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Posts Tagged ‘Tom Hiddleston’

The most interesting part of Tom Hiddleston’s recent (February 14, 2017) interview with GQ magazine was the relevation that a photo of him and interviewer Taffy Brodesser-Akner had inspired a false news story. Briefly, Hiddleston and Taffy had been photographed hugging on the street after their interview and the photos had been published in the Daily Mail with some nudge-nudge-wink-wink-know -what-I-mean kind of captions e.g. “Hiddleston is seen embracing mystery brunette.” In a confluence of old and new media, the story then spread via social media with Taffy getting inquiries about her “relationship status” with Hiddleston from colleagues and family. [For the record, Taffy is happily married to fellow journalist Claude Brodesser].

Naturally, I had to compose a song to commemorate the event. Here is my effort set to “You Can Call Me Al” by Paul Simon.

If you’ll be my internet boyfriend,
Can I be your mystery brunette?
The affair that never happened, baby,
That’s the one that’s hardest to forget.

Somebody took our picture and
Those photos got a million views.
Posted them up on the Web
My, how those Twitter rumors did ensue!

Husband saw the pictures
Asked me what was going on.
No worries, babe, I just hugged
Tom Hiddleston in London.

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Nothing makes you feel as junior-high-jealous as when another woman has your man, even a man who totally didn’t know that he was yours to begin with.

Let’s be upfront here: Tom Hiddleston and I were never exclusive. I was always going to see other actors; he had his harem of female Twitter fans. We were true to each other in a communal, non-binding sort of way.

Then Tom had the nerve to fall for an actual available female just because she was bright, gifted, beautiful, and funny. Tom, you fool, how could you jeopardize all we had that way?

Now TayTay and I had a deal: she was welcome to date all the other singers and actors that I didn’t know and didn’t care about. All I asked was that she leave a few–ideally the British ones–for the rest of us. I can’t fault Taylor for crushing on Tom. I mean, the guy is tall, handsome, talented, and has a great sense of humor. Together Tom and Taylor could have produced a bevy of genetically perfect children, proving that America and Britain really do have a Special Relationship.

Still, even as I fantasized about pulling Taylor’s cute blond braids, I knew in my heart their love couldn’t last. Hint: any time the press comes up with a cutesy nickname for the couple *coughHiddleswiftcough* you know that the Relationship Apocalypse is nigh. And, sure enough, today the Internet and I received word that the duo is quits.

Welcome back to our virtual arms, Tom! And farewell, Taylor–player’s got to play, play, play. And we and the Internet are just going to shake it off, shake it off.

 

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In High-Rise, Dr. Robert Laing (Tom Hiddleston) moves into an apartment in a new, ’70s style apartment complex which looks rather like a gigantic heating vent, one of five such structures built around a lake. The architect of the ghastly concrete buildings, Mr. Royal (Jeremy Irons), explains that structures are supposed to be fingers with the lake as the palm of a giant hand. The metaphor is meant to suggest that humanity is resting in the Hand of God, but, as the society within the tower devolves into anarchy, you can’t help but wonder if humanity isn’t being crushed by the Hand of Technology.

One of the questions I asked myself as a viewer is “why don’t the residents simply leave when things start to get bad?” I think that the answer must lie in author J.G. Ballard’s experiences as a young man. As a boy, Ballard was interned along with his family in a Japanese prison-of-war camp after the invasion of Shanghai in World War II. The surreality of the war zone and the sudden collapse of a well-ordered society is a recurring motif throughout his fiction.

Viewed through that prism, the high-rise of the title is a prison camp, one that people are confined to by society. Like prisoners, they can leave to work, but they return to their cells every night. Their lives are dominated by the dysfunctional realities of the camp. In the movie, it’s not clear why basic services begin to break down, but as they do, the prisoners are not able (or willing) to take any effective action to resolve the situation. The residents break into factions who then war against one another.

If there are any heroes in this picture, it is the women, perhaps because as women, they are not part of the power structure. It is the women who band together to take care of the children and help each other. By contrast, the men are either fending for themselves or conducting various acts of violence.

