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00:00Anya Taylor-Joy is the alternative It Girl.
00:03Her star has risen rapidly, but her star power seems to come from how she's different from her contemporaries,
00:09in look, in fashion, and in her career choices.
00:12The thing about jumping from project to project is that you gain skills for that particular project.
00:18In a world where it's easy to feel like you know almost anyone,
00:21Anya intrigues us because it feels like we don't know her.
00:24Where is home for you because you've lived everywhere?
00:28Yeah, I don't really have one.
00:31Her multicultural background makes her hard to pin down,
00:34and she's played a wide range of characters, adding to her sense of mystery.
00:38She began her career at the age of 16 when she was scouted as a model in London.
00:42Take my dog for a walk, and I see this car, and this guy sticks his head out the window and goes,
00:46if you stop, you won't regret it.
00:48But unlike some of her other peers who we've seen grow up on screen,
00:51it feels like Anya started her career suddenly, already fully formed.
00:56This unknowability elevates her work on screen.
00:58It allows her to straddle the line between hero and villain,
01:01strong and vulnerable, glamorous and ordinary.
01:04She gets to play with identity, status, and genre across her body of work.
01:08You should see the places they play in the Soviet Union.
01:10I'm planning on it.
01:12You have to get past me first.
01:14I'm planning on that too.
01:16Here's our take on Anya Taylor-Joy,
01:18and how she commands everyone's attention by keeping us guessing.
01:21Anya is a shapeshifter, and so many of her roles carry with them a sense of transformation.
01:30This is key to her appeal.
01:31We never know what we're going to get when she comes onto the screen.
01:34One of my nicknames is Wendy Tink, because I kind of flip between...
01:37This is particularly true of her most famous role to date,
01:40as chess prodigy Beth Harmon in The Queen's Gambit.
01:43X plus Y is a binomial.
01:45In the novel that the series is based on,
01:47the character is described as the ugliest white girl ever by her only friend, Jolene.
01:52As a successful model, Anya Taylor-Joy certainly wasn't the most obvious choice for Beth Harmon,
01:57but she herself has commented on her unusual features,
02:00saying she thinks she's too weird-looking to be a Hollywood star.
02:04And while we would disagree with that statement,
02:06it is true that she's a break from the standard blonde bombshell in Hollywood.
02:10Her large, wide-set eyes make her seem otherworldly,
02:13and she's been compared to everything from an alien to a porcelain doll.
02:16Both the show and the novel version of The Queen's Gambit follow Beth's progression,
02:21from a scared, nervous orphan to a confident, glamorous chess superstar.
02:25As she comes to believe in her genius, she grows in stature and confidence,
02:29and this is reflected in the reactions of people who have watched her journey.
02:33What happened to that gawky kid who kicked my ass five years ago?
02:39Apparently she grew up.
02:41Although Anya was already starting to make a name for herself in the film world,
02:45her performance in the hit Netflix show was widely considered her breakout role,
02:49and she earned an Emmy nomination for it.
02:51It took her from a relative unknown into a member of Hollywood's freshman class of A-listers.
02:56So good I am.
02:57In Last Night in Soho, Anya's character is introduced as unquestionably beautiful,
03:02but it's a particular kind of beauty.
03:04Oh, you're a gorgeous creature. What's your name?
03:07Sandy.
03:07She's a woman out of time, appearing only in flashbacks seen through the eyes of the more timid and meek Eloise.
03:14We know Eloise is obsessed by the styles and fashions of the 60s,
03:18and so Sandy comes to embody that ideal.
03:20A future star in the making who we get to watch as she's discovered,
03:24drawing parallels to Anya in real life,
03:26before we find out her real, not-so-glamorous fate.
03:29And again, there's a sense of mystery and transformation,
03:32with the perspective flitting back and forth between Sandy and Eloise,
03:36as the connection between them reveals itself.
03:39Downtown, everyone's waiting for you.
03:44This theme of transformation makes it hard to pin down who Anya Taylor-Joy really is.
03:50It plays out in her fashion, too.
03:52Her red carpet looks, which range from contemporary designers to beautiful vintage pieces,
03:56always stand out.
03:57But taken together, it's hard to define her style as any one thing.
04:01Like many other beauty icons before her,
04:04from Marlene Dietrich and Claudia Cardinale,
04:06to more recent examples like Zendaya and Bella Hadid,
04:09she leans into this ambiguity and embraces her multinational identities and experiences.
04:14You know, I was born in Miami.
04:15Raised between Argentina and London,
04:17and my first language is Spanish,
04:19so legally, my ethnicity is Fashion Week.
04:22And because she's so adept at being a shapeshifter,
04:24we're always looking for something more beneath the surface.
04:30The Queen's Gambit may have brought her global stardom,
04:33but Anya first took to the screen as a scream queen,
04:36playing both vulnerable protagonists and more nightmarish villains
04:40in independent and low-budget horrors.
04:43I'll be the witch of the wood.
04:44As Thomason in The Witch, all of the film's fear is filtered through her.
04:49It's in her younger brother's guilty glances at her when she's not looking,
04:52and the narrative ambiguity about what exactly happened to the family's baby in her care.
04:57We know there's some occult presence taking shape,
05:00but we don't know what shape it's going to take, and neither does she.
05:03The fear we feel is her fear,
05:06fear about what's happening to her family,
05:08and what's happening to her.
05:10Black Phillip, see if you are wicked.
05:12I told me to.
05:13Damn you're Black Phillip.
05:15He said you put the devil in Caleb.
05:17That's why he's sick.
05:18The same is true in Morgan.
05:20She plays the titular character,
05:22a replicant-type science experiment
05:24who wrestles with her own sentience
05:26and again comes to fear herself.
