Does Emilia Clarke Have the Best Laugh in the Business?
I love Emilia Clarke. She’s a posho, but then so is basically every actor—and professional creative person in general—these days. They have to be. At least in Britain, where wave after wave of right-wing cuts to the arts and services that would otherwise help working class kids get into the industry have decimated the already-dire diversity of our cultural sphere and reduced it to a playground for the (mostly white) children of wealth. Even for people who have had to overcome some of the barriers present in the acting world, the safety net of wealth means they could keep trying until they overcame that adversity. The uber-posh Phoebe Waller-Bridge, for example, has spoken about her difficulties in finding satisfying, interesting roles for women, and how she basically had to create her own theatre company in order to make those roles happen. Which, fair enough. But I can’t think of many things that scream ‘I’m a person of means’ more than ‘Things were so hard, I actually had to start my own production company!’ If you’re working class, that’s not an option. You take what roles you can get; if you can get any at all. And if the pressure of making sure there’s food on the table first doesn’t sap your time, resources, and will. In America the flavour of the situation is slightly different, but wealth and powerful family connections are still the most surefire way for a person to get a career boost in the performing arts.
Emilia Isobel Euphemia Rose Clarke. She’s posh. Not Waller-Bridge posh, or Christopher Catesby ‘Kit, son of Sir David, 15th Baronet, descended from the ancient Harrington family who took their name from their estate, a lordship in Cumberland’ Harrington. But still posh.
Emilia Clarke’s acting chops have improved over time. Her main role has of course been that of Game of Thrones’ Daenerys Stormborn of the House Targaryen, Breaker of Chains, The Unburnt, Liberator Of Slaves But Also Maybe A Bit Of A Coloniser?, Sacrificer Firstly Of Troops Of Colour And Then After That Maybe Send The White Soldiers In, Saviour Of Westeros, Slight Developer Of Tyrannical Tendencies, Queen of the Andals, the Rhoynar and the First Men, Although That Bullshit Westeroso Patrilineage Thing Might Mess That Up, We’ll See. Dany is a sometimes compellingly written character, sometimes less so. Nevertheless, her journey, from an abandoned and abused girl to a powerful conqueror who exercises her agency with an iron will and who exhibits undeniably benevolent tendencies alongside her more (oft-understandable) hammerfisted approach, has been consistently captivating. Similarly, Emilia Clarke has grown with the role, often pushing up against the limitations of the writing of the later seasons with skill that, had it been combined with the more mature, nuanced writing of the earlier years, would have been a potent combination indeed.
Oops. How did Jakey G get in here?
That laugh. Emilia Clarke has one of the best laughs in the industry. Maybe the best? It’s open and heartwarming and contagious and she laughs with her whole face and body. It’s the kind of laugh that you want to share in during a sunny afternoon’s drinking in a verdant beer garden, its raucous peels reverberating outwards and up into the cloudless sky and casting a benevolent glow over the day. It’s just a fu**ing great laugh, is what I’m trying to say, alright! Here, let it bless your Wednesday:
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