Now that celebrities can reach their fans on a more personal level over social media, the lines between celebrity and activist have blurred. Many actors, musicians, and models use their platforms to raise awareness about the issues they care about. And several famous faces have joined 2000 supporters in signing an open letter to global leaders asking them to “tackle the emergency facing people and planet” including hunger, poverty, education, and climate change. Little Women’s Emma Watson and Game Of Thrones Emilia Clarke’s names appear alongside Malala Yousafzai, Dr Jane Goodall, and #MeToo founder Tarana Burke urging leaders to take action.

The letter was published on the Global Goals website alongside a video illustrating the campaigners’ points. In 2015 the UN committed to the Global Goals for Sustainable Development Plan which agreed to tackle the problems mentioned in the new open letter by 2030. Danny Boyle, Emilia Clarke, Spike Lee, Idris Elba, Richard Curtis, Stephen Fry, and Thandie Newton were among the celebrities who signed the open letter.

“[Five] years ago, at the United Nations, 193 countries committed to the Global Goals for Sustainable Development,” it reads in part. “A historic plan to end extreme poverty, conquer inequality and fix the climate crisis. Look at our world now. Our climate is heating up. Natural disasters are increasing. Millions flee their homes.

“Children suffer without vital food and healthcare. Activists are murdered for their views. Girls and women are refused an education and subjected to discrimination and violence. But we still dare to hope that in 2020 you will act decisively and courageously and kickstart a Decade of Action. We need you to act faster. To find the finance. To track implementation. To unlock radical solutions. We are watching you. And we will fight every day, for people, for the planet.”

After plotting world domination for eight seasons on Game of Thrones, Clarke reflects on her own quieter sense of ambition, rooted in the “sustainable and real,” she says. Meanwhile, a new role as Clinique’s ambassador, announced today, puts her back on the global stage.

Call it auspicious, to sit down with a former queen on the eve of a nail-biting election. It was a clear December morning in London, a day before Britons cast their fate (and Brexit’s) with Boris Johnson, and the Protector of the Realm—to use one of Emilia Clarke’s many titles on Game of Thrones—was assessing the political landscape. “Is it a full moon?” the actor said, interest piqued. (An Instagram astrologer had told me so.) “Maybe that will kick the . . . —no,” she interrupted herself with a weary laugh. “It will just soften the patriarchy ever so lightly.”

Clarke, whose now-departed character was known to scorch entire neighborhoods with one dragonic exhale, leads with a comparatively light hand. In a November post about the UK’s voter-registration deadline, she delivered a message (“You have a voice. Use it!”) with a silent procession of cue cards. Last March, when she first revealed her tumultuous medical history—a pair of brain aneurysms in the show’s early days—she did so with a lyrical, unsparing essay on the New Yorker’s website. She isn’t much for peddling influence; instead, she reps sweatshirts for Same You, the charity she founded to support neurorehabilitation for young patients. After the GOT series finale and its torrent of press, she has kept things earnest and under-the-radar—however much someone with 26 million followers can slip into incognito mode.

That makes Clarke’s latest role—the first global ambassador for the beauty company Clinique—at once a like-minded alliance and a return to the spotlight. “You’ve got your spidey senses,” explained the actor, sitting on a gray velvet sofa (a softer iron throne) at the Edition hotel. “My gut was like, ‘You’re going to enjoy this!’ ” At a time when authentic is a buzzword on every brand’s bingo card, she manages a kind of translucent candor. (The way Clarke described the brand’s longstanding image—“completely universal, totally relatable, totally modern”—sounds like the elevator pitch for tapping the 33-year-old as a spokesperson.) A sunbeam slipped across the room, igniting her lagoon-colored eyes. I found myself lilting precipitously off the sofa, like a wayward houseplant, to avoid casting a shadow.

The general on sale for the most recently announced show in the Jamie Lloyd Company Playhouse Theatre season has begun! Game of Thrones star Emilia Clarke is all set to make her West End debut in Anya Reiss’ adaptation of Anton Chekov’s classic The Seagull. The Mother of Dragons will be taking to the stage from 11 March to 30 May and you definitely will not want to miss it.

The Seagull tickets with Emilia Clarke

You won’t want to miss your chance to snag The Seagull tickets in London for 8 weeks only starting in March 2020. Anya Reiss’ reimagining of the classic Chekhov text pulls this story of ambition, love, loneliness and fame into the 21st century.

Nina is a young woman desperately looking for a way out. Fame and fortune wouldn’t be amiss, either. We meet a young man who spends his days fruitlessly longing for his ideal woman. A successful writer is ultimately unfulfilled and yearning for a sense of true accomplishment. There is an actress desperate to halt the inevitable change she can see around her.

An isolated countryside home sees dreams in pieces, hopes shattered and hearts in pieces. When this disparate cast of characters have nowhere else to turn, maybe all that’s left is to turn on one another.

The Seagull in theatre with Emilia Clarke

Emilia Clarke rose to fame for her portrayal of Khalessi Daenerys Targaryen on the breakaway HBO hit series Game of Thrones. The actress has gone on the star in numerous films including Me Before You, Solo: A Star Wars Story and Last Christmas. The British actress made her Broadway stage debut in 2013 when she starred as Holly Golightly in a new adaptation of the Truman Capote novella Breakfast at Tiffany’s. Clarke is all set to make her West End debut under the direction of Jamie Lloyd.

