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[activewearmanufacturer]

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[gymleggings]

4 Compelling Reasons To Wear Athletic Leggings Made With Antimicrobial Fabric

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[drhsports-blog]

Can Athletic Uniforms Manufacturers in UK Set New Standards For Quality?

In the competitive world of sports, quality matters. Athletes require gear that enhances performance, provides comfort, and withstands the rigors of their respective sports. As the demand for high-quality athletic wear continues to rise, can Athletic Uniforms Manufacturers in UK set new standards for quality? This question is at the forefront of the industry as manufacturers innovate to meet the needs of athletes and teams.

The Current Landscape of Athletic Wear

Athletic apparel is no longer just functional; they have become a critical part of an athlete's identity. From leggings designed for flexibility to sports socks that offer enhanced cushioning, the importance of quality in athletic apparel cannot be overstated. Manufacturers are increasingly focused on delivering products that not only look good but also perform well.

Emphasizing Quality Materials

One way manufacturers can set new standards is by utilizing high-quality materials. Fabrics that wick moisture away from the body, provide breathability, and offer durability are essential. For instance, advanced polyester blends are now commonly used in leggings from Leggings Manufacturers in Australia to ensure they retain their shape and elasticity, even after repeated use. Similarly, socks have evolved from simple cotton designs to high-tech options that feature compression zones, arch support, and seamless construction. These enhancements improve circulation, reduce the risk of blisters, and provide overall comfort during rigorous activities.

Innovations in Design

Another area where manufacturers can excel is in innovative design. Modern athletes are not only looking for performance; they also seek styles that reflect their aesthetics. Customization options allow teams to create unique looks, which can foster a sense of unity and identity. Promotional caps are a perfect example of this trend. Once considered merely functional, today’s hats from DRH Sports, one of the renowned Promotional Hats Manufacturers in Australia, come in various styles, colors, and materials, allowing teams and organizations to promote their brand while providing athletes with sun protection. Manufacturers that embrace innovative design principles can differentiate themselves in a crowded marketplace.

Sustainability and Ethical Practices

As consumers become more conscious of their purchasing decisions, sustainability is increasingly influencing the athletic wear market. Athletic apparel manufacturers in the UK have an opportunity to set new standards by adopting eco-friendly practices. This includes sourcing sustainable materials, minimizing waste in production, and ensuring ethical labor practices. By committing to sustainability, manufacturers not only meet consumer demand but also create a positive brand image. This focus can lead to increased loyalty from both athletes and casual consumers who value environmentally responsible products.

Leveraging Technology

Technology is another avenue for improvement in athletic wear quality. From moisture-wicking fabrics to smart textiles that adapt to temperature changes, the integration of technology in sports apparel is revolutionizing the industry. For example, manufacturers can use digital tools to create precise fits that cater to the unique body shapes of athletes, enhancing both comfort and performance. Moreover, the rise of online customization platforms allows athletes to personalize their gear, ensuring it meets their specific needs. By leveraging technology effectively, UK manufacturers can raise the bar for quality in athletic uniforms.

The question remains: can athletic wear manufacturers in the UK set new standards for quality? The answer is a resounding yes. By focusing on high-quality materials, innovative designs, sustainable practices, and advanced technology, these manufacturers have the potential to redefine what quality means in athletic wear. As the market continues to evolve, those who embrace these changes will not only meet the needs of today’s athletes but also pave the way for future developments in the industry. Whether it’s through superior leggings, advanced sports socks from Sports Socks Manufacturers in Australia, or stylish promotional caps, the commitment to quality will ultimately define the success of athletic apparel manufacturers.

[belaporter92]

The Benefits of Choosing a Yoga Wear Manufacturer for Your Wholesale Clothing Needs

Manufacturers prioritize high-quality materials and craftsmanship, ensuring durability and customer satisfaction. https://alanicglobal.wordpress.com/2023/07/04/the-benefits-of-choosing-a-yoga-wear-manufacturer-for-your-wholesale-clothing-needs/

[coxblogs]

All You Need To Know About Seamless Leggings And Its Benefits

Seamless clothing is one of the best discoveries in the fitness wear fashion industry. Made with the best quality fabric that feels like a second-skin, you ought to invest in such clothing if you want to ace the game in the gym.

