The 16 year old, who stars as troubled Ben Mitchell in popular BBC soap opera EastEnders, was questioned by detectives in Wimbledon, south London on Thursday (24May12), reports Britain's The Sun.
A spokesperson for Scotland Yard tells the publication, "A 16-year-old boy was arrested on May 24 in connection with an allegation of sexual assault. He has been bailed to return to a North London police station on July 31."
A BBC spokesman states, "We are aware of the allegations."
No further details about the alleged incident were available as WENN went to press.
In This Means War – a stylish action/rom-com hybrid from director McG – Tom Hardy (The Dark Knight Rises) and Chris Pine (Star Trek) star as CIA operatives whose close friendship is strained by the fires of romantic rivalry. Best pals FDR (Pine) and Tuck (Hardy) are equally accomplished at the spy game but their fortunes diverge dramatically in the dating realm: FDR (so nicknamed for his obvious resemblance to our 32nd president) is a smooth-talking player with an endless string of conquests while Tuck is a straight-laced introvert whose love life has stalled since his divorce. Enter Lauren (Reese Witherspoon) a pretty plucky consumer-products evaluator who piques both their interests in separate unrelated encounters. Tuck meets her via an online-dating site FDR at a video-rental store. (That Lauren is tech-savvy enough to date online but still rents movies in video stores is either a testament to her fascinating mix of contradictions or more likely an example of lazy screenwriting.)
When Tuck and FDR realize they’re pursuing the same girl it sparks their respective competitive natures and they decide to make a friendly game of it. But what begins as a good-natured rivalry swiftly devolves into romantic bloodsport with both men using the vast array of espionage tools at their disposal – from digital surveillance to poison darts – to gain an edge in the battle for Lauren’s affections. If her constitutional rights happen to be violated repeatedly in the process then so be it.
Lauren for her part remains oblivious to the clandestine machinations of her dueling suitors and happily basks in the sudden attention from two gorgeous men. Herein we find the Reese Witherspoon Dilemma: While certainly desirable Lauren is far from the irresistible Helen of Troy type that would inspire the likes of Tuck and FDR to risk their friendship their careers and potential incarceration for. At several points in This Means War I found myself wondering if there were no other peppy blondes in Los Angeles (where the film is primarily set) for these men to pursue. Then again this is a film that wishes us to believe that Tom Hardy would have trouble finding a date so perhaps plausibility is not its strong point.
When Lauren needs advice she looks to her boozy foul-mouthed best friend Trish (Chelsea Handler). Essentially an extension of Handler’s talk-show persona – an acquired taste if there ever was one – Trish’s dialogue consists almost exclusively of filthy one-liners delivered in rapid-fire succession. Handler does have some choice lines – indeed they’re practically the centerpiece of This Means War’s ad campaign – but the film derives the bulk of its humor from the outrageous lengths Tuck and FDR go to sabotage each others’ efforts a raucous game of spy-versus-spy that carries the film long after Handler’s shtick has grown stale.
Business occasionally intrudes upon matters in the guise of Heinrich (Til Schweiger) a Teutonic arms dealer bent on revenge for the death of his brother. The subplot is largely an afterthought existing primarily as a means to provide third-act fireworks – and to allow McGenius an outlet for his ADD-inspired aesthetic proclivities. The film’s action scenes are edited in such a manic quick-cut fashion that they become almost laughably incoherent. In fairness to McG he does stage a rather marvelous sequence in the middle of the film in which Tuck and FDR surreptitiously skulk about Lauren's apartment unaware of each other's presence carefully avoiding detection by Lauren who grooves absentmindedly to Montel Jordan's "This Is How We Do It." The whole scene unfolds in one continuous take – or is at least craftily constructed to appear as such – captured by one very agile steadicam operator.
