TIME celebrities

AC/DC Drummer Phil Rudd Pleads Guilty

AC/DC drummer pleads guilty at New Zealand trial
Ross Setford—EPA Phil Rudd appears at the High Court for charges of drug posession and threatening to kill, at the District Court in Tauranga, New Zealand, on Nov. 26, 2014

AC/DC drummer Phil Rudd has pleaded guilty to charges of threatening to kill a former employee and possession of methamphetamine and marijuana, this according to various news reports. Rudd had originally pleaded not guilty to those charges last year.

According to The New Zealand Herald, however, Rudd will appear in court for sentencing on June 26, “when his lawyer will challenge conviction.”

Representatives for AC/DC had no comment when contacted by EW. Last year, the band’s guitarist, Angus Young, told The Huffington Post the charges against Rudd came as a “big shock,” but that AC/DC had “issues” with the drummer before.

“When we were recording, it was quite difficult to just get him in the studio,” Young said. “When we were in London when we were starting up to do the video shoot and stuff and it was the same then. He didn’t show, you know? That’s something we’ve got to resolve. Phil’s got to sort himself out.”

In December of last year, however, Rudd said he wanted to rejoin AC/DC as soon as possible.

“I’m going back to work with AC/DC and I don’t care who likes it or who doesn’t,” Rudd told New Zealand’s One News (via The Guardian). “I want my job back and I want my reputation back.”

Rudd did not perform with AC/DC during the band’s headlining slots at the last two weekends of Coachella, nor when the group played at this year’s Grammy awards ceremony. (Onetime drummer Chris Slade filled in for Rudd during those appearances.)

According to Sky News, Rudd could be sentenced for up to seven years.

This article originally appeared on EW.com

TIME Music

Mike Tyson Pushes It (Real Good) in Lip Sync Battle

His performance airs Thursday

You may be sick of Salt-N-Pepa’s ’80s hit “Push It” after that GEICO commercial, but a preview clip from the next episode of Lip Sync Battle shows Mike Tyson isn’t.

The Spike TV program has been making headlines since it debuted earlier this month, with notable performances from Anna Kendrick, Common, John Legend and Anne Hathaway. Let’s just hope some real-life lip-syncers don’t get invited on the show.

Tyson’s energized performance airs Thursday, 10 p.m. ET.

TIME celebrities

Here’s How a Bunch of Celebrities Marked 4/20

Featuring Rihanna, Miley Cyrus, Seth Rogen and 2 Chainz

Some of your favorite actors and musicians appeared to take part in—or at least share their enthusiasm for—the unofficial marijuana holiday on Monday. Here’s a sample:

Seth Rogen, actor/director:

Happy 420 ya'll.

A photo posted by Seth (@sethrogen) on

Miley Cyrus, singer:

A photo posted by Miley Cyrus (@mileycyrus) on

2 Chainz, rapper:

Zach Braff, actor/director:

Happy 4/20.

A photo posted by Zach Braff (@zachbraff) on

Rihanna, singer:

#420 x #hawaii x #badgal

A video posted by badgalriri (@badgalriri) on

Demi Lovato, singer:

Snoop Dogg, rapper:

#snoop420

A photo posted by snoopdogg (@snoopdogg) on

Diplo, producer:

Bill Maher, host of HBO’s Real Time with Bill Maher:

Ice Cube, rapper and actor:

Rob Delaney, comedian:

Wiz Khalifa, rapper:

Juicy J, rapper:

Tinashe, singer:

Read next: Quiz: How High Is Your Weed IQ?

TIME Television

January Jones: That Mad Men Scene Between Betty and Glen Wasn’t Creepy

Marten Weiner as Glenn Bishop and January Jones as Betty Francis - Mad Men _ Season 7B, Episode 10 - Photo Credit: Justina Mintz/AMC
Justina Mintz/AMC Marten Weiner as Glen Bishop and January Jones as Betty Francis in Mad Men

"I think it just says a lot about Betty's character and emotional maturity," Jones says

Warning: Spoilers for Sunday’s episode of Mad Men ahead.

