Strike Back Goes Extreme Fishing

"Oh my god please help me, knee deep in the river trying to get clean..."

Dougray Scott, Milauna Jackson and Martin Clunes are the latest names to have joined the cast of the Sky1/Cinemax action series Strike Back as series regulars for its upcoming season (the fourth for Sky1 and the third for Cinemax), it has been announced. Scott, whose most recent series Hemlock Grove will be debuting in April on Netflix, will play rogue operative James Leatherby. While Jackson (Blood Done Sign My Name) has been cast as a key player who crosses paths with Section 20 and Clunes will also appear as former MI6 agent Sebastian Gray, now an intelligence officer operating out of Beirut. In addition, Sky1 & Cinemax have also confirmed that Robson Green has already been cast as new series regular, Lt Colonel Phillip Lock; the in-coming commanding officer in chief of Section 20. Green’s previous credits include Wire In The Blood, Being Human and Mount Pleasant.

Based on the novel of the same name by Chris Ryan, Strike Back follows the exploits of Section 20, an elite counterterrorism unit as it spans the globe to stop potential threats, often behind enemy lines. The drama series is produced by Left Bank Pictures in association with BSkyB & HBO/Cinemax and stars Phillip Winchester (Michael Stonebridge), Sullivan Stapleton (Damian Scott) and Rhona Mitra (Rachel Dalton), who all return along with supporting players Michelle Lukes (Julia Richmond) and Liam Garrigan (Liam Baxter). Interestingly, Mitra remains involved despite her character resigning as head of Section 20 at the end of last season. In the show’s new season, which is currently in production, counterterrorism unit Section 20 pursues a deadly terrorist network from Colombia to Beirut to Europe, uncovering deadly plots that reach to the West.


As in previous seasons, the production utilizes consultants who work in the field of counterterrorism to add to the authenticity of the series, providing essential background on stories, characters, training and settings. The previous season of the show made its world premiere at Comic-Con in July 2012 and featured the world premiere of two new Bob Dylan songs. The series also received an Emmy nomination for Outstanding Main Title Design for its first rebooted season, which launched in 2011. Strike Back was the first original primetime series on Cinemax in more than 15 years. The Los Angeles Times described the show as "a buddy movie, a simmering life-or-death bromance between its two male leads," while AOL TV observed, "The heart of the show is the relationship between Scott and Stonebridge," calling them "two peas in a badass pod," and the Huffington Post hailed Stapleton and Winchester as a "dynamic team."

The new ten-part run of Strike Back is being written by a team of returning writers which includes Simon Burke (Persuasion), James Dormer (MI5), John Simpson and Richard Zajdlic (EastEnders). As previously reported, Tony Saint will not be returning as showrunner on the new season as he is developing a new drama series titled The Interceptor for BBC One. Production on the new season is currently underway location in South Africa and Hungary and is being handled by returning directors Michael J. Bassett (who also serves as co-executive producer), Julian Holmes and Paul Wilmshurst. Left Bank’s Andy Harries and Michael Casey are returning to executive produce, whilst James Dormer and Tim Vaughan co-executive produce.



"It is great to be working alongside Section 20 and being part of an 'Elite Team' for Sky," said Green. "Strike Back is a quality drama with incredibly high production values." Sky's commissioning editor Huw-Kennair Jones added: "There really is nothing else like Strike Back on British TV, it's a fantastic series full of explosive action that delivers a mini-movie each week. Working with HBO and [producers] Leftbank we've really upped the ante this year with a truly ambitious, global plot that I hope our customers will relish. I am thrilled Robson, Martin and Dougray have joined the cast for a very special fourth series."

Strike Back is expected to return to US screens in the summer and to the UK late 2013.
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TV Cracks Da Vinci Code

We know that whenever someone says the name Leonardo Da Vinci, rounds of doves and explosions burst forth from the aether, and women everywhere feel an insurmountable urge to drop their tops, but what if we want a deeper exploration of the man behind the action? Leonardo's story was wrapped up in secret societies and sexual intrigue and soon two new TV shows take a contrasting look at the artist, writes The Independent's Sarah Hughes...

He is the most famous artist of all time, an inventor, mathematician, painter and engineer. Now two very different programmes hope to present a different side to Leonardo da Vinci, the man behind the myths. Later this month, Sky Arts' innovative documentary Inside the Mind of Leonardo, featuring Peter Capaldi, will use Leonardo's surviving notebooks to lay bare his thoughts on everything from hair dye to war weaponry. And in April, Da Vinci's Demons, an epic historical fantasy featuring a young and dashing Leonardo and written by David S Goyer, the writer behind the new Superman film, comes to Starz and FOX UK.

After successfully making ancient history come alive then get all greased up and sexxxy with shows like Spartacus and Camelot, the US cable channel hopes to do the same for the Renaissance with the forthcoming series. Like those other shows it will be part history lesson and part smutty-yet-entertaining bullshit, exploring the "untold story" of Leonardo's "raucous youth" as he gallivants around Florence, a 25-year-old artist, dreamer, thinker, and frequent casual sex-haver.


In a press release announcing the eight-episode series, Starz representative Carmi Zlotnik said, "If modern day has Tony Stark, the Renaissance has Da Vinci" — and if that sounds like a dumbed-down analogy that just caused a thousand history professors to spew chamomile all over their tweed, it’s at least apropos, considering the man shepherding the project is Goyer, who also wrote Batman Begins, The Dark Knight, as well as the upcoming Man Of Steel. Goyer even compared da Vinci’s "near-mythic" legend to that of Batman and Superman, and expressed excitement over the opportunity to explore his origin story—and if there’s one thing we know about David Goyer, it’s that he really, really loves origin stories. Goyer also said the show would be about "secret histories, genius, madness, and all things profane," and on that last point he also expressed gratitude for being allowed to do it on Starz, "where the story can be as dark and challenging and irreverent as it deserves to be," and also show boobs sometimes.

Goyer's Leonardo is, he admits, very different from the white-bearded man many of us picture. "Obviously we deal with his art but we also present him as a bit of a prototypical investigator, a little bit Sherlock Holmes, a little bit Indiana Jones, a little bit Iron Man's Tony Stark… He's a man of action and the whole story is wrapped up in a lot of history, secret societies and sexual intrigue," he says, admitting that when he was first approached: "I said if you want a dry, historical biopic I'm not your guy… but if you want something that kind of reinvents history and presents it with a broad canvas and broad strokes filled with dashing characters and darkness I'm that guy. They said, 'Yeah we want that'."

The finished product has been kept tightly under wraps until its April premiere but extended trailers suggest a lavishly detailed take which falls just on the right side of enjoyable hokum, anchored by a sardonic performance from British star Tom Riley, who appears to spend a fair amount of time with his (suitably chiselled) chest on display uttering such glorious lines as "Perhaps you've heard of me… I am an artist, an inventor and an engineer."

Adding to the intrigue, this Leonardo is entangled in different ways with two women, both of whom are equally out of bounds: his patron Lorenzo de Medici's wife Clarice Orsini (Lara Pulver) and Lucrezia Donati (Laura Haddock), who just happens to be Lorenzo's mistress, while Riley admitted in a recent television interview that the show will tackle Leonardo's relationships with and feelings for men. "I can't reveal too much because it's a major plot point but we were never going to ignore that side of his life," he said.

"There are all sorts of controversies regarding his sexuality, most people think he was bisexual," says Goyer. "If people want to come for the history they'll get that but if they're fans of Lost or Spartacus or Game of Thrones then they'll like it as well. We've taken liberties, this is a historical fantasy, we're not saying it's the truth – in fact one of the tag lines for the show is 'history is a lie', which is us being deliberately cheeky."



If Da Vinci's Demons gives us a Leonardo who is all swords and smouldering, Inside the Mind of Leonardo takes a more pared-back approach in the hope of showing the audience the inner workings of an incredible mind. "I think there's an enduring fascination with the beauty of his mind," says James Hunt, Sky Arts' director of programming. "Genius is a laboured and over-used word, but it truly applies here."

Ignoring the traditional documentary approach, the show does away with re-enactments, voiceovers and even expert talking heads. Instead, Capaldi reads from the notebooks while a variety of effects, from animation to 3D, bring those words to life. There are no costumes, no sense that Capaldi is Leonardo no matter how beautifully he reads the words, but rather a stripped-down approach that presents the mind behind the drawings in an intriguingly fresh way. "Every single word is the voice of Leonardo," says Hunt. "It doesn't seek to answer everything just lets his works stand for themselves and allows you to see them a fresh way."

