Monday, 24th May 2021 at 1:22 pm
Thalissa Teixeira says that the inclusion of actors of colour in Channel 5’s Anne Boleyn is definitely not an example of colour-blind casting.
Advertisement
The actress plays King Henry VIII’s mistress Madge Shelton in the upcoming historical thriller, which made headlines for casting Queen & Slim star Jodie Turner-Smith as Henry’s most famous wife, the ill-fated Anne Boleyn.
Speaking exclusively to
RadioTimes.com, the Trigonometry actress stressed that the diverse casting in Anne Boleyn was – instead of being colour-blind – identity conscious, helping to highlight how certain characters were ‘othered’ by the Tudor court.
“[The downfall of Anne is] a tragedy. And we often see it as this kind of quick-paced murder but it was very thought through, and it was very, very well plotted by [Thomas] Cromwell and Henry. I think the casting [of Jodie Turner-Smith] has something to say for that as well. We’re talking about the idea tha
Lady Chatterley s Lover and More UK Productions are Greenlit + Casting
backstage.com - get the latest breaking news, showbiz & celebrity photos, sport news & rumours, viral videos and top stories from backstage.com Daily Mail and Mail on Sunday newspapers.
Turner-Smith previously said that Boleynâs life resonated with her as a new mother, and that it was a story she could ârelate to as a black woman ⦠it shows how little has changed in terms of our desire to tear down powerful womenâ. She told the Guardian that âthe idea that a woman with power is a threat or must be destroyed is nothing new and somehow it seems to never get oldâ.
âLook at the last four years in America, and how certain politicians would speak about women that dared to be assertive or that demonstrated their intelligence, their power,â adds Turner-Smith. âYou think about the term ânasty womanâ [which Donald Trump used to refer to Hillary Clinton], and what that meant, and to whom. Not to mention the ways in which society demonstrates its desire to make women powerless. Every year we are marching for our right to have agency over our bodies, our reproductive health, our lives. And when you add the mistreatment that
LONDON
Writer-director Rose Glass has been living with her debut feature, “Saint Maud,” for over six years, more if you add the yearlong delay the film has seen thanks to the pandemic (the film opened in the U.S. in theaters and drive-ins Jan. 29 and is now available on Epix). The tightly wound story of a hospice nurse named Maud whose newly found religious faith takes her to horrific extremes had been percolating in Glass’ head for even longer, drawn from both her Catholic school upbringing and her interest in how our internal worlds can be so vastly different from what we present externally.
Behind the Work 841 Add to collection
The director tells LBB how he created an escapist adventure, packed with zombie invasions, a dinosaur encounter and a D-Day landing in Ukraine for the Facebook-owned VR platforms
As Covid continues to keep many of us stuck in our homes, the appeal of escaping into a virtual world only grows stronger. And so, Ian Pons Jewell’s recent Oculus ad, which whisks us to a galaxy far, far away and beyond couldn’t feel more relevant right now. And after a year of fairly small, Zoom-call-recorded ads, this ambitious, world-hopping point of view adventure feels pretty liberating.
vimarsana © 2020. All Rights Reserved.