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      Wednesday, 20 October 2021

      Succession Season 3 | Trailer | Sky Atlantic

      Ambushed by his rebellious son Kendall at the end of Season 2, Logan Roy begins Season 3 in a perilous position. Scrambling to secure familial, political, and financial alliances, tensions rise as a bitter corporate battle threatens to turn into a family civil war.  

      Returning Season 3 cast includes Brian Cox, Jeremy Strong, Sarah Snook, Kieran Culkin, Alan Ruck, Nicholas Braun, Matthew Macfadyen, Peter Friedman, J. Smith Cameron, Dagmara Dominczyk, Justine Lupe, David Rasche, Fisher Stevens, Hiam Abbass, Arian Moayed, Harriet Walter and James Cromwell. Additional cast includes Alexander Skarsg?rd, Sanaa Lathan, Linda Emond, Jihae, Adrien Brody and Hope Davis.     

      Are you in for this f***ing revolution?

      Succession Season 3 starts 18 October.

      Monday, 18 October 2021

      BBC Three commits to second series of dating reality series: I Like The Way U Move

      I Like The Way U Move is a new dating reality series for BBC Three in which single professional dancers and rookie non-dancers compete to find a connection both on and off the dance floor.

      All episodes of series one are streaming on BBC iPlayer now.

      Casting has now begun for series two, with applications open for single professional dancers and single rookies who want to find love. 

      Fiona Campbell, Controller, BBC Three, says: "I Like The Way The U Move is such an inclusive series with huge ambition and spectacular dances. It's an original take on the dating show and we're really behind it, so we wanted to show our commitment to the format with this recommission. It has all the ingredients and potential to be a hit for BBC Three and we hope audiences are getting stuck into the series that has just landed on BBC iPlayer."

      Suzy Lamb, Managing Director, BBC Studios, says: "BBC studios is thrilled to be making a second series of I Like The Way U Move for BBC Three. So many genuine connections and matches have been formed in the first series and we are delighted to be returning again and getting audiences hooked with our unique and compelling spin on dating."

      More information about series two will be revealed in due course.

      Doctor Who series 13 guest actors and monsters revealed

      The trail for the show's thirteenth series, entitled Doctor Who: Flux, has revealed a first look at the guest actors and monsters that will feature across the six-episode serial.

      Joining cast members Jodie Whittaker, Mandip Gill, John Bishop and Jacob Anderson are:

      Robert Bathurst (Cold Feet, Toast Of London, Downton Abbey), Thaddea Graham (The Irregulars, Us), Blake Harrison (The Inbetweeners, A Very English Scandal, World On Fire), Kevin McNally (Pirates of the Caribbean, Designated Survivor, Downton Abbey), Craig Parkinson (Line of Duty, Intergalactic, The English Game), Sara Powell (Unforgotten, Damned), Annabel Scholey (The Split, Britannia), Gerald Kyd (Cold Feet, Britannia) and Penelope Ann McGhie (The Crown, Harry Potter).

      The trail also offered a preview of returning monsters - Sontarans, Weeping Angels, Cybermen, and the Ood, as well as a range of new monsters, one of whom is named Karvanista.

      Matt Strevens, Executive Producer, says: "I can't wait for the audience to come on the Flux ride with us. It's our biggest adventure yet with so many brilliant new characters to fall in love with. We had a blast making it."

      Robert Bathurst says: "People say Doctor Who is science fiction. Fiction? No it's all real, and it's as scary to do as it looks. Great to be part of it."

      Thaddea Graham says: "The whole cast/ crew welcomed me with open arms into the iconic Doctor Who family of which it is an absolute privilege to be part of. It's a real honour to share the magic of this universe with them and, of course, our wonderful audience this October!"

      Blake Harrison says: "It's a pleasure to be a part of this huge show that has such a passionate fan base! I hope all the Doctor Who fans enjoy the new series and my role in it."

      Kevin McNally says: "I am thrilled to be helping the Doctor put the universe to rights in the latest season of Doctor Who."

      Craig Parkinson says: ''I feel tremendously lucky to have joined the Doctor Who family this season. Chris' scripts are witty, intelligent and full of light and shade, making my job as an actor extremely enjoyable! My son loves the show and as long as he gives me his seal of approval I'll know I've done it justice!"

