I’ve always felt as a performer a sort of combativeness. You know, the finger would come out and I would be here I am and this is fucking it and stand there and take it. And it was a very one-way kind of experience for me.… I come from a different school of frontmen. Full-on attack. It’s an attack on your audience of some sort. It’s just the way it’s always been.” That has changed. “Even though the finger comes out, it doesn’t feel like that in the same ways it used to feel. It feels much more that there’s something coming back.… Something different has been happening with the audience—a kind of dynamic, emotional exchange—that is quite beautiful. There’s just some kind of communal feeling. Maybe this is what it’s like to be in Coldplay or something.
Posting a Snapchat to your story and then waiting for that one specific person to watch it, is the modern day equivalent of Gatsby throwing elaborate parties seeking Daisy’s attention.
Check the hashtag, Old Sport.
On a series like Gilmore Girls, Bledel’s performance largely relies upon the lengthy, quick dialogue the show is notorious for. The Handmaid’s Tale is the opposite; the first three episodes, helmed by director Reed Morano, let entire conversations and declarations take place without a word. The close-up is utilized so masterfully in this series that words don’t feel necessary; Morano lets the actors’ faces say it all. While much of this is focused on Moss, the moments that Bledel is allowed to show us what she can manifest on her face are full of gorgeous, raw emotion.
Look, I love Gilmore Girls. You love Gilmore Girls. But it’s no secret that Alexis Bledel often seemed overmatched, unable to keep up with the rest of the ensemble.
So it’s delightful to discover that her acting talents, when properly deployed as they are in The Handmaid’s Tale, are PRODIGIOUS.
Just leaving this here. 🙂