[missroy33]

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[clothingmanufacturer]

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[sunsetkerr]

THE WORLD CHAMPS | s.kerr

summary: you are about to play the game of your life and sam is right there on the sidelines cheering for you. [1.6k words]

pairing: netball!reader x sam kerr

notes: netball!reader is my new favourite thing

YOU KNEW THAT AUGUST would be a busy month for you and sam. she and the matildas had just progressed out of the group stages in the world up, but so had you. 

at 18 you received the call-up to play for the australian diamonds netball team. you played in the constellation cup against the silver ferns and came out on top, a new name in national netball; people loved you.

you played through the year with the diamonds, often playing with your state team too. but in the january after your first cup, you tore your acl. only 19, people thought you were done for with the way you went down. it had the nation talking about netball, about how its rising star had fallen from the sky.

an estimated 6-9 months in recovery became 12 and you hadn't picked up a ball since; resenting the sport that you loved. once cleared to return to netball, you were eager to return, to show everyone they had no reason to doubt you; that you would play for australia again.

the diamonds kept you in the reserves your first season back in 2015, too nervous about your leg. you got to watch the diamonds take home the world cup on home soil. whilst you couldn't play for the nation, you played at suncorp level once again- this time, smashing your scoring record. you shot 653 goals in the regular season for the thunderbirds, beating your personal best of 597.

you were back and netball fans around the nation knew it.

the next season you were back working with the diamonds, making your way towards one goal- playing in the world cup.

when it came around, you were picked in the starting seven- shooting goals for your country. you broke your personal best again, 653 becoming 672. you were approaching most goals scored ever by a singular player.

but second place smacked you and your girls harshly back into reality, you left with no cup. you left runners up. clips of you crying on the court went viral, your fans knew what that game meant to you. you were broken to lose.

the next year, you were signed to nike. you became a spokesperson for their newest line of netball shoes that they had manufactured and your face was plastered all over the country. billboards, posters, and any advertisement had you on the front.

soon, nike called you to a shoot with all of their major athletes, wanting to showcase the faces of their campaigns; and that’s when you met sam.

your entire world shifted. she was funny, confident, beautiful and smart; and you fell for her straight away. netball and sam were the only two things on your mind.

two months into being friends, she asked you to be her girlfriend.

news outlets were noticing how much time you both started spending together, how you were always in the stands at each others games if they didn’t conflict with the other persons. the instagram stories, being in the background of each others posts. people began to catch on.

but when you scored the winning goal at the 2022 commonwealth games against jamaica, sam and the rest of your teams family rushed the court; and she kissed you right there, on live television.

the secret was out, and you and sam quickly became one of australia’s favourite couples.

you both constantly showed off your unwavering amount of support for each others careers. matilda’s fans adored seeing you in the documentary and revelled in getting a peak into how crazy your life with sam really is. constantly travelling, constantly trying to make time for each other.

you both knew that your careers meant the world to you. you were determined to go back to the world cup in 2023 and win. she wanted to do the same.

but you both always knew what you went home to; each other, and that was enough for you both.

you worked hard to get picked back into the starting seven for the world cup, your coaches noticed your commitment and dedication- you were put in the line up, no questions asked.

you worked through the group stages and through the second stage, then the play-offs. the grand final was now staring you in the eyes, and england would be tough to beat, but you weren't planning on taking it easy on them.

you woke up early to get to the training centre with the girls, letting sam sleep in. you talked tactics, did some drills and watched through some past matches from the cup to talk about focuses for the final. you always got nervous before a big game, but this one had skyrocketed your anxiety.

sam had been called by your teammate ruby, when she found you throwing up in the bathroom for the second time that day.

"you're crazy if you think you're playing, you're obviously not well," her voice crackled through ruby's phone. you knew that you were fine, it was just the nerves- they were knocking you onto your ass.

"you're crazy if you think i'm not," you bit back, sam surprised by the bite in your tone. "i ate heaps at breakfast, and then ran sucicides for 25 minutes, sam" you explained. ruby shot you a look, knowing you were lying to your girlfriend. "i'm fine," you emphasised.

"you need to call it if you're not y/n" she said, sat with her elbows against her knees and her hand over her mouth. sat back in the hotel, she began to bite her nails. knowing that you could be bleeding out, and you would still play in this final. nothing would stop you. they would have to drag you out kicking and screaming.

