‘Men’s bodies in film give an unrealistic idea of masculinity’

The Independent’s arts and culture newsletter ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     ͏ ‌     [The Independent](~/AAAHagA~/RgRoKtdaP0QvaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvP2xpZD10dXpsODEyNTh1cGJXBXNwY2V1QgpmRlpSSGYpqR6FUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAyM~) Saturday, May 18, 2024   ~/AAAHagA~/RgRoKtdaP0RBaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50P2xpZD1qdmZnNmhxeXhzeGJXBXNwY2V1QgpmRlpSSGYpqR6FUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAyM~ ~/AAAHagA~/RgRoKtdaP0RBaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50P2xpZD00MW4yMm1wcTJidzJXBXNwY2V1QgpmRlpSSGYpqR6FUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAyM~ Well, that’s this weekend’s Netflix binge out of the window. The third series of Bridgerton has landed, and [it’s a huge disappointment](~/AAAHagA~/RgRoKtdaP0SNaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L3R2L3Jldmlld3MvYnJpZGdlcnRvbi1zZWFzb24tMy1uZXRmbGl4LXJldmlldy1uaWNvbGEtY291Z2hsYW4tYjI1NDU0NjcuaHRtbD9saWQ9azVyZXN4eXV0N3pzVwVzcGNldUIKZkZaUkhmKakehVIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAMj). The steamy regency show that takes cues from Jane Austen has been a mega hit for the streamer since it first arrived in 2020, but according to our critic Nick Hilton, it’s losing its bite. “The writing (never a huge strength) is particularly flimsy, while the production design looks increasingly like the hyper-saturated, uncanny results produced by an AI tool,” [writes Nick](~/AAAHagA~/RgRoKtdaP0SNaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L3R2L3Jldmlld3MvYnJpZGdlcnRvbi1zZWFzb24tMy1uZXRmbGl4LXJldmlldy1uaWNvbGEtY291Z2hsYW4tYjI1NDU0NjcuaHRtbD9saWQ9enp3MmdrNDc3aGl2VwVzcGNldUIKZkZaUkhmKakehVIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAMj). Nicola Coughlan takes centre stage this time as Penelope Featherington, and she’s great in it – but otherwise Bridgerton seems to be in danger of losing its edge. ~/AAAHagA~/RgRoKtdaP0SNaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L3R2L3Jldmlld3MvYnJpZGdlcnRvbi1zZWFzb24tMy1uZXRmbGl4LXJldmlldy1uaWNvbGEtY291Z2hsYW4tYjI1NDU0NjcuaHRtbD9saWQ9MnE3Zmtwa2E4MWdxVwVzcGNldUIKZkZaUkhmKakehVIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAMj Nicola Coughlan as Penelope Featherington in ‘Bridgerton’ season three (LAURENCE CENDROWICZ/NETFLIX ) Here at Indy Towers, we’re gearing up for this year’s Hay Festival, which kicks off next weekend. A few of us will be bringing you all of the updates from the programme’s incredible array of talks, and over the next few days we’ll have interviews from two writers who are appearing, Olivia Laing and Anna Jones. In the meantime, it’s not too late to book your tickets – check out my guides to the [highlights](~/AAAHagA~/RgRoKtdaP0SBaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L2Jvb2tzL2ZlYXR1cmVzL2hheS1mZXN0aXZhbC0yMDI0LWd1aWRlLWhpZ2hsaWdodHMtYjI1MzQ3NDkuaHRtbD9saWQ9cmZ2MWRhajc4eWVrVwVzcGNldUIKZkZaUkhmKakehVIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAMj) and [the hidden gems](~/AAAHagA~/RgRoKtdaP0R-aHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L2Jvb2tzL2ZlYXR1cmVzL2hheS1mZXN0aXZhbC0yMDI0LWd1aWRlLXRpY2tldHMtYjI1MzkxODQuaHRtbD9saWQ9M2JkdjNjYjUxZ2ZyVwVzcGNldUIKZkZaUkhmKakehVIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAMj). The Indy is also partnering on four editions of The News Review, in which our editor-in-chief Geordie Greig and chief books critic Martin Chilton will speak to leading thinkers about the day’s headlines – we’d love to see you there. Elsewhere this week, Mark Hudson checked out Tate Britain’s show on [neglected female