Downton Abbey star Laura Carmichael has blasted hackers who stole naked images of her former co-star Jessica Brown Findlay, insisting they have subjected her to a "horrendous" ordeal. Carmichael was shocked when it emerged last month (Aug14) that around 100 female stars had personal photographs stolen from online storage devices by cyber-crooks.
Findlay was among those targeted, with reports suggesting the hackers accessed naked video clips featuring the actress, and now Carmichael has spoken out to slam those responsible - and anyone viewing the images.
She tells Britain's Event magazine, "It's just awful. It's a crime. It makes me really sad that this is the world in which we live. Terrifying and upsetting. What's happened to my mate is horrendous... It is just plain stealing. I don't think there is any other way of looking at it. The fact people are interested is just sad. I don't understand why it is anything other than criminality and exploitative."
The stars of popular period drama Downton Abbey have been offered $150 million (£1 million) deals to keep them signed to the show for the next three years, according to a U.K. report. The British drama, which has become a huge hit around the world, was plagued by character exits during the last season as castmembers including Dan Stevens and Jessica Brown Findlay quit to pursue careers in Hollywood.
A new report now suggests TV bosses have locked in the remaining stars, including Michelle Dockery, Hugh Bonneville and Laura Carmichael, with massive pay rises and three-year contracts.
An insider tells British newspaper The Sun, "Downton's charm is tradition so bosses were desperate to secure the show's big names. All the major characters are now on big deals."
Filming on the upcoming fourth season of Downton Abbey is currently underway in the U.K.
Our favorite upstairs-downstairs drama is back! Well, almost.
On Tuesday, several Downton Abbey castmembers and executive producers took the stage at the TCA press tour to talk about the emotional whirlwind that was the third season and to give a few hints of what's to come in the new episodes. Here are some small spoilers:
Mrs. Hughes and Mr. Carson's relationship will remain strictly professional.
When asked about a potential romance between the two Downton staff members, actress Phyllis Logan, who plays Mrs. Hughes, was quick to put an end to those rumors. "No. No. We still have a very nice working relationship. We still have occasional spats here and there. We still have a lot of respect for one another. We occasionally get to drink a glass of sherry together…not as often as I would like.”
Lady Mary won't be in mourning the whole time.
Mary actress Michelle Dockery noted that the widow will have "more than one" love interest in the new season, including Lord Gillingham, a new character played by Irish actor Tom Cullen. “He is an old family friend who she’s known since the girls were children, and they haven’t seen him since she was tiny," she explained. "She’s kind of slowly throughout the series coming back to real life and of course it’s important for her to eventually move on, so he is a potential love interest.”
Edith's bad luck may take a turn for the better.
Laura Carmichael, who plays Edith, said that “[Creator] Julian [Fellowes] has this take that some people in life are lucky. And some people aren’t. And Edith is definitely one of those unlucky people. I love the Gregson and Edith relationship because he’s so different from any of the other men in Downton. He’s kind of a working, modern man. A self-made man. And exists in a different universe in London. Their relationship is interesting and I think different.” Producer Gareth Neame added: “I think what we can say is it is a very different season for Edith this year. Really different stories. Very exciting.”
But, Edith's career and relationship with her editor will become more "complicated."
In response to questions about Edith's future, Carmichael remarked, “She is still involved with her editor and it is a lot more complicated than that, which I’ll just have to let you see without giving too much away." She also added, "She’s still sort of turning in some articles and we know that she’s been writing about the cause of the soldier, but it’s the kind of modern woman thing. I like to think of her as the Carrie Bradshaw of the 20s.”
There will be a 5th season, hopefully without any more major cast departures.
“What’s wonderful about the show is that it’s opened doors for all of us,” said Dockery. “As far as we know we’re all doing series five next year, and beyond that we really don’t know. That’s in the hands of Julian and our producers so we’ll see. So long as the core cast remain…I think if other actors start leaving that would be a worry.”
The departure of Dan Stevens will open up a lot of new material.
Michelle Dockery talked about her thoughts on the loss of Matthew Crawley. “My first reaction was, ‘Oh, crap. What is going to happen?’ Because I thought, ‘Where can this story go now?’ We spent all this time on this will-they-or-won’t they relationships and then suddenly it was coming to an end. So initially I was concerned.” She quickly added, "But as much as it was sad to see Dan go, same as it was sad to see Jessica go, it opens it up for Julian to write a new chapter.”
Widowed Mary won't be hooking up with her widowed brother-in-law.
“They are very much friends. And he is her brother-in-law still. I think they become close because of what they’ve both been through, having lost a partner. And also Mary becomes far more involved in the running of the estate with Tom, so we do have a lot of scenes together,” said Dockery. “But romantically, I don’t think it’s going anywhere. I hope not.”
Daisy has grown up, but only a bit.
