#thomas gibson roles

[milla984]

To Love, Honor and Deceive AKA The Protected Wife screencaps Thomas Gibson as Matthew Carpenter

@dontemilyyyyme @matthew-gray-gubler-lover @reidsbookclub @rousethemouse @criminalskies

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[piqtescue]

thomas with a moustache hits different👀

[minkyungseokie]

Actors

Where I write for an actor or any of the characters they have played

Bill Skarsgård

Bill Istvan Günther Skarsgård is a Swedish actor best known for portraying Pennywise in the horror films It and It Chapter Two

Jacob Elordi

Jacob Elordi is an Australian actor known for Euphoria, The Kissing Booth film series, and Priscilla

Jeff Ward

Jeff Ward is an American actor. He is best known for his role as Deke Shaw in Agents of S.H.I.E.L.D

Peter Gadiot

Alan-Peter Gadiot is a British actor. Gadiot is best known for his role as James Valdez in the USA Network show Queen of the South and for his role as Shanks in the One Piece Live Action

Milo Manheim

Milo Manheim is an American actor. He is known for his starring role as Zed in the 2018 Disney Channel Original Movie Zombies

Pearce Joza

Pearce Joza is an American actor, known for Mech-X4, Lab Rats, and Zombies 2 + 3

Charlie Bushnell

Charlie Bushnell is an actor portraying Luke Castellan in the Disney+ adaptation of Percy Jackson and the Lightning Theif

Taz Skyler

Tarek Yassin “Taz” Skylar  is a Spanish and English actor and screenwriter based in London. Kown to play Sanji in OPLA

Iñaki Godoy

Iñaki Godoy Jasso s a Mexican actor who is known for his role as Juan Ruiz in The Imperfects (2022) and Monkey D. Luffy in Netflix's One Piece Live Action

Morgan Davies

Morgan Davies is an trans Australian actor known for playing Koby in the One Piece Live Action. I love him sm

Tom holland + Zendaya Coleman

Thomas Stanley Holland is an English actor known for Spiderman Zendaya Maree Stoermer Coleman is an American actress and singer Spiderman, and more

Timothée Chalamet

Timothée Hal Chalamet is an American and French actor and producer.

Jacob Romero

Jacob Romero Gibson is an American actor. He is best known for playing Usopp in the Netflix series One Piece

Finlay MacMillan

Scottish actor who plays Enoch O'Connor in the film adaptation of Miss Peregrine's Home for Peculiar Children

[lyledebeast]

I think what really makes The Patriot such a great movie for Jason Isaacs in spite of being such a shitty movie for just about everyone else involved just comes down to laziness in the writing. Robert Rodat wrote a protagonist who is allegedly, somehow, a badass Rambo-style war hero and haunted by his past AND a good father, and the filmmakers planned from the beginning to rely on Mel Gibson's charisma to sell him. Roland Emmerich admits they never really considered anyone else for the role. Meanwhile, Tavington on paper is a cardboard cutout Evil English Snob. The original plan was to cast Jude Law, a solid Evil English Snob choice, but when he took too long to officially accept, they offered the part to an actor with little experience in American film who had not played a major antagonist before. And they let him implement some of his own ideas because his character wasn't the one they really cared about.

And he stole their movie!

I would argue that the main reason for this, the reason all the others stem from, is Issacs' idea for Tavington's backstory. Not only does it explain why he is in the Army and so desperate for a British victory, but also, in part, why he has such particular beef with a father.

The backstory itself is certainly more tragic than Martin's. For all the movie's criticism of "gentlemen," growing up in the expectation of a certain kind of life and having that torn away through someone else's irresponsibility would traumatize anyone. While the movie tells us nothing about Tavington's age when his father died or what happened to him in the immediate aftermath, it is abundantly clear that he has not gotten over it. Martin has not gotten over Fort Wilderness, but by every other account we hear it was 1, Martin's accomplishment and 2, an absolute Roman triumph from the British Colonial perspective. It did nothing to hurt Martin's fortune or prospects, quite the opposite. The only drawback for Martin is that when you commit war crimes, it has an unfortunate way of making you feel like you might be a war criminal. Annoying that.

That Tavington has a saber to grind with fathers is also far more consistent than Martin's approach to fathering, as we see in Tavington's first scene. He points his pistol at Martin's children to get the rise out of him that pointing it at him failed to stir. He never speaks to Gabriel or even looks at him upon discovering the dispatches he carried, but when Gabriel calls Martin "father," suddenly Tavington is invested: "Oh, I see. He's your son. Well, perhaps you should have taught him something of loyalty." Every problem Tavington sees in this scene of performed neutrality he lays at Martin's door, even Gabriel's service in the Continental Army. Could it be projection? If there is one outcome that is not Martin's fault, it is Gabriel joining up against his explicit wishes. Meanwhile, Martin's concern for Gabriel shifts from his endangering five of his remaining children's lives to save him to paying so little attention to him immediately after his new wife's murder that he is able to ride for revenge with no inconsequential number of Martin's men behind him. And he is at least as shocked by Gabriel's death as he was by Thomas's.

