Age: 28
female
Daisy Jessica Edgar-Jones (born 24 May 1998) is an English actress. She began her career with the series Cold Feet (2016–2020) and War of the Worlds (2019–2021). She gained recognition for her starring role in the BBC / Hulu romantic drama limited series Normal People(2020), which earned her nominations for a British Academy Television Award and a Golden Globe Award. She has expanded her career, taking film roles in the horror-thriller Fresh (2022), the mystery Where the Crawdads Sing (2022), the disaster film Twisters (2024), and the romantic drama On Swift Horses (2024), the latter of which she also executive produced. On television, she played a Mormon murder victim in the FX on Hulu crime miniseries Under the Banner of Heaven, earning a second Golden Globe Award nomination. On stage, she has acted on the West End in plays such as the adaptation of Mohsin Hamid's The Reluctant Fundamentalist (2017) and a revival of Tennessee Williams' Cat on a Hot Tin Roof (2024). She appeared on British Vogue's 2020 list of influential women. Description above from the Wikipedia article Daisy Edgar-Jones, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Daisy Edgar-Jones
Doris Bernhardt
for Doris Bernhardt in Great Big Beautiful Life
Suggested by raineneal
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.