"would you?" you ask her, eyebrows raised. sam didn't respond, only sitting in guilty silence. sam has played games ill on multiple occasions. through gastro, the flu and covid. you sat by her side every time and knew that, inevitably, she would be walking onto that pitch; too strong willed for her own good. you weren't much better.

"sam?" you called her name.

"no.." she sighed, knowing you were right. "no, i wouldn't" she said. "but even when i was sick i still told you if i was or not, so tell me; are you okay?"

you sighed, resting your head against the tiled walls of the bathroom. "i think it's just nerves," you admitted, "i-" you sighed again- "i'm shitting myself, i'm so nervous."

"baby" she tutted, "you're gonna be great. you've got this in the bag, yeah?"

"don't say that," you shook your head, "we lost to them last time."

it was true. in the group stages, you did- you lost to england.

"yeah, by a fucking point y/n"

"a point that i missed," you felt that loss heavy on your shoulders.

"she contacted you and the ref didn't call it," sam argued.

"i still missed"

"and you're not going to today," she told you, "you're gonna beat that pb, you're 33 off beating it". it was true, you were once again nearing your personal best for most goals in a season. "and i know that you're gonna shoot more than 33 tonight," she smiled.

"you think?" you whispered.

"i know"

and she was right. just as the half time whistle sounded, you had a penalty shot. the crowd cheered as you set up for your shot. sam was starting to stand up in her seat just a row behind the bench. she was cheering louder than anyone else there. you heard her 'come on, y/n' over everyone else in the crowd. macca and alanna sat on either side of sam, mary, hayley and steph there too to cheer you on.

you took a breath, straightened your elbow and shot with one hand, other arm by your side- your signature.

nothing but net.

the crowd went crazy. steph, your goal attack, engulfed you in her embrace. the england defenders congratulated you. you turned to where sam was sat and smile. she was now standing up straight celebrating with her teammates. she held up her first and met your gaze.

you smiled again, pretending to shoot another goal. she whistled out at you and pointed to you. the cameras caught it all. the crowd cheering at your interaction.

australia led at halftime 27-23.

in the last quarter, you were on fire. you shot every goal you went for, and the wheels fell off for england.

when the final whistle sounded, you were a world champ. 

your team defeated england 61-45. your subs rushed the court, so did your coaching staff. you screamed, running to meet your teammates. 

sam watched on as tears streamed down your face. liz, your captain, passed you the trophy as it was brought out for your team. you raised it up, the crowd knowing how special this was for you. after a long journey, you finally got to hold that cup. you looked up into the stands, to find sam. she was crying too, wiping tears from her eyes as macca hugged her. you sent her a smile, tears still streaming down your face as you cried. you blew her a kiss with your other hand, and she caught it, holding up her hand. 

“holy shit!” you shouted over to her. 

“i knew you could do it!” she called back. you laughed at her before being brought back into the moment with your team, only now- you were world champs. 

and even though the title rested on your shoulders, you couldn't wait to go home with sam tonight- you were always a champion to her, title or not.

[alianoralacanta]

Fisichella Defence (21-12-2006)

Context: The flame wars one sees on Tumblr and other social media in 2024 are nothing new. Back in the mid-2000s, fora were full of them. In F1, these tended to go down a few clear lines: Michael Schumacher vs some people's version of how sport should be conducted Michael Schumacher vs Alonso Michael Schumacher vs Raikkonen (you may detect a theme here) Both Schumachers vs Montoya McLaren vs Ferrari Williams vs McLaren Villenueve vs whatever he was arguing about this weekend One forum-specific flame war that was none of the above. In one of the general forums I was in at the time, the specific flame war was manufacturer teams vs any independent not named Williams (it was that specific flame war which split the forum in the first place, due to its two admins being on either side of the argument). The Team Silverstone forum flame war was Team Silverstone vs people who thought that specific team shouldn't exist (I eventually ended that one in mid-2007, due to a typo). The forum where La Canta Magnifico Blog was based had Giancarlo Fisichella vs Juan Pablo Montoya.These days, people generally accept that it is possible to like both Giancarlo and Juan Pablo at the same time (this is often the eventual outcome of flame wars where there is neither a clear winner nor reason for long-term rancour). However, this particular corner of the internet had not yet come to that conclusion. Even after Juan Pablo Montoya had found his happiness elsewhere in motorsport, people on the forum still argued about whether he was better than Giancarlo Fisichella. I don't have the forum post that clearly prompted this blog entry, but the gist of it is that Juan Pablo Montoya was being defended on the basis that he had some great video clips on YouTube (back before FOM started issuing copyright notices to the platform, which started happening in summer 2007). As the most prominent Fisico fan on the forum (as well as its most long-winded), I felt the need to respond…