When asked about Daisy's evolution, actress Sophie McShera responded, “Someone asked me how old she was when we began and how old she is now. And that couldn’t work out…she must have been about 10 when we started.” McShera added, “She’s had such a journey and even during her terrible teens, you know that bratty teenage stage which she’s still in a bit. She’s being a bit of a jealous girl with Ivy and everything. She’s had an amazing journey. I’ve really loved it. I like that we get such a long time because you can grow up on screen, which is always exciting.”
Thomas is due for some drama.
Actor Rob James-Collier wasn’t present to talk about Thomas Barrow, but Neame gave us a few hints about the insensitive valet's future. “He is a complete outsider. Of course it’s going to be a complex world for him going forward. I’ve heard rumors that O’Brien may be heading for the hills. There’s going to be a bit of a shakeup to what happens to his story.” He added: “He’s always going to have that core thing of wanting to be in control, wanting to find out what’s going on, wanting to make sure he can dictate things, that rivalry with Carson. He remains a very compelling character."
Downton won't go to World War II.
We've watched Downton span a decade, but how far will it progress through modern history? This season picks up in 1922, a full ten years after it started, in the wake of the Titanic disaster, but Gareth Neame doesn't anticipate the show moving into any additional major historical events. "I don't think we'll go on to the Second World War," he said.
Downton Abbey Season 4 is set to premiere on January 5 in the U.S. (but we know that all of you true fans will be illegally streaming it come fall when it airs in the U.K.). Until then, we'll be counting down the days until we can hear Laura Linney tell us "this is Masterpiece Classic."
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In a post-Harry Potter Avatar and Lord of the Rings world the descriptors "sci-fi" and "fantasy" conjure up particular imagery and ideas. The Hunger Games abolishes those expectations rooting its alternate universe in a familiar reality filled with human characters tangible environments and terrifying consequences. Computer graphics are a rarity in writer/director Gary Ross' slow-burn thriller wisely setting aside effects and big action to focus on star Jennifer Lawrence's character's emotional struggle as she embarks on the unthinkable: a 24-person death match on display for the entire nation's viewing pleasure. The final product is a gut-wrenching mature young adult fiction adaptation diffused by occasional meandering but with enough unexpected choices to keep audiences on their toes.
Panem a reconfigured post-apocalyptic America is sectioned off into 12 unique districts and ruled under an iron thumb by the oppressive leaders of The Capitol. To keep the districts producing their specific resources and prevent them from rebelling The Capitol created The Hunger Games an annual competition pitting two 18-or-under "tributes" from each district in a battle to the death. During the ritual tribute "Reaping " teenage Katniss (Lawrence) watches as her 12-year-old sister Primrose is chosen for battle—and quickly jumps to her aid becoming the first District 12 citizen to volunteer for the games. Joined by Peeta (Josh Hutcherson) a meek baker's son and the second tribute Effie the resident designer and Haymitch a former Hunger Games winner-turned-alcoholic-turned-mentor Katniss rides off to The Capitol to train and compete in the 74th Annual Hunger Games.
The greatest triumph of The Hunger Games is Ross' rich realization of the book's many worlds: District 12 is painted as a reminiscent Southern mining town haunting and vibrant; The Capitol is a utopian metropolis obsessed with design and flair; and The Hunger Games battleground is a sprawling forest peppered with Truman Show-esque additions that remind you it's all being controlled by overseers. The small-scale production value adds to the character-first approach and even when the story segues to larger arenas like a tickertape parade in The Capitol's grand Avenue of Tributes hall it's all about Katniss.
For fans the script hits every beat a nearly note-for-note interpretation of author Suzanne Collins' original novel—but those unfamiliar shouldn't worry about missing anything. Ross knows his way around a sharp screenplay (he's the writer of Big Pleasantville and Seabiscuit) and he's comfortable dropping us right into the action. His characters are equally as colorful as Panem Harrelson sticking out as the former tribute enlivened by the chance to coach winners. He's funny he's discreet he's shaded—a quality all the cast members share. As a director Ross employs a distinct often-grating perspective. His shaky cam style emphasizes the reality of the story but in fight scenarios—and even simple establishing shots of District 12's goings-on—the details are lost in motion blur.
But the dread of the scenario is enough to make Hunger Games an engrossing blockbuster. The lead-up to the actual competition is an uncomfortable and biting satire of reality television sports and everything that commands an audience in modern society. Katniss' brooding friend Gale tells her before she departs "What if nobody watched?" speculating that carnage might end if people could turn away. Unfortunately they can't—forcing Katniss and Peeta to become "stars" of the Hunger Games. The duo are pushed to gussy themselves up put on a show and play up their romance for better ratings. Lawrence channels her reserved Academy Award-nominated Winter's Bone character to inhabit Katniss' frustration with the system. She's great at hunting but she doesn't want to kill. She's compassionate and considerate but has no interest in bowing down to the system. She's a leader but she knows full well she's playing The Capitol's game. Even with 23 other contestants vying for the top spot—like American Idol with machetes complete with Ryan Seacrest stand-in Caesar Flickerman (the dazzling Stanley Tucci)—Katniss' greatest hurdle is internal. A brave move for a movie aimed at a young audience.