Both shows tap into our ongoing fascination with Leonardo, who continues to inspire almost 500 years after his death in 1519. In The Beginning Was the End, the latest production from the innovative theatre company dreamthinkspeak currently showing at Somerset House, was inspired by the apocalyptic Leonardo sketch A Cloudburst of Material Possessions and uses the artist's ideas about hydraulics as part of a hallucinatory piece about the nature of change in a fast-paced world. In 2011, the National Gallery's Leonardo da Vinci: Painter at the Court of Milan was the fastest-selling show in the gallery's history. In part, the frenzy was fuelled by the fact that so few of Leonardo's paintings survive – a notoriously slow worker, only 15 paintings are attributed entirely by him.

One review of the National Gallery exhibition described him as "a visual thinker who painted part time". His appeal lies in the fact he is all things to everybody: to doctors he is an anatomist; to scientists an inventor and engineer; to fans of conspiracy theories and Dan Brown novels, a code creator or breaker and possible spy.

"He is extraordinary, there is no other cultural figure with his reach," says Martin Kemp, emeritus professor of history of art at the University of Oxford, who served as a consultant on the Sky Arts documentary. "That's partially down to the inherent complexity and suggestiveness of his work which offers an enormously complex set of possibilities, the idea that you can find your own image in them as it were. But the major thing is that he crosses all these territories: he is a doctor, an engineer, a geologist, an artist, and a scientist. There's nobody else thinking in this way until the late 18th century. He captures a very wide range of interests and that's what people find fascinating."

Every generation has re-created Leonardo in their own image, refracting his accomplishments through their eyes. "These days we see him as a celebrity," says Kemp. "Once you see the drawings and the paintings it's impossible to remain unaffected," says Kemp. "It doesn't matter how much background knowledge you have, or how little, those works have something else, a sheer living intensity. It's uncanny, I wouldn't like to be in a dark room alone with them, there's a sense of presence that goes beyond mere pigment."

Most interestingly Leonardo always stood apart. "There was an infinite grace in all his actions; and so great was his genius, and such its growth, that to whatever difficulties he turned his mind, he solved them with ease," wrote Giorgio Vasari in his Lives of the Artists first published in 1550. "The fame of his name so increased, that not only in his lifetime was he held in esteem, but his reputation became even greater among posterity after his death".

It helps that Leonardo remains at best half-known. "He led a pretty mysterious life," says Hunt. "It was strange and not altogether straightforward and so much about it is disputed. You can't help but play detective because every painting is almost a detective story and nobody is ever absolutely certain. There's an enigma which adds to the allure."

Goyer agrees: "Intriguingly for someone like me there are a lot of gaps in his history," he says. "There's about a four or five year gap from the time he was 27 or 28 until the time he was 32 where there's almost no record of what he was doing, yet this is a person whose life up to that point and after that point was incredibly well-documented. As a creator those gaps in history are gold…"

It's the same sense of mystery that permeates the artist's most famous painting, the half-smiling Mona Lisa, about whom the 19th-century critic Walter Pater aptly wrote: "She is older than the rocks among which she sits… the embodiment of the old fancy, the symbol of the modern idea." The mysterious Leonardo resists easy characterisation. He too remains both old and new, a symbol of Renaissance glory, of a wideness of vision that, as Kemp says, "provides a counterpart to the manic narrowing of our minds today" and yet also a thoroughly modern figure, a dabbler in many trades, who could create both the helicopter and the automated bobbin winder.

Inside the Mind of Leonardo airs on 24 March at 9pm on Sky Arts 2 HD and Sky 3D; Da Vinci's Demons starts on 12 April on Starz. In the Beginning Was the End, Somerset House, London WC2 (somersethouse.org.uk) to 30 March
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Girls S02E09

"No, not on my dress!"

This week’s episode of Girls graphically depicted the results of a male character’s climax. Why the scene has outraged some, The Daily Beast's Jace Lacob explains why it’s a watershed moment for the HBO comedy...

HBO’s Girls has always been a lightning rod for critical reaction, whether it be allegations of nepotism, privilege, or racism. It’s impossible to imagine a week going by without someone, somewhere, having an adverse reaction to the Lena Dunham-created comedy. And that’s okay: art is meant to trigger emotional responses. I’d far rather watch a television show that stirred up feelings within its viewers — that challenged them to watch something complicated and often uncomfortable — than a show whose main goal was simply to please the most people, across all demographic swaths, week after week.

Girls is the most definitely the former rather than the latter. It’s a show that revels in its own complexity, in the often-unlikable natures of its characters, in the comedy of the awkward that follows. This week’s episode (On All Fours)— written by Lena Dunham and Jenni Konner and directed by Dunham — expectedly led to all sorts of responses from its viewers, many of which was of the outraged variety. Joe Flint at the Los Angeles Times yesterday penned a reaction to this week’s episode of Girls, focusing in particular on the graphic sex scene between Adam (Adam Driver) and his new girlfriend, Natalia (Shiri Appleby), which was challenging to watch: after making her crawl to his bedroom on all fours, he proceeded to engage in some disconnected, rough sex with her and then finished himself off on her chest.

This whole sex scene was some existential realness as far as Halle Kiefer is concerned, an honest depiction of the moment when someone you're sleeping with decides to act out a sexual scenario that has absolutely nothing to do with you. Despite the fact that you're the one crawling down the hallway littered with pieces of plywood and sweat-soaked towels, your partner is miles away mentally, desperate to prove something to himself or to another party not in attendance. "Not on my dress," Natalia says, cringing as Adam comes on her chest. "I really didn't like that," she informs him blankly. After apologizing for a hot second, Adam switches immediately into defensive mode. "Is this is it? Are you done with me?" he demands.


Yet Sunday's episode was "graphic even for those fans used to seeing creator and star Lena Dunham's no-holds-barred approach to story-telling," wrote Flint. "This was not a first for cable TV, or the movies. An episode of HBO's Sex and the City showed fluid but played it for laughs, as did a well-known scene featuring Cameron Diaz in the comedy There's Something About Mary. However, this time it was a jarring end to a violent and hard-to-watch scene. Even theatrical movies with sexually explicit material and adult pay-per-view channels typically steer clear of such displays, especially if it's not for comic relief."

Flint is right in saying that this was not "a first' for cable television. But he (and an HBO spokeswoman quoted in the story) seem to have a short memory, as HBO’s short-lived drama Tell Me You Love Me featured an even more graphic scene involving "fluids" that was most definitely not played for comic relief. While Tell Me You Love Me has been quickly relegated to the forgotten bargain bin of HBO dramas, the scene in question there has not and Adam "It was a prosthetic penis!" Scott has not lived down the scene in which his baby-crazed wife, played by Lost’s Sonya Walger, manually pleasures him to the point of climax. It’s not played for anything remotely related to laughs, and is instead a somber scene about how her hopes for a child are quite literally slipping through her fingers.

But putting that aside, Girls likewise doesn’t use the climax scene — and its physical memento — for comedy. It’s a clear reaction to now standardized porn aesthetics, a money shot that is both empty and valueless for both Adam and Natalia. His pleasure, at objectifying her and transforming her into a physical canvas on which to paint his physical release, is at odds with her horror at what unfolds, a moment between the two characters that is entirely depressing.

Was it difficult to watch? Yes. Was that the point? Absolutely.

Natalia’s debasement here fulfills two trajectories within the narrative. First, it pays off comments made to Hannah (Dunham) by her publisher (John Cameron Mitchell) who asks her, after reading a draft of her e-book, "Where's the sexual failure? Where's the pudgy face flecked with semen and sadness?" Here, it’s made real, a moment that combines the fluids and feelings that are lacking in Hannah’s novel

Additionally, it makes the psychological disconnect between Natalia and Adam physical. Earlier in the episode, she told Adam that she wanted him to pull out during sex and he thanked her for being so "direct," but his brusqueness works against him, as he forces Natalia into a fantasy that is clearly not her own. What worked with Hannah, what connected them — despite their dysfunction — was her willingness to go along with anything, sexually. What he realizes in his moment of climax is both that he and Hannah did connect, and that he and Natalia are over.

The semen that Adam deposits on Natalia’s chest is not meant to titillate or arouse. It’s meant to shock the viewer into opening their eyes, to see the damage that Adam perpetuates here, one based upon countless male fantasies enacted in porn. But while other cable shows might use sex and female nudity as window dressing, Girls strives for something both deeper and darker here, a revelation that there are repercussions to physical intimacy, that Natalia’s humiliation and debasement are not sexy, but painful. As I said on Twitter yesterday, "Elsewhere, it’s sanitized objectification. Here, it dares paint itself for what it is: messy."

That messiness might be rarely seen on television — or perhaps rarely seen at all, outside of the comedic — but that doesn’t make the scene any less vital or important. If anything, it serves to remind the viewer that male expectations don’t encompass the full domain of desire. However, Adam — like many of the characters in this particular episode — can’t help himself. His self-destructive behavior is no different from Hannah inserting the Q-tip into her other ear, or Marnie (Allison Williams) tragically singing her ex-boyfriend a song at his work party and then sleeping with him.

