I’ve been profiling people for a long time, but I knew that Garfield was going to be end-game.
To say that this was close to my heart would be an understatement. Jonathan Larsson’s story is The Little Prince of musical theatre and his journey speaks more of spiritual pursuits than actual religious writings.
I’m biased in my words, so instead, I will leave you with Andy’s: “What are we if not the connections that we make?”
Love, loss and nostalgia clash when specificity comes into play.
Tick, tick…. BOOM! is out in select theatres on November 12th and on Netflix November 19th.
Lead life with love. Also grab tissues before heading to the cinema.
@ticktickboom@netflix@theglassmagazine
#andrewgarfield
What do we need more of in storytelling and in life? @vanessa__kirby doesn’t hesitate: “Absolute vulnerability. It’s about courage – the bravery to be honest without feeling shame. That’s the biggest thing.”
She pauses, then continues. “I even have this little sign in my room that I found while travelling when I was 19. It says, ‘Tell the truth so you can forget what you said.’”
In a world where truth often feels like a disappearing act, Kirby’s commitment to emotional honesty makes her not just a compelling actress but a necessary one.
Our full interview is out on shelves this week in @theglassmagazine
#thefantasticfour #marvelstudios
“I never see the stage from this angle,” @mspike begins. We’re in the Lyttleton stalls, and it’s the last week of her play, Inter Alia. Earlier that day, she wandered the corridors of the National as if it were her own home. Waltzing through the halls, her keycard stops working. “I haven’t left yet,” she laughs at security. “I’ve still got three more days!”
Pike has always noticed life’s subtleties. It’s almost as if the building itself knew that her time at the National was drawing to a close.
It’s in these little serendipities, the quiet, magical threads that connect moments, people, and decisions, that Pike likes to dwell. “Chance encounters are always magical,” she says. “The little coincidences, the little relevances, where somebody comes back into your life when you least expect it.”
Like the postcard of Alan Bates that arrived the day after Celia Imrie visited her play. Or her 26-year-old self wandering into a New York theatre, following strangers to a party, and ending up on a bed with Ali MacGraw, sharing stories about love and life.
She calls these Odyssey nights. Moments where myth and life converge. They demand trust, openness and the courage to follow where the night leads. The ordinary becomes extraordinary. The mythological becomes personal.
“People keep asking me if I’m sad about the play ending, but I’m not. I have so many endings in my life. But I now know that they’re not endings. They’re just connections that you make. They all come round again.”
Or as they say, what disappears must reappear. ✨
Full interview on shelves next week.
#rosamundpike #nowyouseeme
“You try to do everything you can to not make the prophecy happen… and by trying, you make it real.”
In our autumn issue, the mythology behind Guillermo del Toro’s decade-long Frankenstein unfolds. A story of creation, family, and the fragile line between love and obsession.
Felix Kammerer @felix.kammerer_ brings quiet humanity to horror, the tenderness within the terror. Because every act of creation reflects the creator.
“Only monsters play God.”
Our full story drops next week, as Frankenstein arrives in theatres.
Photographer: @keirlaird
Senior Fashion Editor: @lilyrimr
Grooming: @thebradylea using @tatcha
Producer: @lucy.banfield
Production: @roscoproduction
Photography assistant: @gracetasselli
Styling assistant: @ellisdowle
Interview: @adinailie_
Talent: @felix.kammerer_
All clothing: @loewe
#FelixKammerer #Frankenstein #GuillermoDelToro
“Lack of love makes you power hungry,” says @phoebedynevor . Her latest campaign hasn’t been an easy one. In Anniversary, Dynevor plays Liz, a former student who re-enters the lives of her old mentors, only to spark a domestic and political reckoning.
What starts as an intimate family celebration soon unravels into a study of power, ideology and control. Years earlier, Liz’s controversial essays had challenged the prevailing order. After embedding herself in the household, she published a manifesto titled The Change, which sparked a nationwide movement and political upheaval.