The first exchange between Tavington and Martin is mostly unchanged from the script to the theatrical release, but the two following it are dramatically different thanks to Isaacs. He argued successfully that not only would Tavington not be afraid of Martin after the prisoner exchange but that he would do well in the final fight between them (a fight that does not exist in the original screenplay). That fight in particular creates problems for the filmmakers' vision of Martin. In the unaltered first scene, Tavington has all of the power, sitting on his horse while Martin is on foot. In the second, Tavington draws his sword to kill Martin while he is unarmed. Both of these are classic dastardly villain moves. In the last exchange, though, it is Martin who has the advantage of having wounded Tavington twice before they get in sword's reach of each other, and Tavington still kicks his ass. On Tavington's side, this is not representative of a one-dimensional villain but of a man who has clawed his way to being a colonel in the British Army after losing everything with his father's death. The only reason Tavington does not kill Martin, either after the punch Martin does not take like a champ or after he has literally beaten Martin to his knees, is that he is still seeking a connection with a father.

The problem with the changes Jason Isaacs brought about is that they make Tavington a badass fighter with a sad backstory, which also happen to be the only aspects of Martin that get any real development. His onscreen violence evokes Fort Wilderness from first to last, but the third aspect of Martin's character, that he is a good father, is told rather than shown. Had changes been made to Martin that corresponded to Isaacs' for Tavington, then he could have had a stronger ending, perhaps saving Gabriel as he failed to save Thomas. But, no. Instead he just gets out-badassed in his own movie and then handed a giftwrapped victory anyway.

[hotchfiles]

Is it weird I don’t find young Thomas Gibson attractive? Like objectively he’s still a fine man but I’m so used to him as Hotch, a little worn and traumatised and hardened by life and it makes me swoon

LMAO not weird at all!!!!!! i find him gorgeous at all times, and i do like him in love and human remains, but his chicago hope — d&g phase for instance, not my fave !!!! he looks too sweet and naive, it is adorable but not my fave (and idk his role in chicago hope i guess it depends on the episode)

my favorite era of his is dad bod hotch, specially bcuz before he gained that lil bit of weight, he was soooo skinny, it was concerning, so dad bod hotch is good hotch and therefore good thomas

[usnatarchives]

#AllAmericanExhibit Trophy Showcase

The #AllAmericanExhibit at the National Archives, titled "All American: The Power of Sports," is a tribute to the role of sports in American society, highlighting how sports have the power to unite people, teach values, and challenge social barriers.

This exhibit, running through January 7, 2024, showcases over 75 items including original records, artifacts, and photographs across four thematic sections: The Power to Unite, Teach, Break Barriers, and Promote. Among the featured items, visitors can view historic sports trophies like Althea Gibson's 1958 Wimbledon trophy and the 1929 West Point Cavalry (Buffalo Soldiers) Football Championship Trophy, along with many others.

Check out some of our collection:

NCAA Basketball Championship trophies, 2002 and 2006, on display at the National Archives Museum in Washington, DC. Photo by Susana Raab.

FIFA Women's World Cup Trophy, 2019, on display at the National Archives Museum in Washington, DC. Photo by Susana Raab.

The Commissioner’s Trophy

The 1998 World Series trophy is now on display as part of the exhibit All American: The Power of Sports at the National Archives Museum in Washington, DC. The New York Yankees defeated the San Diego Padres in four straight games in that year’s Fall Classic. The trophy, currently on loan from the National Baseball Hall of Fame, will be on display through November 14. The FIFA Women’s World Cup trophy, two NCAA Basketball Championship trophies, and the Lombardi Trophy from Super Bowl LIV have previously been featured in the exhibit. All American will be on view through January 7, 2024, in the Lawrence F. O’Brien Gallery of the National Archives Museum. Admission to the National Archives Museum is always free, and reservations are not required. National Archives photo by Susana Raab.

1984 Los Angeles Olympics Torch

At the White House on May 14, 1984, Kurt Thomas, a former Olympic gymnast, passed the flame from his torch to that held by Charlotte Pearson, a member of the Special Olympics team. The ceremony was part of the 9,000-mile Olympic torch relay through 33 states and the District of Columbia. President Ronald Reagan momentarily held one of the torches while the athletes adjusted the flame of the other. The Los Angeles Olympic Organizing Committee gave this torch to President Reagan after the ceremony.

Read more:

[hotchsdharma]

welcome to my blog ::💌::

dharma and greg audio episodes on spotify!

dharma and greg audio episodes on apple podcasts!

aaron hotchner playlist ❤️‍🩹

dharma and greg playlist

larry finkelstein playlist

every song thats been on dharma & greg (NOTCOMPLETE)

my tiktok 🫶

!!MINORS DO NOT INTERACT WITH NSFW POSTS!!

characters/pairings i will write for;

*i will write for majority of thomas gibson roles*

criminal minds

aaron hotchner

spencer reid

hotch x reader

hotchniss

spencer x reader

dharma and greg

greg montgomery

dharma montgomery

greg x reader

dharma x greg

MASTERLIST

criminal minds

bau group chat

- hotch x reader

dharma and greg

i have no fear and have only love (nsfw)

- greg x dharma

[weclassybouquetfun]

Catching up on a few FYC interviews with Theo Park, the casting director for TED LASSO.