artists](~/AAAHagA~/RgRoKtdaP0SPaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L2FydC9yZXZpZXdzL25vdy15b3Utc2VlLXVzLXdvbWVuLWFydGlzdHMtaW4tYnJpdGFpbi10YXRlLXJldmlldy1iMjU0NDE5My5odG1sP2xpZD0zeGRlcHVrZndpb3lXBXNwY2V1QgpmRlpSSGYpqR6FUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAyM~) and the [V&A’s display of Sir Elton John](~/AAAHagA~/RgRoKtdaP0SHaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L2FydC9yZXZpZXdzL2VsdG9uLWpvaG4tZGF2aWQtZnVybmlzaC1waG90b2dyYXBoeS1yZXZpZXctYjI1NDQ5NTcuaHRtbD9saWQ9bmYzNjVydzdmZ3Q1VwVzcGNldUIKZkZaUkhmKakehVIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAMj) and David Furnish’s vast photography collection. Robert McCrum [wrote about Long Island, Colm Toibin’s remarkable sequel](~/AAAHagA~/RgRoKtdaP0R8aHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L2Jvb2tzL2ZlYXR1cmVzL2NvbG0tdG9pYmluLWJyb29rbHluLW5ldy1ib29rLWIyNTQxNjM2Lmh0bWw_bGlkPWV0b2Jxa3h2M2x5MVcFc3BjZXVCCmZGWlJIZimpHoVSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAADIw~~) to Brooklyn, and Laura Barton [spoke to Kings of Leon](~/AAAHagA~/RgRoKtdaP0SGaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L211c2ljL2ZlYXR1cmVzL2tpbmdzLW9mLWxlb24taW50ZXJ2aWV3LWNhbGViLWZvbGxvd2lsbC1iMjU0NDI4Ni5odG1sP2xpZD01YXF3ZG1wbGQ3a2JXBXNwY2V1QgpmRlpSSGYpqR6FUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAyM~). This weekend, Nick Hilton argues that [the tortured detective trope needs to be retired](~/AAAHagA~/RgRoKtdaP0R7aHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L3R2L2ZlYXR1cmVzL3JlYnVzLXJlc3BvbmRlci1kZXRlY3RpdmUtZHJhbWEtYjI1NDY3MDAuaHRtbD9saWQ9Zmxrd3NtZmkwNDFpVwVzcGNldUIKZkZaUkhmKakehVIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAMj) – sorry Rebus – and Ed Power recaps the latest episode of the [brand new series of Doctor Who](~/AAAHagA~/RgRoKtdaP0R3aHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L3R2L3Jldmlld3MvZG9jdG9yLXdoby1ib29tLXJlY2FwLXJldmlldy1iMjU0Njc3MS5odG1sP2xpZD1sODZ3cnR1OHphaXlXBXNwY2V1QgpmRlpSSGYpqR6FUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAyM~). Have a great weekend, Jessie [@jessiecath](~/AAAHagA~/RgRoKtdaP0QyaHR0cDovL3d3dy50d2l0dGVyLmNvbS9qZXNzaWVjYXRoP2xpZD1jeGFkNG81dWJ2bm1XBXNwY2V1QgpmRlpSSGYpqR6FUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAyM~) What to do this weekend Music | [Billie Eilish, Hit Me Hard and Soft](~/AAAHagA~/RgRoKtdaP0RGaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L2ZpbG0_bGlkPWN1bzJzbWhiNms0OVcFc3BjZXVCCmZGWlJIZimpHoVSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAADIw~~) Billie Eilish has a cool knack for singing as though she’s inside your head. An intrusive thought of a vocalist, prodding at the darker side of life. On Oscar-winning songs for the Bond and Barbie movies, she slipped beneath the plastic skin of iconic characters to whisper existential doubt. Her [delicate, haunting third album, Hit Me Hard and Soft](~/AAAHagA~/RgRoKtdaP0SHaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L211c2ljL3Jldmlld3MvYmlsbGllLWVpbGlzaC1oaXQtbWUtaGFyZC1hbmQtc29mdC1yZXZpZXctYjI1NDYwNzQuaHRtbD9saWQ9anF2NXNtemNqZG9qVwVzcGNldUIKZkZaUkhmKakehVIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAMj), sees the sad-sweet hushed-croon that she honed on “What was I Made For?” dreamily submerged into a shifting mix of sleepy guitars, sighing cellos, and trancey beats concocted with her brother Finneas in his Astronave studio. Helen Brown | Album critic   Theatre | [People, Places and Things, Trafalgar Theatre](~/AAAHagA~/RgRoKtdaP0RPaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L3RoZWF0cmUtZGFuY2U_bGlkPTF1a3YyMWUyMDR1NVcFc3BjZXVCCmZGWlJIZimpHoVSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAADIw~~) When Duncan Macmillan’s play about an actress recovering from drug addiction opened at the National Theatre in 2015, many said how wonderful it was, and how rare, to see such a complex