British actor Robert Lindsay has pulled out of work on a U.K. TV drama after just two days on set due to "creative differences". The My Family star had signed up to appear as a detective in the second series of BBC crime drama Line of Duty and flew to Belfast, Northern Ireland to begin filming opposite Spooks star Keeley Hawes.
However, Lindsay exited the project after just two days on set, according to executive producer Simon Heath, who tells Britain's The Sun, "It was a mutual decision. Sometimes you have different views of the part and you agree to disagree.
"Once we made a decision we needed to find someone else. But because of the nature of the show there were other scenes we could film in the meantime."
A spokesperson for the BBC put the decision down to "creative differences".
Mark Bonnar has stepped in to replace Lindsay.
The show was revived in 2010, and starred Keeley Hawes and Ed Stoppard in a new version of the original hit 1970s series about an upper-class family and its servants in early 20th Century London.
However, the show has failed to match the huge ratings figures of period rival Downton Abbey after two series, and BBC bosses have decided not to bring it back for a third run.
The show's writer Heidi Thomas took to her Twitter.com page after the news, writing, "Really touched by all the love and sadness for Upstairs Downstairs. It was made by a tremendous team and I can't praise them enough."
The Inception star heaped praise on the prince before presenting a prize onstage at the Prince's Trust Celebrate Success Awards, which recognise youngsters who have overcome difficulties.
Hardy told reporters on the red carpet, "I got involved with the Prince's Trust because I believe what they do is fantastic.
"I wanted to give back in any way that I could to my community and Great Britain, and I was looking for something to get involved with.
"The Prince's Trust is about helping young people up the line and helping (them) out of situations where they're struggling, and putting them in a place where they're in a much better position to deal with what life throws at them and turn their lives right around. I thought that was something that I'd like to be a part of, and just asked if I could help out in any way."
Later in the evening, Hardy shook hands with Prince Charles and they chatted about their charity work.
Former Spice Girl Emma Bunton, an ambassador for the trust, also attended the event, as did British actress Keeley Hawes and singer Emeli Sande.
The Death at a Funeral star lost $10,500 (£7,000) after an ex-employee siphoned it off to spend in U.K. supermarket chain Tesco.
The funds were taken from one of Hawes' rarely-used savings accounts - and she admits she might not have realised the money was missing if authorities hadn't alerted her to the crime.
She explains, "It was very clever. I was actually quite impressed when it all came out, for managing to spend £7,000 in Tesco. I mean, how do you do that?"
Death is supposed to bring a family closer together. But the passing of Daniel and Robert’s father is nothing more than an excuse for these two distinctly different brothers to renew their sibling rivalry. The painfully tedious Daniel (Matthew Macfadyen) is plagued with doubts about his ability to write a fitting eulogy to his father. It doesn’t help that everyone wonders aloud within earshot why his younger brother Robert (Rupert Graves)—a critically acclaimed novelist and renowned ladies man now living in New York—is penning the eulogy. Daniel’s also concerned whether Robert whom he assumes has dollars coming out of his ears will renege on his promise to split the cost of funeral. Daniel needs the money for a down payment on a new house; Robert can’t spare the cash because his living beyond his means has finally caught up with him. Then there’s their mother Sandra (Jane Asher) who takes Daniel for granted while lavishing all of her affections on Robert. And while Robert immediately becomes the center of attention Daniel finds himself dealing with a situation that distracts him from the task of writing his father’s eulogy. His father had a secret double life which a mysterious funeral crasher (Peter Dinklage) threatens to expose if he’s not paid handsomely to keep quiet. And this blackmail attempt quickly leads to the apparent death at the funeral. Too bad director Frank Oz finds himself distracted tying up many other loose ends—including one woman’s efforts to watch over her drip of a fiancé who inadvertently ingested LSD while fending off the advances of her oily ex-boyfriend—to fully exploit the comic potential of Dinklage’s extortion plan. Guess dealing with so many big names—and even bigger egos—on The Stepford Wives took its toll on Frank Oz. How else to explain Death at a Funeral’s relatively star-free ensemble cast? Unfortunately Oz makes a huge blunder by placing the funeral arrangements on the broad shoulders of Pride & Prejudice’s Matthew Macfadyen. After trying in vain to make us forget Colin Firth’ Mr. Darcy Macfadyen treats Death at a Funeral as though it’s based on another Jane Austen literary classic. Yes Daniel’s as stiff as his father’s corpse but the terribly serious Macfadyen does nothing to make him likeable or amusing. Rupert Graves is somewhat charismatic as the prodigal son but he leaves with you the impression that his handsome rogue was written with Hugh Grant in mind. Peter Dinklage once again cashes in on The Station Agent with a performance hammier than the one he gives in Underdog. He’s a good actor but he obviously needs a director who can rein him in. Serenity’s Alan Tudyk—sporting a passable English accent—also shows no restraint. But thank heavens for that. His over-the-top theatrics—which includes prancing around on a roof dressed in just his birthday suit—generates most of the few laughs to be found in Death at a Funeral. The others come from veteran British actor Peter Vaughn who’s delightfully cranky as Daniel and Robert’s foulmouthed uncle. The ladies—especially Macfadyen’s real-life wife Keeley Hawes—are required do nothing more than stand by their men. Or in Daisy Donovan’s case stand in front of a butt-naked Tudyk. Are Frank Oz’s best years behind him? Death at a Funeral and The Stepford Wives suggest the possibility. At least The Stepford Wives had some pep to it but Funeral is utterly lifeless. One of the problems is Dean Craig’s unfocused script which incorporates an overwhelming number of eccentric characters who find themselves in one predicament after another. But you can still detect a wicked streak in Craig’s script. Too bad it’s blunted by Frank Oz’s surprisingly reserved and gloomy approach to the proceedings at hand. The action is almost completely confined to one home ensuring that Funeral feels about as stagy as one of those groan-inducing British farces by West End playwright Ray Cooney. Funeral needs a director who understands and appreciates the absurdity of the situation and possesses the ability to keep his actors on a tight leash rather than letting them spin completely out of control. Once upon a time Frank Oz was such a director. But now Frank Oz doesn’t seem to know what he wants. Worse things never get as deliciously nasty as they could be--and that’s the kiss of death for a comedy that aspires to be blacker than the attire worn by the bereaved. Let’s hope the Muppet man-turned-director has another Bowfinger or Dirty Rotten Scoundrels left in him.