The reasons there are few videos of Fisichella doing great stuff (and some do exist, though copyright forbids me from linking to them) are the facts that he does his races quietly and has a tidy driving style. None of JPM's wheel-locking or massive slides are in evidence unless Fisi's having a really bad day, and it's always more difficult for a camera person to convey excitement when there is no feeling that the driver is out of control. While keeping just the right side of that boundary in a dramatic way is commendable and fan-attracting, the smoother, quieter method usually generates more race speed from the car.

It's no accident that the only top-level drivers using the just-in-control driving styles are Juan Pablo Montoya, Jacques Villenueve and Fernando Alonso. Montoya got it to semi-work in a rather understeery McLaren and messy Williams, Villenueve's not managed to co-operate properly with a car since he went to BAR and Fernando Alonso has created a new variant of just-in-control driving that nobody else has yet managed to emulate.

Picking a single definitive race is tricky because Fisi has had so many really good races. Taking just those races starting from when I paid particular attention to Giancarlo's races, anything from the the start of 2001 through to about two-thirds of the way through 2003 (apart from Malaysia 2003), USA 2003, anything in 2004 after about race three except Monaco, Australia 2005, Canada 2005, the last third of 2005, Malaysia 2006, the American leg of 2006 and the last third of 2006 will show elements of why Giancarlo is in the top 5 drivers and has been for a long time. Simply because he doesn't have ten fifteen-second-long race incidents that summarise the true scope of his ability the way Juan Pablo or any other "just-in-control" driver will have doesn't mean there is nothing to summarise. Though if I had to pick the one that best shows why Fisi is better than JPM, it would be Brazil 2003. Notwithstanding the rain factor, there was also the part where the notoriously unreliable Ford in the back of Fisichella's car had been sounding slightly off since about lap 49. However Giancarlo got the car past the red flag before the engine finally blew up. Not only would Juan Pablo not won the 2003 race, he would have induced a technical retirement. However, the cameras missed most of Giancarlo's race as they were too busy keeping up with spinners at Turn 3 and Raikkonen passing everyone except Fisi.

This also helps to explain the video situation, as having a few widely-recognised key situations forming the videos is the quickest way of building up search ranking. That helps explain why JPM's best-known incidents are always going to be very high on the video search list.

As for the the part about it being only legend that the driver must make the team work, it's a fact. Everyone in a group has to support everyone else in the group to succeed, and teams are no different. Simply because teams are usually predisposed to helping their drivers and Ron Dennis clearly hadn't recruited Juan Pablo to be an "after you, Claude" No. 2, doesn't mean that Juan Pablo didn't need to do any work to maintain that. From the F1 Racing September 2006 article, Juan never took any time to gel with the McLaren team setup, which apparently was causing trouble long before the tennis incident. Juan should have known fitting in would take work and if he wasn't prepared to do it, he should have found another berth for 2005 (there would have been plenty open to him at that point on the open market!)

That is why I hold Juan largely responsible for his having to leave McLaren in the first place. In fact this is the second time it's happened, with Juan Pablo unable to co-operate with Williams enough to extend his original contract there either. The fact that he chose the timing of his leavetaking is great, but surely it's better to do what Fisi did and put some effort into nurturing the team that's giving you the car? That's why the Renault people have bent over backwards to protect Fisi where necessary when McLaren would do no more than it usually did to protect Montoya when he erred.

Team building may not be a major factor in driver ranking, but when the raw speed statistics do not help separate Juan Pablo and Giancarlo very much, and the differences in results almost entirely attributable to cars rather than drivers, then things like the ability to become a No. 1 in a team suddenly play a major role in the decision.