Audiences bid adieu to yet another Mad Men character Sunday night—this time to Glen Bishop, the Drapers’ neighbor who once asked for a lock of Betty’s hair and has carried a flame for her ever since. Glen (who is played by show creator Matt Weiner’s son, Marten Weiner) made a move on Mrs. Francis before he shipped off to Vietnam. Betty, though flattered, rebuffed his advances.

January Jones—whose new film, Good Kill, opens May 22—spoke with TIME about the scene, Betty’s surprising maturity in the final season of the show and what lies ahead for her TV daughter, Kiernan Shipka.

TIME: Glen and Betty have had this interesting—sometimes even creepy—relationship. What do you think of its resolution?

January Jones: I love that storyline, and I always have. I don’t find it creepy. I think it just says a lot about Betty’s character and her emotional maturity level that she relates so well to Glen, who is far younger than her. She’s gone through many different stories with him, from when they first met to when she was jealous of Sally’s relationship with him.

This last chapter, I think, sort of opened her eyes to the reality of the situation and the logistics of it. I think selfishly she’s always thought about how everything affected her, and she’s realizing finally how it affected him. And she dealt with it in a very maternal way.

She’s finally starting to mature, unlike Don.

Baby steps! [laughs] It’s taken about nine years, but she’s finally getting there.

Her relationship with Sally is better as well. Sally made a joke and Betty didn’t immediately ground her.

Definitely. I think the fact that Don and Sally’s relationship isn’t in the best place has helped her and Betty’s relationship too.

Kiernan Shipka has played your daughter Sally on the show for almost a decade. Now, she’s going to be pursuing her own career. Have you offered her any maternal advice?

No way. I don’t have any advice for her. She’s a smart girl. A smart woman. If anything, I would ask her for advice. She’s so well-rounded, mature. She’s been in the business for a really long time, and she’s doing things in this really healthy way. I’m so proud of her. I’m so proud of having been able to watch her grow into a great actress and young woman.

MORE: Mad Men Recap: ‘The Forecast’

TIME

See the 2015 Pulitzer Prize Winners and Finalists

The 2015 Pulitzer Prize winners and finalists, and the judges’ comments:

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JOURNALISM

Public Service: The Post and Courier, of Charleston, South Carolina, for “Till Death Do Us Part,” a riveting series that probed why South Carolina is among the deadliest states in the union for women and put the issue of what to do about it on the state’s agenda. Finalists: The Boston Globe for its stories, videos, photos and graphics exposing a poorly regulated, profit-driven housing system that subjected thousands of college students in Boston to unsafe, and even deadly, conditions; and The Wall Street Journal for “Deadly Medicine,” a stellar reporting project that documented the significant cancer risk to women of a common surgery and prompted a change in the prescribed medical treatment.

Breaking News Reporting: The Seattle Times staff for its digital account of a landslide that killed 43 people and the impressive follow-up reporting that explored whether the calamity could have been avoided. Finalists: The Buffalo News staff for a superbly reported and written account of a lake-effect snowstorm, using human detail to illuminate the story and multimedia elements to help readers through the storm; and the Los Angeles Times staff for a quick but thoughtful response to a shooting spree, beginning with minute-by-minute digital storytelling and evolving into print coverage that delved into the impact of the tragedy.

Investigative Reporting: The Wall Street Journal staff for “Medicare Unmasked,” a pioneering project that gave Americans unprecedented access to previously confidential data on the motivations and practices of their health care providers; and Eric Lipton, of The New York Times, for reporting that showed how the influence of lobbyists can sway congressional leaders and state attorneys general, slanting justice toward the wealthy and connected. Finalists: David Jackson, Gary Marx and Duaa Eldeib of the Chicago Tribune for their exposé of the perils faced by abused children placed in Illinois’s residential treatment centers.

Explanatory Reporting: Zachary R. Mider, of Bloomberg News, for a painstaking, clear and entertaining explanation of how so many U.S. corporations dodge taxes and why lawmakers and regulators have a hard time stopping them. Finalists: John Ingold, Joe Amon and Lindsay Pierce, of The Denver Post, for an intimate and troubling portrayal of how Colorado’s relaxed marijuana laws have drawn hundreds of parents to the state to seek miracle cures for desperately ill children; and Joan Biskupic, Janet Roberts and John Shiffman, of Reuters, for using data analysis to reveal how an elite cadre of lawyers enjoy extraordinary access to the U.S. Supreme Court, raising doubts about the ideal of equal justice.

