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Breeders Review

  • HeyUGuys
Breeders Review
As a childless twenty-something, the sight of parents struggling with their sprogs – no matter how innocent, how adorable – fills me with empathy, dread, and schadenfreude. These feelings amplify to entertained screeches when watching Breeders, Sky One’s new comedy about the undermentioned awfulness of child-rearing, created by Thick of It favourites Chris Addison and Simon Blackwell. Be warned: this could put you off having kids for a while. I haven’t felt such a staunch aversion to becoming a parent since watching Jenna Coleman carry a pram up those Sisyphean steps in BBC’s The Cry; the pain and aggravation looks like the most annoying kind of horror movie. Breeders, at least, finds the funny in the madness.

Martin Freeman, who plays fed-up father Paul, birthed the idea for the series in a dream about going upstairs to tell off his kids. This is the starting point, opening with Paul readying himself,
See full article at HeyUGuys »

CAA Signs ‘The Inbetweeners Movie’ & ‘Breeders’ Director Ben Palmer

CAA Signs ‘The Inbetweeners Movie’ & ‘Breeders’ Director Ben Palmer
Exclusive: Ben Palmer, the British director behind The Inbetweeners Movie and FX/Sky’s new comedy Breeders, has moved from Wme to CAA.

Palmer directed and co-executive produced the first five episodes in Season 1 of Avalon-produced Breeders, which stars Martin Freeman and Daisy Haggard. He will also helm and executive produce five episodes for Season 2.

More from DeadlineCoronavirus Impacting Hollywood Offices: Talent Agencies, Viacom Among Companies Testing Work From Home - UpdateCAA Signs 'His House' Director Remi WeekesWriter-Directors Alex Fischer, Eleanor Wilson, Rachel Wolther Ink With CAA

He is best known for directing The Inbetweeners Movie, which was the UK’s fastest-grossing live-action movie when it launched in 2011. Other credits include Simon Pegg’s Man Up and Urban Myths.

Palmer is also represented by Hugo Young at Independent Talent in the UK, while he is managed by Tom Lassally at 3 Arts Entertainment. He first signed for Wme back
See full article at Deadline »

‘Breeders’ Review: Martin Freeman’s FX Series Is a Painfully Honest Look at Parenthood

‘Breeders’ Review: Martin Freeman’s FX Series Is a Painfully Honest Look at Parenthood
If you’ve ever wondered whether you want to have kids or not, Breeders may not be the best show to watch to help you decide. The show is painfully honest about the constant attention children need and the never-ending well of patience a person needs to have, a test most of us are destined to fail. The show was created by Martin Freeman, Simon Blackwell and Chris Addison; Addison wrote most of the episodes and co-executive producer Ben Palmer directed the handful of episodes sent for review. Freeman also stars as Paul, who cares a lot about …
See full article at Collider.com »

‘Trial & Error’ Star Amanda Payton Joins Sky’s British Police Comedy ‘Code 404’

  • Deadline
‘Trial & Error’ Star Amanda Payton Joins Sky’s British Police Comedy ‘Code 404’
Exclusive: Trial & Error star Amanda Payton has joined Sky’s British police comedy Code 404.

The actor, who has also recurred on Animal Kingdom and had spots on Modern Family, The Big Bang Theory, NCIS and Workaholics, has booked a series regular role on the six-part series.

Code 404 stars Rogue One’s Daniel Mays and Boardwalk Empire’s Stephen Graham.

The series, which is produced by Broadchurch and Tin Star indie Kudos and Water and Power Productions, also stars Against The Law’s Richard Gadd. It was written by Horrible Histories and Not Going Out writer Daniel Peak and directed by Al Campbell. The pilot was directed by Ben Palmer.