This season, all of Girls’s characters are in a state of freefall, and each is so desperate to hold on to something, or someone, that they’re willing to mess up themselves and their lovers in the process.

Television Series: Girls (S02E09)
Release Date: March 2013
Actress: Shiri Appleby
Video Clip Credit: DeepAtSea



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Sex Scenes And TV

"Can I be the woman who screams 'I'm squirting!'?..."

Any discussion entitled "Changing Rules for Women and Sex on TV" was bound to include mentions of a certain HBO comedy series, notes Alison Willmore. Reporting in Indiewire, she states the always provocative Girls was certainly a central topic at Saturday's SXSW panel, which was moderated by ThinkProgress' Alyssa Rosenberg and populated by fellow journalists Noreen Malone (of The New Republic) and David Haglund (of Slate), as well as Sarah Shapiro, the writer/director of "Sequin Raze," a short making its world premiere at the festival, and Anna Camp (The Mindy Project, True Blood), the film's lead. The group dug into Lena Dunham's young career and the portrayals of sex, relationships and nudity in her show, along with the power dynamics of the intimacies of House of Cards and what constitutes a good sex scene. While the panel covered a lot of interesting ground, some familiar to anyone who follows the work of the writers on it, the most interesting viewpoint may have been that of Camp, who as an actor has participated in her fair share of sex scenes and who has to navigate them as part of potential roles.

Camp spoke about scenes in Mad Men ("I feel like competing to prove myself worthy of him sexually," she said of the blow job her character Bethany Van Nuys gave Don Draper in a cab) and in House of Lies (she auditioned for the role that ultimately went to Kristen Bell, leading her to ask if instead "Can I be the woman who screams 'I'm squirting!'?"). Actors have to give their trust to the directors, writers and producers in charge of the project, which she noted can be frustrating or frightening. "I want to be picky for when I do that," she said of sex scenes, noting that many of them were just the "same male fantasy" and that it was often taken for granted in films and TV that attractive characters would have great sex, but that she was interested in getting beyond the usual depictions.


The scenes that dominated the conversation included Dunham's several with Patrick Wilson in that much-debated recent episode of Girls (he was an "idealized male figure instead of an idealized female figure," noted Haglund, who was actually not a fan of the installment); and the Melissa Leo segment from the past season of Louie thanks to his depiction of sex and desire, particularly a scene that treads the line between consensual interaction and forced reciprocation. Camp cited as noteworthy the scene in Mad Men involving Jessica Paré's Megan Draper and the white carpet. Shapiro brought up the scene in the pilot of Girls in which Hannah (Dunham) refuses Adam (Adam Driver) when he goes off to get lube ("to be grounded in your own body enough to say 'I don't want that'" was striking to her).

Cable is, for obvious reason, the home for most of the shows that were discussed, but the freedom to be explicit wasn't always, for the panelists, a good thing. Haglund spoke of how quickly Homeland managed to show a nude Morena Baccarin, saying that the cable-style rush to that made him distrust the series at times, Malone noted that it's often the lead-up to sex that's more interesting ("I want a good buildup") and Shapiro said that for her, "the sexiest thing in the world is the closed door."

Network TV has generated discussions of its own in how it's dealt with one of the consequences of sex -- pregnancy, including how some characters have dealt with fertility crises. Rosenberg pointed out Robin Scherbatsky's (Cobie Smulders) learning that she can't have children in the past season of How I Met Your Mother and Cece's (Hannah Simone) finding that she only has a limited window in which to conceive on New Girl. Watching the latter development, Malone said that at first "I was angry that one of my favorite TV shows was inciting this personal panic in me," but then realized that it was a natural part of the conversation. As these characters approach or begin their 30s, it's something they would think about, because "sex is not divorced from childbirth." It may not be as audacious as Hannah Horvath's hookups, but shows "would be leaving rich territory unexplored if they didn't" go there.

Writing in The Horn, Emily Kausalik agreed that one of the most contested and fascinating developments in television over the past few years has been the changing scope of female representation and sex on TV, but admitted disappointment that this very frank dialogue about shows challenging age old questions of double standards and female desire existed entirely within the male/female, heterosexual binary and didn't explore same-sex and LGBTQ relationships and desires. Though that may be a telling reflection on American television in general.
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Holly Goes Lightly On Clothing

The Broadway debut of Game Of Thrones star Emilia Clarke caused something of a security headache earlier this week, after the show was disrupted by patrons who have no access to television or the Internet, hence their spending the night watching live theatre. Their Luddite existence was exposed during a preview run for Breakfast At Tiffany’s on the Great White Way, in which Clarke stars as Holly Golightly in a far more faithful adaptation of Truman Capote’s book than the 1961 film—meaning she’s called upon to disrobe, specifically for a scene involving a bathtub and "strategically placed" bubbles.

The sight of a semi-naked Clarke set off such a frenzy among the people whose unfamiliarity with cable television and their inability to "googrull" (or whatever that strange word is) 'Emilia Clarke Nude', the Cort Theatre exploded with a rush of audience members taking photographs, the sulfurous bursts of their flash-lamps and cries of "Madam, pray stand still for 60 seconds while the tintype sets!" irrevocably disrupting the show. That defiance of the theatre’s "no photos" policy and the subsequent magnesium burns has now led the theatre to double its security forces in an attempt to keep the flash mob from sneaking further shots at the show, which opens March 20. It leaves those theatregoers who wish to preserve the image of a naked Emilia Clarke reduced to purchasing crude sketches, or risking having their souls stolen by the demon-box.


"On Monday, it was a packed house including a huge contingent of fans of 'Game of Thrones,'" said a source who was in the theatre. "What titillated the audience... was a full nude scene between Emilia and [male lead] Cory Michael Smith." The bath scene occurs after Clarke brings Smith home to her apartment to recuperate after he’s injured riding horses in Central Park. "She undresses him and he gets in the tub," a source said. "She then goes offstage and comes back in a towel. She takes it off and gets in with him. So you don’t see everything. There are bubbles strategically placed." Helpfully, another smirking source added: "If you’re sitting in the balcony you can see a lot more!" Photos taken at the show don’t appear to have made it to social-media sites yet, but one fan did tweet: "I would drink Emilia Clarke’s bath water." A rep for the show declined comment.

British-born Clarke, 26 — who plays platinum-maned warrior princess Daenerys Targaryen on HBO’s hit Game of Thrones — is no stranger to baring her assets in public. The medieval fantasy is known for its randy characters and rampant nudity and sexual romps. Clarke herself became an Internet video sensation after one particularly steamy scene on the show in which she slips out of a dress and walks naked into a hot bath.

Back in 1998, actress Nicole Kidman — also in her Broadway debut — caused a sensation, and sold a slew of tickets, when she appeared nude onstage at the Cort in "The Blue Room." Security was heightened for that show, too, but resourceful audience members got their fix by bringing binoculars to get a better view.

Release Date: March 2013
Actress: Emilia Clarke
Video Clips Credit: KidBrother



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Rose In Bloom

Rose Leslie made a big impression as the fiery Wildling Ygritte in Season 2 of Game of Thrones. Strong, proud and perceptive, Rose’s Ygritte went from being captured by the men of the Night’s Watch in her debut episode ("The Old Gods and the New"), to turning the tables on the young man ordered to execute her – Jon Snow (Kit Harington). No shrinking violet, Rose’s character didn’t cry and plead for her life when her head was literally on the chopping block. Instead, she tried to persuade Jon to join Mance Rayder (the turncloak Night’s Watch member who became King Beyond the Wall) and the Wildlings. And, when that didn’t work, she encouraged Ned Stark’s son to get it over with. He didn’t, and after a chase, filmed across an Icelandic glacier, Rose got to bring a flirty playfulness to the drama. Captured again by Jon, tied up and told to bed down for the night, Ygritte scooted her little frame towards his body, confusing the honorable young man, as her character nodded off with a sweet little smile.

Before Season 2 was done though, the tables had turned, and after Jon became the prisoner of her group of people, she actually saved Jon’s life, when her harsh Wildling pals (like the Lord of Bones) wanted to take his head off. (Ygritte said Mance would want to meet Ned Stark’s illegitimate son). Rose is, of course, back for Season 3 of the drama, which kicks off on March 31 at 9 PM on HBO. In an interview with Access Hollywood, the delightful redhead talks about the drama ahead in the Wildling camp, the debut of Mance Rayder, and whether she gets asked by fans to say her character’s most famous line, "You know nothing Jon Snow!" (Hint: Yes.)