By the time the actual Games roll around (the movie clocks in at two and a half hours) there's a need to amp up the pace that never comes and The Hunger Games loses footing. Katniss' goal is to avoid the action hiding in trees and caves waiting patiently for the other tributes to off themselves—but the tactic isn't all that thrilling for those watching. Luckily Lawrence Hutcherson and the ensemble of young actors still deliver when they cross paths and particular beats pack all the punch an all-out deathwatch should. PG-13 be damned the film doesn't skimp on the bloodshed even when it comes to killing off children. The Hunger Games bites off a lot for the first film of a franchise and does so bravely and boldly. It may not make it to the end alive but it doesn't go down without a fight.
Last year director Garry Marshall hit upon a devilishly canny approach to the romantic comedy. A more polished refinement of Hal Needham’s experimental Cannonball Run method it called for assembling a gaggle of famous faces from across the demographic spectrum and pairing them with a shallow day-in-the-life narrative packed with gobs of gooey sentiment. A cynical strategy to be sure but one that paid handsome dividends: Valentine’s Day earned over $56 million in its opening weekend surpassing even the rosiest of forecasts. Buoyed by the success Marshall and his screenwriter Katherine Fugate hastily retreated to the bowels of Hades to apply their lucrative formula to another holiday historically steeped in romantic significance and New Year’s Eve was born.
Set in Manhattan on the last day of the year New Year’s Eve crams together a dozen or so canned scenarios into one bloated barely coherent mass of cliches. As before Marshall’s recruited an impressive ensemble of minions to do his unholy bidding including Oscar winners Hilary Swank Halle Berry and Robert De Niro the latter luxuriating in a role that didn’t require him to get out of bed. High School Musical’s Zac Efron is paired up with ‘80s icon Michelle Pfeiffer – giving teenage girls and their fathers something to bond over – while Glee’s Lea Michele meets cute with a pajama-clad Ashton Kutcher. There’s Katherine Heigl in a familiar jilted-fiance role Sarah Jessica Parker as a fretful single mom and Chris “Ludacris” Bridges as the most laid-back cop in New York. Sofia Vergara and Hector Elizondo mine for cheap laughs with thick accents – his fake and hers real – and Jessica Biel and Josh Duhamel deftly mix beauty with blandness. Fans of awful music will delight in the sounds of Jon Bon Jovi straining against type to play a relevant pop musician.
The task of interweaving the various storylines is too great for Marshall and New Year’s Eve bears the distinct scent and stain of an editing-room bloodbath with plot holes so gaping that not even the brightest of celebrity smiles can obscure them. But that’s not the point – it never was. You should know better than to expect logic from a film that portrays 24-year-old Efron and 46-year-old Parker as brother-and-sister without bothering to explain how such an apparent scientific miracle might have come to pass. Marshall wagers that by the time the ball drops and the film’s last melodramatic sequence has ended prior transgressions will be absolved and moviegoers will be content to bask in New Year's Eve's artificial glow. The gambit worked for Valentine's Day; this time he may not be so fortunate.
Enigmatic and deliberate Tinker Tailor Soldier Spy makes no reservations while unraveling its heady spy story for better or worse. The film based on the bestselling novel by John Le Carre is purposefully perplexing effectively mirroring the central character George Smiley's (Gary Oldman) own mind-bending investigation of the British MI6's mole problem. But the slow burn pacing clinical shooting style and air of intrigue only go so far—Tinker Tailor Soldier Spy sports an incredible cast that can't dramatically translate the movie's impenetrable narrative. Almost from the get go the movie collapses under its own weight.
After a botched mission in Hungary that saw his colleague Jim (Mark Strong) gunned down in the streets Smiley and his boss Control (John Hurt) are released from the "Circus" (codename for England's Secret Intelligence Service). But soon after Smiley is brought back on board as an impartial observer tasked to uncover the possible infiltration of the organization. The former agent already dealing with the crippling of his own marriage attempts to sift through the history and current goings on of the Circus narrowing his hunt down to four colleagues: Percy aka "Tinker" (Toby Jones) Bill aka "Tailor" (Colin Firth) Roy aka "Soldier" (Ciaran Hinds) and Toy aka "Poor Man" (David Dencik). Working with Peter (Benedict Cumberbatch) a conflicted younger member of the service and Ricki (Tom Hardy) a rogue agent who has information of his own Smiley slowly uncovers the muddled truth—occasionally breaking in to his own work place and crossing his own friends to do so.