Code 404 is set in the near future and will revolve around two Detective Inspectors, Di John Major (Daniel Mays) and Di Roy Carver (Stephen Graham), who are the top crime fighting duo in the Unit. But when an undercover sting goes horribly wrong,
See full article at Deadline »

Sky Hands Police Comedy ‘Code 404’ Starring Daniel Mays & Stephen Graham Full Series

  • Deadline
Sky handed police comedy Code 404, starring Rogue One’s Daniel Mays and Boardwalk Empire’s Stephen Graham, a full series after a successful pilot.

Deadline first revealed the project was in development at the pay-tv broadcaster in October and it has now been ordered for six half-hour episodes.

The series, which is produced by Broadchurch and Tin Star indie Kudos and Water and Power Productions, also stars Against The Law’s Richard Gadd. It was written by Horrible Histories and Not Going Out writer Daniel Peak and directed by Al Campbell. The pilot was directed by Ben Palmer.

Code 404 is set in the near future and will revolve around two Detective Inspectors, Di John Major (Daniel Mays) and Di Roy Carver (Stephen Graham), who are the top crime fighting duo in the Unit. But when an undercover sting goes horribly wrong, Major is gunned down on the job and killed.
See full article at Deadline »

‘Hello Ladies’ Stephen Merchant Scores BBC Xmas Film; MTV UK Remakes ‘Teen Mom: Young & Pregnant’; Fremantle Hires Unscripted Exec – UK Briefs

  • Deadline
‘Hello Ladies’ Stephen Merchant Scores BBC Xmas Film; MTV UK Remakes ‘Teen Mom: Young & Pregnant’; Fremantle Hires Unscripted Exec – UK Briefs
Hello Ladies star and The Office co-creator Stephen Merchant is teaming up with People Just Do Nothing’s Asim Chaudhry in a cross-country comedy for BBC One. The pair are to star in Click & Collect, featuring them as two mismatched neighbors driving across the UK to pick up the one toy that will make a little girl’s Christmas dreams come true.

The 60-minute special is written by Witless’ Joe Tucker and Lloyd Woolf and directed by The InbetweenersBen Palmer. It is produced by BBC Studios and Mondo Deluxe. Merchant said, “Every year, my family watch the big Christmas TV specials and my dad falls asleep half way through. This year, I’m very excited to be starring in a big Christmas TV special that my dad can fall asleep half way through.” Chaudhry added, “I’ve been a huge fan of Stephen’s work for many years so
See full article at Deadline »

Sky Developing Police Comedy ‘Code 404’ Starring ‘Rogue One’s Daniel May

  • Deadline
Sky is developing a police comedy starring Rogue One’s Daniel Mays from Broadchurch and Tin Star indie Kudos.

I hear the pay-tv giant is making a non-tx pilot, which has the working title of Code 404, written by Horrible Histories and Not Going Out writer Daniel Peak and is being co-produced by Water and Power Productions.

Directed by Ben Palmer, who previously helmed The Inbetweeners and David Mitchell and Robert Webb comedy Back, the broadcaster is currently deciding whether to take the project to full series.

The full details of the police project have been kept under wraps, but I’m told the narrative comedy has a similar tone to Charlie Brooker’s A Touch of Cloth, the spoof cop comedy that ran on Sky One in 2012. Phil Temple and Diederick Santer exec produce for Kudos and Sam Myer exec produces for Water and Power.

It is an interesting role for Mays,
See full article at Deadline »

BBC and FX developing Martin Freeman comedy Breeders

BBC and FX are teaming up to develop a new comedy series titled Breeders from Sherlock’s Martin Freeman, who has created the series and is also starring, with Last Week Tonight with John Oliver producer Avalon Television producing.

According to Deadline, a pilot was shot in London and BBC and FX are currently deciding whether or not to proceed with a full season order. Breeders is described as a parenting comedy that is in the same vein as Amazon’s Catastrophe.

Joining Freeman in the series is Michael Gambon (Harry Potter) and Daisy Haggard (Episodes). Simon Blackwell (Veep) will serve as a writer with Ben Palmer (The Inbetweeners) directing.