She spoke with AwardsDaily about the casting of several series 3 addtions.

*I'm glad the interviewer brought up Matteo. There's a lot of Ted/Rebecca shippers in their feelings so they hate him but he was perfect and they look sensational together.

And it galls me, just GALLS ME that Leanne Best didn't get a nomination for Guest Comedy Actress when Becky Ann Baker, Harriet Walter and Sarah Niles did.

A sexy mum comforting her sexy baby boy.

I would feel much better about their nominations if Best were included. I am curious which episode was Sarah Niles' submission this season because she pretty much only had reaction shots.

Love Sarah to bits but she should have posted like Don Cheadle did when he was nominated for Guest Actor for his cameo in Disney+ THE FALCON AND THE WINTER SOLDIER.

-Speaking of casting, buried in this old interview with James Lance and his PENNY FOR A SONG costar Julian Glover, Lance speaks of losing out on a role in Stanley Kubrick's EYES WIDE SHUT because Kubrick wanted an American.

The text in question, "He may not land a starring role beside sexy stars like Joanna Lumley but Lance is certainly on the way up. He had three recalls for Stanley Kubrick's Eyes Wide Shut and only lost the part when directors found out he was not a real American, something which had been specified for the role.

But Lance is still keeping his feet firmly on the ground when it comes to movie stardom. He added, "It would have been amazing to work with Stanley Kubrick but I remember all too well what it's like to be out of work. Really, I'm just happy to be busy."

I've not seen EYES WIDE SHUT, but looking at the cast list I am guessing he read for the role that ultimately went to Thomas Gibson. My reasoning is solely based on like James, he's a swarthy, good looking mofo.

-Either he proudly bought this jumper despite it looking like this. Or just because the photographer snapped this picture he had a run-in collusion with a vat of Sunny Delight.

[cantsayidont]

Some movies of the early '00s, good, bad, and indifferent:

THE SWEETEST THING (2002): Enthusiastically raunchy but extremely dumb romcom starring Cameron Diaz, Christina Applegate, and Selma Blair as three 20something friends supporting each other through various sexual and romantic misadventures. Not without charm, but too sloppily written to really land except in fits and starts, and the weak plot, which focuses on the Diaz character's disastrous pursuit of a hunky real estate agent (Thomas Jane), sidelines both Applegate and Blair so completely that they might just as well have been condensed into a single character. However, it is occasionally very funny, with the highlight being a hilarious musical number entitled "Your Penis Is…" CONTAINS LESBIANS? Not even as a concept. VERDICT: Your life will be no poorer if you tune out after the musical number, but don't miss that.

HOUSE OF SAND AND FOG (2003): Slow-moving, moody, downbeat drama about the battle of wills between depressed white divorcée Kathy Nicolo (Jennifer Connelly), whose house has been wrongfully seized and auctioned off by the county, and the buyer, exiled Iranian military officer Massoud Behrani (Ben Kingsley), who moves in with his wife (Shohreh Aghdashloo) and teenage son (Jonathan Ahdout) and refuses to sell the house back to the county for less than four times what he paid for it. (With the skyrocketing cost of real estate since the film's release, hearing those amounts may cause physical pain.) Now broke and homeless, Kathy falls into a relationship with a married local sheriff's deputy (Ron Eldard), whose attempts to "help" by bullying and terrorizing Behrani into cooperating lead to tragedy. A strange story that spends a lot of time alternately cultivating and then deliberately puncturing viewer sympathy for the characters, and which seems unusually determined to avoid examining the larger social and structural forces that are actually driving the plot. Connelly and Kingsley are effective; Aghashloo is boxed in by her thankless, rather condescending supporting part as Behrani's timid wife Nadi, who barely speaks English and lives in mortal terror of being sent back to Iran — a far cry from her later role as cunning, sharp-tongued politician Chrisjen Avasarala on THE EXPANSE. CONTAINS LESBIANS? Not at all. VERDICT: Well-made, but very heavy going, and the last half hour (which is a real downer) is troubling on several levels.

BOARDING GATE (2007): Customarily oblique Olivier Assayas crime drama, in some ways reminiscent of a William Gibson story (though it's not based on one), about a sleazy businessman (Michael Madsen) confronting his soon-to-be-former mistress Sandra (Asia Argento), whose sexual favors he has previously exploited to gather intelligence on business partners and rivals, and who now wants to break things off for good. That meeting is just one strand in a more complex web of betrayal and vengeance involving Sandra and her new employers (Carl Ng and Kelly Lin), who each have their own agendas. The terse, gritty, sometimes lurid story can be tricky to follow at points because Assayas deliberately avoids ever pulling back to present a larger picture of what's going on or revealing much about the actual nature of the characters' business, and the jittery, desaturated cinematography seems calculated to keep viewers disoriented. The problem is that the film also holds the characters at arm's length, making it hard to care what happens to them, and the ending succumbs to Gibsonian anticlimax, leaving it unclear what the point was supposed to be. That it works at all is due mostly to Argento, whose smoldering performance is the main thing holding the film together. CONTAINS LESBIANS? By implication only. (Sandra describes a reluctant past encounter with a woman who doesn't actually appear in the story.) VERDICT: The story's self-imposed limitations tend to smother its virtues, although in stretches, the movie feels more like a William Gibson story than most actual William Gibson adaptations.