      Sara Powell says: "A role in Doctor Who is top of any actors wish list. To say I leapt at the chance is something of an understatement. Working with Jodie Whittaker - an iconic Doctor and actor - was also on my list. She was a legend. As were the cast and crew: indoors, outdoors, in winter, in Wales in the rain and mud, everyone wearing masks and being tested every 5 minutes: I loved stepping onto their ship and riding with them for a while."

      Annabel Scholey says: "I am absolutely thrilled to be a part of the 13th series of Doctor Who. It was a lot of fun to film and I enjoyed every minute I spent with the amazing cast and crew...Halloween will be that little bit more spooky this year!"

      Gerald Kyd says: "I absolutely adored being a part of such an iconic show. There's nothing like it. The history, the stories, the utter devotion of the fanbase. I am honoured to now count Doctor Who as a credit. Oh, and the highlight amongst highlights was working with the wonderful, hilarious and irrepressible Jodie Whittaker."

      Penelope McGhie says: "Doctor Who was a total joy to work on. Everyone was so welcoming and generous that I really felt part of the team. Having watched the show from behind the sofa over fifty years ago, and then again with our daughter when the series was revived, I can't believe how lucky I am to be part of the adventure!"

      Celebs Go Dating to return to E4 in 2022

      The popular dating show Celebs Go Dating is returning for its tenth series on E4.

      Last series, the show headed to it's very first UK dating retreat and provided much needed lockdown relief with Celebs Go Dating: The Mansion. Proving a huge success, The Mansion gave viewers a look into celebrity dating like we've never seen before.

      This year the renowned London-based agency is back with all-new celebs and a supercharged agency makeover. The series will feature plenty of new challenges, memorable dating excursions and more chances than ever to find the perfect connection, all-new Celebs Go Dating is sure to be its most dramatic series yet.

      Viewers can expect a rollercoaster ride of dating highs and lows, bombshell moments, and plenty of laughs. After weeks of multiple dates and mentoring, the Celebs will be asked to choose their final date to take away on a romantic couple's getaway.

      Sarah Tyekiff, Head of Unscripted Programming, Lime Pictures said: 
      "It's been a long time coming for our celebs to get back out in the real-world and date potential suitors. We can't wait to see how their dating skills cope now they are outside the confines of their own homes and back out on the town. This brand-new series is going to be the biggest test yet as we set out to ramp up the dates creating more challenges and compatibility tests, putting our celebrities through their paces as they get closer to finding love."

      Thursday, 14 October 2021

      The Outlaws - Interview with Christopher Walken (Frank)

      Tell us about your character in The Outlaws.

      I play Frank. He's an American who's lived in England for 40 years or so. He married an English woman and has children and a life in England, but I'd say he's barely assimilated. He's a kind of a ne'er-do-well, I guess, a good man who's good hearted and good natured but he's made a lot of mistakes. Probably has poor judgement. Often in trouble with the law, you know? Anyway, he means well and in this story he's part of this group of outlaws, people doing what we in America call 'work release'. I think it's a very good idea: instead of locking everybody up for nonviolent offences, you do something that could rehabilitate them and put them to some sort of good service, instead of sitting around all day behind bars.

      How did you come to be cast?

      I'm an actor, it was a good job and I'm a fan of Stephen Merchant. We met at my house and I was very taken with him. It's very good writing: you can tell that, if you've been doing it for as long as I have. I stand in my kitchen, I read the lines out loud and these were very good words. And, you know, it was great to come to England. I've been in England many times in my career, not to Bristol, but I've always enjoyed myself here. So it was just a good job.

      Aside from the script what other factors affect whether or not you're going to take a job?

      The people you're going to be working with is very important. All the actors on this show are terrific, really terrific. It's a lot of fun to go to work and that's very important. There were other factors, of course, like being away from home and so on. But we filmed the first season and then there was a break. When you're in a job you always think, when the job is over, I'm going to take a break. But it doesn't take long to get restless again and you want to go back.

      How did you find spending time in Bristol?

      It's a terrific place. It's a university town. I live in Connecticut in America, which is rather close to Yale University, but there's a theatre there that I've worked at many times when I was young. Bristol is very much like that. It's a campus with lots of students walking around, but the Old Vic is here. I like it here very much. There's a strong counterculture here. First time I was here there were riots, a lot of noise outside. Second time there was also a lot of noise outside, but I think it was on account of the soccer.

      How have you found working with Stephen Merchant on set?

      One: I like him, so it's easy. But two: he's very good at making adjustments. Fixing, tweaking and getting everyone comfortable. Sometimes writers are very strict, you know, they insist on it being exactly what it is. And he's very flexible, which I'm all in favour of.

