'Being a little older, it's easier...' Tina Fey is relieved that fame came later to her
Tina Fey is grateful she didn't find fame until her 30s.
The 'Four Seasons' actress joined the writing team of 'Saturday Night Live' in 1997 but didn't appear on camera until 2000, and she thinks her life experience before then taught her not to take things so seriously.
She told Britain's HELLO! Magazine: "The beauty of impostor syndrome is that you vacillate between extreme egomania and a complete feeling of, 'I'm a fraud! Oh God, they're on to me!'
"Having become a public figure later in life than most has helped me deal with the aspects of intrusion into my private life.
"People do treat you differently, so it's nice to come into it a little bit older, because you know not to believe it 100 per cent.
"Everyone is so nice to you all the time, telling you, 'You look great' when you know you don't. But that's OK.
"Being a little older, it's easier to take things with a grain of salt."
Meanwhile, the 55-year-old star – who has Alice, 19, and Penelope, 13, with Jeff Richmond, her husband of 24 years – believes it is important for people to have friendships outside of their marriages if they want their relationships to thrive.
Discussing her new Netflix series 'The Four Seasons', she said: "We talked about the show being a love letter to long-term relationships, both platonic and romantic.
"Your life is ideally more than just the person you're married to.
"Sometimes, when you're struggling with something just with your spouse, you need a group of friends to bring humour to it.
"Those friendships really help marriages I think.
"Having a person who fulfils a part of you that your spouse can't quite fulfil is important."
And Tina joked that marriage isn't always filled with romance.
She laughed: "Seriously, once you're married, you stop even celebrating Valentine's Day.
"Maybe I'm bitter, but I think that's strictly amateur night."
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Man of Many
9 hours ago
- Man of Many
Charlie Vickers on ‘The Survivors', Building Character and Coming Home
By Dean Blake - News Published: 6 June 2025 |Last Updated: 4 June 2025 Share Copy Link Readtime: 10 min Every product is carefully selected by our editors and experts. If you buy from a link, we may earn a commission. Learn more. For more information on how we test products, click here. Charlie Vickers is on the rise. After an impressively devilish rendition of Middle-Earth's Sauron in Rings of Power, the Aussie actor is returning home to star in Netflix's The Survivors: an adaptation of Jane Harper's novel of the same name that focuses on the small, coastal town of Evelyn Bay and a series of deaths that echo through the years. In some ways, The Survivors was a particularly personal project for Vickers, who saw his own echoes in the show—a big-town man returning to his small-town roots—and who connected with the inherent Australianness of it all. Since studying acting at the College of Speech and Drama in London, Vickers has been largely living overseas, and the opportunity to return home, especially for a script he felt excited by, was too good to pass up. We caught up with Vickers ahead of The Survivors launch on Netflix on 6 June to talk though what drew him to the project, how he got started in acting, and what it was like coming back to Australia. Charlie Vickers in 'The Survivors' | Image: Netflix To start with, I wanted to get an idea of what it was about The Survivors that got you excited. What sold you on being a part of it? I love shows that adapt novels, really. The Survivors is a novel that I hadn't read, but I'd read a few other books by Jane Harper and this just sounded like a really fun adventure to be able to go on. So when I had the opportunity to potentially do it, I thought, 'It's in Tasmania, I grew up in Melbourne, but I'd somehow never been to Tasmania,' and being able to work with a whole bunch of new, amazing people and having Tony in charge of the whole project got me really excited. Also, just being able to be part of an Australian story. It's quintessentially Australian. I live in the UK now so I want to do as many Australian projects as possible, and this was such an enticing opportunity, really. The character of the town, although it's fictional, its kind of its own character in this story, and being able to film so much of it on location got me really excited. I also thought the story was interesting, and the way the script adapted the novel made me quite interested. It's quite cool seeing small-town Australia highlighted—I wanted to ask about that. Was that part of the charm for you? Is that something that reminds you of your childhood in Australia? In a way, it is . There are a huge amount of similarities between Tasmania and Victoria, and I grew up in a small coastal town exactly like . It's funny, the character of Kieran is still quite far away from who I am but he's also returning from a big city, in his case Sydney, to his childhood town, and there was a bit of familiarity there for me. I live overseas in a big city and often find myself coming back to my small, coastal town, and I think my son was about 6 months old when I was filming this, and he has a 4 month old, so there was a lot of 'world's colliding'. Having the opportunity to tell a story set in a coastal town, and you have all the dynamics . I was watching the show with my brother the other day, and he said 'god, some of these characters feel like they could be from our home town', it's crazy. Charlie Vickers in 'The Survivors' | Image: Netflix I wanted to get an idea of what you look for in a role? There's no shared characteristics of any roles , I often look for something that when I read it I get inspired, or I get excited by the idea of doing it. These roles can be completely different, but the thing they share is that I think I can bring something to the project: it has to ignite my imagination, reading it. Those kinds of jobs are few and far between, that make you excited, and this was one of those jobs. I've played quite a lot of villains in my career so far, but that's just coincidental and