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It is indeed, but it’s one that this particular 30-year-old actress embodies, to the extent of being described by her admiring peers as an “iron lily”. The more fragrant quality has been to the fore in her breakout role as Jenny Lee in Call the Midwife, the BBC’s rampant Sunday-night hit – 11 million viewers, exported to 102 countries – in which she’s an exemplar of upright, wasp-waisted, bike-riding, breech-birthing rectitude amid a sea of Fifties East End squalor. But she began her career playing a succession of bolshie teen goths and pole-dancing libertines in state-of-the-nation plays such as Harper Regan and Earthquakes in London at the National Theatre, and it soon becomes apparent that she’s implacably drawn to what she calls “the dark stuff”. She’s an avid fan of the dystopian sci-fi of Philip K Dick, and Iain M Banks, and identifies more with Sigourney Weaver’s Ripley, the blood-spattered great survivor of the Alien movies, than with, say, Florence Nightingale. “With Call the Midwife, I’m always keen that there should be some edge in there, to balance out the heart-warming stuff,” she says. “Though sometimes I still want to grab Jenny and shake her around and loosen her up a bit. After a few weeks of playing her, I have this overwhelming desire to go out and get drunk and fling myself round a dance floor with wanton abandon.” She grins. “Some journalists want to put you in a box, and say, oh, she’s just like her character in Call the Midwife. She's actually so far away from me, but I suppose it's the easy, lazy thing to do. I’m incredibly proud of the show, but there are other things I want to do.”
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Stephen Emmott, who has produced a book of apocalyptic demography to make Robert Malthus blush, reckons she need not have bothered. As a species, he suggests, we are inclined to do just that — turn away from the reality, shield our eyes from the consequences of our actions and our appetites.