#maggie interview

[fuckyeahgoodomens]

Maggie Service at the London Comic Con Spring, 2.3.2023 :) ❤

Reporter: Also in Doctor Who but better known for her role in Good Omens, the series which promotes inclusivity, it was Maggie Service's first Comic Con.

Maggie: I've just had this lovely mom, who whose children aren't here today, but are non-binary and trans and - it's going to make me cry again - but they've just, you know, they've said that the character gives them a place to be.

[fuckyeahizzyhands]

Izzy wanted to be beautiful 🥺❤

Despite the intricacy of Wee John’s Calypso, it was Izzy’s drag look that caused a little more workshopping behind the scenes. Inspired by Wee John’s efforts, Izzy follows his lead and dons a more muted, but no less iconic drag look for the party. Explains Hennah, “One of the biggest challenges actually, weirdly, was when we were doing Izzy’s makeup, getting the eyebrows right. We powdered out his face, and we did the lipstick, and that was great, but we went through about four different versions of the eyebrows before we found the right [ones].”

According to Hennah, it was very important to O’Neill that Izzy didn’t “look comedic.” Rather, “he wanted it to be beautiful, and he ended up looking so beautiful in that scene. We had so much fun with it.”

...

Phillips recalls, “It took a while to clear that song. It was just a tricky clearance, not because they didn’t want it, but it was overseas and whenever it’s an international clearance, it’s more difficult and timely.” There was also some back and forth between Jenkins and O’Neill over what version of the song he’d sing.

“He was initially afraid, he was hesitant about singing in French because he didn’t know French,” Phillips explains. “And so we went back and got permission to sing it in English, and while we were waiting for the permission to have him sing it in English, [O’Neill] taught himself how to [sing it] in French.”

“He was still scared to do it,” Phillips shared, “but then it came out, and it was so beautiful. So we ended up using all the French parts of it even though we were cleared for both.” In the end, Phillips says that the moment was “so beautiful,” praising O’Neill: “He’s so good as Izzy.” 

[sounwise]

“Paul McCartney’s secret love affair” (interview with Maggie McGivern in the Daily Mail, April 12, 1997)

[Full transcript beneath the cut:]

-

Millions of words have been written about The Beatles — but little, if anything, is known of a girl called Maggie McGivern.

Yet now it can be revealed for the first time that she is the woman who had a secret affair with Paul McCartney for more than three years.

They were the years songs such as Paperback Writer, Strawberry Fields Forever and All You Need Is Love were enchanting the world.

More pertinently they included the years in which he had his relationship with actress Jane Asher, and when he met the woman who would become Linda McCartney.

The saga begins early in 1966 when Maggie was working as a nanny for Marianne Faithfull and her husband, John Dunbar, a Cambridge graduate and artist.

Their son, Nicholas, had been born the previous November. Marianne had a third-floor flat in Chelsea, in the heart of what was then Swinging London, the capital city of the Sixties. For more than three years The Beatles had been storming the pop charts — and society.

Help! was the sensation of the previous summer and the double-sided Day Tripper/We Can Work It Out was in the charts. Beatlemania was everywhere and Maggie, through her new job, would quickly get used to rubbing shoulders with the famous.

One day when the buzzer rang on the intercom for the flat, she didn’t recognise the voice from the ground floor. The young man asked if John was around. ‘Who is it?’ said Maggie. ‘Paul McCartney,’ said the voice. ‘Oh — come up . . .’

‘Paul ran up the stairs and came in,’ she recalls. ‘Very casually I told him John wasn’t really in — and that sent us both into hysterics. We were laughing and chatting.

‘I had made a nice lunch for Marianne and a bunch of her friends but they never showed up. Paul and I sat together and ate it instead. I’ll never forget the meal — it was chicken casserole. It was such a funny introduction that it threw us both off guard. It could have been very embarrassing, but there was an immediate rapport and we just couldn’t stop talking.’

