From a beguiling love interest to a problematic professional fighter, some of TV's quirkiest favorites and most anticipated new shows are adding new roles. Check out who is joining the casts of Supernatural, Netflix's House of Cards, and more in our casting roundup below:
Weeds: Daniele Watts, whose previous credits include Cold Case and Criminal Minds and who has a small role in the upcoming Quentin Tarantino film Django Unchained, joins the cast as Angela Mullen, the first recurring love interest for Shane (Alexander Gould). Angela is a fellow police recruit whose quirky allure catches Shane's eye at the academy.
Supernatural: Ty Olsson has landed a recurring role on the eighth season of The CW's Supernatural as Benny, a tall, dark, and handsome stranger. While best known as Sam on Men in Trees, Olsson is no stranger to the fantasy/sci-fi mystery genre, having appeared on Once Upon a Time, Battlestar Gallactica and in The Twilight Saga: Breaking Dawn. The CW is keeping a tight lid on Olsson's Supernatural storyline, but we do know that he is a survivor with an ingrained sense of honor and a tell-it-like-it-is blunt manner.
Banshee: Relative newcomer Cedric Stewart (Tyler Perry's For Better or Worse) has been added to the cast of Alan Ball's new drama Banshee. Banshee's action revolves around Lucas Hood (played by Anthony Starr), a criminal who assumes the identity of the sheriff of small town Banshee, PA. Hood of course continues to be haunted by his law-breaking past as gangsters he has crossed hunt him down. Stewart is slated to play Damien Sanchez, a pro MMA fighter who gets into some trouble when he travels to Banshee for his big fight.
House of Cards: Sebastian Arcelus, who is best known for his work on Broadway in shows such as Wicked and Jersey Boys, joins the cast of the David Fincher-produced Netflix original series House of Cards, set to premiere next year. Kevin Spacey stars in this political drama based on Michael Dobbs' novel of the same name as Rep. Frank Underwood, the House or Representatives Majority Whip set on taking over the Presidency. Arceleus' role has not yet been released.
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An Alberta stunt coordinator and horse wrangler employed during the
shooting of Texas Rangers, due to open on Friday, has told the
Calgary Sun that he counted 20 "horse-related accidents" that
occurred during the production.
Describing the teen western as
"unreleasable" (after being shelved for nearly two years, it is finally
opening in 17 theaters) the horseman, John Scott, said: "The film was
plagued with problems from day one and those problems produced an
atmosphere of carelessness" on the part of riders.
However, one of the
producers of the Miramax film, Frank Q. Dobbs, told the Sun that
Scott's criticism appears to "put the blame on the Alberta wranglers and
stunt men and that is grossly unfair. ...There are always minor
incidents whenever you are using horses on a film." Dobbs acknowledged
that Texas Rangers "is definitely not the best western, but its
faults have nothing to do with the competence or dedication of Alberta
filmmakers, wranglers and stunt people. It is unconscionable and
self-serving for John Scott to suggest differently."
Given that The Score's motto seems to have been "been there stole that " it's hard to imagine why it would interest the likes of De Niro Norton and Brando. Perhaps the determining factor was the prospect of working with one another. Couldn't be the rather pedestrian and obvious story and script credited to Kario Salem Lem Dobbs Scott Marshall Smith and Daniel E. Taylor which is a basic rehashing of everything from Sexy Beast to The Thomas Crown Affair. See De Niro's safecracker wants to retire and live happily ever after with main squeeze Angela Bassett. Lo and behold longtime partner-in-crime Brando offers De Niro the chance of a lifetime: steal a 16th-century French scepter from a Montreal customs house and live like a king. The catch? The inside man is the brash disrespectful and untrustworthy Norton. De Niro hates risks. Working with Norton represents a risk. Risks land you in prison he tells Norton. So naturally De Niro takes the risk we expect him to take. Too bad the risks offer little in the way of intrigue or surprise.
De Niro's cool and calm but there's little effort to make his thief anything other than an old pro out to enjoy his ill-gotten gains. Norton has the flashier role. He poses as a mildly retarded janitor to infiltrate the customs house. Cue endless scenes of Norton's Rain Man cocking his head asking the same dumb question and smiling at jokes made at his expense. Outside of the customs house he exudes cockiness impudence and a willingness to underestimate his partners. A coherent Brando still proves a distraction by constantly scratching his jutting jaw whenever he parks himself on the nearest stool. The prospect of seeing the men who won Academy Awards for portraying Don Corleone is tantalizing but the lengthy conversations between De Niro and Brando seem listless and devoid of weight. The same applies to the scenes--a disappointing two--between De Niro Norton and Brando.
The Score marks a distinct change of pace for director Frank Oz. One of the creative forces behind The Muppets Oz's post-Miss Piggy career includes such frenetic farces as Little Shop of Horrors and Bowfinger. Almost as a complete rejection of his past achievements Oz keeps The Score as po-faced and static as possible. There's no time for any humor when there's a safe to be cracked. Oz keeps the cameras trained on his cast seemingly afaird to move it in case he misses a gesture borne out of genius. Bearing this in mind everything else seems secondary. Which is how the heist feels. De Niro breaks in. We knew he would. He manages to open the safe. We knew he would. There's never a moment that doesn't feel manufactured. Even the last-minute twist feels like the comeuppance we've been expecting since De Niro first gave Norton a look of monumental disdain.