It's worth saying that in the olden days when cars ran close to each other, these skills were still necessary - it was simply that they were taken more for granted because the whole motorsport community was closer-knit back then - in fact the drivers had to do more back then to get into their teams' good books. Do you think it was an accident that a lot of the drivers back then had some background as a mechanic before reaching F1?

If Renault was not confident of Fisi, they'd've given Nelson Piquet Jr. his place. As it happens, Fisi is not only considerably more experience of Renault and F1, but also a very fast, consistent driver who is capable of leading a team - and of being a better driver than Juan Pablo Montoya was.

[champagnepodiums]

Could you explain the merge of CART and IndyCar?

OKAY so reunification of CART and INDYCAR (I'm going to just be operating under the thought that we know why CART and IRL split in the first place). I'm going to keep it as straightforward as possible but it's messy lol

So after the Split, CART was in a better position -- it had the cars, the sponsorships, the big names etc. CART saw an increase in annual revenue from $38M in 1995 to $68M in 1999. But it was not even because oval attendance was tanking. Television ratings were terrible and the revenue from TV was abysmal (all season CART would make $5M which was less than what some singular NASCAR races made). They also did a public stock offering, selling 35% of the company, raising $100M.

In 1999, young star Greg Moore and emerging talent Gonzalo Rodriguez were killed in two separate racing incidents, two months apart from each other and that started raising safety questions.

In 2000, CEO Andrew Craig was forced by the car owners to resign. He was replaced with Bobby Rahal (yes, Graham's dad lol).

While oval attendance was declining, street course attendance was healthy and CART decided to focus on that as well as oversea ovals which angered some of the more traditional owners and sponsors.

In 2000, Chip Ganassi's team returned to the Indy 500 (and won).

In 2001, CART released a very ambitious schedule -- 22 races in the US, Canada, Mexico, Brazil, Japan, the UK, Germany and Australia. One of the races added was the Texas oval which had put on an exciting IRL race the year further.

But the season went like this: Brazil was cancelled when promoters didn't pay, Texas had to be cancelled because the drivers were sustaining too many G-Forces and blacking out in the corners and it was a PR nightmare essentially.

The three manufactures of CART at the time were Honda, Ford and Toyota. Honda and Ford had developed a turbo pop off valve (I don't know what it is lol) and Toyota complained so when CART mandated a change to equalize things, Honda obtained an injunction allowing them to use it which pissed everrrrrybody off. Toyota announced it was going to IRL in 2003.

The German 500 happened the Saturday after the 9/11 terrorist attacks. The teams were unable to leave because airspace was shut down so they decided to go ahead with the race and that pissed people off... including ESPN who refused to air the race live. Alex Zanardi lost both legs in an accident at the German 500 so like we're just shoveling the bad PR on at this point.

To make matters even worse for CART, ABC/ESPN which had been airing their races signed an exclusivity deal with IRL (to keep the Indy 500 rights) so CART went to the SPEED channel and they bought time on CBS but really, this is just the straw that breaks the camel's back because without the exposure from ABC/ESPN, sponsors don't stick around etc.

And remember how they put 35% of the company up for public offer? This comes back into play because they allowed teams to disinvest and sell their stocks which meant new voices were coming in and there was just instability and turmoil.

In 2002, Honda announced it was going to IRL so Ford would be the only manufacturer left which further tanked the stocks and at this point, most everybody has already or are going to jump ship to IRL.

CART declared bankruptcy in 2003 and rebranded to Champ Car and was able to keep themselves afloat. I want to leave Champ Car there for a hot second.

The Split killed a lot of interest in American Open-Wheel racing and allowed NASCAR to become the most popular motorsport series in the US. So even though IRL had the ABC/ESPN deal and had the top teams and manufacturers jumping ship to join them, interest is waning (and that is bad because sponsorship, attendance etc etc). And also, the die hard IRL fans are getting mad because they feel like their sport is getting overtaken by CART again -- it doesn't help when the 2005 IRL schedule includes 2 road course races, ending the 7 seasons of oval only.

Manufacturers withdrew support starting in 2006 and that caused major issues for IRL because teams were struggling financially and teams had to cut back or quit full time racing altogether.

By January 2008, both Champ and IRL were starting to worry that they wouldn't have enough cars on the grid to maintain their contract minimums so Tony George offered a merger deal with IRL buying all of Champ Car's assets basically. They kept racing under the IRL banner until 2011.