You may not have seen the trailer, but in one of the flashes, you’ve got a bow and arrow.

I do. I was so happy to be holding a bow and arrow. I was so happy about it because I just thought it embodied Ygritte, as to who she is, being such a fiercely independent character. She’s powerful and strong and I felt that a bow and arrow fitted her beautifully… I was able to kind of do some archery lessons before just so I didn’t look like a right numpty [Editor’s note: British slang for fool] when I was drawing back the bow… just so that I looked a little bit authentic. But it is really cool. Oh, I loved it!

The other thing of yours people might have hit pause on in the trailer — it looks like Ygritte and Jon Snow have a little chemistry. What can we expect?

You can expect a chemistry between the two characters and Season 3 you see these two characters — their journey develops and you see how their relationship develops.

Former Rome and Political Animals actor Ciaran Hinds joined the series in Season 3 as the much-talked about, but not yet seen – at least until the trailer – Mance Rayder. What can we expect from him?

In Season 2, Mance Rayder — the name at least was certainly built up, wasn’t it — to an extent where you were looking forward to finally meeting this character. And he is dominant and he is a leader, and especially from Ygritte’s perspective… She has put all her eggs in one basket so to speak, when it comes to Mance Rayder.

What is it about Mance that makes her want to follow him, that she’s so devoted to? Is it just because he chose the life of a free person, is he just so charismatic and strong, does he respect her?

I think it’s an amalgamation of all those things that you mentioned, actually. He is strong and I feel that the kind of wildling community, because they are harsh and brutal, and of course, that is the environment that they have all been brought up in, you, as a wildling look up to that. And I think with Mance Rayder, because he is a turncloak and because he no longer wants to bend the knee, she has a huge amount of respect for him because she feels that he is now 100 percent on their side.

Another new character we get in your storyline – because you have a gang now…

Yeah! We’ve got a crew. We’ve got a crew, definitely.

You have Mackenzie Crook from the original ‘The Office,’ and he was in ‘Pirates’… Can you tell us anything about his character, Orell, because I imagine he’s very delightful to watch.

Yes! He is absolutely incredible. He’s such a lovely, lovely man. But, his character is incredibly different to who he is, obviously, which is a huge accolade to him. But Orell, oh, he’s a nasty piece of work. He’s vicious and he does not trust Jon Snow and not wanting to give too much away, he’s incredibly loyal to who he is and his love of his people… and yeah, he’s nasty!

As an actor, this has to be an easy show to watch, because even if you hate watching yourself, which many actors do, there are so many other storylines that have absolutely nothing to do with your own, that could allow you enjoy it.

Totally! Absolutely and that is the most wonderful thing and I feel that every other character is so vibrant and so colorful in that respect, as are their storylines because the show is just so vast and [when] it does come to characters, there are so many — I think there’s like 200 plus — you get incredibly impressed by what’s going to be happening around the other locations that they’re shooting in. I know that they shot again Dubrovnik, they also went to Morocco for Dany’s storyline and I’m so excited about seeing how it’s going to develop and expand – because it’s such a multi-layered, vibrant and [imaginative] show that you get gripped by every other storyline. Even when we’re doing the read-throughs we’re kind of like, ‘Oh my God! What’s going to be happening?’ and you’re flipping through and it’s not really your storyline… you’re like, ‘What’s going to happen to Tyrion! Oh my God, what’s going to happen to Sansa, what’s going to happen to Arya, what’s going to happen to Robb?’ You get incredibly attached and I think that is a testimony to the writing and also to George R.R. Martin, for his imagination and how original his world is.

Ygritte is such a strong character, despite a lot of adversity. Do you get younger people coming up to you telling you they find your character inspiring?

I certainly relate to Ygritte in the fact that she is so strong and also ruthless as well and I feel that especially within ‘Game of Thrones,’ I think that as a show, it is one of the frontrunners for showing dominant female characters and making sure that men answer to women rather than the other way around… Nobody’s actually come up to me saying that she inspires them, but she certainly inspires me to be tougher. I’m a bit of a wimp when it comes to the cold. My God, knowing that Ygritte is Wilding to the bone, it was fun to kind of give that a go and to portray that.

Do people ask you to say, ‘You know nothing Jon Snow!’ — because that is a huge line for superfans of this drama?

You know, they have. They have. And it’s come at random times.

What are some of the odd places this has happened?

You know what? It doesn’t happen often and the fans… they’ve been so lovely and passionate about the show that it’s only ever been positive. But it’s either on the bus or it’s in a restaurant where my mind is totally elsewhere and straight away I say, ‘You know nothing Jon Snow,’ but it’s in my voice, and it doesn’t sound right in my voice and then I’ve got to think of the accent (laughs), and say it again in the accent. And it’s all a bit of a like whirlwind in my head for those split seconds.

Wow… you have given command performances!

Well I have just because I feel so bad, because you don’t want to be like, ‘No.’ I feel so privileged to be a part of the show, so privileged to be portraying Ygritte.
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Heeeeere’s Napoleon

While another collaboration between Stanley Kubrick and Steven Spielberg would seem to require a time machine, a Ouija board or some sort of interdimensional extraterrestrial monolith, The New York Times is reporting plans are nonetheless underway for these two celebrated filmmakers to work together again. Speaking to Canal+ Television in France, Mr. Spielberg said that he intended to turn an unproduced screenplay by Mr. Kubrick about the life of Napoleon into a television miniseries. "I’ve been developing Stanley Kubrick’s screenplay for a miniseries, not for a motion picture, about the life of Napoleon," Spielberg said in the interview. "Kubrick wrote the script in 1961, long time ago, and the Kubrick family — because we made ‘A.I.’ together — the Kubrick family and I, and the next project we’re working on is a miniseries, is going to be 'Napoleon.'"

Kubrick, who died in 1999, spent years researching Napoleon, reviewing more than 18,000 documents and books while assembling a card file that cataloged every significant moment in the French leader’s life. As well as the meticulous research for his planned film, Oskar Werner and Audrey Hepburn are said to have been offered the leading roles. It was announced in 1968 that he would direct 'Napoleon' for Metro-Goldwyn-Mayer; then in 1970 it was reported that he had put that project on the back burner in favor of A Clockwork Orange. A year later Kubrick is said to have abandoned his long-gestating screenplay about the French revolutionary hero turned conqueror of Europe after Hollywood studios refused to fund it. "It's impossible to tell you what I'm going to do except to say that I expect to make the best movie ever made," he wrote to studio executives in 1971.

Three years later Kubrick (who had not yet made Barry Lyndon at the time) told Sight & Sound magazine that "there has never been a great historical film" and that he still intended to make 'Napoleon'. But the project was never realized.

There is further evidence to suggest Kubrick actually toyed with the idea of doing 'Napoleon' as a miniseries because there was much more material than could fit comfortably in a standard feature-length film. In an interview with Michel Ciment, Kubrick explained: "His entire life is the story, and it works perfectly well in the order it happened. It would also be nice to do it as a twenty hour TV series, but there is, as yet, not enough money available in TV to properly budget such a venture."


Spielberg has previously adapted an unrealised Kubrick project in the form of the science fiction drama AI, starring Haley Joel Osment and Jude Law. The two filmmakers worked closely together on the 2001 project, which Spielberg was producing for Kubrick, and which he directed two years after Kubrick's death. The Schindler's List director also has form on the small screen with the critically acclaimed HBO TV miniseries Band of Brothers and is planning a third wartime series with Tom Hanks for the US channel after the recently well-recieved Pacific. It is not clear how far down the line Spielberg is with his version of the Napoleon story but one could argue that the Kubrick influence hovers over Spielberg films like Minority Report, and its world of oppressively ubiquitous technology. Both directors also appreciated space aliens as well as Tom Cruise.
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Entering the Void

"In so far as one denies what is, one is possessed by what is not, the compulsions, the fantasies, the terrors that flock to fill the void..."

Sundance Channel’s first wholly-owned scripted production, Rectify, will premiere on April 22 in the U.S. The show, from AMC Networks and Breaking Bad producers Gran Via, has been also been secured by AMC/Sundance Channel Global for an exclusive first window rollout in Asia, Latin America and select European territories including France, Spain, Portugal and Benelux. ITV Studios Global Entertainment is handling international sales on the six-episode serial created and written by Oscar-winning moviemaker Ray McKinnon (The Accountant; That Evening Sun). It stars Killer Elite‘s Aden Young as Daniel Holden, a man released from prison after 19 years when DNA evidence casts doubt on his conviction for the rape and murder of a young girl. He returns to his home where he must readjust to a new life, including unfamiliar family members and surroundings as a mystery that defined a small town is gradually reopened. J. Smith Cameron (True Blood) will play Daniel’s mother, Abigail Spencer (Mad Men) will play his sister, Clayne Crawford will play his step-brother Ted and Adelaide Clements (Parade's End) will play Ted’s wife. In addition, Jonah Lotan will also feature as Daniel’s lawyer, who works for the non-profit Justice Row, and also making an appearence is the legendary Hal Holbrook.

