A Deaf Actress Has a Message She Wants You to Hear
'You can get the shape of a mouth,' she said recently, but to understand what someone is saying, context is everything. 'You have to pick up body language, the mood, the vibe,' she said.
Ayling-Ellis, 30, said that learning to lip read had been 'a survival technique.' The actress, who was born deaf, speaks and also uses British Sign Language, and was aided in an interview by an interpreter. In the TV crime thriller 'Code of Silence,' which arrives on Britbox on July 24, Ayling-Ellis plays a deaf woman who is recruited by the police to eavesdrop discreetly.
In the show, as in life, she said, lip reading is 'like a puzzle.'
When Ayling Ellis's character, Alison, watches CCTV footage of suspected gang members, she scrutinizes their facial expressions and observes how they stand. Like any good detective, Alison must study the scene, piecing together clues. In a clever visual conceit, jumbled subtitles appear onscreen and gradually unscramble as she decodes each sentence.
'Code of Silence' first screened on ITV in Britain in May, and its debut episode drew over six million viewers, according to the broadcaster. Ayling-Ellis was already known to many from 'Strictly Come Dancing,' the wildly popular BBC show that inspired the 'Dancing With the Stars' franchise. She won the show in 2021 with a routine, to Clean Bandit and Zara Larsson's 'Symphony,' that fell silent halfway to mirror her experience of being deaf.
That victory made her a household name and landed her TV presenting gigs, including as a sportscaster at the 2024 Paralympic Games. But after being 'on the TV as myself quite a few times,' she said, she wanted to get back to acting.
Want all of The Times? Subscribe.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Forbes
35 minutes ago
- Forbes
EPIC By Vue Review: Is It A True IMAX Rival?
As I recently reported, for connoisseurs of premium cinema in Europe, an exciting new option has arrived: EPIC by Vue. Featuring an advanced projection system that offers full high dynamic range images, alongside 3D surround sound and premium seating, Vue claims that it's the best way possible to watch a movie – and it has IMAX in its sights. To find out for myself if it lived up to its billing, I headed to The Cornerhouse in Nottingham, UK, the location of the first EPIC by Vue screen, for my second viewing of Superman. This was followed by a conversation with Vue CEO Tim Richard, where we discussed why he was so excited about EPIC by Vue The Latest Technology As Richards explained, having acquired the Nottingham site from Cineworld in January 2025, Vue undertook a refurbishment and, rather than upgrading the existing IMAX screen, decided to use the opportunity to create EPIC by Vue, its new premium large format brand. The star of the show is the HDR by Barco projection technology, the first cinema system capable of full high dynamic range, besting even Dolby Cinema in that regard. (For a technical deep dive on this, read my article on Barco Light Steering tech) Why did Vue choose HDR by Barco over IMAX? 'We wanted the best,' said Richards, explaining that Vue conducted comparisons with all the major offerings when deciding which premium system to go with – and it was close to going with Dolby Cinema, of which it already has some screens in the Netherlands. Describing the Dolby Vision projection as 'incredible', he said that 'when we saw Dolby, we realized how much better it was than IMAX.' However, after close comparison, the HDR by Barco system came out as 'a little bit better' even than the highly regarded Dolby Vision system. Dolby Atmos was chosen for the audio, and his praise for this was effusive. 'No one in the industry will ever tell you that they are not the very, very best, with no second place. Filmmakers rely on Dolby Atmos to use it as part of the creative process of filmmaking'. An EPIC Vue Accommodating 250 smart leather reclining seats, the EPIC by Vue room in Nottingham is large, without being overly cavernous. Thanks to stadium seating, you don't have to worry about seeing over the person in front of you, and, wonderfully, legroom is not an issue, which can't be said for most IMAX screens. The EPIC logo is placed on each wall, lit up in white and accompanied by a series of light strips glowing red. (I was concerned about the lights staying on during the film, but thankfully, they were dimmed as it started). While it doesn't have the cool, retro style of somewhere like Battersea's 'The Cinema in the Power Station', the auditorium felt fresh and modern, and Richards said we can expect a similar look and feel in every EPIC by Vue screen as they appear, which will be no bad thing. The Biggest Screen In the House The EPIC