Age: 42
female
Rebecca Louisa Ferguson Sundström (born 19 October 1983) is a Swedish actress. She is bilingual and has worked extensively in Sweden, Great Britain, and mainly in the United States. Ferguson began her television acting career in 1999 with the Swedish soap opera Nya Tider, and she made her motion picture debut in 2004 with the Swedish slasher film Drowning Ghost. She came to international prominence with her portrayal of Elizabeth Woodville in the British BBC drama The White Queen (2013), for which she was nominated for a Golden Globe for Best Actress in a Miniseries or Television Film. Ferguson starred as MI6 agent Ilsa Faust, opposite Tom Cruise, in three of the Mission: Impossible films: Rogue Nation (2015), Fallout (2018), and Dead Reckoning Part One (2023). She played Jenny Lind in the musical film The Greatest Showman (2017), starred in the horror films Life (2017) and Doctor Sleep(2019), and had supporting parts in the comedy-drama Florence Foster Jenkins (2016), the thriller The Girl on the Train (2016), and the science fiction films Dune(2021) and Dune: Part Two (2024). In 2023, she began starring in the Apple TV+science fiction series Silo. Description above from the Wikipedia article Rebecca Ferguson, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Rebecca Ferguson
Helena Holsten Lain
for Helena Holsten Lain in Children Of Ruin
Suggested by zautnerc
Centuries after humanity's uplift of spiders into sentience, the galaxy faces a new existential threat. Portia, the evolved spider collective, has established a thriving civilization on Kern, but their world is shattered when an ancient, hostile intelligence awakens—a force that predates human spacefaring and hungers to consume all evolved life. Humanity's remnants, led by the pragmatic Lain and others, must navigate fragile alliances with the spiders and other uplifted species to survive. As the threat spreads across worlds, characters grapple with questions of identity, cooperation across species boundaries, and whether evolution itself is a curse or salvation. The narrative weaves between multiple perspectives and timelines, exploring how different civilizations respond to annihilation. Themes of parenthood, legacy, and the responsibility of creators toward their creations drive the emotional core, while hard science fiction concepts ground the cosmic horror. The story expands the universe established in its predecessor, deepening the philosophical implications of uplifting and the costs of survival in a hostile cosmos.