THE HEART IS DECEITFUL ABOVE ALL THINGS (2004/2006): Sordid, thoroughly unappetizing drama based on the 2001 short-story collection by "JT LeRoy," adapted by Asia Argento and Alessandro Magania and directed by and starring Argento herself, her second feature directing effort. (The movie debuted at Cannes about two years before "LeRoy" was revealed to be a fiction created by Laura Albert, although that revelation limited the film's eventual theatrical release in 2006.) The film is an episodic chronicle of several nightmarish years in the life of a boy named Jeremiah (played at different points by Jimmy Bennett, Dylan Sprouse, and Cole Sprouse), who after spending his early life in foster care ends up back in the custody of his erratic, self-absorbed, wildly irresponsible mother Sarah (Argento). After Jeremiah is sexually assaulted by one of his mother's awful boyfriends (Jeremy Renner), he's ineffectually counseled by a useless social worker (Wynonna Ryder, appearing unbilled) and placed in the custody of his Jesus-freak grandparents (Peter Fonda and Ornella Muti), who are no less cruel or abusive in their own ways. Sarah later "rescues" Jeremiah, encourages him to cross-dress to pose as her younger sister — leading to his being assaulted by another of Sarah's terrible boyfriends (Marilyn Manson) — and then moves them in a run-down house with a meth lab in the basement. The public interest in this very unpleasant material, which is a veritable anthology of child abuse and frequently difficult to watch, was ostensibly driven by the notion that it was based on real events of "LeRoy's" life. With that pretense revealed as a fraud, what's left is a distasteful appetite for the self-consciously lurid, to which Argento's main contribution is the gusto with which she embraces an especially unsympathetic maternal role. Even that was rendered all the more unpalatable by the subsequent allegations of Jimmy Bennett, who reported in 2018 that when he was 17 (about 10 years after this film was made), Argento sexually assaulted him in a California hotel room. Argento's DARVO response squandered all of her remaining goodwill and permanently consigned this already hard-to-stomach movie to the "Morbid Curiosities" file. CONTAINS LESBIANS? No, and aside from the point. VERDICT: Unpleasant content, fraudulent premise, too many creeps. Very strong CW for CSA and other forms of child abuse.

[academicelephant]

This Ain't No Broadway "CATS" - Teller Joins the Cast of DHARMA & GREG

While we were in Boston, "Dharma and Greg" called to ask if I'd play a Man, Mr. Boots, a man who has chosen to live his life as a cat. Seven substantial scenes, the guest star role in the B story. The week was open and D&G is a popular show (often in the top 20) that my mother likes. So I said yes.

Now there's a basic sitcom dictum: the characters may not develop. This prevents any heavy writing from going on. But given that, the script was excellent, as I found out on the Monday table read. Lots of laugh-aloud funny stuff, it seemed to me.

More than that, the atmosphere was perfectly delightful. Jenna Elfman was as unaffected and generous as one could want. Thomas Gibson who plays Greg was a rabid P&T enthusiast. The producers Chuck and Randy seemed just thrilled to have me there; Chuck said they wouldn't have done the episode if they hadn't been able to get me for it. Seemed like pretty much everybody on the set was a P&T; fan, and seemed not just to like but to really respect our work. I was being treated like an old pro.

A good work atmosphere. Monday I talked with the wardrobe people. The character, Mr. Boots, was described in the script as wearing black pants and turtleneck with white sneakers and gloves. I thought this would have been fine on a skinny mime, but would look awful on me. I looked at myself in the mirror as I talked to the wardrobe people and asked them to get me a velvety sweat suit. I wanted to be a plump, luxurious, smug, snide lap cat. To give myself maximum freedom of movement, I had them get me scuba boots which we put inside white tube socks, to give the impression that this guy lived his life in his stocking feet. I knew I'd be on my hands a lot and my knuckles and wrists are not too good, so the Wardrobe lady Bonnie suggested boxing gloves.

Tuesday was an all-day rehearsal, and it was brutal. Try walking around on all fours for a day and you'll know what I mean. Everything hurt. My thighs particularly were rock-hard with cramps. I had also had really bad insomnia Monday night, and was running on empty. Still it was a blast. The producers watched a run-through and gave really good suggestions -- they seem to just love the show and its style and there was lots of laughing and "Hey, kids, let's put on a show" enthusiasm. I know nothing, and I mean nothing, about cat behavior, and made no secret of the fact. So all day people -- the animal trainers, the P.A.s, the makeup people -- would walk up to me and say, "I don't know if you have a use for it, but my cat does this...." and showed me funny stuff cats do. I devoured everything and immediately put in right into the show, which made people want to give me even more stuff. At the end of the day I was tired but was starting to get a few "moments" here and there that felt good to me.