Local Reporting: Rob Kuznia, Rebecca Kimitch and Frank Suraci, of the Daily Breeze of Torrance, Calif., for their inquiry into widespread corruption in a small, cash-strapped school district, including impressive use of the paper’s website. Finalists: Joe Mahr, Joseph Ryan and Matthew Walberg, of the Chicago Tribune, for their probe into government corruption in a Chicago suburb, using public records, human stories and shoe-leather reporting to lay out the consequences; and Ziva Branstetter and Cary Aspinwall, of the Tulsa World, for courageous reporting on the execution process in Oklahoma after a botched execution – reporting that began a national discussion.

National Reporting: Carol D. Leonnig, of The Washington Post, for her smart, persistent coverage of the Secret Service, its security lapses and the ways in which the agency neglected its vital task: the protection of the president of the United States. Finalists: Marisa Taylor, Jonathan Landay and Ali Watkins, of McClatchy Newspapers, for timely coverage of the Senate Intelligence Committee’s report on CIA torture, demonstrating initiative and perseverance in overcoming government efforts to hide the details; and Walt Bogdanich and Mike McIntire, of The New York Times, for stories exposing preferential police treatment for Florida State University football players who are accused of sexual assault and other criminal offenses.

International Reporting: The New York Times staff for courageous front-line reporting and vivid human stories on Ebola in Africa, engaging the public with the scope and details of the outbreak while holding authorities accountable. Finalists: Richard Marosi and Don Bartletti, of the Los Angeles Times, for reporting on the squalid conditions and brutal practices inside the multibillion-dollar industry that supplies vegetables from Mexican fields to American supermarkets; and Ned Parker and a team from Reuters for intrepid reports of the disintegration of Iraq and the rise of ISIS, linking the developing catastrophe to a legacy of sectarianism, corruption and violence seeded by the U.S. invasion.

Feature Writing: Diana Marcum, of the Los Angeles Times, for her dispatches from California’s Central Valley offering nuanced portraits of lives affected by the state’s drought, bringing an original and empathic perspective to the story. Finalists: Sarah Schweitzer, of The Boston Globe, for her masterful narrative of one scientist’s mission to save a rare whale, a beautiful story fortified by expansive reporting, a quiet lyricism and disciplined use of multimedia; and Jennifer Gonnerman, of The New Yorker, for a taut, spare, devastating re-creation of the three-year imprisonment of a young man at Rikers Island, much of it spent in solitary confinement, after he was arrested for stealing a backpack.

Commentary: Lisa Falkenberg, of the Houston Chronicle, for vividly written, groundbreaking columns about grand jury abuses that led to a wrongful conviction and other egregious problems in the legal and immigration systems. Finalists: the late David Carr, of The New York Times, for columns on the media whose subjects range from threats to cable television’s profit-making power to ISIS’s use of modern media to menace its enemies; and Matthew Kaminski, of The Wall Street Journal, for columns from Ukraine, sometimes reported near heavy fighting, deepening readers’ insights into the causes behind the conflict with Russia and the nature and motives of the people involved.

Criticism: Mary McNamara, of the Los Angeles Times, for savvy criticism that uses shrewdness, humor and an insider’s view to show how both subtle and seismic shifts in the cultural landscape affect television. Finalists: Manohla Dargis, of The New York Times, for film criticism that rises from a sweeping breadth of knowledge – social, cultural, cinematic – while always keeping the viewer front and center; and Stephanie Zacharek, of The Village Voice, a New York City weekly, for film criticism that combines the pleasure of intellectual exuberance, the perspective of experience and the transporting power of good writing.

Editorial Writing: Kathleen Kingsbury, of The Boston Globe, for taking readers on a tour of restaurant workers’ bank accounts to expose the real price of inexpensive menu items and the human costs of income inequality. Finalists: Tony Messenger and Kevin Horrigan, of the St. Louis Post-Dispatch, for editorials that brought insight and context to the national tragedy of Ferguson, Missouri, without losing sight of the community’s needs; and Jill Burcum, of the Star Tribune, Minneapolis, for well-written and well-reported editorials that documented a national shame by taking readers inside dilapidated government schools for Native Americans.

