#actor talk

Hey, Shipcestuous. ShipCestFan here. No big submission just a comment/thought.  I recently watched a movie with a cestship subplot in which the main character has shown up in other movies with cestship themes.

It got me wondering how many actors I could think of that I’ve seen show up repeatedly in multiple roles or movies that contain cestships. Here’s the ones I could think of…

Bente Borsum - House on the Rocks (1974) m-s; Mors Hus (His Mother’s House - 1974) m-s. 

Bente was a smokin hot MILF in her day, and she made both of these movies in the same year in which she plays a mom (or stepmom) in a sexual cestship with her adult son.

Joan Severance - Wiseguy (1987-1990) b-s; In Dark Places (2000) b-s.

Joan was a staple on what us Oldies used to call late-night “Skinamax” flicks (bad softporn movies). Wiseguy was a popular television show in the 80s, and she was in a consensual cestship with her cousin or brother (can’t remember). In In Dark Places, she plays the main character’s half sister who shows back up in his life and seduces him. What’s sad about this film is that I cannot for the life of me find the version of the film that includes the sex scene between them. Every version I’ve found, the scene is badly edited out. Boo!

Eva Green - Womb (m-s); The Dreamers (b-s); Camelot (b-s); Penny Dreadful (b-s)

My girl, Eva. What can I say?  She kicked things off with the cestshippey Dreamers and continued in Womb, Camelot and Penny Dreadful. I’m convinced she gets off on incest. And I love her for it. LOL

Julianne Moore - Map to the Stars (not central); Savage Grace (m-s)

Julianne has also picked some rather “interesting” indie films in which she raises cestship eyebrows.  Map to the Stars has a cestship subplot but it doesn’t involve her. Still…she had to choose that film after reading the script. And she starred in a movie called Chloe where she gets it on with a young woman half her age and there are big-time m/d ship vibes from it.

Connie Nielsen - Devil’s Advocate (b-s); Gladiator (b-s); All Relative (m-sil)

Connie, Connie, Connie - I first fell in love with her when she was Satan’s daughter trying to seduce her brother. She gets better with age so I’d love to see her in a m-s role. In All Relative, she seduces her future son in law, so she’s on her way!

Dominique Swain - Lolita 1997 (f/d); Blood Craft 2019 (s/s)

Dominique played the coquettish Lolita in Showtime’s production of the great Nabokov novel. She killed it.  She then showed up in Blood Craft two decades later as the mother of 2 young adult sisters in a cestship.

Alberta Watson - Spanking the Monkey (1994), Sweet Angel Mine (1996), The Sweet Hereafter (not central) (1997)I’m going to be submitting a GIF post on Sweet Angel Mine but yeah… Alberta.  She has to be the Queen of Cestship. She was even quoted as saying the incest role in Spanking the Monkey was her favorite film role and the incest didn’t bother her at all. May she RIP.  I like to believe she may have continued with cestship roles if she was still alive.

i assume you mean the ones where they overly exaggerate her ass/breasts. to which i say it's just misogynistic fetish content. she's unfortunately the victim of a lot of 'pawg' (phat ass white girl) fetishes due to being naturally curvy, and unfortunately men see that as an 'invitation' in the same way a woman daring to have DD+ cups is. i think it massively reflects how the creator sees women, in that it reflects a view of women as Objects to be edited (used for pleasure) rather than Real People who can be icked out. a lot of this content is justified by men in a "well, she shouldn't be a celebrity if she can't handle it" sense which i only find doubly rape-y because it's the belief that 1) existing in public is 'asking for it'. the price you pay to be in society, as a woman, is men's sexual gratification and 2) that having a job is itself consent. there is no job in the world, including sex work, where you should feel entitled to a woman like that.

i'm pretty sure i know which interview you mean, the happy sad confused interview which screenrant reported on, and based on what he said there, along with what i've seen over the years, i honestly don't think he'd do it without bryce OR if clawen broke up. the quote he gives is:

"Maybe. Yeah, I think so. That’d be awesome. I mean, I love that character (Owen Grady). I love the team. Love Universal. Love Scarlett. I think that would be epic. We’d just have to find a way to do it in a way that honors the stories that we told the first three times". that last line in particular reads to me as a very diplomatic way of going "i'm not doing this shit if it messes with claire/owen/maisie too much". because pratt is quite invested in them and the idea of owen as a devoted family man. he was saying shit like "clawen aren't married but owen sees claire as his wife" during the jwd tour.

but even more so, i don't think he'd do it without bryce because he already has beef with universal over their misogyny towards her. in everything we know, the men of jurassic had more than one incident where they had to defend bryce (and later, dewanda) from misogynistic higher ups whether that was because of wage gaps or beauty standards. his politics are a whole other can of worms (because all men in hollywood are highkey evil), but the jurassic women generally speak highly of him (and colin).

It’s been a while, but Actor Talk with Michael, Morgan, and Al has finally returned with another episode. This week the guys talk about the acting topic of improvisation. 

You can download a free copy of the episode here, if you’d like.

Thanks for listening!

By Casey Searles

Some actors can conjure tears at a moments notice, for some it takes a little longer, and in some cases the tears just don’t come out at all. I’ve been in all three of these camps, as I imagine most actors have, but the prospect of a script calling for tears at a specific moment used to fill me with apprehension.  

I can trace my interest in tear control to my early childhood, when I had the pesky bodily response of crying when other people cried. I can remember several instances of being in school and someone in class would be dealing with any number of kindergartner woes and there I would be, crying in the background and desperately trying to stop. It’s clear as an adult that I was empathic to the extreme, but at the time it was just confusing and awkward to the extreme.  It took a little practice and grit, but eventually I trained my body and mind to steel itself when people around me were unsettled. I could still be nice and comforting — I just had to really try not to also hold their pain and make it my own. Sounds like healthy progress, right? The problem is that I got a little too good at guarding myself, and eventually I had some issues feeling my own emotions, especially the painful ones.

As life would have it, while I was learning to control my emotions, I also began acting in plays. I loved inhabiting characters and the intense, collaborative pretending that goes along with putting on a play. I learned that every actor tackles their role in a different way and there are so many techniques that have been developed to emotionally, physically, and vocally inhabit a character. Through the years, I found my niche playing all of those age-inappropriate, stoic, mom and comic-relief, weirdo roles that are plentiful in high school theatre selections.  I think I took to them so well, because that was me — emotionally restrained and trying to ease the tension with a joke. When I started being cast as characters who lost control emotionally, I realized that it was more difficult to get right because I myself hadn’t lost control of my emotions in a very long time. Sure, there are any number of tricks to help you to cry on stage that don’t involve having an emotional meltdown along with the character you’re playing, and that’s great and very useful. But for me it wasn’t about that — it was about a need to embrace all of the messy emotions that I had quashed for so long, to yes, become a better actor, but to also become a healthier, truer person.  

Long story short, I cry all the time now. Oof, so many tears! Just like in kindergarten, it is still sometimes mortifying and unexpected, and just like in kindergarten, I still sometimes contort myself and suppress it, but that’s becoming rarer. Has this made me a better actor? Am I a cry factory on stage? No, I’m not a cry factory, but it has allowed me to empathize more with character’s emotional circumstances in a way that I didn’t have access to before.

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