Whatever his flaws as a director McG is at least smart enough to know how much a witty script and appealing leads can compensate for a film’s structural and logical deficiencies. He proved as much with Charlie’s Angels a film that enjoys a permanent spot on many a critic’s Guilty Pleasures list and does so again with This Means War. The film coasts on the chemistry of its three co-stars and only runs into trouble when the time comes to resolve its romantic competition which by the end has driven its male protagonists to engage in all manner of underhanded and duplicitous activities. This Means War being a commercial film – and likely an expensive one at that – Witherspoon's heroine is mandated to make a choice and McG all but sidesteps the whole thorny matter of Tuck and FDR’s unwavering dishonesty not to mention their craven disregard for her privacy. (They regularly eavesdrop on her activities.) For all their obvious charms the truth is that neither deserves Lauren – or anything other than a lengthy jail sentence for that matter.
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The son of a professional soccer player, Hill studied at Oxford University and became a teacher, while quietly writing a series of popular books.
His first, A Clubbable Woman, was published in 1970.
A decade later he quit teaching to write full time and has over 40 books to his name, including the Dalziel and Pascoe crime novels, which were adapted into a TV series featuring Warren Clarke and Colin Buchanan in the mid-1990s.
In 1995, Hill won the Crime Writers' Association Cartier Diamond Dagger for his Lifetime Contribution to Crime Writing.
Just in time for the release of The Increasingly Poor Decisions of Todd Margaret: Series One on DVD and the fast approaching premiere of the show's second season on IFC, I was lucky enough to pick the brain of...well, the brains of the operation: David Cross. He stars as Todd Margaret, all around bumbling screw-up who is sent to London to sell a terrible energy drink with the help of only one employee. He's got no experience, and though he continues to insist he spent time in England as a child, manages to offend British culture in every unimaginable way. Obviously, this invites some comparison with his past work - as does the fact that Will Arnett is once again sharing the screen with Cross - so we managed to sneak in a few Arrested Development questions while on our quest to learn more about the confounding Todd Margaret universe.
We’re all really big fans of you around here. We loved last season of Todd Margaret. He’s sort of this tragically incompetent character. Where does that inspiration come from? He’s so incredibly full of mishaps.
A number of people have asked me that. He’s not really inspired by any person in particular. But with this show, as opposed to anything else I’ve done so far, the story came first. Before I even developed the character, or wrote for the character and he became fleshed out, the whole thing started with this story. The story was necessitated by the idea—I was approached by this company RDF about doing a show that would be written and produced in the UK, and aired in the UK, but also to potentially go back to the States. That informed the story. So the story came first, I guess. He’s not inspired by any one particular person, but one aspect of Todd, which always makes me uncomfortable—it is inspired by many people I know, but one guy in particular (he represents so many people)—the kind of guy who mistakes female attentiveness or kindness or hospitality for a sexual invitation. And that’s always made me uncomfortable, and that’s based on a couple people I know. One guy in particular who just literally thinks a woman glancing at him and holding a door open for him: ‘Oh, she wants to fuck me!’
Well that’s how it usually works, right?
As I understand it, no!
Yeah, not so much. He’s incompetent in his own way, but I think, for a lot of us fans, it’s hard to not make comparisons between another beloved character of yours: obviously, Tobias from Arrested Development. But I’ve always sort of wondered, if you were to pit Todd and Tobias against each other in an incompetency competition, who would come out on top? Or on the bottom, I guess?
[Laughs] I’ve always thought that Tobias was a bottom. But that’s interesting. To get those two guys together?…Wow, my mind is reeling. I love this! I love that idea! Those two guys being in the same room and sort of forced to be friends. I think Tobias would kind of suss Todd out as somebody he could manipulate. And then he would manipulate, but Tobias is so incompetent, he would get it all wrong.
I think we need a Funny or Die video going.
Yeah. There you go.
Of course, this is also the third TV show where we’ve seen you paired up with Will Arnett, which is always something I’m a personal fan of.
It’s actually the fourth.
Because there was an animated show that Will and I did together.
Of course. That’s even more of a reason for my question. Do you actively seek out opportunities to work with Will?