screen at The Cornerhouse measures 18.60 by 8.70m, which delivers a somewhat unusual aspect ratio of 2.14:1, which is sort of in between flat and scope. Superman is presented in a 1.85:1 aspect ratio, so it didn't make full use of the screen's width. As with almost all modern screens, there's no active masking, so the image was pillar-boxed in the middle. While the class-leading black levels of the HDR by Barco system meant this wasn't too distracting, I think that scope movies that extended to the full width will carry more impact on this screen. My first viewing of Superman was on the 20-meter-high BFI IMAX, which, even on a presentation that didn't make use of its tall 1.43:1 aspect ratio, it is still one of the largest screens in the UK. As such, there's no getting away from the fact that I did not get the same sense of scale. However, I'm aware that as someone who regularly goes to the very largest IMAX screens in the country, I'm rather spoiled for what constitutes a big image. For the vast majority of cinemagoers, a EPIC by Vue screen will still deliver greater impact than regular digital screens. Where it truly excelled was the quality of the image. The deep black levels and high contrast ratio, and sheer brightness of the HDR by Barco projector allowed the image to really 'pop', displaying fabulous color richness —Superman's costume never looked more red, blue and yellow. The Dolby Atmos audio was also excellent, with clear sound and controlled bass. To be honest, I would have preferred it to be dialed up a notch, but its 3D positional abilities certainly came to the fore. One scene that stood out was when Superman is spinning rapidly as he fends off attackers with the laser eyes, and I could hear this effect and the crashing of the defeated enemies moving all around the room. Teething Troubles? That said, I would be remiss if I didn't call out a couple of issues. The first was that on scenes where the screen was mostly white (seeing as the Fortress of Solitude is located in the North Pole, there were several), I spotted some interference patterns. To me, these looked like 'laser speckle', which are interference patterns caused by the coherent light from the laser light source bouncing off the 'rough' surface of the acoustically transparent cinema screen. All laser light projectors will inherently suffer from this, but it's more noticeable on larger screens. This is why most IMAX screens use 'screen shakers': actuators placed behind the screen that shake the screen, which, while imperceptible to the viewer, is enough to deal with the laser speckle issue. The second issue was simply a tiny indentation on the screen, which was possibly caused by some damage during the installation of the new screen. After pointing these out after the screening, I was assured that both issues had been noted and that shakers were going to be fitted to the new screen imminently, which hopefully will allow them to deal with the minor dent at the same time. Additionally, I was also told that some 'extra-premium' full reclining seats would also be added in the back rows, giving patrons an even more luxurious experience, no doubt for an additional cost uplift. Nailed It Teething issues aside, the EPIC by Vue experience was excellent. While I'm fortunate to have an IMAX Laser screen very near me, I would be delighted if an EPIC by Vue screen arrived to give it some competition. Not every film is fully optimized for IMAX, and the quality of the picture and sound here would make it a brilliant choice, especially for movies designed for a 2.39:1 aspect ratio. Ultimately, I would say that whether it's 'better' than IMAX comes down to the screen size of your local IMAX. The real advantage of IMAX is scale, with an image that fills your view from every seat, but you only get that on its very largest screens. Unfortunately, too many of its digital screens simply aren't big enough to justify the branding, and if that's the case, then the technical advantages of the alternatives, such as the HDR by Barco-powered EPIC by Vue, will win out. We know that eleven more EPIC by Vue screens will be rolled out across the UK and Europe by the end of the year, and 50 have been promised by the end of 2027. It's great news for cinema goers, so keep an eye out to see if your local Vue is one of the lucky ones. And if it lays down the gauntlet to IMAX to up its game and add HDR technology to its projection roster, then all the reading: Barco HDR Cinema Tech To Reach 30 US Theatres By The End Of 2025 Which Format Should You Choose To See 'Superman' In The Cinema? Barco Light Steering Uses AI Tech To Bring True HDR To The Big Screen
Forbes
35 minutes ago
- Forbes
When Is Horror Thriller ‘Weapons' Coming To Streaming?