Maggie, whose once-dark hair is now dyed honey-blonde, told how she and Paul became closer in the months that followed, even though they each had a separate relationship.

Maggie had a photographer boyfriend and McCartney was seeing a pretty young actress called Jane Asher, living for a time in her parents’ house before she moved in with him.

‘It was a gradual thing,’ says Maggie. ‘From that point on Paul kept coming up to the flat. He was very good friends with John but I knew he was coming to see me.

‘He would ring and ask if anyone was there and if there wasn’t, he would come up. We used to talk about lots of things but it was obvious to both of us that our other relationships were not going well.’

It took six months before their association, as Maggie puts it, turned from friendship to love. The Beatles had been recording their Revolver album, released at the end of summer 1966.

-

One evening McCartney, John Dunbar and some friends returned from Paris with some demo tapes of the album and played them for Maggie. ‘There was something in the air that night and that’s how it all started,’ she says. ‘He ended up staying the night and we went to bed. It was wonderful.

‘The next morning was one of the most previous moments of my life. We didn’t say much but it was such a tranquil, pleasant feeling — made all the more so because we left things unsaid. He stayed with me until lunchtime and we chatted and larked about. Everything with Paul was so natural. From that moment on he used to come around regularly.’

By this stage The Beatles had stopped doing live performances and tours but McCartney was putting just as much effort into recording. Maggie was frequently abroad on modelling assignments.

‘When we were having our love affair, I hardly phoned him,’ she says. ‘He used to find me wherever I was, and that was fine as far as I was concerned. He did tell me that Jane Asher had moved in with him at his house in St John’s Wood and I remember saying that it meant nothing to me.

‘Throughout the relationship I never pursued him — I just didn’t think about him having other women. My view on relationships has always been that if something works, it works. If it’s meant to be, let it be. Besides which, I had a busy life, and I was very busy living it.

‘Our relationship was a secret from day one, at first because we didn’t want Jane to find out, and later because we preferred it like that. We hardly ever went to parties. We would occasionally go to restaurants but normally we’d walk his dogs in Regent’s Park or go for drives in the country.

‘We craved isolation and I for one did not want to become an overnight superstar — I certainly wasn’t ready for that emotionally.’

Secrecy, of course, was vital for the continued success of their relationship. Maggie, who now lives in Brighton and works as a rollerblade instructor, says: ‘I don’t believe celebrities when they say they can’t keep affairs secret. We managed it quite well for more than three years.’

She described a trip to Paris in 1966 with John Lennon and The Beatles’ manager, Brian Epstein. All of them flew into France separately — Lennon had been filming abroad and Epstein had been away on business. Maggie and Paul, she says, traveled apart ‘as part of keeping the relationship secret’. During the five-day trip the foursome stayed at the same Paris hotel where she and Paul shared a luxury suite. ‘It was a marvelous holiday,’ she says. ‘. . . just walking around the streets of Paris.

‘My abiding memory is of me, John and Paul lying under the Eiffel Tower, gazing up at it. We couldn’t go up because we would have been recognised, and we were masters at the art of avoiding people.

‘Throughout the relationship we never met in obvious places. We would go to places like auction rooms in South Kensington, and say “whoops — fancy meeting you here”.’

By this point, Maggie saw Paul as a permanent fixture in her life, but gave no serious thought to marriage or children.

Maggie was 20 and McCartney 23 when they met. At the time, she says, she had no conception of the enormity of the scene in which she was involved. ‘I know it really sounds strange but I didn’t really regard it as a big deal. They were mad times and the world was changing. People look back on it now as an era — but all we were doing was living in it.

‘I knew in my heart that Paul was a real family man — when I was working at Marianne’s we used to spend hours just looking at little Nicholas. It was obvious Paul wanted children but, at that stage, I was in no way ready for it. I was a free spirit.’

Maggie worked for Marianne and John for about 18 months before leaving to set up an antiques stall in Chelsea Market. Even without that direct line to the famous, however, she still saw a great deal of McCartney.