Rectify was recently screened at the Sundance Film Festival in anticipation of its release on the Sundance Channel this April, and it looks promising from reports of those in attendance. The first two episodes were shown and the audience was left wondering if Holden actually did the crime or not. The show is presented in such a way that the truth is not apparent. The question of whether he is guilty or not is present during these first episodes and consequently, if he’s not guilty then, who was the killer. The series doesn’t focus on the legal aspects of the case, but instead focuses on Daniel’s difficulties adjusting to life outside prison and also on the horrible experience of being behind bars, made clear to the audience in his frequent flashback scenes.


McKinnon got the idea for the series a few years ago while watching news reports on inmates being released based on DNA evidence. He decided to study these cases and add the family life aspects of it in his series. "The story begins with a man being released from death row after 19 years and I wanted to explore what that moment would be like for him," he said. "That moment of being in a literal box and then suddenly thrust out into the world." Sarah Barnett of the Sundance Channel revealed they jumped in on production because they had never read a script like this. "What we are trying to do is tell daring stories and this is a really brave story," she explained.

In a recent interview with Co.Create, Barnett admitted she is hopelessly biased when it comes to Rectify. "It’s hard for me to talk objectively about this show, but I think that there’s a breathtaking lyricism to the way story is told," she stated. "There’s this amazing narrative event at the beginning, which is this guy that’s been on death row is released after 19 years, and there’s something extraordinarily dramatic about that. Then what I love is there’s a truthfulness to the experience of how somebody would adjust, how somebody would actually re-engage with life after all that time. And who is this guy? There’s the question of whether he did it or didn’t. It’s not answered in the first season. But more than that, there’s also the question of just who is Daniel Holden? Who is this person? Even if he didn’t do it, he’s been death row for 19 years, what does that do to a person? How do they come out and learn to re-engage in a world where your family is triumphantly relieved but underneath that also confused and anxious and unknowing about how to accommodate this lost son/stranger into their midst? And then there are the other ripples of Daniel’s return in terms of the politics of a small town and a community. I think it’s an incredibly rich scenario. There’s so much story to explore. Ray has painted such psychologically believable and layered characters this show could go anywhere really."

Speaking about his central character, Aden Young revealed: "He's been greatly affected by his time in prison with 23 hours of solitary confinement and five stays of execution. The story follows his first seven days of release and through him we begin to explore how his family has related to each other since his incarceration and there's a lot of wounds." Spencer plays the sister who from the age of twelve has dedicated her life to her brother's freedom. "The effect on her life is about what is she going to do now that he is out and how to do you make that twist to become your own person," she said. "It's like a rebirth with every character," agrees Young. "With this reintroduction of Daniel into their world their roles have to be completely redefined and people are left with this extraordinary void and have to figure out how to fill it up."

When asked about the process of how Rectify got on the air, Barnett explained: "Actually, the show was pitched to AMC and developed at AMC several years ago. So Ray wrote the initial pilot script a long time ago, and AMC didn’t go forward with it. But it was known within this company. Quite early on, when I actually first got this job, Ed Carroll, my boss [the chief operating officer of AMC Networks], said, "Read this script. What do you think?" I read it, and I was like, "Wow. This is absolutely amazing." But at that time we weren’t at a position to know how to make it. We didn’t have a scripted strategy. We were doing these co-productions, but as time went by and we put into a place a plan and a budget for scripted, it actually felt in a way quite easy to decide to do Rectify."

Having known this amazing script was just sitting there waiting to be made, she must have been thrilled to finally be able to get to work on the project. "Totally," agrees Barnett. "We worked with Ray to reconfigure it somewhat because he had written it awhile previously, and our model is to actually not pilot but to go straight to a six-episode season order. So Ray had structured the format for the first season to be 10 or 13 episodes. Ray very quickly realized that the six episodes was a really interesting creative opportunity for him, and he shifted it quite significantly and decided to make the whole first season just the first seven days of Daniel Holden’s release. So it allowed him to really tell a textured, emotional, immediate, visceral story about that first week of Daniel’s release. I think as an artist Ray was actually freed up and excited about the way in which the format for the first season shifted for him."
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Shameless US S03E07

Jimmy’s got a lot of things on his mind on this season of Shameless and one of them is Estefania, his wife and the daughter of a drug lord. Estefania may even starting to fall in love with Jimmy— or at least, in lust. In a recent interview with Star Pulse, Brazilian actress Stephanie Vanessa Fantauzzi describes, among other things, how her character will continue to become a distraction in Jimmy’s life...

You've been in the new season of Shameless quite a bit already... how many more episodes can we expect to see you in this season?

Yes! Este’s back in full swing this season. She will be in a few more episodes leading up to the big finale. And I mean big.

When you first signed up for the show last season, did you know that your role would continue to grow?

I had no idea. I was originally cast for 2 episodes and Estefania was not as developed at first but the writers have been giving me gems like "I’m holding a crack baby" since the beginning.

Este’s world has evolved seamlessly because she is just as unapologetically shameless as the others—she fits right in.

Do you think Estefania, in some ways, actually loves Jimmy?

I think Estefania is relentlessly trying to fill a void and men seem to do that for her, it’s the only aspect of her life she feels she can control. At first Jimmy/Steve is a safe bet for her because she’s not emotionally involved and her father approves for once. But the more time she spends playing house with him, the more she realizes she’s in love with him.

Why does Estefanie put up with her father? Is she afraid of him? Does she truly love him?

Estefania has a love/hate relationship with her father. She seeks his love and so lashes out in attempt to get it; she confuses attention with love. But she also absolutely hates how controlling he is, and she’s at the same time a very sheltered teenage girl who’s just trying to figure out who she is.

What teases can you tell us about how Estefanie fits into the rest of the season's plotlines?

She’ll tease all right haha. I’m not allowed to say, at this point in the season a teaser would reveal a lot.


Television Series: Shameless US (S03E07)
Release Date: March 2013
Actress: Stephanie Fantauzzi
Video Clips Credit: Deep at Sea



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The Gathering Storm

There's a beast in every man and it stirs when you put a sword in his hand...

March has arrived which means it's finally less than a month until Game of Thrones returns for its highly anticipated third season. Audiences have been dying to see more of the hugely popular and critically acclaimed HBO series pretty much from the second the second finished but have been forced to wait over nine months. Babies have been born who have never even known the winter, however, winter is... you know, soon. The first trailer for Game of Thrones Season 3 debuted in front of last Friday's Jimmy Kimmel Live! and quickly reminded us that "death is coming for everyone and everything." Just in case you were looking for things to get better and/or a happy ending. Readers of George R.R. Martin's "A Song of Fire and Ice" series are well aware of the shocking events that (could be) coming this season and the trailer did a great job of hinting at a few such moments without revealing anything to those who only watch GoT.

Continuing to ramp up promotion for the soon to air third season, HBO just released a dozen character posters followed by this extended version of the aforementioned "Bones" preview. There are only 20 seconds or so of extra footage but the added bits are pretty great and definitely worth watching. We got our first glimpse of Thoros of Myr (Paul Kaye), the Red Priest of R'hllor, with the new character saying the now iconic words ("the night is dark and full of terror") to Melisandre as well as the Brotherhood Without Banners sat around a campfire. It is followed by Cersei and Tyrion Lannister having the following sibling exchange: "You're not half as clever as you think you are" / "Still makes me more clever than you." Touché. Then there's Bran awakening in a forest and being approached by an unidentified figure; and Joffrey reclining with his crossbow before a shot of Cersei accompanied by Catelyn Stark's words to Robb, "Show them how it feels to lose what they love".


Elsewhere Yara Greyjoy, sister to Theon, walks through a group of armed soldiers; Brienne of Tarth is having a bite-y looking fight and Jaime Lannister warms himself near a fire. An unidentified woman at Littlefinger's brothel moves playfully on all fours towards the camera and Joffrey looks worried on the Iron Throne, as well he might. There's a shot of Robb Stark, then one of Jaime Lannister being threatened by someone with a knife, accompanied by Jon Snow's words to Mance Rayder, "I want to fight for the side that fights for the living. Did I come to the right place?" We also glimpse Ser Jorah Mormont swordfighting, Robb Stark and wife Talisa Maegyr (Oona Chaplin) getting it on, Brienne and Jaime swordfighting, Tyrion looking through a metal grill and then spinning an axe; Jon Snow at Queenscrown and more of Stannis and Melisandre (Carice van Houten). Oh, and there is also John being a badass and Lady Brienne in the bear pit! Calm down. Still four weeks to go.

