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How 'deaf rage' inspired groundbreaking sign language thriller

How 'deaf rage' inspired groundbreaking sign language thriller

Yahoo12-04-2025
"Every day, as a deaf person, you're reminded of your deafness," says William Mager, writer of new BBC thriller Reunion.
These reminders can range from having to face medical appointments with no available interpreter to being excluded from important decisions about your own life, he says.
"All those things add up over time and generate a sense of injustice," Mager says, adding that artist Christine Sun Kim describes this feeling as "deaf rage".
It is a feeling partly borne out of the frustration and isolation of living in a hearing-centred world.
This rage, alongside a love of 70s thrillers, is what inspired Mager's new drama.
The bilingual thriller features both British Sign Language (BSL), with subtitles, and spoken English. The majority of the cast in Reunion are deaf or use BSL in their roles.
The four-part series, from the producers of Adolescence, tells the story of Daniel Brennan (Matthew Gurney), a deaf man on a journey of revenge after spending a decade in prison.
Mager, a lifelong fan of 70s thrillers, says he wanted to put his own "twist" on films like Get Carter and The Outfit (which feature "intimidating men in cool clothes" on a mission of vengeance) by drawing on the deaf experience as well.
"Reunion starts out like those classic thrillers, but ends up in a very different place," the writer says.
As main character Brennan hunts down a man known only as Monroe, viewers become aware of a painful secret he's been hiding and the struggles he is facing to find justice in a hearing-centred world.
The Guardian called the performances in the show "outstanding" and the switch between signed and spoken language "utterly seamless", while the Independent says Reunion is "in many ways, a groundbreaking show".
Ultimately, Mager says he wanted to touch on issues unique to the deaf community in the programme, as well as providing opportunities for deaf creatives.
Mager says communication is a central theme of Reunion and the drama shows how each character struggles with it.
One key example is a scene where Brennan's daughter Carly has to pass on painful information to her mother and father that would usually be relayed by professionals, due to a lack of interpreters.
"Unfortunately, that's still the reality today," Mager says, explaining his wife recently experienced this, having to interpret for her mother at a hospital appointment, because an interpreter had not been booked.
Mager says this shows how deaf people often have to rely on someone else voicing them in order to be understood.
"That can be hard for a deaf person to relinquish that control over what they're saying to someone else," he says.
Another thing Mager wanted to draw attention to was literacy rates in deaf children.
A key plot point in Reunion is that Brennan is unable to read or write in English which, coupled with the prison's failure to book interpreters, means he misses important letters from his daughter and does not have his case details fully explained.
"Deaf children often lag behind their hearing counterparts in education, particularly [in] reading and writing," Mager says.
The writer adds that, in his opinion, this is partly due to language deprivation, resulting from deaf children not being given access to the language they're most comfortable with from a young age.
According to Simon Want, from the National Deaf Children's Society, many deaf children face barriers to accessing a good education.
Mager says it was a "joy" to see the actors both deaf and hearing bringing his script to life.
On set, deaf first assistant director Sam Arnold worked with hearing first assistant director Alex Szygowski to relay directions to the cast and crew.
And hearing actors Anne-Marie Duff and Lara Peake learned to sign for their roles.
"They're all fantastic. My favourite thing about making Reunion has been to see the genuine enthusiasm and excitement [of] the cast and crew," Mager says.
The writer adds that he hopes the series will "open a door" for deaf creatives both in front of and behind the camera.
"I hope that door stays open long enough for more people to pass through it and find creative and fulfilling careers," he says.
Reunion
Rose Ayling-Ellis on the hidden story of British Sign Language
Schoolchildren 'motivated' to learn sign language
Campaigners devastated as sign language GCSE scrapped
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Terence Stamp: 1960s icon who was the 'master of the brooding silence'