lead role written for a woman. Denise Gough had been on the verge of quitting the profession when her portrayal of Emma turned her into a star overnight. It was compared to Mark Rylance’s performance in Jerusalem, helping to power a 2016 West End transfer and winning her an Olivier award. Eight years on, [with the production back in the West End](~/AAAHagA~/RgRoKtdaP0SSaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L3RoZWF0cmUtZGFuY2UvcmV2aWV3cy9wZW9wbGUtcGxhY2VzLWFuZC10aGluZ3MtcmV2aWV3LWRlbmlzZS1nb3VnaC1iMjU0NTQ1Ny5odG1sP2xpZD0zbHU5NXl2Z21ucGtXBXNwY2V1QgpmRlpSSGYpqR6FUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAyM~), there are many more strong lead parts around for women; things have changed. But one thing hasn’t, and that’s Gough’s performance. It’s as extraordinary as when she first delivered it: shocking, magnetic, unbelievably real. Jessie Thompson | Arts editor   Art | ~/AAAHagA~/RgRoKtdaP0RFaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L2FydD9saWQ9YWRrcWxoMGdvcTIyVwVzcGNldUIKZkZaUkhmKakehVIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAMj~/AAAHagA~/RgRoKtdaP0RFaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L2FydD9saWQ9Z29kbmxxbjJ5NW1zVwVzcGNldUIKZkZaUkhmKakehVIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAMj~/AAAHagA~/RgRoKtdaP0RFaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L2FydD9saWQ9c21qN3NwbnNoNjl4VwVzcGNldUIKZkZaUkhmKakehVIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAMj~/AAAHagA~/RgRoKtdaP0RFaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L2FydD9saWQ9Y2tqazVhb2UyOTZiVwVzcGNldUIKZkZaUkhmKakehVIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAMj~/AAAHagA~/RgRoKtdaP0RFaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L2FydD9saWQ9dmwzdTNmbTVkYmxoVwVzcGNldUIKZkZaUkhmKakehVIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAMj~/AAAHagA~/RgRoKtdaP0RFaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L2FydD9saWQ9M2dlbmZyZTMybGo3VwVzcGNldUIKZkZaUkhmKakehVIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAMj[Vicken Parsons](~/AAAHagA~/RgRoKtdaP0RFaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L2FydD9saWQ9bGJ1em1kNjZsc2xwVwVzcGNldUIKZkZaUkhmKakehVIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAMj)[, Cristea Roberts Gallery](~/AAAHagA~/RgRoKtdaP0RFaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L2FydD9saWQ9NDc4eGw2aHl6cGpuVwVzcGNldUIKZkZaUkhmKakehVIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAMj)~/AAAHagA~/RgRoKtdaP0RFaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L2FydD9saWQ9cTlyNGVjMnB0NmxtVwVzcGNldUIKZkZaUkhmKakehVIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAMj Vicken Parsons’ paintings are pictorial haikus: small, poetic, abstract and [quietly brimming with emotion and colour](~/AAAHagA~/RgRoKtdaP0SJaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L2FydC9yZXZpZXdzL3ZpY2tlbi1wYXJzb25zLXJldmlldy1jcmlzdGVhLXJvYmVydHMtZ2FsbGVyeS1iMjU0NTY3Ni5odG1sP2xpZD0zN3BuNjUyMTJqb3VXBXNwY2V1QgpmRlpSSGYpqR6FUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAyM~). The diminutive scale is what defines the tiny pieces, luminous and compelling as candles in a dimly lit cathedral, as they explore memories, space and abstraction. No painting is much bigger than a foot. Although there are no people in her pictures, they engage beyond their abstractive minimalism on a very human level. They use hard and soft forms, edges and spaces, contained as tiny lozenges of colour, dotted like stars in a galaxy, or, in this instance, the Cristea Roberts gallery in Mayfair. Geordie Greig | Editor-in-chief   Film | [Furiosa: A Mad Max Saga](~/AAAHagA~/RgRoKtdaP0RHaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L211c2ljP2xpZD13aXR2eDlydGMwMGFXBXNwY2V1QgpmRlpSSGYpqR6FUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAyM~) The