It's funny how right Stanislavsky is about acting. He tells you to read the script again and again, to act it out again and again, not to think too hard, but to wait until this or that moment starts to get illuminated. Gradually, he says, the bright parts of the script will expand until the whole thing is lit up. That's a little hard to do in a short rehearsal period, but since the role was written with me in mind and since everybody was working so hard to help, the process was speeded up.

Next day we did a pre-shoot of an "exterior" where Mr. Boots gets stuck Up a tree and Greg unwillingly climbs up to rescue him. I was very glad they put thick mats under the tree, as Greg went plummeting on one of his first climbs. We did it until everybody laughed, then stopped. Gail, the director, then told me that Fred Greenlee, the man who had dreamed up the Mr. Boots character (literally, while sleeping) had offered to work with me one on one on scenes I was having trouble with.

For three stupendously fun hours, Fred and I went over each piece of Mr. Boots' "business". His original idea was that Boots took the cat concept less literally than I had thought. Mr. Boots should SEE himself in his mind's eye as trotting around on all fours all the time, but in fact often be upright (think of the horses in "Equus") moving like a cat-man. Fred is thin, so he had in mind all sorts of graceful stuff that didn't suit me, but the idea -- that Mr. Boots actually walks along the streets of San Francisco much of the time in his cat mind-set -- was an eye-opener. I started to think, Let's make Mr. Boots all about being luxuriously comfortable at all times. So we draped me over steps, refrigerators, couches, and I came up with a funny cat-trot that enabled me to do quick crosses when I needed to. By the end of our session, there were big Stanislavsky pools of light all over the script.

I noticed a large group of tough looking mobster type actors waiting in the bleachers. They were auditioning for the role of Vincent the pimp, who appears as the punch line in a scene in a hotel where a man thinks he's on a date but suddenly and painfully learns he has been hanging with a hooker. I was standing next to the producer and said, "You need a big, mean-looking guy? Hell, you should use Penn." The producer went nuts. "Do you think he'd do it?" I told him to ask Krasher. Penn said yes.

Thursday was camera blocking. More cat advice poured in and again I Used every suggestion anybody gave me. I was still sore from Tuesday and the hair guy suggested I ask them to bring in the studio masseur to beat my cramps into submission. Accordingly at 3:30 p.m. when I was finished my camera blocking, a squat Russian guy came in to work me over for 75 minutes. I slept very soundly that night.

Friday was final blocking and taping. Chuck the producer spotted parts Of the script that were not working and just fixed them simply and cleanly on the spot. The only negative thing he said was, "Best not to meow during that line. We'll take it wild and lay it over in post."

I ate Chinese chicken salad for dinner, and not too much, either; I'm watching my feline figure. I called my parents, who wished that I'd break bones and encounter Macbeth. The cast did a "speed through" of the show (where the cast recites the lines really fast to fix the lines in their minds) then we started taping.

Now, I know it's no big trick to get laughs in a cat suit, but when I Went out and did all the stuff I had been planning, well, the studio audience just went nuts. I was pretty tentative in the first scene, but when I heard the laughs, I was off and running. They do multiple takes of the scenes, so the audience has to laugh at the same jokes twice, so the producer suggested I try some variations. Well, I remembered somebody's suggestion about how cats sneeze. I did it and the audience just exploded.

Now I was feeling good. I felt on and hot. So the next scene, well, I just had fun. The scene has Mr. Boots entering behind an unsuspecting mother-in-law in idle conversation with off screen Jenna. Boots stretches after his nap, then creeps up to the mother in law and rolls on his back to be scratched. They shot it perfectly, in one wide, silent-movie shot with me tiny in the background getting large and larger as I approach. The mother-in-law's reactions were perfect, stunned, shocked. The laughs were so loud they finally had to re shoot, cutting the dialog in the scene. After that scene, Randy the exec producer took me aside and said that it was the loudest, most prolonged, most out of control laughter they had since the show began. I told him that if it was any good, he had only his own writers and cast to blame. Likewise, when Penn appeared as the pimp, well, the crowd went nuts.

It's supposed to be on TV on April 1.

© Teller

Source

[milla984]

To Love, Honor and Deceive AKA The Protected Wife screencaps Thomas Gibson as Matthew Carpenter

@dontemilyyyyme @matthew-gray-gubler-lover @reidsbookclub @criminalskies @rousethemouse

»»»— read pinned post for taglist info —«««

»— Masterlists links in bio —«

[ssahotchnerr]

Hello there!! I just wanted to tell you that since I found your blog while scrolling through the Aaron Hotchner tag your posts and reblogs make my day. Y adore Thomas Gibson and his roles as Hotch and Greg Montgomery (I actually watched Dharma and Greg thanks to things I found scrolling through the tag). I love your content, I will try to interact more. Lots of love, bye ❤🖖🏻

omg HI welcome!!!! and thank you so so much 🥹<333 you’re too kind

[coffee-n-bagels-comic-universe]

Neutralised (1994) [3/?]: My Version of The Shared Universe

For those of you unfamiliar with 'Chicago Hope', it was actually set in a shared universe. Also, 'Suspiciously Similar' characters will be involved (Due to actors playing multiple roles). This is my take on that:

Shows:

Chicago Hope

Homicide: Life on the Street

Law & Order

Neutralised

Oz

Picket Fences

characters (I'm not listing anyone who was in 20 episodes or less) under the cut. Also technically these are not all the characters as I'm still writing stuff.