Editorial Cartooning: Adam Zyglis, of The Buffalo News, who used strong images to connect with readers while conveying layers of meaning in a few words. Finalists: Kevin Kallaugher, of The Baltimore Sun for simple, punchy cartoons with a classic feel lampooning the hypocrisy of not just his subjects but also his readers; and Dan Perkins, drawing as Tom Tomorrow, of Daily Kos, for cartoons that create an alternate universe — an America frozen in time whose chorus of conventional wisdom is at odds with current reality.

Breaking News Photography: St. Louis Post-Dispatch photography staff for powerful images of the despair and anger in Ferguson, Missouri, stunning photojournalism that served the community while informing the country. Finalists: Mauricio Lima, Sergey Ponomarev and Uriel Sinai, of The New York Times, for photographs that portrayed the conflict in Ukraine in an intimate way, showing how the battle for power crushed the lives of people; and Tyler Hicks, Sergey Ponomarev and Wissam Nassar, of The New York Times, for capturing key moments in the human struggle in Gaza and providing a fresh take on a long, bloody conflict.

Feature Photography: Daniel Berehulak, freelance photographer for The New York Times, for his gripping, courageous photographs of the Ebola epidemic in West Africa. Finalists: Bulent Kilic, of Agence France-Presse in Washington, D.C., for his compelling photographs of Kurds fleeing ISIS attacks in small Kurdish towns on the Syrian-Turkish border; and Bob Owen, Jerry Lara and Lisa Krantz, of the San Antonio Express-News, for chilling photographs that document the hard road Central American migrants must follow to seek refuge in the United States.

___

LETTERS AND DRAMA

Fiction: “All the Light We Cannot See” by Anthony Doerr (Scribner), an imaginative and intricate novel inspired by the horrors of World War II and written in short, elegant chapters that explore human nature and the contradictory power of technology. Finalists: “Let Me Be Frank with You,” by Richard Ford (Ecco), an unflinching series of narratives, set in the aftermath of Hurricane Sandy, insightfully portraying a society in decline; “The Moor’s Account,” by Laila Lalami (Pantheon), a creative narrative of the ill-fated 16th century Spanish expedition to Florida, compassionately imagined out of the gaps and silences of history; and “Lovely, Dark, Deep,” by Joyce Carol Oates (Ecco), a rich collection of stories told from many rungs of the social ladder and distinguished by their intelligence, language and technique.

Drama: “Between Riverside and Crazy,” by Stephen Adly Guirgis, a nuanced, beautifully written play about a retired police officer faced with eviction that uses dark comedy to confront questions of life and death. Finalists: “Marjorie Prime,” by Jordan Harrison, a sly and surprising work about technology and artificial intelligence told through images and ideas that resonate, and “Father Comes Home from the Wars (Parts 1, 2, 3),” by Suzan-Lori Parks, a distinctive and lyrical epic about a slave during the Civil War that deftly takes on questions of identity, power and freedom with a blend of humor and dignity.

History: “Encounters at the Heart of the World: A History of the Mandan People,” by Elizabeth A. Fenn (Hill and Wang), an engrossing, original narrative showing the Mandans, a Native American tribe in the Dakotas, as a people with a history. Finalists: “Empire of Cotton: A Global History,” by Sven Beckert (Alfred A. Knopf), a work of staggering scholarship arguing that slavery was crucial to the dynamism of the industrial revolution; and “An Empire on the Edge: How Britain Came to Fight America,” by Nick Bunker (Alfred A.Knopf), a bifocal perspective on the countdown to the American Revolution, placing the war within a broader crisis of globalization.

