Age: 40
female
Gemma Christina Arterton (born 2 February 1986) is an English actress and producer. After her stage debut in Shakespeare's Love's Labour's Lost at the Globe Theatre (2007), Arterton made her feature film debut in the comedy St Trinian's (2007). She portrayed Bond Girl Strawberry Fields in the James Bond film Quantum of Solace (2008), a performance which won her an Empire Award for Best Newcomer. Arterton has since appeared in a number of films, including The Disappearance of Alice Creed (2009), Tamara Drewe (2010), Clash of the Titans (2010), Prince of Persia: The Sands of Time (2010), Hansel & Gretel: Witch Hunters (2013), Their Finest (2016), The Escape (2017), and Vita and Virginia (2018). She received the Harper's Bazaar Woman of the Year Award for acting in and producing The Escape. Her theatrical highlights have included starring in The Duchess of Malfi (2014), Made in Dagenham (2014), Nell Gwynn (2016) and Saint Joan (2017). Arterton was nominated for Olivier Awards for her work on both Nell Gwynn and Made in Dagenham, and she won the Evening Standard Theatre Award for the latter. Since 2016, Arterton has run her own production company, Rebel Park Productions, which focuses on creating female-led content in front of and behind the camera. She has executive-produced four feature films and two short films. She is also on record as being a supporter of the Time's Up, ERA 50:50 and MeToo movements. Arterton played an integral role in persuading actresses to wear black at the 2018 BAFTAs in support of Time'sUp, and has been involved with ERA 50:50, an equal pay campaign in the UK, since its inception.
Dr. Briana Ortiz’s life is seriously flatlining. Her divorce is just about finalized, her brother’s running out of time to find a kidney donor, and that promotion she wants? Oh, that’s probably going to the new man-doctor who’s already registering eighty-friggin’-seven on Briana’s “pain in my ass” scale. But just when all systems are set to hate, Dr. Jacob Maddox completely flips the game . . . by sending Briana a letter. And it’s a really good letter. Like the kind that proves that Jacob isn’t actually Satan. Worse, he might be this fantastically funny and subversively likeable guy who’s terrible at first impressions. Because suddenly he and Bri are exchanging letters, sharing lunch dates in her “sob closet,” and discussing the merits of freakishly tiny horses. But when Jacob decides to give Briana the best gift imaginable—a kidney for her brother—she wonders just how she can resist this quietly sexy new doctor . . . especially when he calls in a favor she can’t refuse.