The keen-eyed amongst you will have noticed I neglected to mention the flash of Ygritte (Rose Leslie) in the cave. I suspect for the readers of this blog that could be the most tantalising morsel of things to come; as well as the clearest hint yet that we will be seeing one of the most iconic sex scenes of the book played out on our screens...

"I know I want you," he heard himself say, all his vows and his honor all forgotten. She stood before him naked as her name day, and he was as hard as the rock around them. He had been in her half a hundred times by now, but always beneath furs, with others all around them. He had never seeen how beautiful she was. Her legs were skinny and well muscled, the hair at the juncture of her thighs a brighter red than that on her head. Does that make it even luckier? He pulled her close.

"I love the smell of you," he said. "I love your red hair. I love your mouth, and the way you kiss me. I love your smile. I love your teats." He kissed them, one and then the other. "I love your skinny legs, and what's between them." He knelt to kiss her there, lightly on her mound at first, but Ygritte moved her legs apart a little, and he saw the pink inside and kissed that as well, and tasted her.

She gave a little gasp. "If you love me all so much, why are you still dressed?" she whispered. "You know nothing, Jon Snow. Noth---oh. Oh. OHHH."

Afterward, she was almost shy, or as shy as Ygritte ever got. "The thing you did," she said, when they lay together on their piled clothes. "With your...mouth." She hesistated. "Is that...is it what lords do to their ladies, down in the south?"

"I don't think so." No one had ever told Jon just what lords did with their ladies. "I only...wanted to kiss you there, that's all. You seemed to like it."

"Aye. I...I liked it some. No one taught you such?"

"There's been no one," he confessed. "Only you."




The network also released a short promo for Game Of Thrones: A Gathering Storm, a recap show airing on Friday, March 8th at 9:45 p.m. ET. See if you need and/or want to catch-up before the new seasons goes down. Game of Thrones Season 3 premieres on Sunday, March 31 at 9 p.m. ET on HBO.
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White Smoke For Vatican Casting

"We’ve all got tits. I’ve also got balls – I just don’t show them very often..."

Rochdale's finest Anna Friel has been cast to star in the Showtime drama pilot The Vatican. The Pushing Daisies star will play the younger sister of a cardinal in what is described as a provocative contemporary genre thriller about spirituality, power and politics – set against the modern-day political machinations within the Catholic church. Said to evoke The Sopranos and Upstairs, Downstairs, the series would explore the relationships and rivalries in addition to the mysteries and miracles behind the institution. Friel will play the darkly witty Kayla Duffy, a sexually active, hard-partying New Yorker who is openly rebellious against all norms and institutions, including the church. Friday Night Lights’ Kyle Chandler plays her opposite as the "charismatic yet enigmatic archbishop of New York, whose progressive leanings excite some and alarm others within the hierarchy of the Catholic Church," Showtime said. While Kayla and Duffy are close, honest and loving siblings, she is always a complication and, at times, a liability for a man of the cloth who is one of the public leaders of the Catholic Church.

Repped by UTA and Ken McReddie Associates, Friel is best known as Charlotte "Chuck" Charles on ABC's Pushing Daisies. Her feature film credits include You Will Meet a Tall Dark Stranger, Limitless, Land of the Lost, Timeline and A Midsummer Night's Dream. Breaking up the testosterone-heavy cast of The Vatican, Friel would seem a perfect fit for both her fast-living character and the slightly more adult sensibilities of Showtime. In a new an exclusive interview with Easy Living, the girl known for taking on some controversial – and revealing – acting roles admitted she has managed to shock her parents only once – by emailing her father some pornographic images. The 36-year-old, who plays Jean Raymond, the wife of porn baron Paul Raymond, in a new film called The Look Of Love, made the embarrassing slip-up while she was researching her role. "I sent an email to my dad with some pictures of Jean Raymond," she said. "He called me afterwards and said, 'I think you’re going a bit far on this one.' I wondered what he meant and then I realised I’d sent him an email attachment of an actual porn shoot that Jean did – I mean, everything. I was mortified."


Friel, who first hit the headlines aged 16 for filming a lesbian kiss scene in Brookside, admitted her parents were not usually surprised by anything she did. "I was brought up in a very open household – I’m very close to my papa and he’s not easily shocked." And the actress, who also appeared naked in BBC drama The Tribe in 1998 and on stage in Breakfast At Tiffany’s four years ago, revealed that she has no problems baring all. "I didn’t mind being naked," she said. "I’ve always been OK with my body. We’ve all got tits. I’ve also got balls – I just don’t show them very often."

Ever since Pushing Daisies was cancelled by ABC, Friel has been pursued for various American TV pilots. And while she appeared in Syfy’s Neverland miniseries, her official return to series television is almost in place. Friel joins a cast that also includes Matthew Goode as Papal Secretary Bernd Koch and Sebastian Koch as Cardinal Marco Malerba. Friel's casting comes one day after Pope Benedict XVI officially left office. Paul Attanasio (House, Donnie Brasco) wrote the script, with Scott (Prometheus, Gladiator) making his TV directing debut on the pilot. Attanasio, Scott and David Zucker (The Good Wife) will serve as executive producers on the Sony TV project. Production will begin this year.
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Strike A Lightfields

Something's happened here, something that's been buried for a long time...

Gather ye rosebuds and clench ye bumcheeks, for here we be on the 1940s Suffolk coast, where there be dark rumblings in the cornfield. "Where's thaart Lucy gone?" gurgles Mrs Felwood (Jill Halfpenny), ruddy-cheeked matriarch of Lightfields Farm. It's a cheery place, populated by turnip-faced yokels, well-meaning dray horses and tittering mimsies in diaphanous tea dresses doing their bit for the war effort by letting rectangle-skulled US servicemen air-bum them in the woods. Answer, pivotally, comes there none, snarks The Guardian's Sarah Dempster...



A primetime supernatural drama, Lightfields (tonight, 9pm, ITV) is a five-part follow-up to 2011 primetime supernatural drama Marchlands, in which the residents of a house in rural Yorkshire were haunted by the ghost of Alex Kingston's dungarees. If you recall, that story neatly wrapped up all the loose ends when it concluded, thus inconveniently presenting something of a dilemma in terms of continuing the action. However, the producers have found a clever way to carry on the series; copy the format, but use different characters, setting and time periods. This time, the supernatural hokum emanates from the mysterious death of poor naive Lucy (Antonia Clarke), the fallout from which weaves itself through the lives of the farm's future residents.


Like its predecessor, the drama flits between three different families in three different eras, each of which is stuffed with instantly recognisable period details: 1940s (aforementioned tea dresses, yokelry), 1970s (cheesecloth blouses and the words "JETHRO TULL" written on a poster), and modern day (digital radio and Kris Marshall swearing in a leather blouson). In 1944 the harvest is looming and the Felwood family are hard at work on the farm when 19 year-old Eve (Dakota Blue Richards) arrives. She has been evacuated from London and wants to help out and do her bit for the war effort. A friendship blossoms between her new family’s daughter and Eve but this is put in jeopardy when Dwight (Neil Jackson), a dashing American airman, comes into their lives. It is Eve who meets him first but then a chance meeting between him and Lucy triggers lies and deceptions between the two girls. Then, one fateful night, the hay barn catches alight. The fire rages and it is too late when they realise that there is someone in the barn. As the family and local community struggle to come to terms with thaart Lucy’s death, Eve believes it wasn’t just a tragic accident. She knows Lucy must have been meeting someone at the hay barn and having established it wasn’t Harry she knows who it must have been. Motivated by this niggling suspicion she searches in the smoldering wreckage of the barn and finds Dwight’s petrol lighter. With this proof she confronts Dwight but outsmarted by him she is left once again with nothing but her own suspicion.

By 1975 Lightfields has stood empty for many years when Vivien (Lucy Cohu) and her teenage daughter Clare (Karla Crome) arrive from London to stay for the summer. Vivien stayed in the area when she was evacuated there during the war but struggles to remember anything about that time. As they settle into their holiday Vivien’s distant behaviour starts to concern her daughter. Unbeknown to Clare something has started to stir in Vivien’s repressed memory since their arrival at the farm, something unsettling. But that is not all; their arrival has triggered something else, something has woken in the house. The two women are not alone. Clare remains worried about Vivien and is relieved when her dad arrives for the weekend. He believes Vivien is on the verge of a breakdown, something that has happened before, and wants her to go home and get treatment. But Clare wants her mother to be given a chance to work things out her way so he returns to London alone. A discovery that Vivien visited Lightfields as a girl unsettles her. Her memory remains just out of reach but as information drips in and the ghostly presence becomes more prevalent she starts to fear that her memory holds a terrible secret.

