Age: 38
male
Jonathan Stuart Bailey (born April 25, 1988) is an English actor known for his dramatic, comedic, and musical roles on stage and screen. He is the recipient of a Laurence Olivier Award, a Critics' Choice Television Award, as well as a Primetime Emmy Award nomination. Bailey began his career as a child actor in Royal Shakespeare Company productions, and by eight, he was performing as Gavroche in a West End production of Les Misérables. He has since starred in contemporary plays such as South Downs in 2012, The York Realist in 2018, and Cock in 2022; in classical plays like the Royal National Theatre's Othello in 2013 and Chichester Festival Theatre's King Lear in 2017; as well as in musicals, namely the London revival of The Last Five Years in 2016 and the West End gender-swapped revival of Company, for which he won the Laurence Olivier Award for Best Actor in a Supporting Role in a Musical in 2019. On screen, Bailey starred in the action-adventure series Leonardo (2011–2012) and the musical-comedy Groove High (2012–2013) before becoming known for his roles in the crime drama Broadchurch (2013–2015), the satire W1A (2014–2017), and the comedy Crashing (2016). He gained international recognition for his starring role in the Regency romance series Bridgerton (2020–present). Bailey's role in the romantic drama miniseries Fellow Travelers (2023) won him a Critics' Choice Television Award for Best Supporting Actor and a nomination for a Primetime Emmy Award for Outstanding Supporting Actor. He has since played Fiyero in the two-part musical fantasy film Wicked (2024–25). Description above from the Wikipedia article Jonathan Bailey, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Alice Scott is an eternal optimist still dreaming of her big writing break. Hayden Anderson is a Pulitzer-prize winning human thundercloud. And they’re both on balmy Little Crescent Island for the same reason: To write the biography of a woman no one has seen in years--or at least to meet with the octogenarian who claims to be the Margaret Ives. Tragic heiress, former tabloid princess, and daughter of one of the most storied (and scandalous) families of the 20th Century. When Margaret invites them both for a one-month trial period, after which she’ll choose the person who’ll tell her story, there are three things keeping Alice’s head in the game. One: Alice genuinely likes people, which means people usually like Alice—and she has a whole month to win the legendary woman over. Two: She’s ready for this job and the chance to impress her perennially unimpressed family with a Serious Publication Three: Hayden Anderson, who should have no reason to be concerned about losing this book, is glowering at her in a shaken-to-the core way that suggests he sees her as competition. But the problem is, Margaret is only giving each of them pieces of her story. Pieces they can’t swap to put together because of an ironclad NDA and an inconvenient yearning pulsing between them every time they’re in the same room. And it’s becoming abundantly clear that their story—just like the tale Margaret’s spinning—could be a mystery, tragedy, or love ballad…depending on who’s telling it.