Her return becomes a collision between ideology and intimacy. Through Liz, Dynevor examines how conviction can distort into control, and how a woman’s vision for reform can be reshaped once power changes hands. It’s fascinating how a concept created by a woman can become something entirely different once it falls into the hands of men. Women in leadership generally do not come from a violent headspace.
“I think empathy is so undervalued now,” Dynevor mourns. “For some reason, there seems to be this idea that being empathetic is a weakness. To be a leader of anything, whether it’s running a company, directing a film, or being a prime minister or president, you have to have empathy. No one should be in power without it."
Autumn issue of @theglassmagazine out mid-October. I have ruined this with a long caption. Ta x
Photographer: @josefinabietti
Art Director and Stylist: @esperanzadelafuente_
Hair: @dayaruci using @olaplex
Makeup: @ginakanemakeup using @vintnersdaughter for skincare and @louisvuitton for beauty
Set designer: @thomasconantstudio
Props furniture: @brotherarchival
Retoucher: Milagros Oliva for @lindo_estudio
Photography assistant: @arturo.sylar
Lighting assistant: @arturo.sylar
Styling assistant: @maxwellketterer_
Interview: @adinailie_
Talent: @phoebedynevor
All clothing: @louisvuitton
#PhoebeDynevor
When I first interviewed Noah Centineo @ncentineo circa 2018-ish, I expected charisma. What I found instead was depth. A man of substance, openness, and unrivalled vulnerability—wrapped in the easy charm of a 23-year-old still discovering the weight of his own presence.
Noah gave me my favourite book. And a quote that has never left me: “Is it really a secret if keeping it doesn’t hurt?”
Fast forward to The Recruit, and he remains that same man of substance. But time has sculpted him. There’s a quiet knowingness to him now—a maturity that doesn’t erase his boyish charm, but refines it.
A seemingly simple subject can unravel into something deeply complex in Centineo’s hands. “Whenever I’ve encountered someone who hurts the people they care about, it has usually come from self-preservation. They feel their back is against the wall, that they have no other option, and that they are under attack. Whether or not they are actually under attack, or whether their perception of reality has shaped that belief, is another question.”
Boyish charm is often fleeting, diluted by time or hardened by industry demands. But Centineo is proof that evolution doesn’t mean erosion. I wonder what man we’ll be faced with in another seven years time.
Read our full interview in @theglassmagazine out on shelves this week.
Season 2 of The Recruit is now available to stream on @netflix
#noahcentineo
The hardest piece I've ever written is Lucy Boynton's @lucyboynton1 story on her portrayal of Ruth Ellis. There is no room for neutrality in this narrative.
Ruth Ellis was the last woman to be executed in the UK. She shot her lover six times—four at close range, leaving gunpowder marks on his skin.
In A Cruel Love: The Ruth Ellis Story, Boynton delivers an ad verbatim reenactment of the trial that changed British history.
By garnering huge public sympathy, Ellis, in death, helped spare countless lives. Her case ignited conversations that would ultimately reshape attitudes toward domestic violence. Yet, when we look at today’s statistics on domestic abuse, not much has changed. The numbers are staggering.
“I find it so interesting talking to women about this,” Boynton shares. “Every time I brought it up—before filming, during, or after—the reaction was always the same. Every woman I spoke to, upon hearing that Ruth Ellis was the last woman hanged for murder, responded with: ‘What did he do?’”
"I hope men don’t feel defensive. I hope they lean in, realising, ‘I didn't know the figures were this bad. How can I help?’ I hope it extends the conversation beyond just women,” Boynton adds.
The conversation is growing louder. But it’s still gender-biased. To the good men in our lives—please listen. Let’s close the gap.
What can you do? Be present. Ask questions. Listen. Nearly every woman you know has experienced some form of abuse. Let that sink in.
Love to @lucyboynton1 for shedding light on a story that might have remained unspoken.
Read our full interview in the Spring issue of @theglassmagazine out on shelves this week.
The last episode of A Cruel Love: The Ruth Ellis Story is out this Friday on @itvxofficial
#lucyboynton #acruellove
It takes a while until you find a subject that completely resonates with you. It’s so much easier to paint a portrait when the person standing in front of you echoes your values.