In 2012 a new generation of Felwoods have recently bought Lightfields. Barry and Lorna live there with their grandson, Luke, and Barry’s elderly and infirm father, Pip, has just moved in. Pip lived at Lightfields when he was a boy and this is the first time he has returned. He is disturbed to be back after all these years and won’t talk about his childhood on the farm. Pip knows his return has awakened something in the house but he refuses to acknowledge it. What he doesn’t know is that there is someone else who is only too willing to see and communicate with this ghostly presence. A moment when Luke goes missing and is found sitting by a grave in the churchyard makes Pip realise that the ghost is communicating with his great grandson. The grave belonged to Lucy Felwood and it is getting harder and harder for Pip to keep up his pretense that she never existed. They are then distracted when Paul turns up with shocking news; he is going to fight for custody of Luke. Barry and Lorna have looked after Luke since he was a baby and the thought of losing him now is unimaginable.



This is not, it is safe to say, demanding stuff notes Dempster. Doors slam, mysteriously. Lights go out, inexplicably. There is the line, "You look worried. Have you been here before?" over the sound of a lorry backing into the living room and dumping another pile of exposition next to the 1975 sofa. Meanwhile, characters arriving at Lightfields Farm for the first time stand at the front gate and, looking up, say "Lightfields Farm" in the firm but slightly wistful tone one might adopt when introducing a deaf labrador to a clergyman. "Odd," you might think. "We've already seen Lightfields Farm and thus are fully aware that this is Lightfields Farm and not, say, a granary loaf or the Tardis." So why do people keep telling us it's Lightfields Farm? Could it be that the producers are unsure we've been paying attention? Possibly. Or could it be that they think we're a bit thick? (Cue ghostly children's laughter, and a crash zoom on AN Viewer going "boh"…) Yes. But then, this is the problem with approximately 93% of all modern "horror" fare: it assumes the viewer is a spanner. All the dots have already been joined. There's nothing for us to do other than sit back and wince at the cheesecloth and the glare of the daylight in which most of the drama is shot. In fact, never has such a creeping sense of unease been so effectively communicated in bright sunlight, thinks The Guardian's Julia Raeside.

The recent revival of the TV ghost story gathered pace with The Secret of Crickley Hall last year, but oh for a genuine chill in these days of intrusive underscores and suppurating prosthetic torsos and whatnot. Something like the 1968 MR James adaptation Whistle And I'll Come To You, say, in which Michael Hordern is terrorised by a flapping bed sheet making slowed-down cow noises. Or the 1986 Bergerac Christmas Special (yes, the 1986 Bergerac Christmas Special) where the final shot of a hooded monk standing motionless in a graveyard was accompanied by the sound of eight million belts being unbuckled as the nation darted, screaming, to the nearest bog, its buttocks clapping like castanets. This was properly terrifying, unshowy stuff that relied on atmosphere and brainwork, not panicky strings and half of this generation's answer to the Gold Blend couple swearing in a leather blouson.

Here, though, the only real jolt that viewers are ever likely to experience is the realisation, circa the bit where a massive barn goes on mysterious CGI fire, that they haven't tuned into a conceptual edition of A Place In The Country. Now, nobody turns up to ITV on a Wednesday evening expecting Cannibal Holocaust. But, really, is it too much to ask for a supernatural drama that doesn't treat viewers like gurgling yokel dunderskulls? Our bumcheeks can 'andle it, honest.

Lightfields was written by Simon Tyrrell and, like Marchlands, is based on a US pilot The Oaks by David Schulner for Twentieth Century Fox Television. Cherry Gould was the producer and ITV Studios’ Kate Lewis was the executive producer. The five hour-long episodes were directed by Damon Thomas and were filmed in August in Hertfordshire and West Sussex. Lightfields was commissioned for ITV by drama commissioning team Laura Mackie and Sally Haynes. "We’re delighted to build on the success of Marchlands with another highly original take on the format," said Haynes in an ITV press release. "It’s a very distinctive addition to our slate."
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Dancing On The Edge

High-society scandal, murder mystery, Freemasons, Nazis and Russian émigré nudity (Janet Montgomery) – with only two hours left, Dancing on the Edge is certainly hotting up after a languorous three and a half mule-drawn hours... As the tensions mount, the characters have likewise revealed new or previously half suggested facets to their character. And we begin to see the group dynamic in a different and unsettling light. Sarah's response to Louis' account of his escape from Donaldson's house of horrors was especially disturbing and revealing, automatically she had all the answers ready for him, the lawyer was held up, the door was locked to prevent the children from disturbing him, the police arrived by coincidence. There is no indication that Donaldson explained any of this to her or that she was part of an overt conspiracy but her desire to maintain the illusion of the happy band of friends, and the niceties of high society (all of it lovingly preserved via her suffocatingly kitsch photographs) trump any love for or loyalty to Louis. It is similar to the rejection of Anne Keyes by her family in Glorious 39 yet handled in an infinitely subtler way. We recall Sarah's casual 'people are strange' defence of Masterson's abuse of his girlfriend in the first episode. Perhaps as the daughter of a wealthy Russian- a 'White émigré'?- her attachment to Anglo-American civilization with its aristocratic veneer and bourgeois capitalist underpinnings is too consuming to admit to flaws- shades of Ayn Rand!

Donaldson's grating avuncular hauteur has also given way to a far more sinister yet fascinating aspect to him, he is the great Establishment fixer, the Mycroft Holmes of social relations, able to play Master of Ceremonies and act at ease with everyone but when push comes to shove his master's servant to the end, he can invite you to the inner circle- even make you feel he is an outsider like you to allay anxieties but refuse to play the game and he will destroy you. And Julian is revealing himself as a splendidly English psychopath, a Bertie Wooster of sadistic menace- actually the light jazz in Dancing on the Edge is similar to that featured in the Fry & Laurie take on Jeeves and Wooster- this is the dark side of Brinkley Court and the Drones Club. While Pamela combines the psychotic dedication of Florence Craye ('Lady Caligula') with the eye rolling skittishness of Madeline Bassett, she and Julian are like Cocteau's Enfants Terribles, living in a fantasy world laced with dangerous and incestuous undercurrents. They are trying to escape from the clutches of their ghastly mater (rather than mother) but sliding further into their baroque make believe world at the same time. Of course, sibling incest as a comment on the decadence of rampant capitalism is a Poliakoff trope we have seen before (in Close My Eyes).


Masterton, the grand Gothic villain, is pure wealth, a De Sadean capitalist who turns everything into a form of consumption, jazz, musical journalism, railway journeys, even his propensity for violence- 'Dear me sir you've smashed up our hotel suite'. 'Let me buy it from you and we'll say no more about it', he smiles while mugging at the camera with his tycoon cigar. The thought of him using such innocents as Stanley and Eric (who is adorable, he is to musical technology what Dan Snow is to historical battlefields) as his pawns of cultural domination is frightening and hopefully they can break free in what has become a dramatisation of the creation an establishment - the establishment of an establishment (through the expanded media empire) is brilliant. See these players slot into their roles with such ease and excitement. Real power and real riches await. The grandness of the rooms represent the inner grandiosity that these hitherto seemingly good guys have always secretly craved. Rooms are expressions of inner grandness and motivation. Of course it's exaggerated, in order to make the point. A magazine is established, a new establishment is created. The incentive for everyone is just increased comfort and status - like any monkey kingdom.

There's something mournfully valedictory about Dancing on the Edge, on a number of different levels. It appears Poliakoff is aware this is likely his last hurrah as a big budget BBC filmmaker, and his sadness that the proud auteurist tradition which was the hallmark of British television for so long is set to be cast overboard in favour of so much slipshod, manically edited fodder for the short of attention, has bled its way into the drama. There was so much barely sublimated emotional distress threaded through tonight's episode, from Louis' near breakdown, to the creeping menace of the Masons and the deeply disturbing psychosexual traumas that bind Julian and Pamela. Poliakoff refuses to succumb to middlebrow mediocrity: he holds a mirror to our darkest fears with a ferocity and clarity of intent the modishly nihilistic serials of his successors wouldn't dare emulate.

Above all, Masterson's role is now clear; he represents the coming conquest of British and European culture by the products of American capitalism. His takeover of Music Express is supposed to be "quite boring", many revolutions start not with a bang, but with a whispered agreement and the careful exchange of freshly inked business contracts. Rosie, Poliakoff's canary in the mine, is the only one to foresee the suffocating banalisation that awaits Stanley, Eric et al. Alas, they have all been bought off; from the Establishment doyenne Lady Cremone to the rootless cosmopolitan, Sarah; Louis, the most socially vulnerable member of their circle, is thrown to the wolves in order to maintain social order. It is why the Band having to play or sing a song while trying to eat has been a constant theme. The black band members know their place is not equal amongst these "friends". They constantly have to pay their way and sing for their supper. You don't have to be Walter Benjamin to catch the subtextual inferences here.