Freeman will next be seen in Ghost Stories, a big screen adaptation of Andy Nyman and Jeremy Dyson’s stage play, which is set to open in April.

The post BBC and FX developing Martin Freeman comedy Breeders appeared first on Flickering Myth.
See full article at Flickeringmyth »

The Royal Albert Hall to celebrate John Williams 60 years in movies with series of Films in Concert presentations.

  • HeyUGuys
Author: Zehra Phelan

The Royal Albert Hall is to celebrate John Williams 60 years in movies providing iconic film scores to the biggest films.

The celebration will include Films in Concert presentations of five of his finest works, alongside a rare London performance from the maestro himself, conducting the London Symphony Orchestra.The 86-year-old award-winning composer will be making his first appearance in the UK after 22 years. There will also be orchestral screenings of Harry Potter and the Prisoner of Azkaban – playing for the first time ever in the UK – Jurassic Park, Home Alone, Close Encounters of the Third Kind and Star Wars: A New Hope.

At a special one-off concert in October, Williams will be reunited with the London Symphony Orchestra – who recorded his first six Star Wars scores, including the iconic Episode IV: A New Hope in 1977 – to perform classic music from across his spectacular career. As well as celebrating his 60 years in Hollywood,
See full article at HeyUGuys »

London’s Royal Albert Hall Reveals 2018 Films In Concert Line-Up

London’s Royal Albert Hall has revealed this year’s line-up for their hugely popular Films In Concert series.

The big news is that this year, Hollywood legend John Williams will appear on stage, his first UK performance for 22 years. The composer celebrates his 60th year in film this year, and on Friday 26th October, will host An Evening with John Williams in Concert, conducting the London Symphony Orchestra.

As well as the sure-to-be-a-sell-out John Williams evening, the Royal Albert Hall will also play host to orchestral screenings of Close Encounters of the Third Kind, Home Alone, Jurassic Park, Harry Potter and the Prisoner of Azkaban, and Star Wars: A New Hope, all of which boats stunning Williams scores.

Lucy Noble, Artistic Director at the Royal Albert Hall, said: “It is an extraordinary honour to welcome the legendary John Williams – the most celebrated, acclaimed and beloved film composer of all
See full article at The Hollywood News »

‘Riviera’, ‘Bounty Hunters’ To Get Second Seasons At Sky

In an official press release, Sky has revealed that it has commissioned second seasons of Julia Stiles-led south of France crime series Riviera, as well as another run for Jack Whitehall’s Bounty Hunters. It also confirmed Gareth Evans’ Gangs Of London, which we reported news of yesterday and a total of 50 original series for broadcast in 2018.

24 of the 50 productions are returning shows, so says the broadcaster.

Following its phenomenal success earlier this year Sky’s best-performing original series to date, Riviera returns with Julia Stiles reprising the role of Georgina Clios for another high-octane series about the lives of the super-rich on the Côte d’Azur. Jack Whitehall’s comedy thriller Bounty Hunters is set to return for more action and adventure. And brand-new drama Gangs of London, a fresh and original gangland thriller, will take viewers on an adrenaline-fuelled journey into the hidden heart of the capital.
See full article at The Hollywood News »

‘Back’ Review: ‘Peep Show’ Team Reunites for a Bleak Brother Comedy with a Delayed Reward

‘Back’ Review: ‘Peep Show’ Team Reunites for a Bleak Brother Comedy with a Delayed Reward
Like any other most recent output from an established comedy duo or writing team, it’s impossible not to see back the latest series from stars David Mitchell and Robert Webb without a consideration of the titanic work they’ve done in the past. Written by long time collaborator and “Veep” writer Simon Blackwell, “Back” is a fainter echo of their work on the legendary “Peep Show” and their sketch shows across different media. Bringing some of that previous sensibility to a more conventional comedy may not be the most satisfying use of their talents, but this is still a twisted dark family comedy that’s worth a shot for die-hards.