Well, I actively seek out opportunities to employ Will, because he owes a substantial amount of money. I can try to garnish his wages on other things, but then there’s all this legal crap you have to go through. So the easiest thing to do is just write something for him, give him the job, and then take his money when he’s not working.
It seems like the most seamless way.
It’s smart, believe me. I’m certainly not making a lot of money from his GNC voiceover commercials.
The show was made for the UK in the first place, but Todd is kind of…it does some pretty offensive things to British culture. When you were filming—obviously you film in the UK—was there anything in particular that you were maybe a little wary of shooting, or a little worried about shooting?
Nothing that I was worried about, but there were two specific things that everyone around me—the producers and people working on the show were…I don’t want to say “wary,” but it raised issues. One was me walking down the embankment across from Parliament, the houses of Parliament—the embankment on the River Thames. And I had the BNP shirt: the British Nationalist Party, which, you know, in the States, doesn’t mean anything. But there, it’s akin to walking with like a Nazi or a KKK-type shirt. Walking down the street, I’m just sort of whistling. That was a pickup shot. We were waiting for the sun to go down for this one scene, so we found ourselves with an extra forty-five minutes. So I was like, “Let’s go grab the camera and just shoot me walking down and see if anybody reacts to it.” With flowers, walking to his quote-date-unquote with Alice. And that was one of things where the guys were like, “Just take the shirt off! Come on, David! It’s not funny!” And the other thing…we just don’t have anything that is comparable in the States to their Day of Remembrance. Episode 5, when they’re laying the wreath at the cenotaph. That is a huge deal in the UK. We just don’t have anything that is remotely comparable in the States, where there is literally two minutes of silence, the entire country stops, and it is the single most solemn, reverential moment in the British calendar. So when we did that scene, that was—again, not that anybody was scared, or anything—but it was like, “All right, we have to handle this right, because we’re going to have a lot of extras, a lot of people that are from regiments, that are real guys from regiments. We just have to make sure that they know that we’re still being respectful. Which, of course, we weren’t, so we had to lie. But even if I could tell you that, and you could watch it…still, you have no idea what a big deal that was to shoot that scene.
I can imagine. Was there anything that you were shocked that actually made it to TV? Was that it?
Well, no. I mean, it is cable. There were a couple of things that Brent Wilts says. And believe me, we loved writing them. That is a gift for a writer to write for that character. And Shaun Pye, the sole co-writer on the first series—and then it was Shaun Pye and Mark Chappell doing the second series with me—there were things that Wilts would say that would crack us up, and we would laugh for five minutes hard, that are so offensive and disgusting. I can’t say that I am surprised that they made it onto the air. I’m just thankful that there is a loving and just god that would allow those things to make it to the air.
Are there any pieces of that that didn’t make it to air that we might find on the DVD?
Yeah, there’s a bunch of extra—I mean tons and tons and tons of bonus stuff. We cast every single person with an eye towards their ability to improvise. Literally, everybody in that show. There is definitely stuff that Will and Spike [Jonze] riffed. Sara Pascoe, who plays Pam, who could not be more unlikely her character—I mean, she is the exact opposite: she doesn’t swear in real life, she’s very quiet, cerebral—and the stuff that she riffed that didn’t make it in, that’s in the bonus stuff on the DVD, is also just jaw-droppingly like…“Wow. Where did that come from?”
Well, I can’t wait to see that.
Yeah, there’s some good stuff on there.
And I have to ask about Jon Hamm, of course, being in Series 2. From the clip that’s floating around on the Internet.
He’s Dave Mountford’s personal valet. A butler, as it were. Dave’s personal assistant.
Is he just in one episode?
No, he’s throughout most of it. I think he’s in four episodes.
That’ll be fun.
And I always kind of wondered where Alice’s obsession with gastro-molecular cuisine came from. That’s a really interesting part of the show.