She had a shared flat in Chelsea, but she was still busy modelling, and had appeared as an extra in films, including Blow-Up, which was released in 1966.

At one stage, she says, Paul had wanted her to be a chorus girl in The Beatles’ production of Magical Mystery Tour, which was screened on TV over Christmas 1967, but he couldn’t locate her and chose another girl, also called Maggie.

By now their relationship was becoming serious, she says: ‘By this time he knew that I was in love with him, and I knew he loved me, too.

‘I never told any friends that we were seeing each other — that was an unspoken rule. My mum and dad knew, but not in any detail.

‘I used to spend many nights at his house in St John’s Wood. It was a beautiful Regency house, and his garden was full of Alice In Wonderland characters built in stone. We spent many romantic times there. At the end of the garden was a glass-topped, circular, domed building where we meditated. I’ll never forget the first time he showed me that place.

‘We went inside the dome and he told me to stand on the floor. Suddenly, the floor started rising and there I was, up in the air, looking at the stars. After that we used to spend a lot of time together on the raised platform looking at the stars.

‘That’s what it was like, you see. By the time he and The Beatles were into the Maharishi and that whole scene, so was I — there were amazing parallels in our personalities.’

One day the couple went to the Indica Gallery in London with a group of showbiz friends, where John Lennon met Yoko Ono.

‘We spent more time with John and than we did with George and Ringo — we hardly saw them at all.’

In the summer of 1968, McCartney’s engagement to Jane Asher ended. Later, it emerged that she had arrived back at their house to find him with another woman — not Maggie, but an American called Francie Schwartz.

-

Maggie says: ‘By September 1968 I had rented a flat on my own in Fawcett Street, Chelsea. I really wanted to live alone. I hadn’t been there long when one day I got a telegram at my flat from Paul. It said: “Flying to the sun. Car picking you up at 8pm. Love Paul.”

‘I was so excited because I had no idea where we were going. A car drew up and we went to pick up Paul at St John’s Wood. As he came out he took an Instamatic camera from a fan, who was camped outside his house, and told us he was borrowing it to take on holiday.

‘Paul had hired a private jet so no one would spot us. There was a proper lounge, no rows of seats — we were drinking champagne and laughing and joking with a male cousin of Paul, and his American girlfriend. I kept asking him where we were going, but he refused to tell me.’

The plane landed in Sardinia but Maggie had no idea where she was until she spotted a sign. They had a hotel suite overlooking the ocean.

Much of their time was spent in restaurants where, she says, they were ‘treated like royalty’. At one banquet in their honour, they walked into a room full of women dressed in ballgowns. Maggie had a T-shirt dress. ‘Paul and I just collapsed in giggles,’ she says. ‘We thought it was hilarious.’

Most of their time, however, was spent on the golden sands. Indeed, while they were on the beach, two things happened which changed the course of their relationship.

First, they were spotted by a photographer — a picture of them together appeared in a Sunday newspaper back home. The report described her as his ‘new girlfriend’.

Maggie confirmed that they had been going out together — and suddenly the world knew of their secret liaison.

More significantly, perhaps, it may have changed the way they viewed themselves.

Maggie explains: ‘We were lying on the beach just being young and in love. Paul turned to me, smiling, and out of the blue he just said: “Have you ever thought about getting married?”

‘I said: “Yes, I suppose, one day . . .” and I thought nothing more of it. Looking back, it was obviously the wrong answer. When I said “one day” I meant in six months, maybe, but not never.

‘But Paul was always slightly insecure and probably saw me as such a free spirit that he thought I was never going to settle down.

‘On the journey home we were singing Those Were The Days and falling around laughing. I went back to Paul’s house with him — I distinctly remember waltzing around the room with him.’

Paul and Maggie continued to see each other in the following months but the subject of marriage was never mentioned again, she says.

‘I suppose I assumed we would end up together but at the time I was just enjoying it all. In the Sixties there was so much going on that I didn’t have time to sit and think about the future. I suppose that, with the pressures of fame, Paul was craving security.’