Chicago Hope - Characters (& Actors):

Doctor Aaron Shutt (Adam Arkin)

Doctor Phillip Watters (Hector Elizondo)

Doctor William 'Billy' Kronk (Peter Berg)

Doctor Dennis Hancock (Vlondie Curtis-Hall)

Doctor Diane Grad (Jayne Brook)

Doctor Keith Wilkes (Rocky Carroll)

Doctor Jack McNeil (Mark Harmon)

Doctor Daniel Nyland (Thomas Gibson)

Doctor Jeffrey Geiger (Mandy Patinkin)

Nurse Camille Shutt (Roxanne Hart)

Doctor Lisa Catera (Stacy Edwards)

Alan Birch (Peter MacNicol)

Doctor Joseph Cacaci (Bob Bancroft)

Doctor Robert Yeats (Eric Stoltz)

Doctor Gina Simon (Carla Gugino)

Doctor Jeremy Hanlon (Lauren Holly)

Doctor Francesca Alberghetti (Barbara Hershey)

Homicide: Life on the Street - Characters (& Actors)

Detective John Munch (Richard Belzer)

Detective Meldrick Lewis (Clark Johnson)

Lieutenant Alphonse Giardello (Yaphet Kotto)

Detective Tim Bayliss (Kyle Secor)

Detective Frank Pembleton (Andre Braugher)

Detective / Sergeant Kay Howard (Melissa Leo)

Detective Mike Kellerman (Reed Diamond)

Officer/Detective/Lieutenant Stuart Gharty (Peter Gerety)

Detective Paul Falsone (Jon Seda)

Lieutenant/Captain/Detective Megan Russert (Isabella Hofman)

Detective Laura Ballard (Callie Thorne)

Detective Terri Stivers (Toni Lewis)

Captain/Colonel George Barnfather (Clayton LeBouef)

ASA Ed Danvers (Željko Ivanek)

J.H.Brodie (Max Perlich)

Detective Beau Felton (Daniel Baldwin)

Detective Stanley Bolander (Ned Beatty)

Dr Julianna Cox (Michelle Forbes)

FBT Agent/Officer Mike Giardello (Giancario Esposito)

Detective Rene Sheppard (Michael Michele)

Dr. Alyssa Dyer (Harlee McBride)

Detective/Captain Roger Gaffney (Walt MacPherson)

Law & Order - Characters (& Actors)

Sergeant Maxwell Greevey (George Dzundza)

Junior Detective Michael Logan (Chris Noth)

Captain Donald Cragen (Dann Florek)

Exex ADA Benjamin Stone (Michael Moriarty)

ADA Paul Robinette (Richard Brooks)

DA Adam Schiff (Steven Hill)

Sergeant Philip Cerreta (Paul Sorvino)

Dr Elizabeth Olivet (Carolyn McCormic)

Senior Detective Leonard W Briscoe (Jerry Orbach)

Lieutenant Anita Van Buren (S. Epatha Merkerson)

ADA Claire Kincaid (Jill Hennessy)

Exec ADA/DA John McCoy (Sam Waterston)

Junior Detective Reynaldo Curtis (Benjamin Bratt)

ADA Jamie Ross (Carey Lowell)

ADA Abigail Carmichael (Angie Harmon)

Junior/Senior Detective Edward Green (Jesse L. Martin)

Interim DA Nora Lewin (Dianne Wiest)

ADA Serena Southerlyn (Elisabeth Röhm)

DA Arthur Branch (Fred Thompson)

Neutralised - Characters (& Actors)

Abraham Machado (Alfred Molina)

Andreina Neri (Robin Wright)

Caleb Willow (Cary Elwes)

Dove Lewis (Alfre Woodard)

Esmé Verity (Janaeane Garofalo)

Faustus Sanchez (Hank Azaria)

Grayson Bryant (Harold Perrineau)

Hunter Kingsley (Chris Farley)

Ichabod Mortimer (Danny DeVito)

Jared Foster (Kirk Acevedo)

Kane Carter (Philip Seymour Hoffman)

Lance Carter (John Goodman)

Monday Duke (Patricia Arquette)

Noam Gold (Oliver Platt)

Omega Finch (Willem Dafoe)

Peyton Blythe (Regina King)

Russel Warszawski (Adam Sandler)

Sullivan Landon (Christopher Lloyd)

Tuesday Duke (Reese Witherspoon)

Victor Jamison (Mike Myers)

Winslow Warszawski (Brad Garrett)

Xavier Solomon (David Spade)

Yancy Haggard (Kiefer Sutherland)

Zoey Knight (Geena Davis)

OZ - Characters (& Actors)

Augustus Hill (Harold Perrineau)

Tobias Beecher (Lee Tergesen)

Ryan O'Reily (Dean Winters)

Kareem Saïd / Goodson Truman (Eamonn Walker)

Miguel Alvarez (Kirk Acevedo)

Vernon Schillinger (J.K. Simmons)

Simon Adebisi (Adewale Akinnuoye-Agbaje)

Christopher Keller (Christopher Meloni)

Zahir Arif (Granville Adams)

Hamid Khan (Ernie Hudson Jr.)