Back” tells the simple, spiraling story of Stephen (Mitchell), a man dealing with the aftermath of his father’s death. The family-owned John Barleycorn pub is set to come under his control, right as he’s starting to be
See full article at Indiewire »

Sundance Now Streaming Service Picks Up Comedy Series ‘Back’, Drama ‘Riviera’, Mini ‘Rillington Place’

AMC Networks' premium video streaming service Sundance Now has announced that they will be adding three series to the fold: Back, Riviera, and Rillington Place. The comedy, Back, is a new scripted original co-production created and written by Oscar nominee Simon Blackwell (Veep, In the Loop, Peep Show), directed by Ben Palmer (The Inbetweeners) and starring BAFTA winners David Mitchell and Robert Webb who worked on Peep Show alongside Blackwell. The show follows Stephen…
See full article at Deadline TV »

Book Excerpt: “Nancy Meyers”

Nancy Meyers: BAFTA Guru/YouTube

The following is excerpted from Deborah Jermyn’s “Nancy Meyers,” which will be released July 27.

May 2014. A BBC journalist was on the phone. It was shortly to be the twentieth anniversary of the release of “Four Weddings and A Funeral” (Newell, 1994), one of the best loved, most successful British films and romantic comedies in film history. There was going to be a lot of coverage in the British media marking this milestone. I’d published a number of articles and a co-edited collection on romantic comedy, and taught Film degree classes on it — could the BBC interview me for a story?

I felt like a bit of a fraud as I told them that not only had I not seen the film in years, but also I was that strange thing — a British person who didn’t really like the film. To be honest, my overwhelming memory was of being a bit annoyed by it. Not to worry, said the journalist. We want to interview you for a story called “Why is the term romcom used so negatively?” and I agreed this was a thorny question that had often troubled me and one that I would happily talk about.

So an interview took place, where I spoke about how the pejorative use of the term was often imbricated with the assumption of an undiscerning female audience, and of mindless formulaic repetition which failed to acknowledge the capacity of the genre to make social comment; and I noted that this had not been the case with historical predecessors like the screwball comedy which were often received enthusiastically by both critics and public.

I mentioned that, like all genres, romcom had to keep bringing new inflections to bear to avoid becoming stale, and that “It’s Complicated” (Meyers, 2009) was a good example of this for the way it had centred on an older “love-triangle,” where a middle-aged divorced couple rekindle their relationship and have an affair. An accessible and pretty sympathetic story raising some of these issues appeared on the BBC website where I was cited alongside others who were presumably invested in thinking about the romcom as a genre with the capacity to be textured and intelligent, while simultaneously entertaining and amusing.

Billy Mernit, author of “Writing the Romantic Comedy” (2000), who has taught the genre on the UCLA Extension Writers’ Program, and Ben Palmer and Tess Morris, the director and screenwriter of “Man Up” (2015), the British romcom starring Simon Pegg and Lake Bell in production at that time all featured. The story when it came out was not groundbreaking. Nevertheless, it was rather refreshing and unusual, I thought, to see an article make an effort to be even-handed in considering the appeal and the possibilities of the much-maligned romcom, to try to unpack where the instant derision of it springs from, rather than just add fuel to it.

Then the journalist (@yasmeenkhan1) tweeted news of her story with a link to the website. The exchange that ensued, though brief, was intriguing. The first response went as follows, before others replied in these ways:

– “Great article — despite praise for It’s Complicated!:) #beige.”

– “Nancy Meyers has done a fair bit to damage perception of the genre. Too long, bland.”

– “But Meryl has Such an awesome house in that film.”

– ‘The Holiday, for example, is seven hours long. And nothing happens.”

– “… and The Holiday is really a softcore designer-porno about two beautiful homes in love.”

– “The only bit I choose to remember from that film is the Jack Black ‘boob graze.’”