Biography or Autobiography: “The Pope and Mussolini: The Secret History of Pius XI and the Rise of Fascism in Europe,” by David I. Kertzer (Random House), an engrossing dual biography that uses recently opened Vatican archives to shed light on two men who exercised nearly absolute power over their realms. Finalists: “Louis Armstrong: Master of Modernism,” by Thomas Brothers (W.W. Norton), the masterfully researched second volume of a life of the musical pioneer, effectively showing him in the many milieus where he lived and worked in the 1920s and 1930s; and “Stalin: Volume I: Paradoxes of Power, 1878-1928,” by Stephen Kotkin (Penguin Press), a superbly researched tour de force of pre- and post-revolutionary Russian history told through the life of Joseph Stalin.

Poetry: “Digest,” by Gregory Pardlo (Four Way Books), clear-voiced poems that bring readers the news from 21st Century America, rich with thought, ideas and histories public and private. Finalists: “Reel to Reel,” by Alan Shapiro (University of Chicago Press), finely crafted poems with a composure that cannot conceal the troubled terrain they traverse; and “Compass Rose,” by Arthur Sze (Copper Canyon Press), a collection in which the poet uses capacious intelligence and lyrical power to offer a dazzling picture of our inter-connected world.

General Nonfiction: “The Sixth Extinction: An Unnatural History,” by Elizabeth Kolbert (Henry Holt), an exploration of nature that forces readers to consider the threat posed by human behavior to a world of astonishing diversity. Finalists: “No Good Men Among the Living,” by Anand Gopal (Metropolitan Books), a remarkable work of nonfiction storytelling that exposes the cascade of blunders that doomed America’s misbegotten intervention in Afghanistan; and “Age of Ambition: Chasing Fortune, Truth, and Faith in the New China,” by Evan Osnos (Farrar, Straus and Giroux), the story of a vast country and society in the grip of transformation, calmly surveyed, smartly reported and portrayed with exacting strokes.

___

MUSIC

“Anthracite Fields,” by Julia Wolfe, premiered on April 26, 2014, in Philadelphia by the Bang on a Can All-Stars and the Mendelssohn Club Chorus, a powerful oratorio for chorus and sextet evoking Pennsylvania coal-mining life around the turn of the 20th Century (Red Poppy Music/G. Schirmer Inc.). Finalists: “Xiaoxiang,” by Lei Liang, premiered on March 28, 2014, in Boston by the Boston Modern Orchestra Project, a concerto for alto saxophone and orchestra, inspired by a widow’s wail and blending the curious sensations of grief and exhilaration (Schott Music Corporation); and “The Aristos,” by John Zorn, premiered on Dec. 21, 2014, in New York City, a parade of stylistically diverse sounds for violin, cello and piano that create a vivid demonstration of the brain in fluid, unpredictable action.

TIME movies

This Trailer for The Little Prince Will Give You the Sniffles

It will warm up your heart, too

The Little Prince is not a Pixar film. But the new trailer for the summer film comes with a layer of the studio’s magic dust, which has been known to give grown-ups the sniffles in movies such as Toy Story 3,Up, or WALL•E.

Directed by Kung Fu Panda’s Mark Osborne and based on the beloved 1943 children’s book by Antoine de Saint-Exupery, the film tells the story of a young girl (Mackenzie Foy) whose no-nonsense mother (Rachel McAdams) is overeager to transform her into a successful adult. But when the girl forms a bond with her grizzled, out-there neighbor (Jeff Bridges), she learns about the magic of imagination and the story of the Little Prince, a lost boy in the desert who fell from an asteroid. James Franco voices the Fox, who befriends the Prince and helps him learn about the adult world.

The Little Prince is debuting at Cannes in May and opening in France on July 29. It still doesn’t have a U.S. release date.

This article originally appeared on EW.com.

TIME Television

High Maintenance Web Series to Light Up HBO

Paul Kwiatkowski High Maintenance creators Ben Sinclair and Katja Blichfeld

The show about a Brooklyn pot dealer is coming to TV

The Vimeo web series High Maintenance, about a Brooklyn marijuana delivery dealer and his colorful clients, is headed to television.

HBO announced Monday that it will produce six new episodes from the wife-and-husband team of Katja Blichfeld (the Emmy-winning 30 Rock casting director) and Ben Sinclair (who stars in the show).

“We have been growing this show organically for three years now, and we are elated to bring it into full maturity at HBO, the gold-standard of both online and televised entertainment,” the pair said in a statement.