Nacim Bismilla (Re Hanna)

Huseni Mershah / James Monroe Madison (Roger Guenvuer Smith)

Leroy Tidd / Salah Udeen (Jacues Smith)

Jefferson Keane (Leon)

Kenny Wangler (J.D. Williams)

Arnold 'Poet' Jackson (muMs the Schemer)

Paul Markstrom (O.L. Duke)

Junior Pierce (Malé-Lexington Alexander)

Malcolm 'Snake' Coyle (Treach)

Johnny Post (Tim McAdams)

James Robson (R.E. Rodgers)

Mark Mack (Leif Riddell)

Jaz Hoyt (Evan Seinfeld)

Scott Ross (Stephen Gevedon)

Andrew Schillinger (Frederick Koehler)

Nino Schibetta (Tony Schibetta)

Peter Schibetta (Eddie Malavarca)

Antonio Nappa (Mark Margolis)

Chucky Pancamo (Chuck Zito)

Dino Ortolani (Jon Seda)

Don Zanghi (John Palumbo)

Joey D'Angelo (Goodfella Mike G)

Mario Seggio (Todd Etelson)

Salvatore DeSanto (Phil Campanella)

Raoul 'El Cid' Hernandez (Luis Guzman)

Carmen 'Chico' Guerra (Otto Sanchez)

Carlos Martinez (Carlos Leon)

Carlo Ricardo (Juan Carlos Hernandez)

Cyril O'Reily (Scott William Winters)

Rev. Jeremiah Cloutier (Luke Perry)

Timmy Kirk (Sean Dugan)

Alonzo Torquemada (Bobby Cannavale)

Richie Hanlon (Jordan Lage)

Shirley Bellinger (Kathryn Erbe)

Bob Rebadow (George Morfogen)

Agamemnin Busmalis (Tom Mardirosian)

Donald Groves (Sean Whitesell)

Jackson Vahue (Rick Fox)

Desmond Mobay / John Basil (Lance Reddick)

Richard L'Italien (Eric Roberts)

Nikolai Stanislofsky (Phillip Casnoff)

William Giles (Austin Pendleton)

Henry Stanton (Thomas G. Waites)

Colonel Edward Galson (John Doman)

Eli Zabitz (David Johansen)

Kipekemie Jara (Zakes Mokae)

Dean Alvah Case (Charles S. Dutton)

Sean Murphy (Robert Clohessy)

Claire Howell (Kristin Rohde)

Diane Wittlesey (Edie Falco)

Clayton Hughes (Seth Gilliam)

Karl Metzger (Bill Fagerbakke)

Eddie Hunt (Murphy Guyer)

Lenny Burrano (Skipp Sudduth)

Father Ray Mukada (B.D Wong)

Doctor Gloria Nathan (Lauren Veldez)

Governor James Devlin (Željko Ivanek)

Martin Querns (Reg E. Cathey)

Doctor Frederick Garvey (Milo O'Shea)

Warden Leo Glynn (Ernie Hudson)

Tim McManus (Terry Kinney)

Sister Peter Marie Reimondo (Rita Moreno)

Picket Fences - Characters (& Actors)

Sheriff James 'Jimmy' Brock (Tom Skerritt)

Doctor Jill Brock (Kathy Baker)

Kimberly Brock (Holly Marie Combs)

Matthew Brock (Justin Shenkarow)

Zachary 'Zach' Brock (Adam Wylie)

Deputy Kenny Lacos (Costas Mandylor)

Deputy Maxine 'Max' Stewart (Lauren Holly)

Carter Pike (Kelly Connell)

Ginny Weedon (Zelda Rubinstein)

Douglas Wambaugh (Fyvush Finkel)

Judge Henry Bone (Ray Walston)

DA John Littleton (Don Cheadle)

DA Barnaby Wood (Peter Frechette)

ADA Petrovic (Jason Beghe)

Father Gary Barrett (Roy Dotrice)

Laurie Bey (Marlee Matlin)

Howard Buss (Robert Cornthwaite)

Doctor Joanna 'Joey' Diamond (Amy Aquino)

Lisa Fenn (Alexandra Lee)

Frank (David Proval)

Rachel Harris (Leigh Taylor-Young)

Ed Lawson (Richard Masur)

Peter Lebeck (Michael Jeter)

Milton Lebeck (Chris Owen)

Reverend Henry Novotny (Dabbs Greer)

Principal Michael Oslo (Roy Brocksmith)

Cynthia Parks (Elisabeth Moss)

Bill Pugen (Michael Keenan)

Lydia Brock (Cristine Rose)

Aiesha Campbell (Bruklin Harris)

Brian Latham (Gregory Vignolle)

Agent Donald Morrell (Sam Anderson)

[lyledebeast]

The three bewigged, villainous, child-menacing characters Jason Isaacs played in the early 2000s share so much in common that it is almost possible to think of them one character in three different genres and, crucially, for three different ratings. Yet those differences make it very difficult to cover them all in one post. Magic plays crucial roles in both Harry Potter and Peter Pan whereas magic in The Patriot only exists for Mel Gibson's benefit. Lucius and Tavington are played very seriously while Hook and George Darling are comedic roles, albeit with some poignant moments. Both Tavington and Hook are obsessed with the titular character, though in different ways, while Lucius only cares about Harry because Lord Voldemort does, and he only cares about Lord Voldemort because he believes in his beliefs.

