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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Much as I enjoyed X-Men: First Class Fox’s exuberant prequel/reboot (preboot?) of the fabled Marvel Comics series I was a bit disoriented by its opening sequence in which a Mengele-esque Nazi scientist played by Kevin Bacon attempts to coax a terrified young Erik Lensherr a death camp inmate into demonstrating his newly discovered mutant powers. As the interaction transpires the camera does something odd: It remains static holding its gaze on the characters’ faces affording us the rare treat of being able to scrutinize their expressions without the distraction of rapid-fire cuts or circling dollies or palsy-cams or any of the other myriad tools preferred by Hollywood’s increasingly ADD-addled action directors.
Restraint? In a comic book film? Strange but true. Even stranger is that it comes courtesy of director Matthew Vaughn whose previous comic book adaptation Kick-Ass was so over-adrenalized it should have come with a complimentary shot of insulin. Here Vaughn shows greater confidence in his material his actors and most admirably his audience letting the story hold sway unhindered by gimmicky enhancements. First Class is hardly a throwback mind you – it features all of CGI accoutrements one expects from a proper summer blockbuster – but it has a stylish retro sensibility to it that is as refreshing as it is unexpected.
In fact were it not for all of its superhuman characters one might not be able to tell that it’s based on a comic book. Whilst devising an approach suitable for his film’s early ‘60s Cold War setting Vaughn a Brit clearly found inspiration in his country’s most enduring film franchise. First Class bears far more in common with The Spy Who Loved Me than with any of the previous X-Men installments or any other comic book flicks for that matter and is all the better because of it.
Playing Vaughn’s Stromberg is Bacon whose character has graduated from death camp atrocitier to swaggering supervillain in the intervening years since the war’s end. Ensconced in his underwater lair aboard a well-appointed submarine Sebastian Shaw as he has re-christened himself (only in the comic book world does a fugitive Nazi war criminal choose an alias with the initials “S.S.”) is secretly conspiring to ignite a fatal MAD-provoking nuclear conflict between the United States and the Soviet Union.
No Bond-inspired film would be complete without a dose of benign sexism embodied ably by Mad Men’s January Jones in the role of Shaw’s right-hand woman Emma Frost. A mutant who can read minds and manifest diamond-plated armor Emma’s greatest gift the filmmakers make abundantly clear is her superhuman rack which when activated turns her into a walking honey trap no soldier or government official can resist. (It’s also the movie's most potent marketing weapon.)
Even our hero Charles Xavier (James McAvoy) has got a bit of 007’s DNA in him. Cheeky rakish given to funneling beers and hitting on Oxford co-eds McAvoy’s Xavier is a far cry from Patrick Stewart’s stuffy avuncular version of the character. Though his mutant telepathic abilities are highly developed his human intuition isn’t as he scarcely notices the insecurity metastasizing in his adopted sister Raven (Jennifer Lawrence) a blue-skinned shape-shifter in desperate need of validation.
She eventually finds that validation in Lensherr (played as an adult by Michael Fassbender) whose cynical view of humanity bred by prolonged exposure to its more sinister aspects places him at odds with Xavier’s vision of peaceful co-existence between mutants and their unenhanced counterparts. Nevertheless Xavier and Lensherr become fast friends and they agree to collaborate in the recruitment and training of a clandestine force of superhumans capable of stopping Shaw. Shortly thereafter the first-ever mutant all-star team is born.
Anyone vaguely familiar with the comic book knows how this relationship turns out. But Vaughn’s fresh approach to the characters and their underlying motivations helps ameliorate some of the predictability of film’s plot and its inevitable resolution. Like Batman Begins First Class is bound to pursue a pre-determined outcome but it makes brief detours here and there that refresh the franchise without jeopardizing its sacred canon. Vaughn takes great care to appease the film's fanboy base without alienating the broader audience. Though I couldn’t care a whit about Torso-Beam Boy Winged Stripper Girl or a handful of other extraneous characters devotees of the comics will no doubt rejoice in the screen time allotted to their respective backstories.
There are a handful of moments when Vaughn’s ambitions exceed his effects budget but for the most part he proves a dexterous purveyor of popcorn theatrics. Some of the best bits including a spectacular sequence in which an anchor tears through the deck of a luxury yacht have been spoiled by the film’s trailers but they still impress when writ large on the big screen. And there are a few surprises in First Class that remain thankfully unspoiled. Better see it quick before the next ad campaign debuts.
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.