The show’s existing 19 episodes will also become available on HBO platforms later this year. “High Maintenance has proven to be one of today’s most highly-acclaimed online comedies,” said Michael Lombardo, the president of HBO Programming. “We are thrilled to bring this sophisticated and clever series to our HBO audience.”

Read next: High Maintenance’s Budding Success Is About Way More Than Drugs

TIME movies

Watch The New Jurassic World Trailer

The movie hits theaters June 12

Jurassic Park fans rejoice, the new trailer for Jurassic World was released on Monday.

The latest installment in the Jurassic Park franchise focuses on the Jurassic World theme park, which, amid drops in visitors, creates a genetically modified dinosaur designed to be bigger than the T-Rex. As you might expect, things don’t go exactly as planned.

The film stars Chris Pratt, and hits theaters in 3D on June 12.

TIME Mental Health/Psychology

This Adam Sandler Movie Has Inspired a Method of Dementia Care

Sony Pictures

One facility is using a technique from "50 First Dates"

One home for people suffering from Alzheimer’s disease and dementia is using a method inspired by an Adam Sandler movie to help jog residents’ memories at the start of each day.

In the 2004 film 50 First Dates, actor Adam Sandler’s character creates a video that actress Drew Barrymore (whose character loses her memory each day) plays each morning to remind her who she is and what happened to her. The Hebrew Home at Riverdale in New York City has family members of its residents doing the same thing as Sandler’s character, the Associated Press reports, recording videos of themselves providing messages and anecdotes for the patients to watch every morning.

“[The film] was fluff, but it made me think,`How could that translate to our residents with memory loss?'” Charlotte Dell, director of social services at the home told the AP.

The Associated Press notes that people with Alzheimer’s present differently and that one technique may not work for everyone.

[AP]

 

TIME movies

Hannah Murray on Bridgend and Her Wish for Gilly on Game of Thrones

"Bridgend" Premiere - 2015 Tribeca Film Festival
Laura Cavanaugh—2015 Getty Images NEW YORK, NY - APRIL 16: Actress Hannah Murray attends the premiere of "Bridgend" during the 2015 Tribeca Film Festival at Chelsea Bow Tie Cinemas on April 16, 2015 in New York City. (Photo by Laura Cavanaugh/Getty Images for the 2015 Tribeca Film Festival)

The actress's new movie is showing at the Tribeca Film Festival

Hannah Murray’s two latest projects are both dramas, but they couldn’t feel more different. As Gilly on Season 4 of Game of Thrones, she plays a young Wildling mother sheltering at Castle Black, protected by the bumbling Sam. Meanwhile, she stars in Bridgend as a teen who arrives in the Welsh town where about a hundred young people have committed suicide in the last decade, a tragic and unexplained phenomenon. Though the movie is a fictional take on the crisis, it gives a glimpse at the eerie goings-on in a town where the behavior of young people have baffled and agonized their parents.

TIME caught up with the actress at the Tribeca Film Festival.

TIME: How did you get interested in doing Bridgend?

Murray: It was this weird, weird script that I couldn’t really wrap my head around. I hadn’t heard about the suicides before I got sent the project, and it didn’t say, “This is based on real events.” And then I mentioned it to a friend—I said, “Oh, I’m auditioning for this film,” and he said, “That’s about Bridgend.” I was slightly apprehensive. This is a very sensitive subject matter and I wouldn’t want to get involved in anything that wasn’t treating it sensibly or was trying to exploit it or do something edgy for the sake of it.

What was the audition like?

[Director Jeppe Rønde] was so demanding in the auditions, really tough. I could tell from reading the script, this needs to be really naturalistic, it needs to be minimal, but I didn’t know how far we were going to take it in that direction. I felt like I couldn’t give Jeppe what he wanted. Everything, he was like, “No, no, that’s too big, stop it. It’s too big, it’s too big, it’s too much.” So when I got offered the project I was really surprised.

So you didn’t know about the town before you got the script, but did you do much research after?