Terence Stamp's dashing good looks and smouldering glare made him a star of 1960s cinema. One of the stalwarts of Swinging London, the working class actor's first film earned him an Oscar nomination. With actress Julie Christie or supermodel Jean Shrimpton on his arm, he specialised in playing sophisticated villains: including Superman's arch nemesis, General Zod, and the petulant Sergeant Troy in Far From the Madding Crowd. The Guardian called him the "master of the brooding silence", but Stamp's acting proved to have range as well as depth. Thirty years after his career began, he shocked his fans - but picked up a Golden Globe nomination - as transgender woman Bernadette Bassenger in The Adventures of Priscilla, Queen of the Desert. Terence Henry Stamp was born in Stepney, east London, on 22 July 1938. He died aged 87 on 17 August, his family said. His father, a man Stamp once described as "emotionally closed down", was a ship's stoker and often away from home. Young Terence's interest in acting began to blossom when his mother took him to the local cinema to see Gary Cooper in Beau Geste, a film that left a deep impression on him. After enduring the Blitz in the east end of London, the Stamp family moved to the more genteel Plaistow - where Terence attended grammar school before getting the first of a series of jobs in advertising agencies. In his autobiography, Stamp Album, he recalled how he loved the life, but he could not shake off the feeling he wanted to be an actor. Having been turned down for National Service because of problems with his feet, he won a scholarship to the Webber Douglas Academy of Dramatic Art - which got rid of his cockney accent. After completing his studies, he set out on the grinding local repertory circuit that was the training ground for all aspiring actors in the 1950s. 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The director, he felt, was too political and hid the script from the cast - preferring to feed them lines while shooting each scene. "Before a take, he'd say something to (co-star Carol White)," he complained, "and then he would say something to me, and we only discovered once the camera was rolling that he'd given us completely different directions. That's why he needed two cameras, because he needed the confusion and the spontaneity." He was reunited with Julie Christie in Far From the Madding Crowd. He was dating Jean Shrimpton by then, but their on-screen chemistry was still evident. "On the set, the fact that she had been my girlfriend just never came up," he told The Guardian in 2015. "I saw her as Bathsheba, the character she was playing, who all the men in the film fell in love with. But it wasn't hard, with somebody like Julie." 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There were Westerns like Young Guns, crime dramas like The Hit and The Real McCoy - and even a gothic thriller in Neil Jordan's fantasy, The Company of Wolves. But his most unlikely - and celebrated - performance was as transgender woman in the Australian film, The Adventures of Priscilla, Queen of the Desert in 1994. Stamp was not keen to do the film - in fact, he thought the initial offer was a joke. But a female friend persuaded him to take the part - which saw his character journey across the outback with two drag queens, played by Hugo Weaving and Guy Pearce. "It was a challenge, a challenge I couldn't resist because otherwise my life would have been a lie", said Stamp. Over the next 10 years, Stamp appeared in two dozen films - playing a wide variety of parts. In 1999, he entered the Star Wars canon: playing a politician battling corruption in Episode I: the Phantom Menace - an experience he later described as "dull". 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Terence Stamp, luminary of 1960s British cinema, dies at 87
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Terence Stamp, luminary of 1960s British cinema, dies at 87

