Anya Taylor-Joy

Age: 30

female

Anya-Josephine Marie Taylor-Joy (/ˈænjə/; born 16 April 1996) is an American actress and voice actress. Born in Miami and raised in Buenos Aires and London, she left school at 16 to pursue an acting career. After several minor television roles, her breakthrough came with a leading role in the horror film The Witch (2015). Her career progressed with roles in the horror film Split (2016) and its sequel Glass (2019), the black comedy film Thoroughbreds (2017), and playing Emma Woodhouse in the period drama Emma (2020). Taylor-Joy featured in the television crime drama series Peaky Blinders (2019–2022) and earned international recognition for playing Beth Harmon in the period drama miniseries The Queen's Gambit (2020), winning a Golden Globe Award and a SAG Award, in addition to a nomination for a Primetime Emmy Award. She then starred in the horror film Last Night in Soho (2021), the action films The Northman (2022) and The Gorge (2025), and the black comedy The Menu (2022). She also voiced Princess Peach in the animated film The Super Mario Bros. Movie (2023). She starred as Imperator Furiosa in the apocalyptic film Furiosa: A Mad Max Saga (2024). Description above from the Wikipedia article Anya Taylor-Joy, licensed under CC-BY-SA, full list of contributors on Wikipedia.

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Anya Taylor-Joy

Rose Walker

for Rose Walker in Gaiman's Sandman

Suggested by darlingchunkodemands

Gaiman's Sandman

(from the wikipedia entry for endless - comics): They have existed since the dawn of time and are thought to be among the most powerful beings in the existence. They are distinct from and more powerful than most gods. Dream is the protagonist of The Sandman series, but all of the Endless play major roles. ... The Endless spend most of their time fulfilling their functions as embodiments of natural forces. For example, Death leads the souls of the dead away from the realm of the living, while Dream oversees the realm of dreams and imagination ("The Dreaming") and regulates dreams and inspiration. One notable facet of their depiction is that none of them are "representations" or "personifications" of their function, they simply are their function.

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