The Detectorists Theme Extended Version
Sofía Goldthwait
John Patrick Vivian Flynn (born 14 March 1983)[1] is a British actor and musician. He starred as Dylan Witter in the Channel 4 and Netflix television sitcom Lovesick and has also portrayed David Bowie in the 2020 film Stardust[2][3] and a young Nicholas Winton in the 2023 film One Life.[4]
John Patrick Vivian Flynn[citation needed] was born in South Africa, the son of Eric Flynn, a British actor and singer, and Caroline Forbes.[5][failed verification][better source needed] He has a younger sister, Lillie Flynn, who sings with the Sussex Wit.
At the age of two, he moved with his family to the UK.[5] Flynn won a music scholarship to Pilgrims School, an independent school in the city of Winchester in Hampshire, where he sang in the chapel choir. Because of his scholarship, he was required to learn two instruments: the violin and trumpet.[7] Later, he taught himself guitar and won a second music scholarship to Bedales School, an independent school in the village of Steep, near the market town of Petersfield, also in Hampshire.[7] He next went to Webber Douglas Academy of Dramatic Art to study acting.
In 2011, Flynn's music was used in the film A Bag of Hammers. In 2013, Flynn was cast in Song One, a film starring Anne Hathaway. Flynn plays a musician by the name of James Forester, who becomes involved with Hathaway's character, following an accident involving her brother.[8]
In 2014, Flynn played the lead role of Dylan in the rom-com television series Scrotal Recall which aired on Channel 4. After finding success on Netflix, the streaming network went on to commission a second series of 8 episodes, without Channel 4's involvement, which was made available globally on the streaming network in November 2016 under the new name Lovesick.[9][10] The show's third series arrived on Netflix on 1 January 2018.
In 2015, he was one of the stars of the Comedy Central sitcom Brotherhood. In it, he played one of two adult brothers who have to raise their younger brother when their mother unexpectedly dies. It was billed as the British version of the US sitcom Two and a Half Men.[11]
In 2017, he played the younger Albert Einstein in National Geographic's show Genius .Also in 2017, he played Pascal Renouf, a secretive outsider suspected of a series of brutal murders in director/writer Michael Pearce's debut dark thriller Beast, which premiered at the Toronto International Film Festival and was released in the UK on 27 April 2018.[12][13]
In 2018, Flynn played William Dobbin in the ITV and Amazon Studios television serial adaptation of Vanity Fair.[14] He also played Felix Tholomys in the BBC miniseries adaptation of Les Misrables.[15]
In early 2020 he was set to star in a heist musical starring Will Poulter and Naomi Ackie, titled The Score.[17] In 2020, he starred in Emma,[18] Autumn de Wilde's adaptation of Jane Austen's novel of the same name, alongside Anya Taylor-Joy, Bill Nighy, and Josh O'Connor. He wrote the song played over the ending credits, "Queen Bee," which was released as a single alongside the film.[19]
The film Operation Mincemeat, in which Flynn played author Ian Fleming, was released in 2021.[20] Also in 2021, he co-starred in another British film The Dig, which was released on Netflix on 29 January 2021. He plays the character of Rory Lomax.[21]
He has also performed in several other plays, including Richard Bean's play The Heretic at the Royal Court Theatre (2011).[26] Flynn was cast in the role of Lee in Jerusalem, Jez Butterworth's hit play, for which he was nominated for an Olivier Award for best supporting actor.[27]
In summer of 2012, Flynn appeared in Shakespeare's Globe Theatre's productions of Richard III, as Lady Anne, opposite Jerusalem co-star Mark Rylance and then as Viola/Cesario in the Globe's production of Twelfth Night with Rylance as well.[28] The productions transferred to the Apollo Theatre in the West End until February 2013. In March 2013 Flynn played the lead role in Bruce Norris' play The Low Road at the Royal Court.[29]
In 2023, Flynn played actor Richard Burton in The Motive and the Cue, a new play by Jack Thorne and directed by Sam Mendes at London's National Theatre. The story of how Burton and Sir John Gielgud clashed as they staged Hamlet on Broadway in 1964, the production received rave reviews, particularly the performances of the two leads.[31][32]
Flynn has released several studio albums featuring folk revival songs of his own composition. He released his debut, A Larum, in 2008, and received critical acclaim.[33][34] His second album Been Listening featured a duet with fellow British folk musician Laura Marling on the track "The Water".[35] This was followed by Country Mile in 2013 and Sillion in 2017. Aside from Been Listening, each of Flynn's albums has charted in the top 100 in the UK.[36] In May 2021, Flynn released Lost in the Cedar Wood, a collaboration with nature writer Robert Macfarlane.[37] The album was influenced by the ancient Mesopotamian poem the Epic of Gilgamesh.[37] In November 2023, Flynn and Macfarlane released a second album, The Moon Also Rises.[38]