      What was it like with the younger cast?

      The other day I was in the makeup trailer with a lot of my cast mates who are younger than I. And I don't have any sort of technology. I don't even have a cell phone. I mentioned an English actor named Clifton Webb who was this marvellous actor, one of my favourite actors. And he made a lot of movies, you know, in the 40s in Hollywood. And I mentioned Clifton Webb and none of my younger colleagues knew who he was, I said: "He's one of the best actors, how could you not know?" And this one guy took his cell phone and punched in 'Clifton Webb'. And in 30 seconds he had all these details - where he was born, his credits, where he started, where he lived in Hollywood, everything! It was amazing. I thought, I've got to get me one of those cell phones.

      You've done lots of great comedy in your career, including several memorable stints hosting Saturday Night Live. How would you describe your sense of humour?

      I think my sense of humour has very much to do with where I come from. I was in show business when I was five years old. And when I was growing up in America, it was the birth of television after the Second World War when television first started, and there were these huge shows like Milton Berle and Sid Caesar. And so I think my comedy is very much of that time.

      I also loved Broadway musical comedy. I was in Broadway musicals for years as a dancer and I think my own sensibility (as well as my acting technique) is very absent of a fourth wall. The famous fourth wall doesn't really exist for me because of all that time in musicals where the other character in the scene is always the audience. So I'm always very aware of the audience. And I think that's where I come from.

      Given the choice would you watch TV, go to the movies or the theatre?

      Even now when somebody says, 'Would you like to go to the theatre?' I say, 'Yeah, let's find a musical.' I love musicals. And as far as TV goes of course I watch a lot of news and sports. I have a cable channel that has old movies 24 hours a day. So I watch a lot of old movies. The good thing is there are still some very funny people out there. Like Stephen Merchant - you should watch out for him.

      The Outlaws - Interview with Stephen Merchant (Creator, Greg)

      Where did the idea for The Outlaws come from?

      Growing up, my parents used to work for Bristol Community Service. My mother was always careful, she would say, "I can't tell you about specific cases..." as if it was sensitive information and I couldn't be trusted. But here and there, not naming names, she would talk about some of the people that came through the doors. I was always intrigued because it was such a mix of people. You'd have the businessman who'd got caught drink-driving or some student who'd got in trouble for some minor thing. Or there was an old guy who was stealing cabbages from allotments just to get community service, because he was lonely and he liked the social aspect of it.

      What was interesting to me was that it was a way of bringing completely disparate groups of people together. You could have a random cross-section of society and it was totally legit that they were all there doing community service. I was always interested in the idea of that. And finding ways of bringing people together is useful in a TV show. Also, I liked the idea of doing something which had a crime thriller aspect but that didn't just involve policeman or private detectives. And so this is just an interesting way of going into that world from a slightly different angle.

      When you were developing scripts and looking for characters, did you go back to your parents for story ideas?

      I went less for characters and more for research, for how it works. For instance, my father was involved in managing the tools and the equipment that the outlaws used to do their work. And they were constantly being robbed. They found ever more elaborate ways to steal the tools, whether it was leaving windows open, or pretending to lock a chest of tools and then coming back later and pinching them. Or an MP came to do a photocall and half the offenders had gone to the pub. My parents were hurriedly trying to get them back so that they would stand in line and look deferential when this dignitary came by. Often the offenders are there instead of prison, so you are dealing with people who otherwise would be inside.

      You're from Bristol, is that why you set The Outlaws there?

      Obviously, I know the city quite well, but I'd never worked here. It's a very visual city, covered in graffiti (it's where Banksy got started) and it has a real mix of people. You've got the gentrified Clifton neighbourhoods and the more inner-city urban bits, the Suspension bridge and the vast gorge. And yet it still hasn't played itself on screen very often; it's used mainly for period pieces or doubling as somewhere else. So it's fun to try and make the city a character in the show.

      How do you describe Bristol to people who've never been there?

      I know this is going to seem like a slightly fanciful comparison, but a number of people have said it to me independently: there's some comparisons between Bristol and San Francisco. I don't mean it has the grandeur and the glamour; but it's on the water, it has the very striking bridge, it has the hills and the colour and a sort of bohemian, artsy side mixed with money and inner city drabness.