Describing Tinker Tailor Soldier Spy as dense doesn't seem complicated enough. The first hour of the monster mystery moves at a sloth's pace trickling out information like the tedious drips of a leaky faucet. The talent on display is undeniable but the characters Smiley included are so cold that a connection can never be made. TTSS sporadically jumps around from past to present timelines without any indication: a tactic that proves especially confusing when scenes play out in reoccurring locations. It's not until halfway through that the movie decides to kick into high gear Smiley's search for a culprit finally becoming clear enough to thrill. A film that takes its time is one thing but Tinker Tailor Soldier Spy does so without any edge or hook.
What the movie lacks in coherency it makes up for in style and thespian gravitas. Director Tomas Alfredson has assembled some of the finest British performers working today and they turn the script's inaccessible spy jargon into poetry. Firth stands out as the group's suave slimeball a departure from his usual nice guy roles. Hardy assures us he's the next big thing once again as the agency's resident moppet a lover who breaks down after a romantic fling uncovers horrifying truth. Oldman is given the most difficult task of the bunch turning the reserved contemplative Smiley into a real human. He half succeeds—his observational slant in the beginning feels like an extension of the movie's bigger problems but once gets going in the second half of the film he's quite a bit of fun.
Alfredson constructs Tinker Tailor Soldier Spy like a cinematic architect each frame dripping with perfectly kitschy '70s production design and camera angles that make the spine tingle. He creates paranoia through framing similar to the Coppola's terrifying The Conversation but unlike that film TTSS doesn't have the characters or story to match. The movie strives to withhold information and succeeds—too much so. Tinker Tailor Soldier Spy wants us to solve a mystery with George Smiley but it never clues us in to exactly why we should want to.
Coriolanus, the directorial debut of Oscar-nominated thespian and general British bad-ass Ralph Fiennes, has long been completed, but so few have seen his adaptation of the Shakespeare play. With a cast that includes Gerard Butler, Brian Cox, Jessica Chastain and Vanessa Redgrave, the demand to see the film is certainly out there, but there hasn't been a distributor brave or bold enough to carry it. Enter The Weinstein Brothers.
The boys from Queens have stepped up to the plate to bring this seemingly splendid motion picture to the masses, as the company today announced that they'll distribute the movie sometime this year. I personally can't wait to see Fiennes' revisionist take on the classic tale, which centers on a banished hero of Rome allies with a sworn enemy to take his revenge on the city. The wonderful wordsmith John Logan (The Aviator, Sweeney Todd) penned the screenplay, providing yet another reason to get excited about the production. Have a look at a pair of photos from the film below, and read on for the official press release:
New York, NY, February 11, 2011 – The Weinstein Company (TWC) announced today that it has acquired from Icon Entertainment International (IEI) U.S. rights and Pan Asian pay TV rights to CORIOLANUS, the feature directorial debut of Academy Award® nominated actor Ralph Fiennes. A contemporary staging of Shakespeare’s classic play about the titular Roman warrior, CORIOLANUS stars Fiennes, Gerard Butler, Academy Award® winner Vanessa Redgrave, Brian Cox, Jessica Chastain and James Nesbitt. CORIOLANUS will make its world premiere at the Berlin International Film Festival this Monday, February 14. TWC plans a 2011 release. Said TWC Co-Chairman, Harvey Weinstein, “My brother’s and my relationship with Ralph stretches back many years and includes two of our most cherished productions, THE ENGLISH PATIENT and THE READER. He’s a brilliant artist, and we are honored and delighted to partner with him in bringing CORIOLANUS to American moviegoers.” Ralph Fiennes said, “I'm thrilled that Harvey and TWC will distribute CORIOLANUS in the U.S. His response to the film was overwhelmingly passionate. He really embraced it. This has been a long road and I cannot think of a better company to do it in the U.S.” Said IEI Managing Director, Hugo Grumbar, “TWC is the perfect U.S. home for Ralph’s visceral, stunning debut.” The deal was negotiated for TWC by David Glasser, Chief Operating Officer, Michal Steinberg, Senior Vice President Business Affairs, Kelly Carmichael, Senior Vice President Production and Daniel Guando, Vice President Acquisitions; and for IEI by Grumbar and Estelle Overs, Head of Legal and Business Affairs. CORIOLANUS is produced by Ralph Fiennes; Julia Taylor-Stanley for Artemis Films; Gabrielle Tana for Magnolia Mae Films; and Colin Vaines for Synchronistic Inc. It was adapted for the screen by John Logan, (SWEENEY TODD, THE AVIATOR, GLADIATOR). Barry Ackroyd (GREEN ZONE, THE HURT LOCKER, UNITED 93) is the Director of Photography. The film is being distributed in the U.K. by Lionsgate UK. Source: The Weinstein Company