I swear to God, if you don't want to hear about what happens at the end of Downton Abbey's third series, stop reading right now. Seriously. Do not keep reading and then yell at me in the comments when you're done, because I am about to tell you what happens at the end. You have been warned.
In December, the sad, sad news broke that Dan Stevens will not be returning for Downton Abbey's fourth series (yes, I will keep calling it a "series," because that's how the Brits do it). With beloved cousin/husband Matthew gone — I didn't say dead, I don't know if he dies — what's to become of Lady Mary (Michelle Dockery)? Why, she'll get a new beau, of course! According to Deadline, the show is on the lookout for a thirty-something actor, presumably a handsome Brit, to play a certain Lord Anthony Gillingham, Mary's new suitor. To help the casting directors out, we've named our top five choices to vie for Mary's heart.
Superman must be good enough for Lady Mary, right? While Cavill will surely be clean-cut perfection for 2013's Man of Steel, we think Mary would prefer him as a rugged, brooding bad boy. She has always been drawn to the strong, mysterious type — Matthew was a bit of an outlier in that regard.
Baby-faced Redmayne is 31 years old, but we think he could use his seeming youth to his advantage to snag the role — and Lady Mary. Mary, either a widow or a scorned ex-wife in Series 4, may be looking to take control of her love life. The perfect way to do that? By teaching a less-experienced beau the romantic ropes.
The Game of Thrones/Downton Abbey double casting has already been done twice — with Iain Glen (Ser Jorah Mormont/Sir Richard Carlisle) and Rose Leslie (Ygritte/Gwen) — why not a third time? We picture Harington as an artistic type, moody and thoughtful. After marrying the ultimate pragmatist, Mary could go for someone a little more poetic.
Just look at that mustache! We are confident Sturgess could nail the role of a no-longer-young playboy. We see Sturgess' Lord Gillingham as a man with a lot of money, a lot of time, and little self-control. Like a younger Sir Richard Carlisle, we see Sturgess as a suave suitor with questionable motives.
Downton Abbey has addressed a number of social issues in the first three series: class divisions, Ireland's revolution, and women's rights. One sticky topic they haven't tackled? Race. Let's fix that in Series 4 by bringing Elba to Downton. Can you imagine the look on the Earl of Grantham's face when he discovers a lord can be black?
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[Photo Credit: PBS; WENN (3); FameFlynet (2)]
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Widening the thematic scope without sacrificing too much of the claustrophobia that made the original 1979 Alien universally spooky Prometheus takes the trophy for this summer's most adult-oriented blockbuster entertainment. The movie will leave your mouth agape for its entire runtime first with its majestic exploration of an alien planet and conjectures on the origins of the human race second with its gross-out body horror that leaves no spilled gut to the imagination. Thin characters feel more like pawns in Scott's sci-fi prequel but stunning visuals shocking turns and grand questions more than make up for the shallow ensemble. "Epic" comes in many forms. Prometheus sports all of them.
Based on their discovery of a series of cave drawings all sharing a similar painted design Elizabeth (Noomi Rapace) and Charlie (Logan Marshall-Green) are recruited by Weyland to head a mission to another planet one they believe holds the answers to the creation of life on Earth. Along for the journey are Vickers (Charlize Theron) the ruthless Weyland proxy Janek (Idris Elba) a blue collar captain a slew of faceless scientists and David (Michael Fassbender) HAL 9000-esque resident android who awakens the crew of spaceship Prometheus when they arrive to their destination. Immediately upon descent there's a discovery: a giant mound that's anything but natural. The crew immediately prepares to scope out the scene zipping up high-tech spacesuits jumping in futuristic humvees and heading out to the site. What they discover are the awe-inspiring creations of another race. What they bring back to the ship is what they realize may kill their own.
The first half of Prometheus could be easily mistaken for Steven Spielberg's Alien a sense of wonder glowing from every frame not too unlike Close Encounters. Scott takes full advantage of his fictional settings and imbues them with a reality that makes them even more tantalizing. He shoots the vistas of space and the alien planet like National Geographic porn and savors the interior moments on board the Prometheus full of hologram maps sleeping pods and do-it-yourself surgery modules with the same attention. Prometheus is beautiful shot in immersive 3D that never dampers Dariusz Wolski's sharp photography. Scott's direction seems less interested in the run-or-die scenario set up in the latter half of the film but the film maintains tension and mood from beginning to end. It all just gets a bit…bloodier.
Jon Spaihts' and Damon Lindelof's script doesn't do the performers any favors shuffling them to and fro between the ship and the alien construction without much room for development. Reveals are shoehorned in without much setup (one involving Theron's Vickers that's shockingly mishandled) but for the most part the ensemble is ready to chomp into the script's bigger picture conceits. Rapace is a physical performer capable of pulling off a grisly scene involving an alien some sharp objects and a painful procedure (sure to be the scene of the blockbuster season. Among the rest of the crew Fassbender's David stands out as the film's revelatory performance delivering a digestible ambiguity to his mechanical man that playfully toys with expectations from his first entrance. The creature effects in Prometheus will wow you but even Fassbender's smallest gesture can send the mind spinning. The power of his smile packs more of a punch than any facehugger.
Much like Lindelof's Lost Prometheus aims to explore the idea of asking questions and seeking answers and on Scott's scale it's a tremendous unexpected ride. A few ideas introduced to spur action fall to the way side in the logic department but with a clear mission and end point Prometheus works as a sweeping sci-fi that doesn't require choppy editing or endless explosions to keep us on the edge of our seats. Prometheus isn't too far off from the Alien xenomorphs: born from existing DNA of another creature the movie breaks out as its own beast. And it's wilder than ever.