05:28Morgan does not understand what she is,
05:30and how she should be.
05:32And much like with Beth Harmon,
05:33Anya is able to lean into her weird-looking features.
05:37Without makeup or glamorous wardrobe,
05:39she uses her large, wide-set eyes to seem almost alien.
05:42Compared to the ordinary characters around her,
05:44she feels distinct,
05:46and it's hard to know whether or not we can trust her.
05:48Open the door and let me help you.
05:50I don't need your help.
05:51I'm starting to feel like myself.
05:53Anya's choices aren't the standard genre fare.
05:56She does something new with well-established tropes.
05:58Eileen Giselle argues that the final image of her in The Witch,
06:02floating naked in the forest with Satan's other captives,
06:04is a liberating subversion of the final girl trope,
06:08in which one female character,
06:09bruised, bloodied, and traumatized,
06:11lives to tell the tale of the horror she endured.
06:14What's thou like to live deliciously?
06:18Her role as Casey in M. Night Shyamalan's Unbreakable trilogy is similar.
06:22While in Split, she is more a traditional final girl,
06:25in Glass, the character returns.
06:27She is not defined by her experience of victimization.
06:30She gets to try to reclaim her story for herself.
06:33What he did to me was...
06:36wrong.
06:39Just like what your mom did to you was wrong.
06:41Our beloved Scream Queen most recently received praise
06:44for her role in yet another Robert Eggers project.
06:47The director of The Witch put his faith in Anya once more
06:50for the action thriller The Northmen,
06:51and she did not disappoint.
06:53Your strength breaks men's bones.
06:57I have the cunning to break their minds.
06:59This time, Anya tapped into her witchy magic
07:02as the scene-stealing sorceress Olga,
07:05where the actress suffered through some seriously intense
07:07shooting conditions to deliver a wily yet sympathetic heroine.
07:11Covered in mud, in the ocean, minus three degrees,
07:14not wearing any shoes, not wearing any clothes, really.
07:18In a genre defined by heroes and villains,
07:20Anya's horror roles often show real empathy
07:23for outcasts and monsters,
07:25characters that are rarely treated complexly in the genre.
07:28In doing so, she subtly shifts our perspective
07:30and helps push these stories forward.
07:36While Anya's horror movie roles let her explore
07:39a more explicit darkness,
07:40she's also found a home playing high-society
07:43period drama characters,
07:45which are much more subtle but still bold.
07:47She often subverts our expectations of these characters,
07:51illuminating something darker about high-society living.
07:54My place is to protect this house and all in it,
07:56including you.
07:58We stand or fall together.
08:01We're currently living through a boom
08:03in historical fiction content
08:04that twists or reimagines the past.
08:07Things like Bridgerton
08:08and the new fleabag-inspired Persuasion.
08:11Even musicals like Six or And Juliet
08:13play with our expectations
08:14and modernize our assumptions about the past.
08:17So on the surface,
08:18Anya's Emma is remarkable
08:20for how down the line it feels in comparison.
08:23However, Anya's take on the character
08:24feels far more critical
08:26than the typical aspirational heroine.
08:28I shall be sure to say three dull things
08:29as soon as I open my mouth.
08:31Ah, mom, but there is the difficulty.
08:33When have you ever stopped at three?
08:35While the setting still feels luxurious and opulent
08:38and the costuming is decadent and glamorous,
08:41Emma herself is spoiled and conceited.
08:43Anya's performance highlights
08:45how this privilege creates a sense of entitlement
08:47and self-absorption in the upper class.
08:50I've been unpartnably vain.
08:53In Peaky Blinders,
08:54she plays a similarly affluent heiress
08:56with nefarious manipulative character traits.
08:59The coldness she brings to the role
09:00illustrates how high society life
09:02is a double-edged sword.
09:04For all the luxury,
09:05it's incredibly unfeeling and artificial.
09:07My husband may do as he's told,
09:09but I don't.
09:11And this theme continues
09:13even when she takes on high society roles
09:15outside of the period piece genre.
09:17As Lily in Thoroughbreds,
09:19her character's extreme wealth and privilege
09:21manifests itself as a kind of nihilism.
09:24While the social strata she's in
09:25may be safe and secure,
09:27it's also devoid of love or nurture.
09:29In fact, her friend Amanda
09:30literally can't feel emotions.
09:32So you basically have to learn
09:34all the automatic, like, processes
09:37that get triggered when you cry
09:38and then sort of manually generate each one.
09:42Feeds back to the brain
09:43and then the tears just come naturally.
09:44And again,
09:45her performance eschews the glamour of wealth
09:48and instead presents the sometimes cold
09:50and unfeeling nature of high society life.
09:53These performances make Anya Taylor-Joy
09:55feel modern and incisive.
09:57Yes, her elegance makes her fit organically
09:59into these period pieces
10:00and embody these privileged characters.
10:02But the way she uses those performances
10:04to show how cruel that world can be
10:06feels like a far more modern take.
10:09The more we see of someone,
10:10the less interesting they tend to become.
10:12But that doesn't seem to have happened
10:14for Anya Taylor-Joy
10:15and she's not going anywhere anytime soon.
10:17She's soon to star in a cinematic tentpole
10:19as Furiosa in the next Mad Max film,
10:22taking on a character that's already
10:23been iconically played by Charlize Theron.
10:26You can get in.
10:27Not without them.
10:30It's hard to pin down
10:31what she might do with that role
10:32or indeed any role,
10:34but that's because even when a character
10:35seems straightforward,
10:37she looks at them in a new way
10:38and maybe understands them
10:39in a way they haven't been understood before.
10:42That's the take.
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