The question I want to get into, before the lengthier, meatier one in a future post, is the most subjective and most fun: who's the worst?

If we judge these villains by their actions, the top spot has to go to Colonel Kidkiller himself. Being the main villain in an R-rated war drama gives Tavington opportunities for violence Lucius and Hook can only dream of. But while Tavington is the only character of the three to actually kill children as he wants to, the number is quite small in comparison to the adults he kills. Hook shows very little interest in killing children who are not Peter Pan himself, and not unlike Tavington, all his threatening of children has the goal of catching their "father."

Like Hook, Lucius does not kill any children, but that is not owing to any lack of will. Of the eight Harry Potter movies, only four are rated PG-13, and those involve the deaths or torture of children, most of which happen off-screen. Since children are the main characters in this series, their deaths are rare and taken seriously, and Lucius is a minor villain in comparison to Lord Voldemort. However, If we judge Isaacs' villains by their intentions, Lucius takes the prize. If he had his way, he would be responsible for the deaths of far more children than Tavington.

The only movie in which Lucius even approximates being the main villain is 2002's Harry Potter and the Chamber of Secrets, and he makes the most of it. One thing he and Tavington have in common is that they are both excellent actors. After Voldemort's return in Harry Potter and the Goblet of Fire (2005), Lucius tells him, "The face I am forced to wear every day, that is my true mask." This is apparent during a scene in Hagrid's house where Lucius feigns concern about students. "What with all these attacks there will hardly be any muggle-borns left at Hogwarts. One can only imagine what a terrible loss that would be to the school." As he speaks, he turns his back on the other men in this scene and a gleeful smirk appears on his face that bears a strong resemblance to Tavington's when he tells Benjamin Martin "It's an ugly business doing one's duty, but just occasionally, it's a real pleasure." Both of these scenes are performances, but while Tavington is trying to goad Martin into attacking him by referencing his murder of his son, Lucius turns because his mask is slipping, and he wants his sympathy to appear genuine. The irony behind his words is only apparent to the audience (and to Harry and Ron hidden under the invisibility cloak.)

Ultimately, Tavington and Lucius have very different motivations. When Tavington kills Thomas Martin, there is none of the wicked glee with which he talks about it later. When he kills other Patriot children, it is as a means of stopping the militia and, eventually, winning the war and obtaining the land General Cornwallis has promised him. Lucius, meanwhile, has wealth and power already. He emerged from having supporting Voldemort before his first defeat virtually unscathed, and yet he risks everything to support him again for the sake of pureblood supremacy. Tavington sees the deaths of Patriot children as a means to an end; for Lucius, the deaths of muggle-borns, including children, are an end in themselves.

[iamanathemadevice]

Slow Horses

Gary Oldman is not a nice person. He’s a former alcoholic, been accused of spousal abuse, he’s  misogynist and thinks Mel Gibson’s behaviour falls within acceptable guidelines. Everything I’ve ever read about him says he’s a creep in real life.

He’s also a brilliant actor.

When you have someone who’s an utter prick playing an utter prick, it turns out that they are very convincing in that role. Oldman’s character, Jackson Lamb, in Slow Horses needs to be convincing, but you don’t need to like him, which is good, because I don’t.

Yet, amazingly enough, despite the fact he apparently never bathes or uses deodorant, eats “like a dying horse”, chain smokes and drinks, and treats everyone he works for or who works for him like garbage, Jackson Lamb isn’t the biggest prick in the series. He’s not even the worst prick in his little enclave at Slough House.

He just gets the best of the one-liners. It’s quite something to see :)

If Slow Horses’ appeal rested on Oldman, I wouldn’t watch it, and to be honest, if I hadn’t got 3 months’ free Apple TV subscription with my new iPhone, I wouldn’t have paid to see it because Oldman is just so vile. But being able to see it for free, I’m glad I did watch it, because the cast is amazing - come on, Saskia Reeves, Jonathan Pryce, Sophie Okenado, Jack Lowden and Kristin Scott Thomas all in the one show? - the writing is very, very sharp, there is zero bathos, and it makes John Le Carré look like a writer of cosy mysteries.

There are two more seasons to come, not yet available to view, and the preview indicates that the makeup people got the order that Oldman didn’t quite look gross him up, so let’s make him look even more revolting.

Highly recommended, even though I think Gary Oldman needs to be dropkicked off the face of the earth. I’ll sit back and wait for more anonymous abuse for liking something problematic like I got after daring to enjoy the latest Strike series.

[hotchfiles]

i'm very normal about criminal minds, hotch and thomas gibson

i am not in any way shape or form watching season one again as i work on hotch scene packs nor do i have several fic series for him nor do i intend to create scene packs for thomas other roles

im normal

just a normal gal with normal hobbies liking things a normal way