In 2012 it was rebranded as INDYCAR and that is when they dug out the Astor Cup from the depths of IMS and reunification was complete.

That turned into a much longer essay than I planned. Please, any clarification questions (or just general questions) are so welcome. I love talking about this stuff and no question is stupid, I want people to know and understand motorsport history so please feel free!! I cannot stress that enough lol

[activewearmanufacturer]

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[princepaddy]

‘I wanted all eyes on me’ – The OA and Shadow and Bone star Patrick Gibson on his acting pedigree

After the Netflix series that gave Patrick Gibson his break-out role was cancelled, it was no doubt tempting to jump at the next thing that came along. But the Dubliner — who has been acting since age eight — has chosen his roles carefully to forge a long-term career. It helps that he’s had his thespian parents, Lenny Abrahamson, and a clown professor to guide him.

A solidarity exists among those who survived hotel quarantine during the pandemic. On encountering a fellow detainee in the free world, an immediate bond forms over a shared experience in enforced confinement, and occasionally, so does a dynamic of oneupmanship.

“A fortnight without an open window,” I’ve smugly responded of my own quarantine episode, to those who underwent a mere week to 10 days with a terrace. “It was tough, yet strangely cathartic, and actually quite spiritual in some ways,” I then deliver with a martyred air.

Consequently, I feel completely diminished by Patrick Gibson’s multiple bouts with room-serviced captivity. “I think I did it five times,” the actor casually estimates, scratching a whiskered chin. “Once in Australia, once in America and a couple of times while going back and forth between the UK and Belgium.”

He’s unsure how long in total, something I chalk up to a coping mechanism from the residual trauma. “Maybe,” he agrees. “I mean, the days blended into each other. I did keep a video diary as a way not to lose my mind, but I’m too terrified to look back at it now. And I had it easy compared to some of my friends who’re actors. A couple I know were in and out of quarantine once a month.”

With each stint in confinement preceding an acting job, Gibson explains that all delivered the perfect duration in which to learn lines; to find a character’s motivation, and even workshop with a clown professor. Yes, you read that right — a clown professor.

“I was quarantining in Brisbane to work on a film I was shooting in Australia called The Portable Door which has a lot of physical comedy in the script, something I’ve never done. I’ve never done comedy — there’s actually nothing scarier than doing comedy because the reaction is so much more immediate. You know if you do something and people don’t laugh, you’re in trouble. It’s not as nuanced as drama.

“So I did workshops on Zoom with a clown professor. He’s an amazing movement coach teaching in one of the best drama schools in Australia. And it was about facing the fear of falling on your face, which is at the core of clowning; getting comfortable with that, not giving a shit if you make an idiot of yourself. It was actually way more philosophical than I expected. The theory of clowning is so fascinating.”

I’m disappointed with the distinct lack of clown tropes in his account of the experience: no red squeaky nose, no water-squirting flower. There must have been some slapstick involved.

“There was a physical [slapstick]. He would get a chair, give himself a simple task to unfold the chair and do a 60-minute routine, which was hilarious. And I learned from that, just doing simple things and allowing myself to flow with it. He’d have me waving my arm around, and then he’d click his fingers, and I’d be waving the other one, or my leg, or some other crazy action. Jumping up and down. Using my whole body.

“If I was being monitored [during quarantine], they’d have thought I was losing it in there.”

It’s Friday evening in Los Angeles. Gibson (27) who found fame with the Netflix cryptic fantasy series The OA, talks to me from his hotel room. “At least this one I can come and go from,” he laughs with a drawn-out titter.

He periodically repositions the camera during our video call, often at an upward angle, which for most of us would manufacture a furl of unfortunate chins, but only serves to enhance his pale, cinematic features.

The Dubliner, raised in Stillorgan and schooled at Gonzaga College in Ranelagh, is on a flying visit to meet his agents, Dar Rollins and Andrew Kurland at Creative Artists Agency (CAA), who between them represent and negotiate for screen luminaries such as Michael Keaton, Samuel L Jackson and Sarah Michelle Gellar.

I’m imagining the agency as an open-plan office, with blinding white furnishings, floor-to-ceiling views of the Hollywood sign, and skittish assistants clumsily clutching scripts and offering green juices. “Well no, not quite,” Gibson smiles.“ But we went for a coffee on a roof of some fancy hotel, which was still very LA.”