And he could act: The role brought Mr. Stamp an Oscar nomination and a Golden Globe Award for most promising newcomer. Advertisement He presented a very different image three years later, playing a dark-haired psychopath who loves butterflies but decides to move up to capturing humans in 'The Collector' (1965). Get Starting Point A guide through the most important stories of the morning, delivered Monday through Friday. Enter Email Sign Up As he carried a bottle of chloroform toward a beautiful art student (Samantha Eggar), those startlingly blue eyes now seemed terrifying. In The New York Herald Tribune, critic Judith Crist called his performance 'brilliant in its gauge' of madness. He received the best actor award at the Cannes Film Festival. He grew a sinister black mustache to play the sadistic Sergeant Troy, who mistreats the heroine (Julie Christie) in 'Far From the Madding Crowd' (1967), based on Thomas Hardy's novel. Reviews were mixed, but Roger Ebert praised Mr. Stamp's performance as 'suitably vile.' Looking back in 2015, a writer for The Guardian observed, 'Stamp has an animation and conviction in this role that he never equaled elsewhere.' Advertisement Not long after that, Mr. Stamp largely disappeared for almost a decade. He came back as a character actor. When he made his entrance in Richard Donner's 'Superman II' (1980), boldly crashing through a White House roof, audiences saw the young man who had been called the face of the '60s, now with a seriously receding hairline, devilish facial hair, and a newly mature persona. His character, Zod, an alien supervillain with a burning desire to rule the world, also appeared in the first 'Superman' movie. Mr. Stamp had a busy career for the next half-century, perhaps most memorably in 'The Adventures of Priscilla, Queen of the Desert' (1994), with yet another new on-screen look. His character, Bernadette, a middle-aged transgender woman, wore dangly earrings, a grayish-blond pageboy, tasteful neutrals, and not quite enough makeup to hide the age lines. 'I've got a kind of more developed feminine side of my nature,' he said in 2019 when asked about the role in a Reuters interview, 'so it was a chance to knowingly explore that.' 'I had to think about what it would be like to be born into the wrong body,' he added, 'and born into a body that wasn't the same as one's emotions.' Terence Henry Stamp was born July 22, 1938, in London, one of five children of Thomas Stamp, a tugboat stoker with the Merchant Navy, and Ethel (Perrott) Stamp. In the low-income neighborhoods of the East End where the Stamps lived, expectations were low. 'When I asked for career guidance at school, they recommended bricklaying as a good, regular job,' Mr. Stamp recalled in a 2011 interview with the Irish newspaper The Sunday Business Post, 'although someone did think I might make a good Woolworths' manager.' Advertisement After leaving school, Mr. Stamp worked in advertising agencies, but he secretly wanted to become an actor and began lessons at the Webber Douglas Academy of Dramatic Art in London. 'Billy Budd' is usually referred to as his first film, but in England, 'Term of Trial,' in which he appeared as a young tough alongside Laurence Olivier and Simone Signoret, was released a month earlier. (In the United States, 'Billy Budd' opened first.) He did theater work in England but had only one Broadway experience — a disaster. He played the title role in 'Alfie!,' a play about a callous young South London bachelor, which opened in December 1964 and closed three weeks later. Shawn Levy, in his book 'Ready, Steady, Go!,' had an explanation: 'It was so dark and frank and mean and true and generally disharmonious with the optimistic, up-tempo tenor of the moment.' But moments pass. Mr. Stamp turned down the same role in the 1966 film version, and Michael Caine — who happened to be his flatmate — took it instead. It made him a star. Mr. Stamp did star in 'Modesty Blaise' (1966), as a secret agent's Cockney sidekick; Ken Loach's 'Poor Cow' (1967), as a sensitive working-class guy; and Pier Paolo Pasolini's 'Theorem' (1968), as a mysterious stranger who beds every single member of a household, including the maid. Federico Fellini directed him as a self-destructive, alcoholic actor in 'Spirits of the Dead' (1968). Advertisement In 1969, Mr. Stamp moved to an ashram in India and became a swami. Some said it was because of a romantic breakup, but he professed a simpler motive: He couldn't find work. Although he was barely in his 30s, casting agents were already looking for 'a young Terence Stamp.' Around eight years later, he received a message from his agent about the 'Superman' movie. He accepted, he often said, because he wanted to work with Marlon Brando, who played Jor-El, Superman's father. Between 1978 and 2019, Mr. Stamp appeared in more than 50 films. He received particular praise for Steven Soderbergh's 'The Limey' (1999), in which he played an ex-con on the trail of a drug-trafficking record producer (Peter Fonda) as he avenges his daughter's death. He also had roles in 'Legal Eagles' (1986), 'Wall Street' (1987), 'Young Guns' (1988), 'Alien Nation' (1988), and 'Star Wars: Episode 1 — The Phantom Menace' (1999), as chancellor of the Galactic Republic. In 'Unfinished Song' (2012, originally 'Song for Marion'), he played a gruff pensioner with a dying wife (Vanessa Redgrave). After having been a Superman-franchise villain, Mr. Stamp was the voice of the superhero's noble Kryptonian father in the television series 'Smallville.' His final film was the horror thriller 'Last Night in Soho' (2021). A Times review called his entrance alone 'a master class in minimalist menace.' In the 1960s, Mr. Stamp had highly publicized romances with British supermodel Jean Shrimpton and with Christie. In 2002, at age 64, he married Elizabeth O'Rourke, a 29-year-old Australian pharmacist; they divorced in 2008. Information on survivors was not immediately available. Looking back philosophically in 2017 on his life's ups and downs, Mr. Stamp told The Telegraph, 'The thing that has been constant is that from the very beginning I always seemed to be the opposite to everybody else.' Advertisement This article originally appeared in

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