He would find it, it transpired, with an American blonde called Linda Eastman.

Maggie says: ‘One day, a little while after we returned from Sardinia, I rang Paul — and Linda answered the phone. I had seen a newspaper story about him having lunch with her before that, but I wasn’t the type to ask questions or get jealous.

‘I remember Paul telling Linda to get off the phone and I asked him who she was and what was happening. He said: “I don’t know the scene, man. I don’t know what’s going on.” ’

-

By late 1968 and 1969, The Beatles had massively increased the following of the Flower Power and hippie movement in Britain. It was a time of freedom, free love, drugs and music.

But for McCartney it was also, it seems, a time of emotional confusion.

Maggie remembers McCartney arriving at her flat late one night. ‘He was really down and I couldn’t seem to get a word out of him,’ she says. ‘He was crying and I knew he had been stressed. I stood and held him and asked him to tell me what was wrong. Then suddenly he jumped up and he said he had to go. Somehow I knew when I closed the door that night I wouldn’t see him again.’

A couple of days later she was walking along the King’s Road when she noticed four words on a newspaper billboard: ‘Paul and Linda marry.’

‘My heart just thumped,’ she says. ‘I couldn’t believe it. He never told me he was getting married and he never told me our relationship was over. I didn’t contact him for ages. I had never pursued him and I wasn’t going to start then.

‘Not many people knew we were going out together in the first place so there was no point in telling them it was over. Obviously, I told my mum and dad but not even they knew the depths of my suffering and depression.

‘Looking back, I think I was in serious shock and it didn’t come out properly until years later.’

Until yesterday, Maggie has never felt able to discuss her true feelings about the relationship and the separation. The remarkable story emerged only after her mother, Evelyn, confirmed details to the Daily Mail.

Maggie agreed to speak only reluctantly — she said she would always care for Paul, and desperately wants to avoid upsetting him and his wife Linda, who is fighting cancer.

-

Subsequently Maggie started a relationship with rock musician Denny Laine and it was through him, after he joined McCartney’s group Wings, that she saw Paul again, in 1971 or 1972.

‘It was a very emotional meeting and we had a great big hug. We were standing there gripping each other when there was a tap on his shoulder. We turned around and it was Linda. Paul told her who I was and she said she had heard about me. There was, of course, an unfriendly atmosphere and we didn’t get a chance to have a real conversation.’

The next time Maggie ran into Paul she was seeing her husband-to-be, Mel Collins, whom she married in 1974 after falling pregnant with their daughter, Naiama. This meeting was also difficult, she says. ‘There were a lot of sarcastic comments towards me.’

Six years passed before she saw him again. Maggie was shopping with her daughter at Harvey Nichols in London when she decided to try on a designer dress.

‘I was looking at myself in the mirror when a voice said: “That looks great.” It was Paul . . . he was buying Christmas presents for Linda. We got talking for a little while and then just said our goodbyes. We never discussed the relationship or anything like that.’

It was only at a later meeting, at a film studio in 1984, that she remembers rediscovering some of their earlier rapport. But it vanished when Linda appeared. Maggie says: ‘Paul’s whole demeanor changed — he’s a different person when he’s with her.

‘But, to give Linda credit, although we were still uneasy we chatted quite amiably about horses and things like that. I suppose after years of marriage and several children, there was no need for any nastiness.’

That was the last time Maggie saw McCartney, but she admits to thinking about him almost daily.

‘Marriage? I’m the type to move on and live my life and not regret anything,’ she says, ‘but obviously I still feel the pain. I kick myself for that day on the beach in Sardinia.’