The Seagull follows on the hugely successful critically acclaimed five-star production of Cyrano de Bergerac the Jamie Lloyd Company’s first show of the Playhouse Theatre season starring James McAvoy. The season is built of classic texts adapted for a modern audience. After the production of Anton Chekhov’s The Seagull the third production of the season is set to be A Doll’s House starring Jessica Chastain.

Emilia Clarke will make her West End debut in a new production of The Seagull.

The 33-year-old actress will star in Anya Reiss’ adaptation of the Anton Chekhov play.

Director Jamie Lloyd is staging the production at Playhouse Theatre in London. Previews begin March 11, with opening night to follow March 19.

Clarke will play Nina in The Seagull, which follows the romantic and artistic conflicts of four creatives at an isolated house in the countryside.

“I am over the moon to be playing Nina in Jamie Lloyd’s interpretation of The Seagull,” Clarke said in a statement. “I’ve long been a fan of the singular vision he brings to each of his masterful productions and the way he approaches classical texts. We are so lucky to be working with Anya’s brilliant adaptation, as she brings a light touch of modernity to this beautifully crafted play. I cannot wait to get stuck in with these two visionaries.”

The Jamie Lloyd Company confirmed Clarke’s casting in a tweet Thursday.

“New show? OK. EMILIA CLARKE will make her West End debut as Nina, in a version of THE SEAGULL by @Anya_Reiss,” the post reads. “Chekhov’s tale of ambition, love, loneliness & fame is propelled into the 21st century.”

Clarke previously made her Broadway debut as Holly Golightly in a production of Breakfast at Tiffany’s in 2013.

Clarke is best known for playing Daenerys Targaryen on the HBO series Game of Thrones. She most recently starred in the film Last Christmas, which opened in theaters in November. [Source]

Christmas memories from six stars of the screen and stage, exclusively extracted in the Telegraph Magazine from a new book, Last Christmas. Here, Emilia Clarke shares the touching story of her last Christmas with her darling Dad…

I would say, and I think anyone who knows me would agree, I’m more of a giver than a receiver. Christmas was always my time to shine. I would get giddy with planning, mastering and presenting someone I loved with the ultimate gift. The entire process gave me unbridled joy, from lying awake at night, going through every option and then scribbling notes, before landing on The Perfect Gift. As December rolled round I would go into overdrive.

My dad, however, was one of the hardest people to buy a gift for. He had me stumped every year. I would spend an unnatural amount of time trying to work out just what to get him; the response on giving him something would always be that of sincere love and grateful noises but I was never sure I’d got him something he wanted, or as dads often say, ‘needed’. (I ‘need’ shoes and chocolate; he ‘needed’ food and shelter – you see the predicament.)

I get this gift-giving mania from my mum, whose generosity knows no bounds. Christmas always consisted of navigating a path to the kitchen from the tree that had more presents pooled underneath it than the four members of our family (five including Roxy, the dog, who obviously didn’t miss out here either) could ever hope to open on one day.

Very quickly, our Christmas Eve and Christmas Days would turn into a massacre of ripped paper, ribbons and cards, presents once lovingly wrapped, now discarded in the name of all things CHRISTMAS. But throughout my dad never really shared wholeheartedly in the festivities. The gifts for my brother and me were always from both parents but they had the undeniable trademark Mum stamp all over them. You could tell this from her beaming face as she tried to hide the sheer excitement of seeing us jumping for joy. Throughout, my dad remained quiet and occasionally… erm… soporific.

Emilia Clarke attends The Fashion Awards 2019 at the Royal Albert Hall on December 02, 2019 in London. You can go to the gallery to take a look to the photos and enjoy!

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As she stars in this year’s Christmas feelgood movie, Emilia Clarke talks about the intense scrutiny of Game of Thrones, how she coped with the brain haemorrhage that almost killed her – and why we all need to escape reality sometimes

Emilia Clarke had a headache. It was 2011, just before Valentine’s Day and just after she’d wrapped on the first series of Game of Thrones, playing Daenerys Targaryen, Breaker of Chains, Mother of Dragons. She didn’t yet know, as she crawled into the locker room of her local gym in north London and vomited bile into the toilet, that Game of Thrones would run for seven further seasons, break Emmy-award records for most wins for a scripted television series and for a drama, be named one of the greatest TV shows of all time, and quickly come to define her. But there was much she didn’t know.
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She didn’t know that at 24 she had suffered a life-threatening stroke, a subarachnoid haemorrhage (SAH) caused by bleeding into the space surrounding the brain. She didn’t know, as she lay on the floor repeating lines from Game of Thrones in order to test her memory, that a third of SAH patients die immediately, or that those who survive require urgent treatment to avoid a second, often fatal bleed. She didn’t know there was another swollen blood vessel in her brain, which had doubled in size by the time she finished filming season three. She didn’t know that one day, eight years later, over biscuits on her pink sofa, she would be smiling with the dark realisation that her stroke was one of the best things that could have happened to her.

Her pink sofa is in her pink house, which is also green and blue and muted shades of rust, and has a secret bar hidden in a courtyard shed, and an outdoor screening room heated by a wood-burning stove. To walk into her living room, where one corner is painted with a symbol relating to her mum, another to her late dad, and a third with a meaningful dragon, is to enter the cosiest corner of Clarke’s mind. By the stairs, horsehair is visible in the plaster; the walls are stripped back to the bone. She shows me round with a raw sort of glee, a sense that her comfort and safety are bound into the details: the friends’ art on the walls, the “single girl’s” bedroom. She moved in after Game of Thrones; in this and many ways, her life can be cleanly dissected into before and after.