Age: 30
female
Florence Pugh (/pjuː/ PEW; born 3 January 1996) is an English actress. After making her acting debut in the drama film The Falling (2014), Pugh gained praise for starring in the independent drama Lady Macbeth (2016) and the miniseries The Little Drummer Girl (2018). Her international breakthrough came in 2019 with her portrayals of professional wrestler Paige in the sports film Fighting with My Family, a despondent American woman in the horror film Midsommar, and Amy March in the period drama Little Women. For the last of these, she was nominated for the Academy Award for Best Supporting Actress. Pugh has played Yelena Belova in the Marvel Cinematic Universe, starring in the films Black Widow (2021) and Thunderbolts* (2025) and the Disney+ miniseries Hawkeye (2021). In her highest-grossing releases, she voiced Goldilocks in Puss in Boots: The Last Wish (2022) and portrayed Jean Tatlock in Oppenheimer (2023) and Princess Irulan in Dune: Part Two (2024). She also continued to gain praise for her performances in dramas such as We Live in Time (2024). Description above from the Wikipedia article Florence Pugh, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Florence Pugh
Fallon Long
for Fallon Long in Runaway Groomsman Movie
Suggested by hivaerika
Hollywood screenwriter Sawyer Walsh knows a good love story when he sees it. But when it comes to real life romance, he’s a mess. That’s how he finds himself standing at the altar…as his ex-girlfriend ties the knot with his very famous best friend. The pressure, the resentment, the media coverage―it’s all too much―and before he knows exactly what he’s doing, he’s making a run for it, leaving a shocked congregation and flashing cameras in his wake. Needing to lie low amid the media fallout, Sawyer lands in the charming town of Canoodle, California, where he crosses paths with Fallon Long, who runs the Canoodle Cove Cabins, a family-owned business and Sawyer’s new short-term residence. Overwhelmed with renovations and her long list of responsibilities, Fallon is struggling to make ends meet while attempting to bring the cabins back to their original glory. So when Sawyer arrives, she is grateful for the income, but immediately writes him off as just another vapid Hollywood hack, until he begins to prove her wrong at every turn. As Fallon comes closer to saving the family business, an undeniable bond forms between her and the handsome screenwriter. But the pressures of her family obligations and Sawyer’s notoriety might prove to be too much for anyone to handle. Could Canoodle be the setting for a new romance―or is true love just a Hollywood cliché?