fifth Mad Max movie, which has premiered at the Cannes Film Festival, arrives on screen without one seemingly vital ingredient – Max himself. But no matter – [this is a film made with purposeful savagery](~/AAAHagA~/RgRoKtdaP0R8aHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L2ZpbG1zL3Jldmlld3MvZnVyaW9zYS1yZXZpZXctYW55YS10YXlsb3Itam95LWIyNTQ1MzY4Lmh0bWw_bGlkPTdhNGlvODU2MHUwZlcFc3BjZXVCCmZGWlJIZimpHoVSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAADIw~~), and with considerable wit and lyricism, too. It has the concentrated intensity of 2015’s Fury Road, to which it is a prequel, and yet it unfolds across a far broader canvas. This is the origin story of that film’s female protagonist Furiosa (played there by Charlize Theron), taking her from early childhood to her emergence as a warrior. Clarisse Loughrey | Film critic [The Saturday Interview – Rafe Spall](~/AAAHagA~/RgRoKtdaP0SCaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L3R2L2ZlYXR1cmVzL3JhZmUtc3BhbGwtdHJ5aW5nLXRpbW90aHktZXN0aGVyLXNtaXRoLWIyNTQ0OTMwLmh0bWw_bGlkPWlic3E2eW95czk2OFcFc3BjZXVCCmZGWlJIZimpHoVSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAADIw~~) atures/rafe-spall-trying-timothy-esther-smith-b2544930.html?lid=h91g3y7ygoku Rafe Spall stars in the fourth series of 'Trying' The actor [talks to Charlotte O’Sullivan](~/AAAHagA~/RgRoKtdaP0SCaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L3R2L2ZlYXR1cmVzL3JhZmUtc3BhbGwtdHJ5aW5nLXRpbW90aHktZXN0aGVyLXNtaXRoLWIyNTQ0OTMwLmh0bWw_bGlkPXFtaWNna3lxbWludFcFc3BjZXVCCmZGWlJIZimpHoVSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAADIw~~) about objectification, weight loss, the return of family sitcom Trying and how acting with his co-star Esther Smith "elevates the show" for him. atures/rafe-spall-trying-timothy-esther-smith-b2544930.html?lid=r8arlhxjhjk2 Esther Smith (left), whom Spall calls ‘one of the most gifted actors of her generation’, with Scarlett Rayner and Spall in ‘Trying' (Apple) Read an extract from our Saturday Interview below… When he first appears on my screen – wearing glasses and a chunky jumper – Spall has the air of a teacher who fears his dim-witted pupils could, at any second, run amok. He frowns. He crosses his arms. He’s determined to set boundaries. But he can’t help getting excited when discussing the beauty of two people “becoming each other’s muses” (he practically falls off his chair during a discussion of Jeff Buckley’s “All Flowers in Time Bend Towards the Sun”). He’s found his muse and her name is Esther. Spall describes Smith as “a deeply empathetic, sympathetic, beautiful soul... funny and bright and warm and kind”. He later emails to say the great joy of Trying, for him, is “acting with Esther. She is what elevates the show. She’s one of the most gifted actors of her generation.” [Read the full interview here](~/AAAHagA~/RgRoKtdaP0SCaHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvYXJ0cy1lbnRlcnRhaW5tZW50L3R2L2ZlYXR1cmVzL3JhZmUtc3BhbGwtdHJ5aW5nLXRpbW90aHktZXN0aGVyLXNtaXRoLWIyNTQ0OTMwLmh0bWw_bGlkPXBpMjBjZG1vNHdvaFcFc3BjZXVCCmZGWlJIZimpHoVSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAADIw~~) ~/AAAHagA~/RgRoKtdaP0Q8aHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvc3Vic2NyaWJlL2FwcD9saWQ9anA4eXdiOWYzZDA0VwVzcGNldUIKZkZaUkhmKakehVIbdHJpc3RyYW1iYWxkd2luOTBAZ21haWwuY29tWAQAAAMj ~/AAAHagA~/RgRoKtdaP0Q9aHR0cHM6Ly9pbmRlcGVuZGVudC5vbmVsaW5rLm1lL25vNXgvZDI1ZTc0Y2M_bGlkPWV4aDFod3c4MDY5cFcFc3BjZXVCCmZGWlJIZimpHoVSG3RyaXN0cmFtYmFsZHdpbjkwQGdtYWlsLmNvbVgEAAADIw~~ [INDYBEST](~/AAAHagA~/RgRoKtdaP0Q-aHR0cHM6Ly93d3cuaW5kZXBlbmRlbnQuY28udWsvZXh0cmFzL2luZHliZXN0P2xpZD1oZm40ZXJyOXR0anpXBXNwY2V1QgpmRlpSSGYpqR6FUht0cmlzdHJhbWJhbGR3aW45MEBnbWFpbC5jb21YBAAAAyM~) / [BEST 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