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Finally got to see Crimson Peak (thank you, Amazon Instant Video!) and thought it was a great flick. For some reason, the film has been marketed as a horror movie when I would classify it as more of a Gothic romance or possibly a period thriller. Think “Jane Eyre” or “Rebecca” with more gore and you’ll have a better idea of what the film is about.

Edyth Cushing (Mia Wasikowska) is a young American heiress and aspiring writer who falls for an impoverished British aristocrat, Thomas Sharpe (Tom Hiddleston), and accompanies him back to to England to his ancestral home, Allerdale Hall. Once there, Edyth finds that life at Allerdale is not what she expected. The manor house is more than decaying–it’s a carcass of a mansion with a major hole in the roof and red clay squelching up through the floorboards from the mine below. Thomas’s sister, Lucille (Jessica Chastain), is most unwilling to give up her place as her brother’s housekeeper and is actively antagonistic toward Edyth. Thomas himself is obsessed with the design of his clay mining machine during the day and at night forsakes her bed, presumably for his workshop. The more Edyth learns about the house and its secrets, the more she begins to fear for her life.

From the beginning, it’s clear that brooding, Byronic leading man, Thomas Sharpe, has a Dark Secret, but what is his Evil Plan? Is he just another British fortune hunter looking to marry money in order to prop up his family’s mining business? What is up with his sister, Lucille, who definitely seems to be his co-conspirator? And what are we (or Edyth) to make of the corpse ghosts who keep showing up?

A side note: as an audio archivist, I gave an excited squee when Edyth discovers a batch of wax cylinder recordings hidden in a closet. At this point in time, wax cylinder recordings were real cutting edge technology–the kind of thing that only the wealthy could afford–so it’s not surprising that Sharpe should have some.  A nice little touch and, as it happens, A Clue.

According to the producers, Jessica Chastain was initially approached to play the part of Edyth Cushing. While I can see why Jessica would prefer the meatier Lucille role to the heroine-in-peril role of Edyth, I think it would have been interesting to see her and Hiddleston together. The two actors make a great on-screen couple and Mia would have been very creepifying in the Lucille role.

 

 

 

 

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Tilda Swinton and Tom Hiddleston as vampires in Only Lovers Left Alive.

“Gosh, Miss Method,” you say. “Is Jim Jarmusch’s new film, Only Lovers Left Alive, really as awesome as the trailers make it out to be?” After having waited FOREVER to see this flick (and me not an immortal), I can finally give you a verdict: yes, it is.

Lovers is a difficult film to describe without giving away the plot. Briefly, Adam (Tom Hiddleston) is a reclusive musician living in Detroit whose increasing depression inspires his intellectual and more upbeat wife, Eve (Tilda Swinton), to fly in from Tangiers to visit him.  Their reunion  is interrupted by Eve’s wild younger sister, Ada (Mia Wasikowska), who turns up unexpectedly and things rapidly go downhill from there.

Jarmusch doesn’t dwell on the vampire lore aspects of his characters, but he does scatter intriguing little hints throughout the movie.  His vampires seem very sensitive to touch (they all wear gloves) and Eve, especially, is able to sense how old an object is just by handling it. They seem able to communicate by dreams as Eve, Kit, and Adam all have dreams about Ada before she arrives. While they need blood to survive, the blood they drink must be pure. Contaminated blood can make them sick or kill them just as food poisoning does to humans. When necessary, they can move with lightning speed and while it considered polite to be invited in first, they can cross thresholds without harm. Although Adam and Eve are sophisticated artist types, they have a feral, dangerous edge to them.

The movie is artsy, but well-paced and intriguing with a building sense of suspense and a surprise ending. John Hurt co-stars as Christopher Marlowe (yes, that Kit Marlowe) and Anton Yelchin plays (Ian), Adam’s go-fer and fixer in Detroit. There’s also a very nice cameo by Lebanese singer, Yasmine Hamdan, whose songs appear on the film’s soundtrack.

 

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In this May 28, 2012 BBC Newsnight interview, Tom Hiddleston, Mark Rylance, and historian Simon Schama discuss Shakespeare’s history plays and their parallels with the modern political scene. Short clips from this interview have been put up here and there, but I was happy to finally track down the longer interview.

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Tom Hiddleston Love

And a very Happy Valentine’s Day to all of you!

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