Since a breakout role as a disaffected delinquent in The OA — a supernatural, sometimes baffling series, circling near-death experiences and alternate universes — Gibson has ricocheted from sumptuous costume saga in The Spanish Queen; to Gen Z romcom In A Relationship, alongside Emma Roberts; and a West End stage debut in Lynn Nottage’s Pulitzer-winning Sweat.​

Meanwhile, the fruits of his quarantine labour are set for imminent release, including a second season of Channel 4 crime series Before We Die; independent teen drama, Good Girl Jane, lauded at the recent Tribeca Film Festival and a central role in the next run of Netflix mega-hit Shadow and Bone.

As a rule, agents largely guide and counsel an actor towards success, while sometimes inadvertently steering them into failure. Does Gibson feel comfortable placing his full faith in his LA-based representatives?

“Good agents, who you feel completely at ease with, who understand your goals and what’s right for you, they will have your back. And [my agents] have my back. Right now, there’s so much content being made with all the streaming platforms, it’s important to know the next thing you’re going into is right for you. Because once you’re in, it’s a big commitment.

“Shadow and Bone, that’s six months of the year. That’s a massive project to sign on for, so it’s important to have a team of people to discuss with, feel it out. Some have their own motivations and will encourage you to work on something that serves the immediate, rather than the long-term plan. A good agent will encourage you to say no if you need to.”

At just 27 and still in the infancy of his career, is saying no to work frightening? “Saying no is scarier than saying yes but it shouldn’t be. Also, if you say no to something, people can then assume you’re not working but I don’t think it’s good to make decisions over what others might think of you.”

For Gibson, performance is in the DNA. His parents, Irish mum Kate and his dad, Richard, who was born in Uganda and raised in the UK, met and fell in love as actors on London’s West End. “One of them was doing a Noël Coward play I think, I can’t remember what the other was [doing].”

While Kate walked away from acting, ultimately transitioning into marketing, Richard continued his career on stage and screen, notably doing a 10-year stint as Nazi buffoon Herr Flick in the iconic BBC sitcom ’Allo ’Allo!.

During summer breaks from school, young Patrick and his older brother Billy played backstage during Richard’s touring stage productions, mingling with cast and crew. For Patrick, a seed was planted. “The costumes, the transformative atmosphere, the creativity — it captured my imagination.”

Gibson tagged along to his father’s theatrical agency in Dublin, communicating his desire to act. Aged eight, he landed his first commercial for Vodafone and enrolled in afterschool drama classes, the latter a futile exercise.

“I remember briefly doing Betty Ann Norton, Billie Barry [stage schools], and my parents being told, ‘This kid is not designed to be in this environment, he’s too mental’. I imagine I was incredibly annoying to teach; must have been a nightmare. I had no interest in group collaboration. I wanted all eyes on me.”

This unapologetic self-interest proved rewarding on the local audition circuit, with Gibson and his brother cast as Liam Cunningham’s sons in a 2007 RTÉ production of Maeve Binchy’s Anner House. Shot in Cape Town, it’s the only time Gibson has travelled to the African continent. While far removed from his father’s childhood home in Uganda, it gave Richard the opportunity to introduce his children to a taste of his African upbringing.

“Dad left Africa when he was 10, moved to London when his father was working there and he had a mad transition. Uganda was all he knew, and he’s told us how wonderful it was to grow up there and then he moved to the UK where it was grey and miserable. So being able to revisit Africa with us as kids was significant for him. He brought us to Kruger National Park, which isn’t in Uganda but he had been there as a child and it was a special trip for all of us.”

By the time Gibson attended Gonzaga, he had appeared in a couple of episodes of The Tudors and was a ‘lost boy’ in Neverland, Sky’s expansive adaptation of Peter Pan. “That’s where the penny dropped. That’s when I realised, ‘Yeah, I really want to do this’.”

Disappointment came with an audition for Game of Thrones’ adolescent despot Joffrey Baratheon, a role which ultimately went to Cork’s Jack Gleeson. “I was 15, maybe 16 and I know I got close. Not final two, but I got really close. But Jack was Joffrey. There’s a DNA in every part that casting directors are looking to match that up with. When you see it, it’s undeniable. I’ve had parts I don’t get because no matter how hard I work on that character, there’s somebody who matches up [more than I do].”