That was necessitated basically by [the fact that Alice] was the only character that really changed from writing the pilot to actually what you see on air. That was because of Sharon Horgan, the actress. We had Alice written more as an ingénue, not as savvy, when we cast Sharon. And Sharon came to my attention—she’s very well respected over there. I had never heard of her or seen her work. Back when we were casting this pilot for Channel 4 in the UK, there were a handful of people that Channel 4 was very interested in. They were kind of pushing these people. And I saw Sharon immediately, just physically, and I was like, “Oh no, she’s not right. She’s older, and she looks harder and smarter. She would never go for Todd.” And then I saw Pulling, which is a show that Sharon co-wrote, produced and created. And it’s just nothing short of brilliant. It is a fucking phenomenal show. And I saw that, and I was like, “Oh my God, she’s amazing!” She was so gifted. I was like, “Yeah, let’s get her in.” So I met with her. And then Shaun, the other writer, and I—Shaun knows Sharon—we were like, “We have to completely rewrite this character.” Because we want to work with Sharon and use her. So we had to come up with a thing that would make the actress Sharon Horgan want to do Todd Margaret, and not just be the ingénue spouting expository dialogue. And so, we had these other ideas that just didn’t really pan out. And then, I can’t remember how we came up with that. It just seems like a very fun thing to make fun of. Dumb, stupid molecular food shit. And when we sort of stumbled upon that idea, we just embraced it. “Yes. This makes sense.” Now we have a reason for her to be there, to move beyond this café, what her real interests are, and something fun for Sharon to do. So that’s where that came in. And really, that’s the only thing that was necessitated by the casting.
I just have one last question. Do you actually play Snooker?
That joke came about, that run, because I had an inability in the writer’s room—I would always say “Snooker.” And they’d go, “Dave, it’s snoo-ker.” I can’t even say it now, in this interview! I have a hang-up problem with it. But no, I’ve never played it. I don’t understand it. I don’t get it. I don’t know what’s happening, why everyone is cheering when a ball goes in the thing. I don’t understand. No, I do not play it. Play a mean game of darts, though!
Todd Margaret: Series One hits shelves Dec. 27 and the show returns to IFC on Jan. 6 at 10:30 p.m. ET/PT.
The former child actor passed away at his home in Lincolnshire, England on 6 April (10) after losing his battle with pancreatitis.
Born James Aubrey Tregidgo in Austria in 1947, the Brit scored his first role when he was just a schoolboy, handpicked by director Peter Brook to portray Ralph in the classic 1963 movie adaptation.
He went on to carve out a career on the stage and in British television, later landing a part in 1970s U.K. series Bouquet of Barbed Wire and its spin off, Another Bouquet, while his other film credits include 1983's The Hunger and Richard Attenborough's apartheid drama Cry Freedom in 1987.
Aubrey also starred in British detective series Dalziel and Pascoe, Silent Witness and Heartbeat, and appeared briefly as a child on Broadway, in the 1962 theatre flop Isle of Children, which closed after just 11 performances.
He is survived by his sister Janet Fleming, and his daughter Sarah, from a previous marriage, reports the New York Times.
Talk-show host Jay Leno has been awarded "hundreds of thousands of dollars" in damages after books of his jokes were published without his permission.
The Tonight with Jay Leno host, along with NBC Studios and a handful of other comedians, sued comedy author Judy Brown and her publishers for including their gags in a series of books.
The federal copyright infringement lawsuit, which also named Rita Rudner, Jimmy Brogan, Diane Nichols, Sue Pascoe, Kathleen Madigan and Bob Ettinger as affected parties, claimed Brown collected thousands of jokes that appeared in 19 books over 10 years, without the permission of the writers.
In a statement, Leno insisted jokes must fall under copyright laws.
He said, "I thought it was important to make it clear that jokes are protected like any other art form."
The suit has now been settled out of court with Brown and her publishers agreeing to pay compensation, stop producing the joke book and make all efforts to remove existing copies from stores.
Theodore J. Boutrous, Jr., an attorney representing the comedians and NBC, refused to disclose the exact financial details but revealed the settlement would add up to "hundreds of thousands of dollars."
He also confirmed that Leno, Rudner and NBC will all donate their settlement portions to charity and his law firm will also contribute a percentage of its fees.
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