Age: 37
female
Lily Chloe Ninette Thomson (born 5 April 1989), known professionally as Lily James, is an British actress. She studied acting at the Guildhall School of Music and Drama in London. She began her career in the British television series Just William (2010). Following a supporting role in the period drama series Downton Abbey (2012–2015), her breakthrough was the title role in the fantasy film Cinderella (2015). James went on to portray Natasha Rostova in the television adaptation of War & Peace (2016). She starred in several films, including the action film Baby Driver (2017), the period dramas Darkest Hour (2017), The Guernsey Literary and Potato Peel Pie Society (2018) and The Dig (2021), the musicals Mamma Mia! Here We Go Again (2018) and Yesterday (2019), and the sports drama The Iron Claw (2023). Her portrayal of Pamela Anderson in the biographical series Pam & Tommy (2022) earned her nominations for a Golden Globe and a Primetime Emmy Award. Description above from the Wikipedia article Lily James, licensed under CC-BY-SA, full list of contributors on Wikipedia.
1967. Jack Hart, a young, wandering musician, travels the American backroads with nothing but his guitar and his best friend, Theo Ramires, a bassist with a sharp wit but a big heart. They play tiny bars, diners, and roadside venues — barely scraping by, but living freely. Jack dreams of something bigger; where Theo is very content. At a smoky bar, a frequent for Jack and Theo, run by the warm‑hearted Jim Hardy, Jack meets Allison “Allie” Pond, a drifting soul recovering from heartbreak and searching for purpose. She’s empathetic, funny, and a little lost — someone who tends to fall into other people’s dreams instead of chasing her own. She joins the boys on the road, and the three form a makeshift family. Their chemistry is electric. Their music grows richer. Jack and Allie fall deeply in love. But everything changes when Dan Cole, a once‑failed musician turned talent scout, hears Jack perform. Dan sees potential — and dollar signs. He introduces Jack to Evelyn Stone, a razor‑sharp record executive who prioritizes profit over people. She promises Jack the world, and he takes it. Suddenly Jack is swept into a whirlwind of fame: studio sessions, interviews, image makeovers, endless touring. Theo is pushed aside. Allie is left behind. Jack becomes the star he always dreamed of being — but at the cost of the people who made him whole. Allie returns home to her older sister Amelia, who loves her fiercely but never understood her wandering. Amelia’s partner, Victor Harwell, is kind and grounded — a picture of the stable life Allie could choose. With them, Allie confronts the question she’s avoided for years: Does she want a life on the road, or a life with roots? Meanwhile, Jack spirals. The industry reshapes him into something unrecognizable. Critics who once mocked him — like the fickle Colin Cornely — now praise him. But the applause feels hollow. He’s lost Theo. He’s lost Allie. He’s lost himself. When Jack finally breaks under the pressure, he returns to Jim Hardy’s bar — the place where it all began. Jim, with his quiet wisdom, tells Jack the truth he’s been running from: Dreams mean nothing if you lose the people who believed in you before you believed in yourself. Jack sets out to find Allie. Their reunion isn’t easy. Allie has grown. She’s learned to stand up for what she wants — and what she won’t sacrifice. Jack apologizes, not with promises, but with honesty. He doesn’t ask her to follow him again. He asks if they can build something together. Years later, in the film’s final scene, we see Jack and Allie in a sunlit yard, playing with their young daughter, Piper Hart. Theo visits, bass in hand, ready to jam. The music begins again — not for fame, but for joy.
