that if someone is asking for that?

Right. I heard you tell Ellen that when you were young, you watched Oliver — Yeah. and had this moment of, of, of both wanting to play that role and sadness realizing you never could. Yeah. And, and the injustice in that, you know? And it made me think, like, let’s just say that this character in Billions was, they cast it in a non-, a non-nonbinary person played it and said the same words, that wouldn’t be quite as, um, revelatory. But I’m imagining that you want to play cis characters — but am I, am I wrong?

Well, I would say I certainly want to play, um, you know, parts for which I am the best actor, you know. And I think that, um, you know, when it comes to representation on screen, right, the, the most important thing, if you are, let’s say, a writer, a casting director, a producer or director, and you want to tell a story about the life experience of someone who’s totally different from you — let’s say, you know, you are a self-identified white cis man and you just are so moved to tell a story about a trans woman of color, right? If you don’t seek out, first of all, a trans woman of color to play that role, or to have in your writer’s room, or to assistant direct, or to produce, you know, then, then you’re doing a disservice, um, by not including the very community that you’re trying to represent. And you are guessing, then, at a life experience, rather than asking someone about that direct life experience, and if you guess at a life experience and you put that on screen, you are putting people in danger, you know. And so I think, when it comes to a character like Taylor, I know that Brian and David, the co-creators, auditioned people all across the board of all different gender identities, gender expressions, and they were looking for the best actor to play the part. And they had spoken to, you know, they did the first best thing, which is, they spoke to nonbinary people, you know, they brought nonbinary people into their writers’ room. They met, they met with people and said, like, “Is this a an appropriate way to talk about this or to write this line?”, or whatever. So they had already taken those steps, which also made me feel incredibly comfortable, in the room with them and taking the role. And it certainly is, um, coincidental that I ended up in the room reading for that part, but the synchronicity and certainly the, um, the impact of it are not lost on me.

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Is there something that you are dreaming of being able to play? Some character or some type of character that you would wish someone would give you the chance to do?

Well, you know, I grew up singing and dancing also, so I would love to be in a movie musical. I grew up on movie musicals and I just think they’re wonderful. Um, and in terms of roles I’d love to play, I mean, I really, and I don’t mean it to be a general answer, but I’m excited to do it all. I would love, um, you know, I know I’m in this action franchise now, although my character has not physically taken up arms, but I’m excited to do action. I’m excited to do science fiction, fantasy, um, but also roles that exist in other time periods, you know. I’m excited to travel, you know, for, for roles, shoot on locations all around the world, you know. And it’s incredibly important to me that, whether it’s work I’m self-generating or I’m collaborating with other people on projects they’re creating, that that work support and uplift historically marginalized and historically disenfranchised people, um, because when I’m doing that work, I’m inherently working to make the world safer for myself, you know, and so if the silver lining of that is that the world is safer for other people too, then I don’t know why that’s work I would ever stop doing.

#asia kate dillon #john wick 3 #the adjudicator #billions #taylor mason #this is a couple years old rather than anything new. but still fun. put asia in a movie musical already!#thank you youtube subtitles / transcript for being easy to copy & paste so i didn't have to do too much typing

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