– “I remember the general Jack Black ‘Wtf am I doing in this piece of treacle?!’ gaze.”

I watched, bemused, as what was meant to be a social media plug for a story outlining a more considered approach to thinking about the romcom morphed instead into a forum for bashing Nancy Meyers and her work. The director of just five films at this time (namely, “The Parent Trap” (1998); “What Women Want” (2000); “Something’s Gotta Give” (2003); “The Holiday” (2006); and “It’s Complicated” (2009), a body of work which has since grown to include “The Intern” (2015)), the predominance of romantic comedy in her oeuvre has earned her the moniker of Hollywood’s “romcom queen,” along with other regal monikers like “Hollywood’s queen of the chick flick,” “queen of the late-in-life-love story,” and “Queen of saccharine.”

Yet with still such a relatively small body of directorial work to her name, and given the extended periods that have passed between her films, it clearly is not the vast volume of romantic comedies she has made that has bestowed the title “romcom queen” upon her. Rather, for those familiar with the genre, she has developed a distinctive “brand” that they now identify and anticipate.

Hers is a mode in which lovingly drawn mise-en- scene combines with an affection for the golden age of Hollywood elegance and classical style, contemplative dialogue and story turns (hence the repeated complaint her films are “too long”), and characters and settings drawn from a privileged (and resolutely white) milieu.

Indeed, the Screen International review of “The Holiday” boiled it down even more simply to say Meyers has “established her own brand of contemporary rom-com: guilty pleasure fantasies of love and longing set among successful people in their multi-million dollar residences.” Crucially, though, this characteristic attention to lavish sets and the upper middle class has become a stick to beat her with, as much as a descriptive marker of a “Meyers style.”

Furthermore, anyone with an interest in box office results will know her romcoms stand out among her peers too, not just for their distinctively tasteful design, but for having generated a great deal of profit. “What Women Want” became both the most commercially successful romcom of all time and the most commercially successful film of all time directed by a woman at the point of its release (making just shy of $183m in the United States alone).

But in this Twitter exchange, Meyers’s name is evoked only to signal what is wrong with romantic comedy; it is an opportunity for snappy jibes about how her films are annoying, how they are “#beige” and “bland,” rather than pleasurable. And this is the case even among people who seemed ostensibly to be open-minded about the gratifications and the attractions of the romcom — who critiqued its “bad press” in Khan’s article — yet who also, it seemed, enjoyed the occasion to share disdain for Meyers and her films.

Obviously some of this has to do with the nature of Twitter and its trade in “pithy” rejoinders. But the short exchange of 140- character messages actually revealed a number of traits that I have come to see as common in the reception of Meyers in the process of researching this book about her.

These are traits which I will unravel at greater length in what follows, as I trace how one of the most significant women practitioners in post-classical Hollywood has been the subject both of academic neglect and continued critical denigration, and as I make the case for a more nuanced, comprehensive and measured consideration of her work than has as yet been undertaken.

In this Twitter exchange, there is nothing recognizing how enormously popular her films have been, or contemplating the possible pleasures of her work. They are all about empty gloss, about superficialities, not substance we learn.

Indeed, as shall become evident in this book, reviewers return repeatedly to the issue of how Nancy Meyers’s films look; in particular her films’ (professedly overly opulent) houses. These have taken on a kind of cultural currency of their own, pored over on design websites and blogs by interior design professionals, journalists, and fans. Yet at the same time, they are regularly maligned by film critics who see her devotion to intricate texture, color, and style coordination as a kind of empty and shallow distraction. In this way, a skill, a distinctive quality that one can well imagine would be remarked on as “an eye for detail” in a male director, is used in Meyers’s case to imply she can’t really “do” more substantial work like original character or plot (consider, for example, how Douglas Sirk’s lavish use of Technicolor became seen as a marker of the masterful and expressive emotive range of his films rather than merely a similarly predictable and ostentatious gimmick).