Television Series: Dancing on the Edge (S01E04)
Release Date: February 2013
Actress: Janet Montgomery
Video Clip Credit: Drazerfta



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Banshee S01E06

In 2010, CJ Perry took a fateful trip to Las Vegas. The accomplished dancer, model and singer had just weathered a series of personal storms and had only $80 in her pocket. But her luck was about to change. The Florida native left Sin City with $3,000 in blackjack earnings and decided to make an immediate and dramatic change. "I was like, 'I’m going to move to LA,'" she recalls. "I remember thinking, 'I’m going to take this $3,000 and make it happen.'" Perry wanted to finally pursue in earnest her dream of becoming an actor. Fortunately for Perry, she had plenty of momentum in the other components of her career. After all, she was an in-demand dancer who graduated from the Latvian National Ballet Academy and had toured with Keri Hilson and P!nk. Her striking beauty and flawless physique had helped her become a red-hot model. She was the most downloaded "Hot College Girl" on the AT&T and Sprint networks in 2008 and 2009.

In her first few weeks in Los Angeles, Perry booked five gigs, including a speaking role on the acclaimed television show The Game and a spot in Afrojack’s 'Take Over Control' video, which has more than 26 million views on YouTube. Since then, Perry landed a role in Universal Picture’s hit film Pitch Perfect starring Anna Kendrick and Brittany Snow. The movie is up for a People’s Choice Award. Now, Perry has a recurring role in the Cinemax original series Banshee, a drama from Alan Ball, the creator of True Blood. Even though she’s making steady strides with her acting career, Perry has remained grounded and focused on landing her next role. "Having to work up the ladder really makes me appreciate any form of success that I have," says Perry, who is also a trained martial artist. "It makes me really value it. I’m working really hard and striving to be a really great actress. I don’t look at it like, 'I just want to be hot at this time.' I invested eight years of my life in dance, training 40 hours a week. I became a great dancer. I will be a great actress because I’m approaching it the same way – my whole body, soul and spirit are working hard. I’m living it and breathing it."


Born in Gainesville, Florida, Perry took a circuitous route to Hollywood. She and her family moved regularly because of her father’s work as a missionary. They settled in Latvia, where Perry became the first and only international student to graduate from the Latvian National Ballet Academy, the same school Mikhail Baryshnikov attended. She emerged as a tremendous dancer, a professional who toured Europe during her teenage years and became fluent in Russian before her parents relocated to the states. Perry then enrolled at Florida State University, befriended Jenn Sterger and became a FSU Cowgirl. Sterger trained Perry and helped her develop her look. Perry was soon winning bikini contests and scoring prestigious modeling jobs, including the RIDGID Calendar and Matrix Energy Drink.

Simultaneously, Perry became infatuated with breakdancing. Even though she was a world-class ballet dancer, she didn’t know how to dance socially, much like Julia Stiles’ character in Save The Last Dance. Once she became a proficient breakdancer, Perry was recruited in 2009 to join No Means Yes, a girl group signed to Ne-Yo’s label. Perry had the supermodel looks, the dancing ability and could sing. The group disbanded a year later when one of the girls left. But Perry’s time in the quartet provided her with the network to work as a dancer with some of music’s biggest names, including P!nk, Afrojack, Nelly, Usher, Jason Derulo, Ludicrous, Taio Cruz , Big Time Rush and Keri Hilson.

Perry’s move to Los Angeles also enhanced her modeling career. She was a Miller Lite Poster Girl for NASCAR in 2011, working extensively with Sprint Cup winner Brad Keselowski in 2012 doing on-site promotions at the races. She also earned the coveted job as the main Red Bull spokesmodel for its motocross division, a role she started in May 2012. She has also appeared on American Idol and I.C.I.R.U.S., among other television programs. Given her role in the spotlight, Perry is keenly aware of the impact she can have on others. One of her favorite quotes, one she lives by, is from the ancient Egyptian Jewish philosopher Philo: 'Be kind, for everyone you meet is fighting a great battle.' "I believe that being grateful is key to having a happy life," Perry says. "Love unconditionally. We are living in a very broken world, so let’s have compassion for everyone and let’s try to open our mind to new things and understand why people are they way they are. We all come from different parts of the world, races, cultures and religions. We can all teach something to each other if we are open-minded and have loving hearts. Let’s make change with the man in the mirror and love one another to make a better universe."

As for her professional goals, Perry would eventually like to star in a major motion picture as a superhero (she’s a comic fanatic) and win a fistful of Emmys for her own comedy show. She imagines taking home awards for acting and writing, and keeps her skills sharp as a regular at Groundlings, Improv Olympic and UCB (Upright Citizens Brigade). Although some may say her dreams are ambitious, Perry believes they are also obtainable. "My dad told me my entire life that the sky is the limit for your dreams," she says. "That’s why 'The sky is the limit' has always been my motto. I grew up with the American Dream that all things are possible and so I’ve lived my life that way. If you’re willing to dedicate everything to making it happen, then you can make it happen."

Television Series: Banshee (S01E06)
Release Date: February 2013
Actress: Kay Story & CJ Perry
Video Clip Credit: DeepAtSea



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Sex Trope #3- Robosexual

"Where did you learn this?"
"It's a set routine based on pornographic videos..."

"Be Right Back", the first episode of a new series of Charlie Brooker's dystopian satire Black Mirror, saw the latest entry into the television sex trope club that is 'Robosexual'; ie, any sentient machine, whether robot, computer, or something else, having romantic or sexual relations with an organic lifeform. The Mechanical Lifeforms version of Interspecies Romance. Most writers address the big white elephant in the room by somehow mentioning that the robot is anatomically correct. Such a plot, as in this case, often involves a Robotic Spouse and is a Super Trope to Sex Bot, which is a sentient machine is specifically built for sex.

Things began in mundanity, a young couple – Martha (Hayley Atwell) and Ash (Domhnall Gleeson) – teasing each other affectionately as they drive through the night. He's a little distracted by his mobile phone and she's clearly getting a little tired of coming off second. "Glovebox," she says in an admonitory voice, a cue for him to put the device into purdah for a while. As soon as they get home, though, he's staring down the electronic well again. She throws a tea-towel at him: "Just checking you're still solid," she says. "You keep vanishing down that thing." The writing's departure from idiom here is a clue – or a premonition. As is Ash's memory of how his mother reacted when there was a death in the family – sweeping away every photograph of the dead person and confining them to the attic.

It won't come as a huge surprise to any viewer that Ash doesn't have long to live. When he fails to return from an errand the next day, Martha's curiosity turns to anxiety and then, with the arrival of flashing blue lights outside the kitchen window, to grief. And it's at this point that Ash's obsession with social media comes into its own. At the funeral, a friend of Martha makes a suggestion: "I can sign you up to something that helps," she says. What she has in mind is an iAsh. Somebody has married artificial intelligence software with the dense crop of personal detail we leave behind us on the web to create a virtual loved one. Give it permission to access private information and the simulation will be even better: "The more it has, the more it's him."


Martha is initially appalled but then, in her grief, can't resist trying it. And the software it seems not only has a sense of humour. It has Ash's sense of humour. After she upgrades and uploads some home videos it has his voice too. And then she goes the final step. Two delivery men arrive with a very heavy crate. Inside it is Ash 2.0. All she has to do is add electrolytes, wait a little and he – or a fair replica – will be back. Ash 2.0 isn't perfect. He can't do sexual response because that isn't on the public record anywhere. But he has a degree of hydraulic control that flesh-and-blood men might envy and which clearly proves satisfactory when Martha succumbs to loneliness and sleeps with him.

It won't have come as a great surprise to any viewer either that this was a futuristic version of "The Monkey's Paw", that terrible short story about the dangers of getting what you wish for. Oddly, though, it was a tender, more wistful account of the fable, neither of those adjectives you would have associated with Charlie Brooker even a few years ago. Here they included the counter-intuitive truth that it's not always the sweetness and the give that you miss about someone you love but the sourness and the resistance, too. The show touched on important ideas – the false way we sometimes present ourselves online, and our growing addiction to virtual lives – but it was also a touching exploration of grief. "You look like him... on a good day," Martha told Ashbot, but what was missing was what made Ash human: his unpredictability, his flaws. "You're just a few ripples of you... there's no history to you... you're just a performance of stuff."

Television Series: Black Mirror (S02E01)
Release Date: February 2013
Actress: Hayley Atwell
Video Clips Credit: Deep at Sea

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