Sir Michael Gambon and Melanie Laurent are among the stars who have stripped off to show their support for a sustainable fishing campaign. The Harry Potter star sheds his shirt and holds a blowfish to promote the Fishlove project, which aims to raise awareness of over-fishing in Europe's seas.
Laurent, who is pregnant with her first child, poses topless with only a crab to preserve her modesty, while famous faces including actors Arthur Darvill and Simon Callow, theatre director Steven Berkoff and actress Zoe Tapper also take part in the campaign.
Inglourious Basterds star Laurent says, "The fishing crisis is quite complex and difficult for people to understand, but this was so simple. It said everything that anyone needed to know about the fishing crisis: if we don't start protecting fish, they will die out."
The funny thing about Downton Abbey is that it seems to be like every other one of PBS' British imports: a stodgy costume drama that hews closely to a formula that hasn't changed since Charles Dickens was in short pants. While that may be true, there is something magical about the drama that has captivated audiences in the UK and made it PBS' only hit in, well, decades. But can they replicate the magic again? Their certainly hoping to, and this time the Brits' eyes seem set on America. Welcome to Mr. Selfridge.
The newest bet to keep themselves off of government handouts and keep their audience sending away checks to get quality programming and an endless supply of tote bags is this Jeremy Piven drama based on an actual historical figure. Just like Downton, it is imported from ITV. Unlike the previous show, this one seems configured to take the colonies by storm. First of all it stars an America, Jeremy Piven, the sushi-sick actor who we still have to claim as our own no matter how much we want to disavow him (and all those Emmys he won for Entourage), and he's playing an America. Next, it follows the Downton formula so closely that it could be a conjoined twin. Or maybe an America cousin.
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The comparisons start off right from the beginning, with the title sequence, a plinkety, catchy and immediately recognizable theme song plays over the actors names as we see flashes of life in London in 1909. The title character is a huckster from Chicago who comes across the sea to create the greatest department store in the world. Not only do we deal with him, his family, and the high-class London set that he runs with hoping to cultivate investors and customers from the upper echelons, we also get the stories of the shop girls, clerks (which the British still pronounce with a long A), and other functionaries in the store. It's the same upstairs/downstairs effect as another show of which we've grown very fond and has a penchant for killing off its nobles. This one was written by Andrew Davies, who masterminded the critically adored and popular adaptations of Pride and Prejudice, Vanity Fair, and House of Cards for British TV.
So, does it live up to its older brother? Well, yes and no. It only has about 7 million viewers in its home country, which is less than the 10.7 million who watched the Season 3 finale of the show and the 11.5 million people that PBS says watched Season 3 of Downton on our shores. Still even half that would be quite a feat for the little channel to pull off.
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As for the quality, it just doesn't quite have the same spark. Jeremy Piven is, well, Jeremy Piven, a nimble actor who is nearly impossible to like. As a snake oil salesman with a noble clientele, he has a bit of charm, but there is nothing behind the character. We have no motivation for why he wants to succeed or what the stakes are if he doesn't, other than the obvious. (Also knowing the real Selfridge ended up peniless on the street doesn't bode well for his character.) The female characters are more well drawn and interesting, especially accessories salesgirl Miss Towler (Aisling Loftus), ingenue and spokesmodel Ellen Love (Zoe Tapper), and sultry noblewoman Lady Mae (Katherine Kelley, who has already said she won't be back for Season 2, which ITV has already ordered). Sure the show (and the store) may be named after the man they're all chasing, but they're the ones who are shoplifting it.
Still the American aspect of the show is what is the most interesting. Here is the man who turned shopping from a drudgery into entertainment, and of course it took someone from the good old U.S. of A. to create conspicuous consumption. But is this what our countrymen want to watch necessarily? Well the ones who are already fans of PBS and costume dramas will surely be amused, but for the rest of it, the show is a bit like one of Selfridge's blustering speeches: lots of flash with little sentiment behind it.
Mr. Selfridge debuts with a two-hour episode on PBS on Sunday, March 31. Check your local listings or PBS.org.
Follow Brian Moylan on Twitter @BrianJMoylan
[Photo Credit: PBS]
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Based on James Bradley’s bestselling book of the same name Flags of Our Fathers is Saving Private Ryan meets Stand By Me. Buried in the collective national conscious the Associated Press photo of six American soldiers raising a flag of victory over Iwo Jima is the basis of the film. Bradley’s father Doc Bradley (played by Ryan Phillippe in the film) who was one of the flag-raising soldiers never fully shared the details of the experience with his son but Flags meditates on some of those unanswered questions. The Iwo Jima conflict fortified by crags of Japanese snipers lays siege to thousands of messy casualties and the tattered flag--immediately seized by U.S. government officials to rallying and recruit soldiers--emerges as a symbol for American pride while the five Marines and one corpsman who raised it are basically forgotten. Heavy dramatics are saved for Adam Beach (Windtalkers) as Ira Hayes the Native American Marine who degenerates into madness. He represents the bittersweet languor of lost ambition and broken spirits. Director Clint Eastwood is actually the film’s best actor even though he isn’t in the movie. We can see his simmering restraint in the Flags’ acting ensemble as he guides his actors into finely tuned performances. From Beach to Phillippe to Paul Walker (2 Fast 2 Furious) Eastwood gets the most out of his young cast by playing them down. Similar to real-life soldiers allegiance to the team is the actors’ goal creating authenticity. Intense stress requires the actors to have genuine instincts. But by intentionally constructing a more lived-in feel there is consequently no flashy or Oscar-worthy stand-outs. To his credit Walker who usually goes for the brain-dead million dollar paychecks tries something different here while in his pivotal role Beach plays the juicy role as best as he can. Still Beach’s breakdown scene is quite honestly one-dimensional and doesn’t have the same dramatic impact as say Born on the Fourth of July’s Tom Cruise. Of Flags’ likely award recognitions the acting seems to have the least chance of reaching the winner’s circle. Vintage Eastwood is a lion in winter directing as though there’s no tomorrow. With Flags he interweaves numerous themes to create a war movie which despite its cliché-filled genre is constantly real in tone. The film is historically credible from the American perspective only but Eastwood has also directed a companion piece Letters from Iwo Jima about the Japanese side which hits theaters next year. Complex themes of celebrity worship also give the film a post-modern jaded Iraq War-era vision. Then there are the visuals. Eastwood incorporates breathtaking CGI shots of the fleet of warships reminiscent of Troy on top of an old-style photographic framing black and white and green all washed-out. It’s like looking at a scrapbook of old photos on a high-definition CD-ROM. Naturalistic scenes--sprawling in their panoramic framing with cactuses and hills of black sand--remind us we’re watching one of America’s cinematic icons at work. Flags could be Eastwood’s third Best Director Oscar--and will likely net him $100 million-plus at the box office.