Flynn has also written musical scores for films, television shows, and theatre productions. This includes writing the film score for the 2012 film A Bag of Hammers, and the score and theme song of the BBC Four television series Detectorists,[39] which he performed in a cameo appearance in series one, episode 3. In 2015, he also composed the music (on period instruments) for the Globe Theatre's production of As You Like It.[40]
Flynn was longlisted in the Evening Standard Awards and the What's On Stage Awards for best Newcomer for his role in The Heretic in 2012.[44] He was nominated for an Olivier Award for Best Performance in a Supporting Role, for his role in Jerusalem the same year.[45] He won a commendation in the 2012 Ian Charleson Awards for his role as Viola in Twelfth Night at the Globe Theatre.[46]
Despite this experience, or maybe because of it, we became inseparable and whole-heartedly decided to move in together. Chloe became part of my family and I was welcomed into hers. We travelled; Scotland, America, Cornwall. We supported and entertained each other through the various lock downs in 2020/21. In September of 2020 we got married with a few of our closest friends and family present. Chloe's brother, Joel, beautifully sang the theme to the detectorists. We honeymooned in Dorset. Our bubble was un-burstable.
About a year after we'd bought our house together in Combe Martin, Chloe had a routine scan and it was noticed that her descending aorta had become enlarged below the previous repair. The cardiac team decided that Chloe would need a total replacement of her aorta.
Six weeks after the surgery, while recovering in Exeter RD&E, Chloe unexpectedly experienced a complete dissection of her ascending aorta. This required complicated and risky emergency surgery back in Bristol. Chloe fought to recover with remarkable resilience, but the two major surgeries took too great a toll.
My niece, Belle, is proof of this as she is raising money for the Marfan Trust by walking 13 miles along the North Devon coast, from Woolacombe to Combe Martin. So far, she has raised an incredible 350 and hopes that the money will go towards helping the Marfan Trust continue to raise awareness and complete essential research on the condition.
In their introduction, the editors make that case that materialculture--in this context with the specific meaning of "the creationand use of objects" (2), both everyday items and symbolic or ritualitems--is critical to an understanding of the Anglo-Saxon world.Archaeology is at the heart of a study of material culture, but theeditors place an appropriate emphasis on putting archaeology in adocumentary context.
Following the editors' introduction, David Hill discussesagriculture through the year, followed by Carole Biggam on the roleof plants for food, fuel, fibre, and medicine. She also takes intoaccount the use of wood in the Anglo-Saxon world. The wood theme iscontinued in a chapter on water transport by Katrin Thier, followedby Christopher Grocock on the use of sheep and cattle in theeconomy. Esther Cameron and Quita Mould discuss leatherwork, whileIan Riddler and Nicola Trazaska-Nartowski discuss the processes forworking bone, including antler, ivory and horn, and the range ofproducts made from bone. Christina Lee draws together the evidencefor food and drink in a wide-ranging essay taking in foodproduction, food rituals, and food as a unit of economic exchange.She also assesses recent data from isotopic analysis of bone.
David Hinton provides a scholarly chapter on Anglo-Saxon metalwork,followed by a chapter from Gale Owen-Crocker on weapons and armour.This chapter, like many in this volume, draws on a repertoire ofAnglo-Saxon objects made familiar through coverage in many otherworks on Anglo-Saxon England. By contrast, Michael Lewis, AndrewRichardson and David Williams bring a refreshing and new suite ofobjects forward when they present the ways in which the PortableAntiquities Scheme has widened understanding of Anglo-Saxonmaterial culture. Of all the papers, this one on the PortableAntiquities Scheme perhaps offered the most new information,arguing that metal-detected finds have the possibility of showingwhat people were normally wearing (as opposed to what they took tothe grave), and how everyday activities could lead to the loss ofbrooches through wear or damage. Just for a moment we have aglimpse of unconscious everyday activities having an impact onobject and deposition. The Portable Antiquities Scheme also opensup the unusual possibility of tracking, through brooch loss, placesof early Anglo-Saxon female activity away from the village--andpossibly also child activity, since children, even more thanadults, are prone to lose fasteners in the course of their dailyactivities.
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