Weapons — a horror thriller starring Julia Garner and Josh Brolin — is new in theaters. When will the film be available to watch at home? Written and directed by Zach Cregger (Barbarians), Weapons opens in theaters nationwide on Friday. The official logline for the movie reads, 'When all but one child from the same class mysteriously vanish on the same night at exactly the same time, a community is left questioning who or what is behind their disappearance.' In addition to Garner and Brolin, Weapons stars Alden Ehrenreich, Austin Abrams, Cary Christopher, Benedict Wong and Amy Madigan. The only way currently that you can see Weapons is in theaters, so check your local listings for showtimes. The first place Weapons will be available in the home entertainment marketplace will be digital streaming via premium video on demand. Warner Bros./New Line Cinema, which is the studio that produced Weapons, typically releases their new titles on PVOD a month to six weeks after they debut in theaters. For example, Warner Bros./New Line's horror hit Final Destination Bloodlines arrived on PVOD on June 17, just over a month after it opened in theaters on May 16. However, two other recent Warner Bros. releases took a bit longer to debut on PVOD. A Minecraft Movie arrived on PVOD on May 13, about six weeks after it opened in theaters on April 4. In addition, Sinners, which made its PVOD debut on June 3, opened in theaters about six weeks earlier on April 18. If Weapons follows the same pattern as the titles listed above, then it should be available for purchase or rent on PVOD sometime between Sept. 9 and Sept. 23, since new movies on digital typically are released on Tuesdays. Which Streaming Service Will Get 'Weapons' First? Since Weapons is a Warner Bros./New Line Cinema release, the first place the film will be available on streaming video on demand will be Warner Bros. Discovery's HBO Max streaming platform. Recently re-branded to its original name, HBO Max from Max, the streaming platform has an ad-based option for $9.99 per month, an ad-free option for $16.99 per month and an ad-free option with 4K Ultra HD Programming for $20.99 per month. While it took Warner Bros.' blockbuster Beetlejuice Beetlejuice about three months to arrive on HBO Max after its release in theaters, more recently, the studio is releasing its films on SVOD on the streaming platform a bit quicker. For example, A Minecraft Movie arrived on the streaming service on June 20, about 2 1/2 months after release in theaters on April 4; while Sinners debuted on HBO Max on July 4, about 2 1/2 months after its April 18 release. Most recently, Final Destination Bloodlines arrived on HBO Max on Aug. 1, about 2 1/2 months after its premiere in theaters. If Weapons follows the same release pattern, then viewers can expect the film to arrive on HBO about Nov. 21, since new films typically arrive on SVOD on the platform on Fridays. Rated R, Weapons opens Friday in theaters nationwide.
