Funny. Still quite an embarrassing one to explain to your parents. Where are all your friends? Um. Hiding. No.

Look parents in the eye. Because this was pointless. I basically turned it all on them. Which was fair enough. There are sparks of brilliance in Jeremy Herrin’s staging – spelling out the days of the week as we flip through the calendar with increasing creativity, climbing out of the floor as if by magic – but overall, it’s far gentler, and perhaps more strait-laced, than you might expect from Headlong.Winners 2019 – Broadcast Awards 2020". Archived from the original on 14 July 2020 . Retrieved 14 July 2020. I used to have a fat friend. Sheridan. Named after a Sheffield Wednesday footballer – and they wondered why she ate? Bush Theatre". Bush Theatre. 17 December 2005. Archived from the original on 16 July 2011 . Retrieved 13 March 2011. Parker, Ryan; Galuppo, Mia (12 September 2017). "J. J. Abrams to Replace Colin Trevorrow as 'Star Wars: Episode IX' Writer and Director". The Hollywood Reporter . Retrieved 12 September 2017. On 8 May 2013, Thorne was hired to adapt the film adaptation of Wonder; a 2012 novel of the same name by R.J. Palacio. Thorne co-wrote the script with Steve Conrad and Stephen Chbosky. The latter directed the film, which starred Julia Roberts, Owen Wilson, and Jacob Tremblay and was released on 17 November 2017. [46] On 2 August 2017, it was announced he would rewrite the script for Star Wars: The Rise of Skywalker, [47] but on 12 September 2017, he was replaced by J. J. Abrams and Chris Terrio. [48] [49] [50] In 2018, it was announced that he will rewrite the initial screenplay penned by Chris Weitz for Disney's live-action adaptation of Pinocchio, directed by Paul King. [51]

Finborough Theatre". Finborough Theatre. 17 February 2007. Archived from the original on 5 January 2009 . Retrieved 13 March 2011. Thorne is married to Rachel Mason. They have one son, Elliott, who was named after the human protagonist of E.T. the Extra-Terrestrial. His wife's sister is married to comedian Frank Skinner [56] Press Office – Bafta Television Awards 2012: full list of winners". Digital Spy. 27 May 2012 . Retrieved 19 August 2012. First impressions of Katie are that she knows what she’s doing and can’t wait to grow up. By the end, we’re left with a lonely girl unable to connect to anyone properly and struggling to fit into a world she doesn’t understand. While deeply political, it would be a shame not to recognise the essence of this play; a coming-of-age play for every woman who’s ever wobbled on the precipice of adulthood.The premise is simple and engrossing. It is Monday and we are… somewhere. Represented by designer and co-creator Bunny Christie’s set – a gargantuan, impressionistic wall of filing cabinets –‘After Life’ takes place in a waystation between death and whatever comes after. Here, freshly deceased people are given until Saturday to decide upon a single memory they wish to be physically recreated to take forward with them – the implication being that this is all that will remain of them after this. Final Fringe Firsts for Primadoona, Lidless, Bunny –". Whatsonstage.com. Archived from the original on 15 June 2011 . Retrieved 13 March 2011.

Billington, Michael (8 June 2012). "The Physicists – review". The Guardian. ISSN 0261-3077 . Retrieved 11 August 2017. In August 2021, Thorne delivered the Edinburgh TV Festival's prestigious MacTaggart Lecture. [53] He used the speech to discuss television's power as an "empathy box" in the living room of millions and its failings for neglecting a large and vibrant part of the populace by poorly representing the disabled community. Thorne points to the great suffering of disabled people during the COVID-19 pandemic in which the media rendered huge amounts of unnecessary deaths acceptable through usage of the term "underlying health condition". [53] The speech also outlined how television industry practice has been discriminatory towards disabled artists, and the dire need for the industry to commit to change, both off-screen and on; alongside Genevieve Barr and Katie Player, Thorne announced a pressure group called Underlying Health Condition which aims to elevate disabled voices in the industry. Thorne argues that more disabled stories written by disabled people and performed by disabled people would make visible what's invisible in the "empathy box" in the homes of the public and cause change to happen. Although it’s underpinned by gently absurdist humour, ‘After Life’ is a moving and serious consideration of what constitutes a life. It’s important to stress that this remains Kore-eda’s vision: the premise was entirely his, and while Thorne has tweaked a lot of details, the shape of the plot is roughly the same. But it is a beautiful and sympathetic adaptation, filled with care and bittersweet reflection. Inevitably, part of its power is that it makes you contemplate what you would take with you. Ryan, Frances (22 March 2022). "Why the BBC drama Then Barbara Met Alan brought tears to my eyes". TheGuardian.com . Retrieved 30 March 2022. Pembroke College on Facebook: https://m.facebook.com/story.php?story_fbid=10155733180786424&id=92783331423In 2012, People Snogging in Public Places was produced and broadcast by France-Culture (in the Fictions / Drôles de drames slot) under the French title of Regarder passer les trains (translator: Jacqueline Chnéour). a b c "RTS Programme Awards 2017". Royal Television Society. 24 October 2016 . Retrieved 14 July 2020. a b "BAFTA Television 2019: Winners of the Virgin Media British Academy Television Awards + British Academy Television Craft Awards". bafta.org. 28 March 2019 . Retrieved 14 July 2020. Radio 4 Programmes – Afternoon Play, Looking for Angels, Looking for Angels: Left at the Angel". BBC. 29 August 2007 . Retrieved 13 March 2011. I do thinkthe storygains something special from the overt artificiality of theatre: Jeremy Herrin’s tight, sparse production and Christie’s abstract set streamline and intensify the story, removes the slight distraction of the film’s naturalism. There’s great work all round from the creative team, especially Shelley Maxwell’s tightly-drilled movement, so lively you rarely notice the cast is standing at a safe distance from each other.