because of the material I've been given. How do you find your characters? When you're given a script or a treatment, how do you go about turning those words into action? For me, I try to keep it as simple as possible. I don't properly believe in the idea of 'character'. It's useful to use it in terms of referring to the character of Kieran, for example, but his 'character' is just the sum of a whole bunch of little moments. So I try not to look at things through a wide-angle lens, you know? And sometimes I watch the final product of things and find that 'oh wow, he's an entirely different person to how I had imagined him', because I tend to approach it from a moment to moment basis, and react to the circumstances he's in, and try to play to each moment truthfully, and then that paints a bigger picture of this character's life during the time period on screen. The only thing you have to be mindful of, I guess, is to think of the journey of the character throughout the show, but the specificity of each moment we see creates the 'character', I think. Charlie Vickers in 'The Survivors' | Image: Netflix Beyond being able to come back to Australia, what was the highlight of the filming process for The Survivors? There were so many. I loved being able to be in a really special place, Tasmania, that I'd never been to, with a whole bunch of amazing actors and creatives. To be able to work with these people made it an amazing experience: Actors that I've watched since I was a kid on screen. People like Damien or Robyn or Catherine and then there's this whole other amazing generation of actors like Yerin , Jess , Thom and George , and I think that's what I really love about projects. I've been really fortunate in my career in that you can just kind of go somewhere for six months and work on something and be fully immersed in the world of whatever you're doing, and then you get to move on and some of the relationships endure. That's the lasting memory of working in Tasmania : the combination of the location and the people. It was probably really good to have that filming location be somewhere you'd never been but also being very familiar in a way. Exactly, I don't know why I'd never been to Tasmania, but it really does feel different. There's an atmospheric quality to that place that is inherent, just when you're walking around. The energy there can be heavy, and I'm sure that's what Jane was trying to tap into when she wrote the novel. You mentioned earlier that you've enjoyed doing adaptations of novels, and you've done quite a few of them at this point: is there any book adaptations that you'd love to work on? I love Tim Winton's novels, and I read The Shepherds Hut recently, and also The Riders, and Eyrie, which is about a retired climate worker that lives in Freemantle, and I just think his stories are so evocatively written and I'd love to be a part of an adaptation of one of those novels on screen. I think they're pretty rarely adapted, though, and the adaptation process to take a novel to screen is often a really complex one. Those novels, when I read them, I really connected to a few of the characters and thought it'd be really cool to be a part of. I love imagining the world, that's part of the amazing thing about reading books. Charlie Vickers in 'The Survivors' | Image: Netflix You've worked in a few genres so far – is there anything you'd want to do that you haven't been given the chance to yet? It's quite a boring answer, but I'm lucky that I've been given the chance to work on bigger productions and smaller productions and things that are in pretty wildly contrasting genres that I don't really have that itch to do anything in particular. I just kind of want to work on stories that are exciting, the genre could be anything, really. If it's something that creatively inspires me, I'd be keen to do it, but there's no particular world I want to jump into anymore: which is nice, it's a nice place to be. How did you get started in acting? I did a lot of plays at school. I remember being in year 12, and I was playing Richard the 3rd in our school production of it, and it was the same year it was being done by the Melbourne Theatre Company, and Ewen Leslie was playing Richard the 3rd, and I remember going to see it and just thinking 'wow, that's so much better than what I'm doing', and thinking 'I'd love to be able to do that one day'. I remember that moment of 'wouldn't it be cool to be an actor', but then I never found it to be an accessible path. I think I was afraid. I knew you could go and audition for drama school, it just didn't seem to be a thing that was in my world, it didn't feel possible to me: getting in to a drama school and then going on to be an actor, so I didn't do it for a few years after school finished. In those intervening years I was studying a music/business degree, and while I loved uni and being around my mates and that whole period of my life, but I was really just treading water. I had no idea what I was doing, and throughout Uni I was doing amateur theatre productions. Melbourne Uni has this amazing theatre called the Union Theatre, so I did a lot of work there. Eventually, I drummed up the courage to do it, and that changed my life. I thought, maybe I should just have a go at trying for a drama school because I really didn't know what I was doing. The school I went to, the Central School of Speech and Drama in London, they come and do audition weekends in Sydney, and I decided I was going to go to it. I flew up and didn't tell anyone because I was afraid of telling people I auditioned and I didn't get in, so I did the audition over a weekend and then found out six weeks later that I'd got in, and then had to decide whether I wanted to uproot my life or did I want to wait until the end of the year and maybe try some of the Australian schools. But when you get into a drama school, it's so unlikely in the first place that I just thought I have to take this opportunity – it might not happen again. So yeah, I moved to London, and that was really the moment the direction of my life changed. The Survivors launches exclusively on Netflix on 6 June.