And her films are saccharine, we are told — in this exchange, compared to “treacle” — which is to say, sickly sweet nonsense. Such food metaphors are again prevalent in the reception of her work (The Guardian, for example, called “The Holiday” “the celluloid equivalent of having melted Mars Bars poured down your throat”), as they are in romcom broadly. They suggest that there is no nourishing artistic sustenance to be had here, often conjuring up an image of women audiences lacking restraint and willpower gorging themselves on sugary goodies they should know aren’t good for them.

Particularly interesting, though, is the familiar and belittling invoking of her work as a form of lifestyle porn, a description which again comes up repeatedly in reviews of her work. While the popular and flippant usage of the “-porn” suffix has become common in the vernacular of postfeminist discourses, it is striking here for the insidious manner in which it operates as a reminder that the person behind these films is a woman.

The flippant suggestion that Meyers makes “softcore designer-pornos” glibly denigrates her skills as a female director (and, by extension, questions and undermines the tastes of her audiences), slyly reminding us in the process that she is out of place in having achieved such mainstream commercial momentum in Hollywood, that the “proper” territory for women in film lies not somewhere behind the camera or in command of it, but in the realm of sexualized spectacle.

In some ways, appropriately enough for a woman director whose career predates and spans the shift from second wave feminism to postfeminism, the use of the porn “metaphor” is the ultimate postfeminist putdown of her work; if you don’t think it’s funny or see it’s meant “ironically” then the problem is with (uptight) you, not the (cool) person using it to take a shot at Nancy Meyers.

In the series of tweets above, none of the exchanges begin to engage with how significant her achievements are in an industry that has consistently marginalized and excluded women filmmakers. Instead, what this moment from the Twitterverse postulated is that there is a reason why the contemporary romcom gets a bad rap, there is someone who sums up (or at least, who we can blame for) this scorn for the genre — and that is Nancy Meyers.

Deborah Jermyn is a Reader in Film and Television at Roehampton

University, UK. She is the author and editor of numerous books

exploring women, feminism, and popular culture including “Female

Celebrity and Ageing: Back in the Spotlight” (2013), “Sex and the City

(2009), and “Hollywood Transgressor: The Cinema of Kathryn Bigelow

(2003).

Book Excerpt: “Nancy Meyers” was originally published in Women and Hollywood on Medium, where people are continuing the conversation by highlighting and responding to this story.
See full article at Women and Hollywood »

Lindsay Lohan Wants People to ‘Stop #Bullying’ President Donald Trump on Twitter

Lindsay Lohan Wants People to ‘Stop #Bullying’ President Donald Trump on Twitter
Lindsay Lohan has called for critics to “stop bullying” President Donald Trump on Twitter.

The former Mean Girls star, who now lives in London full-time, responded to a tweet showing an image of a Breitbart article in which Trump tweeted that he would be “delighted” to help Charlie Gard, a critically ill British baby that the European Court of Human Rights deemed was too sick to help with experimental medicine.

“This Is our president,” Lohan, 31, tweeted on Monday. “Stop #bullying him & start trusting him. Thank you personally for supporting #Theusa.”

Lohan went on to praise the First Family — including First Lady Melania Trump,
See full article at PEOPLE.com »

Odd Trailer for Urban Myths Features Strange First Look at Joseph Fiennes as Michael Jackson

The first trailer for the show Urban Myths has been released, and it gives us our first weird look at Joseph Fiennes as Michael Jackson. This is a satirical show that will retell embellished true life events of public figures. This includes a post-9/11 road trip that Michael Jackson supposedly took with Marlon Brando and Elizabeth Taylor that you can read about here. Stockard Channing plays Taylor in the series, and Brian Cox takes on the role of Brando. It also features Eddie Marsan as Bob Dylan, Ben Chaplin as Cary Grant, Iwan Rheon as Adolf Hitler, and Rupert Grint as a friend of Hitler.