[jamesrodayrodriguezpresents]

thepsychologistsarein The Polarizing Express is quite polarizing when you hear about this insider story from @jamesroday

[londonspirit]

It's hard to wrap our heads around the fact that Max's Our Flag Means Death has already reached its Season 2 finale — serving as proof that life for pirates can be just as tumultuous and unpredictable on land as it is on the open sea. Although Stede (Rhys Darby) and Ed (Taika Waititi) saw themselves reuniting in epically romantic fashion on a beach (before having to jump in and help Zheng [Ruibo Qian] swordfight a bunch of foes, that is), their plan to reassemble the crew of the Revenge and take back control of the Republic of Pirates didn't come without some losses. Namely, Ed's first mate and loyal right-hand man — and newly-dubbed unicorn of the crew, Izzy Hands (Con O'Neill) — fell to a gunshot wound, but didn't slip away without some important parting words that Ed himself needed to hear.

Now, the future of the crew is looking divided once more — but on a somewhat happier note this time around, as Stede and Ed are settling down in that innkeeper life while watching the Revenge sail off into the sunset under the command of Frenchie (Joel Fry), and all set to the tune of Nina Simone's swelling and ultimately hopeful cover of "The Times They Are a-Changin'." It's unclear where the show will go next, but ahead of the finale, Collider had the chance to sit down with Our Flag Means Death music supervisor Maggie Phillips to break down some of the best needle drops, from O'Neill's cover of "La vie en rose" to making Kate Bush the unexpected artist of Season 2 to collaborating with show creator David Jenkins and so much more.

COLLIDER: Before getting into some specific episode moments, I wanted to ask you about the teaser trailer for Season 2. Something that a lot of people were talking about was that Prince song that gets used ["The Beautiful Ones"]. Did you all get to decide what song that was in the trailer?

MAGGIE PHILLIPS: We did. That was a song that David [Jenkins] asked me about. I don't know if he asked me about Prince or that song in particular, but that's the first song that David and I were like, “This is the song for the show,” before trailers were even thought about. We tried to get it into Season 1, and there just wasn't a spot for it. I'm a huge Prince fan and have been since high school. For Halloween, when I was 17, I dressed up as a B-side Prince song. It was a song called “Scarlet Pussy.” It was a red cat. [Laughs]

Prince has been kind of off-limits for my whole career. Prior to his death, he was very picky and very expensive, and it was just something I was never really able to place. Then, when David brought it up, it was like two-and-a-half years ago, his estate was still being settled in court, and I was like, “I don't know if we can use it,” and then we were trying to use it, and it didn't work out. Long story short, we tried again to place it in Season 2, and there just wasn't a spot for it. So then, when we were doing the trailers, I don't normally get consulted for those, but David asked me to watch it and asked my opinion. Since then, Prince's estate had been settled, and I had heard that, actually, his estate wanted to place his music. It was perfect, and I'm glad that the first time I placed a Prince song was for Our Flag Means Death. That was a song we're very happy about.

Have there been any big instances where a song doesn't fit somewhere in the season, you can't find a place for it, or where you've tried to get your first choice for this show specifically, and it hasn't been able to happen for whatever reason?

PHILLIPS: No, none that come to mind. I don't think we've had any denials. The big moments in Season 1 we cleared before they even started shooting. Cat Stevens and the Fleetwood Mac were costly, and that meant cutting corners elsewhere, but we got everything we wanted. We weren't shooting for the stars that much. At this point, in Season 2, it's been easier to get yeses, I will say that. Kate Bush in Episode 3, her manager was very specific. Kate wanted to be a part of it, and she was very excited about the use and stuff. The show is so popular, with enough of an audience that people want to be a part of it, which is very exciting.

When I talked to David before the season, he said that he always picks a song and that's the song that's all-encompassing of the whole season. For this season, he said Kate Bush, "This Woman's Work." Obviously, we get it in a very pivotal moment in Episode 3. I wanted to ask you about the conversations around that song and when it was going to be used.