The Age
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- The Age
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Sydney Morning Herald
17 hours ago
- Sydney Morning Herald
And Just Like That recap: A big thumbs-up to these guest stars
When she gathers the courage to ask out a cute guacamole server who also loves the series, the young woman breaks the news she's actually not queer. 'It's a TV show,' she says. 'I watch The Walking Dead, and I'm not a zombie.' Yeah! And just because I watch this, doesn't mean I, too, have forgotten how to interact with the world in a normal human way! Speaking of: the episode opens with what feels like a hallucination. Carrie Bradshaw skipping across the cobblestone streets of the Meatpacking District! In a hot dress! At night! With other people around! Samantha would be so proud. Lisette – the young party girl who's moved into Carrie's old apartment – asked to meet to give Carrie a gift. A giant clanking necklace with the numbers 245 welded onto it. Unfortunately, I don't think SJP saying '245 East 73rd St' is going to stop tourists crowding the pavement in front of 64 Perry Street – the West Village facade where they shot the exteriors of her apartment – as much as its new owner would like them to. Before tossing her phone across the bar, Lisette bemoans that 'it's such a messed up time to be dating'. Carrie replies with a few quips and, without the thematic link the show once had via her voiceovers, that's about all we have to gain as far as modern relationship insights go. Loading I don't mean to be negative, really, but scenes like this and the montage of Seema 'hate-dating' men made me yearn for the Sex and the City approach, where funny anecdotes were always bookended by a conversation that needled at the core of why sexual relationships were tricky or fun or dark or twisted. Instead, Seema agrees for her boss to set her up with Sydney, a matchmaker played by Saturday Night Live legend Cheri Oteri. She's an advocate for getting rid of Seema's metallics and animal prints (hard disagree!) and toning down her honesty and entire personality. This show has a tendency to introduce characters with a lot of backstory then disappear them immediately. As grim as this Seema matchmaking storyline is, I pray this is not the end of Sydney; Oteri makes sense in this universe the same way Amy Sedaris and Candice Bergen do. The biggest finger in this episode is delivered by Aidan. After dictating – then deleting – texts out loud to him, Carrie's even more confused about the rules for their separation when he appears in their (?) apartment. Carrie's contractor is ripping out her entire, rat-infested courtyard, and she tells Aidan she's trying to look under everything else in her life. He sets new rules for them which seem to be: let's just keep in regular contact. But when he responds to a text about a vintage table she wants to buy, all he can spare for her is a thumbs down. I really – comma – really wish she'd be honest with him about her feelings because Miranda's right: obsessing over his text etiquette is beneath her. Before Carrie can continue writing her novel in the courtyard – where she quite literally said hello to a squirrel (please God can this woman smoke a cig or wear a bra in public or break into a church service again!!) – she has to get it re-designed by Adam, aka Logan Marshall-Green, who played Trey Atwood on The OC. He asks her the one fundamental question he has to understand new clients: 'What's your ultimate vision?' Not exactly a light ice-breaker. She deflects. She doesn't know. The slate is clean and who knows what comes next. If her manuscript is any indication, she'll be writing on it in Courier New font.