Thomas was one of such. A rarity in the industry to say the least. A man with a layer that speaks nothing more than solemnity. All because ingenuity is at his heart.
“As an actor, if you're trying to portray strength, you need to understand where that comes from. You have to ask yourself why someone would feel the need to put on that kind of facade. It’s about figuring out the motivation behind that exterior,” he says as we delve into characters and the human psyche.
But the reality of his demeanour speaks volumes. More so than any character he’s ever portrayed. “What's underneath is the same for everyone; a fragile human being who's trying to make sense of the world and wants to be loved.”
With Christmas upon us, one question is bound to follow him forever. Will he ever stop talking about Love Actually? “No,” he laughs. “Probably not”.
Winter issue now on shelves. Happy holidays. ✨🎄🧑🎄
❤️
Photographer: @jasonhetheringtonstudio
Fashion Director: @katiefelstead
Grooming: @ewtmakeup using @hairbysammcknight
Styling assistant: @montana_styling
Photography assistant: Andrew Mayfield
Interview: @adina0ilie
Talent: @samohtsangster@ddapersonalpublicity
All clothing and accessories: @dior
#thomasbrodiesangster
Known for her portrayal of Monica in the Paramount Network drama Yellowstone, @kelseyasbille 's work is defined by more than the grand, sweeping landscapes of the American West. In her latest role in Don’t Move, a Netflix film that debuted globally at number one, Asbille delves into a new level of emotional intimacy. She plays Iris, a woman fighting to escape the effects of a paralysing drug she has been injected with. Initially drawn to the project by the creative team, Asbille spoke to Glass in our winter issue—out this week—about her experience working with directors Adam Schindler and Brian Netto, as well as producer Sam Raimi, a genre master who offered her the role at the end of their first meeting.
Having a strong team behind her proved vital, as Asbille relied on the directors to navigate the complexities of portraying paralysis on screen. “It had its challenges, both mentally and physically—depicting a character experiencing deep emotional turmoil while being so limited physically. I think it becomes about embracing contradictions,” she explains.
Despite the stark differences between Monica in Yellowstone and Iris in Don’t Move, Asbille’s preparation process remains consistent. “Both roles challenged me to dig deeper into what drives a person to keep going, even when the world feels like it’s against them. Adversity shapes who we are and how we deal with life, but Monica and Iris are not defined by their trauma.” In both projects, themes of loss and familial dynamics are central, further connecting the storylines despite their vastly different settings. “What ties them together is their humanity,” Asbille adds.
With the last episode of the sixth and final season of Yellowstone airing just this week, the spotlight on Kelsey Asbille and her next steps is only getting brighter.
I didn’t believe in fate per se, but Chase Stokes’ story blew my mind a bit. You might not believe in coincidences, alignment and the universality of experience, but some stories change your mind.
For the Autumn issue of Glass Man, our first cover star spoke to us about how he went from rock bottom to untouchable stardom as John B in Netflix’s adored Outer Banks series. But that role was not part of his original plan. “I failed that fucking audition for Stranger Things so badly that I didn’t say a single word,” he recalls. “Later, the same Netflix executives in the room when I didn’t say a word were the ones who hired me for Outer Banks”.
When Stokes got cast for Outer Banks, he was in debt, on the cusp of being evicted and had given up every single other source of income that he had. If he was going to make it big in the industry, he had to risk it all. What else was there to lose? “I’ve already tripped and fallen on my face, so it can’t be any worse than what I’ve already done”. After being cast as John B, his first move was to ask one of the producers for 20 dollars to buy himself some dinner. Case in point—what is meant for you will find you. But sometimes, you have to lose everything in order to gain everything.
Throughout his journey, Stokes has shown nothing but emotional resilience resulting in a man who values gratitude, loyalty and dedication to one’s craft.
His driving force is storytelling using it as a vehicle for communication. “Storytelling, at its core, is simple. It’s human-to-human connection. And that’s what we need more of”.
Autumn issue on shelves October 7th. ✨
#chasestokes #outerbanks