PHILLIPS: It recontextualizes the song and the lyrics to make it work with that scene. That song was written for a movie, She's Having a Baby, with a totally different subject and lyrical subject in mind. The funny story about that song is I advised against it when he told me he wanted to use it. There were two reasons: the more egotistical reason was I had placed it in The Handmaid’s Tale previously, and I hadn't actually pitched that song. I had pitched “Running Up That Hill” for that episode, but the showrunner decided to use “This Woman's Work,” and I was like, “That's a bold choice. Some people are going to love it, some people are going to hate it.”

More importantly, it was right after the Stranger Things Kate Bush phenomenon, and I was like, “Dude, we are going to look like we are copycats, that we didn't have an original idea, and I'm worried about the backlash there.” David knows what he wants, and he was like, “This is our show. It's an original, and this is the right song for this moment.” Taika wanted to use the song and was very attached to the song, too. So it was a Taika/David collaboration, that song.

I remember talking to my team and saying that this could be potentially embarrassing, this song in this spot, but then, I watched it. I read the script. I'm not privy to the conversations about how they're gonna shoot it and what part of the song they're gonna use, but they had obviously figured that all out — because I watched it and really was emotionally charged. I remember getting chills, and I emailed David right away, and I was like, “You were so right. That song is gorgeous there.” I feel like it changes the song. It becomes a new creative moment. That's what's so cool about this job. It's rare, but sometimes you'll put a song to picture, and the song will change, and the picture will change, and it's sort of that movie magic, and I feel like they did it there. So I just was along for the ride and got to eat my words

Speaking of a music moment that gave me chills, Episode 2, that Timber Timbre song, “Run for Me,” bookends the episode and is used in very different contexts with very different parts of the song. At the beginning, it's Blackbeard wallowing and depressed, and at the end, it's this very sinister, dark place. What was the process behind choosing that song and also choosing to use it in two very different places?

PHILLIPS: That was all David. I wish I could claim that that was me. I read it in the script. I'm a fan of Timber Timbre; I put them in stuff years ago. I’ve followed their career since they started, so I knew the song immediately and read the script with that song in mind. No, [that was] just the genius of David Jenkins.

How often are you getting scripts from [David] where the song choice is already in there?

PHILLIPS: It's rare, because typically he asks me before he writes a script. Typically, he’ll email me while he's in the writers’ room. In fact, I'm sure he did about this one because it was so intricately woven into the script, and he's not going to write it without knowing that we can clear it and can afford it. Since I know Timber Timbre, I've used their stuff before, I was like, “Go for it. It'll be affordable and easy to clear.” In that regard, he might have asked me for some [other] stuff, and I'm like, “Stay clear.” Those might be the only denials we've gotten, from me, but there aren't many these days. There used to be a lot more that were hands-off. These days, people want to be seen.

I also love the use of “Strawberry Letter 23” during the raid on the wedding in the first episode. It's juxtaposed against the violence and the terror of the moment.

PHILLIPS: It's such a sweet love song. The lyrics are so innocent and sweet, but it's like the way that Shuggie Otis — it's swagger and cocky and just whimsical and has that strong melody and the instrumentation. That was on one of my playlists for Season 1, and then [David] wrote it in. All the big moments in Season 1 and Season 2 that are on cameras like that, those don't come in post. Those are when he's writing the scripts, so there was never any other song that was attempted for that spot; that was always going to be that song.

With that in mind, what's the song at the end of that episode, where Ed and Stede are both looking at the same moon and having their respective conversations?

PHILLIPS: It’s "Pygmy Love Song" by Francis Bebey. It’s supposed to capture the pain but inherent beauty of true love. It’s romantic but tragic at the same time, like Stede and Ed’s love story —at this point in the story.

I also wanted to about Con [O’Neill] singing “La Vie en rose” in Episode 6. I feel like that's a moment that fans are going to be really excited about. I personally did not know he could sing!

PHILLIPS: I don't know if he knew he could sing either. That was a very involved clearance. It took a long time to clear. Anything that's international, and this was through the French office, takes a long time. Americans are very quick, for better or for worse, and the French office is not. We started clearing that, and it took us months. We were getting to the point where we were like, “Are we gonna be able to use this?”