A successful casting for Lenny Abrahamson’s What Richard Did as an impressionable young sidekick to Jack Reynor’s titular anti-hero heightened his profile and fostered an enduring relationship with the Oscar-nominated director. Abrahamson was directly instrumental in Gibson studying philosophy at Trinity College.

“I was thinking about doing philosophy, and at the same time talking about drama school and Lenny gave me the nudge. He said: ‘If you want to be an actor for the rest of your life, do something now that’s different. And if you’re going to act for the rest of your life, philosophy demands you look at everything from every angle.’ It encourages you to analyse and assess beyond a linear point of view.”

However, Gibson struggled to balance work and college. “I missed classes, tutorials. I missed my exams two years running,” and after landing The OA in 2015 and relocating to New York for five months, his studies had to be ultimately sacrificed. “I will go back, some day,” he promises with a cackle.

The OA was a complex learning experience for Gibson. Conceived by Brit Marling and Zal Batmanglij, the creative duo behind indie efforts The East and Sound Of My Voice, the series was a psychedelic blend of comic-book fantasy and murky mystery, and hailed as being both brilliant and baffling. One critic called it, “bonkers with a vengeance,” while another dismissed it as “gripping but annoying”.

With Marling taking centre stage as a blind woman missing for seven years who reappears with her vision restored, a mysterious carving on her back and a flat-out refusal to disclose where she had been, the show amassed a keen audience who were left bereft after the shock cancellation in 2019, leaving the storyline on a cliffhanger.

Some were so disappointed they raised funds for a ‘Save The OA’ digital billboard in New York’s Times Square, with one devotee going on hunger strike outside of Netflix’s LA offices.

Gibson was deflated by the cancellation. “I got a call from Brit and Zal when I was coming back from a music festival, which was a slight buzzkill. And they said, ‘We have some sad news’. From their side, while everything in that show had been a challenging thing to make, I found the whole journey was so bizarre and magical. And it didn’t feel that out of the ordinary the way it ended. With something like Shadow and Bone, that would surprise me if it was cancelled that way but, with The OA, it felt right in a strange way.”

Shadow and Bone is Gibson’s second punt with the Netflix machine. Joining the hugely successful show in its second season, after the debut series drew in 55 million viewers in its first 28 days, long-term success appears a more likely outcome.

Adapted from a series of popular fantasy novels by Leigh Bardugo, the glossy saga boasts a central band of heroes and cads with varying degrees of magical capabilities. Starring Chronicles Of Narnia’s Ben Barnes, British-American actor Zoë Wanamaker and Irish newcomer Danielle Galligan, audiences were gripped by an interspersing, sweeping narrative framed against the battle for Ravka, a fictional realm heavily influenced by Imperialist Russia and the reign of the Tzars.

Joining the conflict is Gibson’s Nikolai Lantsov, a prince of Ravka masquerading as a pirate — a duality the actor relished. “He’s a prince and a pauper, an alter ego in disguise and he brings this massive bravado; a pirate who has this massive ship, has got this massive swagger. Kind of like Robert Downey Jr in Iron Man, he gets on people’s nerves but he’s also hard to hate. Underneath, he’s vulnerable, not given a chance by his family. It was fascinating to be able to explore both sides of that person.”

With Lantzov a standout fan favourite of the book series, the actor is keenly aware of a pressure to please with his take on the character. Unusually for an actor in his 20s, Gibson employs a veteran’s perspective to quieten such anxieties.

“With movies and TV shows, everything is talked about like it’s life and death, and it can often feel like it is, but at the end of the day, it’s not. Other people’s jobs are — some literally.”

He tells me his brother Billy — now a father of two, who works as a cardiologist in a Dublin hospital — is a massive inspiration. ​

“Working a 24-hour shift, then taking his kids to the pool, has a few hours off, then goes straight on to another night shift. And the stakes he’s dealing with, the health and well-being of people, their actual lives — it always puts it in perspective for me.”

Quite the effective reality touchstone, I remark. But does it always work?

“You hear actors complaining all the time. We’re the number one for it. But you know what, it’s absolutely unwarranted because to get to do this as a job is the most fortunate thing in the world. It really is. And I won’t take that for granted.”

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