If case you're wondering what they were thinking when Fiennes was cast in the role, director Ben Palmer told The Guardian:

“We were casting Michael Jackson in 2001 and that obviously is a challenge in terms of the physical resemblance. We were really looking for the
See full article at GeekTyrant »

Urban Myths: see the first trailer for Sky Arts' new series

Kirsten Howard Jan 11, 2017

Here's your first look at Urban Myths, Sky Arts' star-studded and controversial new series...

When Sky Arts announced they were pressing ahead with Urban Myths, a new series set to explore some of the more random urban legends that have been linked to celebrities over the years, it sounded like it was going to be pretty fun, but as the casting process continued things started to get almost as weird as the stories themselves.

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Eddie Marsan (The Disappearance Of Alice Creed) as Bob Dylan, Rupert Grint (Harry Potter) as 'Hitler's Friend', Brian Cox (The Autopsy Of Jane Doe) as Marlon Brando...not a casting choice went by that didn't either raise an eyebrow or get a nod.
See full article at Den of Geek »

‘Urban Myths’ Trailer: Joseph Fiennes Makes His Debut as Michael Jackson in British Comedy Series

‘Urban Myths’ Trailer: Joseph Fiennes Makes His Debut as Michael Jackson in British Comedy Series
Last year it was announced that Joseph Fiennes would be portraying Michael Jackson in an upcoming British project, which led to accusation of “whitewashing.” Now, almost a year later, the actor makes his debut as the King of Pop in the trailer for Sky Art’s comedy series “Urban Myths.”

The satirical half-hour show retells supposed events in the lives of public figures, including the urban legend about a post-9/11 road trip between Jackson, Marlon Brando and Elizabeth Taylor, which was written about in a 2011 Vanity Fair article. The recently released clip recreates the event with Stockard Channing as the “Cleopatra” actress and Brian Cox as Brando.

It also features many other well-known people including Eddie Marsan as Bob Dylan, Ben Chaplin as Cary Grant, Iwan Rheon as Adolf Hitler and Rupert Grint as “Hitler’s Friend.”

Read More: ‘Kushuthara: Pattern of Love’ Exclusive Trailer: A Western Journalist Falls For
See full article at Indiewire »

Urban Myths director defends casting of white actor as Michael Jackson

Ben Palmer says Joseph Fiennes gives a sweet, nuanced performance in episode of Sky Arts satirical comedy series

The director of the upcoming Sky Arts series Urban Myths has defended the casting of a white actor as Michael Jackson, saying the decision was based on performance rather than physical resemblance.

The satirical comedy series, which portrays supposed events in the lives of figures such as Bob Dylan, Muhammad Ali and Samuel Beckett, includes a dramatisation of a road trip rumoured to have been taken by Jackson, Elizabeth Taylor and Marlon Brando in September 2001.

Continue reading...
See full article at The Guardian - TV News »

May Classical Review Roundup

Hélene Grimaud Water: Berio: Wasserklavier: Sawhney: Water: Transitions 1-7; Takemitsu: Rain Tree Sketch No. 2; Fauré: Barcarolle No. 5; Ravel: Jeux d'eau; Albéniz: Almeria; Liszt: Les Jeux d'eaux a la Villa d'Este; Janáček: In the Mist: No. 1; Debussy: La Cathedrale engloutie (Deutsche Grammophon) Classical purists be warned: almost half the tracks here are not the solo piano recital you might expect from the billing. Instead, Grimaud had composer Nitin Sawhney create electronic bridging miniatures (ranging from 0:56 to 1:41) fitted between the solo piano tracks. This works wonderfully well, changing this album from a traditional presentation into a moody soundscape (though the purist crowd was quick to take offense, witness the extremely snarky review on classicstoday.com). Of course, Grimaud is her usual scintillating self on the solo piano pieces. The pieces she has chosen for this thematic program are in a couple of cases "usual suspects" -- the Ravel and Debussy
See full article at CultureCatch »
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