Then Con was anxious about singing in the first place because it's not something he does normally, and then was anxious about singing in French. So we had to change the clearance because originally scripted, we wanted it to be in French, and going back to English, that actually was a whole other boring clearance story. To get it approved in English was harder, but we got it. Then, while we were waiting for approval, the actor had taught himself phonetically how to do the French version, and we recorded both options, and the French was so effective that that's what we stuck with for most of it.

I love that moment. [Con]'s such a good actor. Oh my god. That episode is just really powerful, and that song works really well Sometimes when you're not a trained singer, but you're an actor, you're acting the singing as opposed to singing it for the aural experience, so it becomes more emotional in a way. You're not worried too much about pitch and getting it right, and so it's more about the character who's singing it. Especially when you're singing it not for a soundtrack but in a scene. They're not singing it for the performance, they're singing it for the cathartic release, and it is going to be more emotional. That's why I think it's so powerful, the way he does it. Yeah, I love that scene.

Do you have a personal favorite song choice from Season 1?

PHILLIPS: My favorite, because I love the way it works, and it's also just for me a personal triumph, [was] to get Moondog in at the end of the pilot. It was such an odd choice. I always like it when I get in stuff that people don't know. I love the Beach Boys — it's a song that many people don't know, “Our Prayer,” in Season 1, Episode 4, where they meet. I love the “Seabird” song by the Alessi Brothers, I think it's the end of Episode 5 in Season 1.

Kate Bush has become one of my favorite moments [in Season 2], as a moment singular to just the show and the story themselves. It was also the visual of Stede coming down as a mermaid. It's just so absurd, yet it’s so beautiful and so powerful at the same time. I don't know how they do it, but they do it. I could watch that Fleetwood Mac scene over and over and over again in the end, the shot pulling back of them laying on the ground, and Stede goes, “You've come back,” and Ed is like, “I never left,” and then the wink. I love that moment so much. This show is just hands down one of my all-time favorite shows I've ever gotten to work on.

Everyone I've talked to about working on this show is having an absolute blast.

PHILLIPS: I also think — I'm always talking highly of David, but he deserves it — it comes from the top down. That dude is super creative and very collaborative and also just kind, and that's rare when you're a showrunner/creator. He makes it such a pleasurable, fun experience with a lot of hard work, which is hard to do — to make people work really hard and challenge themselves, but then they want to do it because it's fun and rewarding, not because someone's cracking the whip.

[posthumanwanderings]

[ PlayStation Underground: Issue 3.1 Disc 1 ]

[axolotlhuman]

“Oh yeah, There are so many songs I listen to for each spot. For this show, I probably have a playlist of about 300 songs.” I literally gasped. I wanted to hear them all, immediately. “I was so inspired by this show, and we could only put in very few. Every spot you hear in the show I probably went through 100 songs to get to that spot. I watch every scene at least 100 times, testing different songs. The moment at the end of the pilot in Our Flag Means Death? I’ve probably watched 50 to 100 times, just to get it perfect.”

[maggielindemannsource]

maggie for the travis mills show on apple music a few days ago.

[fuckyeahgoodomens]

FIRST OFFICIAL VICTORIAN AZIRAPHALE AND CROWLEY PHOTO!👀👀👀❤❤❤

also: 'Aziraphale is still running bookshop, but he's also Maggie's landlord. She thinks he's the best because he lets her stay on and doesn't really mind if she doesn't make too much money.'

[maritamorgado]

[ganseylike]

retire on a desert island eating coconuts and fish with jordan hennessy the end

[jamesrodayrodriguezpresents]

thepsychologistsarein What did you hear? Peanuts Christmas

[cantquitu]

Wonderful interview with Olivia by Maggie Gyllenhaal in Interview Magazine. I think you’ll find it very interesting, made me even more excited for the film!!

Maggie, my beloved! 💕THANK YOU!!

[kim-ruzek]

Can't believe my beloved FBIs are finally returning to me, I've missed them so much