Refinery29
35 minutes ago
- Refinery29
Meet The Brand Behind Too Much ‘s Nightgown, The Most Talked-About Look From The Show
Sleepwear isn't just for bedtime, or even limited to inside the home anymore — at least, that seems to be the current collective mindset. Bloomers are being worn in broad daylight, becoming unexpected (and unapologetically comfy) outfit staples — and the same goes for boxer shorts. Now, thanks to Lena Dunham's new Netflix series, Too Much, another sleepwear-as-clothing trend is emerging: nightgowns. And there's one brand in particular championing the cozy-cute look, London-based label If Only If. In the first two minutes of Too Much, the show's protagonist Jessica (portrayed by Megan Stalter) wears the up-and-coming brand's India nightgown — a red and white micro gingham design with a frilled collar and rickrack trim. (Jessica's dog Astrid is clad in a matching version, which, unfortunately for pet parents everywhere, was made strictly for the series.) 'Since the show launched, sales for the nightgown have gone up 500%,' Emily Campbell, who took over the business from her mother Issy Falkner in 2020, tells Refinery29, adding that the style sold out the same weekend the series premiered. Campbell, a teacher-turned-designer, kept this brand milestone under wraps for two years, having signed an NDA after the show's costume designer, Arielle Cooper-Lethem, contacted her about featuring the nightgowns in the show. 'My assistant had told me about If Only If, and I just thought they were the perfect thing,' Cooper-Lethem tells Refinery29. In the 10-episode season, she also dressed the trend-curious character in the brand's Clover and Pandora designs — with Jessica wearing them both at her London flat (or "estate," as it's referred to in the series) and while she explores her new city. 'I liked this idea that there was an item that she feels as fabulous at home as she does out in, essentially a piece of clothing that connects her fantasy from her home life to her outside life,' Cooper-Lethem shares. The costume designer is overjoyed by If Only If's recent meteoric rise, and she admits the process of securing products for film and television is no easy feat, as the timeline is much longer than an editorial shoot. 'When I request something for a character, I need to keep it for four months because we might reshoot,' Cooper-Lethem explains. 'It's such a dream when I've asked a brand to help us out and then they end up seeing the sales from it,' she adds, also noting that for smaller labels like If Only If, this type of media exposure can change everything. While the label has amassed quite the fan club over the past month, Campbell makes sure to shout out her mom as the one who built If Only If from the ground up. Falkner launched the brand as a passion project in 2011, and it was a one-woman show until she passed the baton to Campbell almost a decade later. 'In her 50s, she was like, 'I think I'm going to start my own business,'' Campbell recalls about her mom's first foray into the fashion industry. 'The reason she did it was because she couldn't find beautiful nightgowns made in natural materials,' explains Campbell, who uses 100% GOTS certified organic cotton voile and Oeko-Tex certified linen chambray to craft the brand's pieces. While she was dedicated to her teaching career, Campbell had a feeling she'd one day take charge of If Only If. 'My mom would say, 'I really think that you can take this in a new direction and to a new generation.'' Much like Falkner, Campbell runs the business on her own terms, making choices that sidestep the conventional brand rulebook. 'I didn't do any digital marketing for the first three years, and I don't do wholesale,' she says. 'That's probably not a great business decision, but it's really important that my customer comes to me, and we grow organically.' While launching a new website and rebranding If Only If, Campbell has kept the heart and soul of the company intact. She still works with the same family-run supplier her mom partnered with 15 years ago. 'Our growth has been their growth, which has been really amazing,' she says. Meanwhile, the brand still carries the two styles her mom launched with — the Julia, a full-length gown with wide sleeves, and the Anna, which boasts a plunging, lace-adorned neckline. Campbell also strives to carry on Falkner's founding tenet: To create well-made nightgowns — or 'nighties,' as she refers to them — at prices that reflect their craftsmanship and quality. Most styles cost between $100 and $300, while the 100% silk satin style is priced above that range. Even as sales surge, as a slow fashion brand, Campbell doesn't plan on overproducing. 'It will sell out, and I'm fine with that,' she says about the India style. 'I can't change my values.' Being featured in a popular Netflix series has been an extraordinary, pinch-me experience for Campbell but that's not to say it wasn't a bit overwhelming at times. As such, she spoke with Lucy Akin, the founder of LA-based label Ciao Lucia, a brand featured several times in The White Lotus Season 3. 'She was like, 'You can probably run with this forever if you want to,'' Campbell says, adding that Akin also encouraged her to stick to her principles and enjoy the exposure. Ultimately, Campbell is especially pleased that nighties are finally getting their moment. 'I'm just so happy that more people are experiencing how lovely they can be,' she explains. Whether you're planning on wearing them while lounging at home or heading out on the town, shop a selection of If Only If's nightgowns below — before they inevitably sell out.