I did, quite a lot. I had never worked on anything before that was based on true events, so I did feel a real responsibility to know what I was dealing with. The way I generally like to approach research is you need to do loads, because you owe it to the reality—but then I think it can be quite important to soak up those facts, think about them beforehand and then forget about them. The way that my character enters that world, you can tell she hasn’t read the newspaper stories and she’s not judging it in any way.

I read that a movie about suicide had been banned in Bridgend before. Do you think this movie would be good for people in the town to see, or is it too much?

I don’t know. I don’t imagine there’s a blanket answer for that, I’m sure it’s different for different people. I know that Jeppe has said that the kids that he became friends with while he was researching really want it to come out, they really want to see it. Personally, I don’t believe in censorship and I don’t believe in taboos. I think it is important, as humans, that we grapple with things. Having said that, I would never want to force anyone who has had a personal connection with this tragedy to confront it.

I did a dissertation on ‘90s dramas, like Sarah Kane’s, when I was at university. I compared it with a lot of the ‘90s art, like the Young British Artists, which is very shocking. I remember someone did a portrait of Myra Hindley [the serial killer] and a lot of the families of the victims were saying, “This is appalling, it needs to be taken down.” And then a really insensitive thing—they invited them to come see the painting. I thought, I don’t think the painting should be banned, but I also don’t think you should be inviting people to come look at a portrait of the woman who murdered their children.

You’re also appearing on Game of Thrones right now. As of the beginning of the season, your character is still at Castle Black. Have you preferred shooting there or beyond the wall?

I think I do prefer being at Castle Black actually, just because the set is amazing. It’s so complete. There are times where if you’re standing in the right place, you can’t see any of the crew or any of the cameras, and you just see this fantasy world created in such beautiful detail. Whereas when I was beyond the wall, often we were in a forest. It looked beautiful, but I didn’t feel so immersed.

Do you have the same baby every time Gilly is holding her baby in a scene?

No, I don’t even have the same baby in one scene, it can be multiple babies. I remember saying to [creator] Dan Weiss once, “The babies all look so different,” and he said, “People never notice continuity with babies or horses.” But there are really strict rules about working with babies—I think they can only be on set for 10 or 20 minutes and then they have to have a break, they can do maybe three hours in total. We only use the babies in certain shots. I also have a prosthetic baby, which has been the same all the way through.

Like American Sniper!

Yes! I look out for babies [in movies], and I remember that was one of the things I really thought was a flaw in that film, it’s so obviously a prosthetic baby. Our baby is so wrapped up that it’s easy to hide, but that baby was so on show as not-a-real-baby.

Are you and John Bradley, who plays Sam, good friends on set?

I’m really good friends with John, and I also have friends [on Thrones] who I was friends with before we started the show. I did Skins with Joe Dempsie [who plays Gendry]. My friend Jacob Anderson plays Grey Worm—we used to live together. We shared a flat with another actor. I think we were still living together when Jacob got the part, and I was so happy he was going to join.

Do you read the books or are you trying to avoid spoiling it for yourself?

I’ve had different policies on this. Originally I did read the books, and I read them as we did them. I thought I was going to keep with this policy, and then I realized that I love watching the show so much, so this year, I decided I wasn’t going to read the books anymore, and I also was going to try and not get people to tell me what happens.

My friend Nick Hoult really loves the show, and one time it was his birthday and I got drunk and told him a bunch of stuff. He was just like, “Why are you doing this to me on my birthday?” But because I was in the middle of shooting, I was so excited about things.

Are there people you most want to meet on the show who don’t come to Castle Black?

There’s so many incredible characters on the show that I may never get to [have a scene with]. Before season 4, they came up with that scene between Gilly and Ygritte, and Dan said, “You’re gonna have a scene with someone you never expected.” And I said, “You say that, but I know it’s not going to be Peter [Dinklage] or Emilia [Clarke], it’s gonna be someone Northern.” But getting to that scene was a great experience because I don’t get to work with other women very much. I think Emilia’s so fantastic. I think Lena is incredible. I thought Michelle Fairley’s performance was so incredible. I have a couple of scenes this year with another female character—but I think this show is so great for women and I would love to do more stuff. Gilly’s a character who knows so little, every person you put her with, it can be eye-opening to her. I think seeing her in context with other women would be very interesting.

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