      The more people have come to Bristol, whether it's American executives or otherwise, it's turned out to be a comparison that's not as absurd as it might seem on the surface. What's always important to me - and we realised this with the success of The Office - is that often, the more specific you are, the more universal it becomes. When you're trying to be too general and you live in a no man's land people find it harder to dial in because they sense it seems inauthentic.

      In the abstract this could be a serious drama or it could be high comedy. What tone were you looking for?

      I was always trying to compare it to the funny episodes of dramas. A great touchstone for me was always a famous episode of The Sopranos called Pine Barrens. Paulie and Christopher get lost in the snow and they're trying to bump off a Russian hitman. It's darkly comic and yet the stakes are huge and they never break the drama rules of the show.

      I think you find that in a lot of good drama. Particularly American stuff, which can walk that fine line. The humour should derive from the characters and the situation and the environment, and not feel like sitcom stuff placed on top. It's always a tricky balance to get right. It's more about feeling it as you go and deciding when something feels too absurd.

      How did you come up with The Outlaws' ensemble of characters?

      What was interesting to me was to make them very specific archetypes, but then sort of peel back the layers and suggest why someone winds up with that point of view, and what happens when they are forced to question their own value system. That sounds a lot more grand and pretentious than it's intended to be. You're forcing these people to literally work together as a community service. So we can take a right-wing businessman and force him to work opposite a left-wing activist and watch the sparks fly. And let the viewer decide who is wrong or right on any given point.

      It's an equal opportunities portrayal of these people - no one's good or bad, no one's evil, no one's purely good. Everyone's a little bit more complicated than that.

      How did you come to cast Christopher Walken?

      One character is this older, charming, slightly devilish conman and I wanted him to be an older American actor because I liked the idea of him feeling a little alien in Bristol, like he's the man who fell to earth. That was the opportunity to have some big star casting. But when you start to talk about it, there aren't that many actors of that vintage who have that kind of charisma and that audience recognition.

      Someone mentioned Christopher Walken and I thought that would be amazing. What I love about him is that he can do both great charm and be very funny, but also menacing at the same time. We got word to him somehow. Chris doesn't use phones and he doesn't have a computer, so it was a bit hard to contact him. I ended up having this very glamorous weekend where I went to Los Angeles to go to the SAG Awards for that film JoJo Rabbit. On the way back, someone said, Chris can see you on your way home. So I flew from this glamorous award ceremony to New York, and then drove up to Connecticut, and met Chris at his house. And I was there for hours. Chris was just as committed and invested and passionate as I imagine he ever was. He was asking a tonne of questions about the character and about the scripts and about Bristol. We spent hours just chewing the fat and the next thing I knew he agreed to do it. And that was a huge thrill.

      People have an idea of what they think Community Service is like. How will The Outlaws change their preconceptions?

      I'm not trying to do a perfectly accurate portrayal of the criminal justice system and advocate for the value of community service, it's just a backdrop for these characters. But at the same time I do remember that my mum, for instance, used to be quite proud when they had successfully renovated a kids play area in a park or something. There's a value to that. So in my show, they're renovating a derelict building into a community centre.

      You write and direct, but you also play one of the Outlaws. Who is Greg?

      He's a lawyer who doesn't particularly want to be a lawyer and just sort of drifted into that job. He's a divorcee who has got himself in a bit of bother with a lady of the night and finds himself doing community service. I always like the idea of the least equipped people getting involved in a crime situation. So Greg is an awkward and geeky guy who's suddenly involved with gangsters, (always a fun thing to play). Greg forms this unlikely bond with Eleanor Tomlinson's character who is a glamorous, upper-class celebrity.

      The Outlaws Created by Stephen Merchant and Elgin James

      Series Synopses
      The Outlaws is a contemporary British drama about a disparate group of lawbreakers thrown together to complete a community service sentence. Seven strangers from different walks of life - people who would never normally interact - are forced to work together to renovate a derelict community centre. They resent the menial physical labour and they resent each other. But when one of their number gets dragged into a dangerous world of organised crime, they unite in ways none of them thought possible.

      Academic high-flyer Rani has been hot-housed from a young age and has never really known a world outside her overprotective family. When her serial shoplifting finally catches up on her, she is given community service - much to the shame of her parents and to the detriment of her Oxford University scholarship. Removing graffiti at a dilapidated community centre under the watchful eye of jobsworth supervisor Diane, Rani finds herself interacting with very different people for the first time. Including people like Greg, the inept lawyer caught soliciting in a local car park, and Gabby, the socialite with 1.5 million followers who seems to have it all, but is prey to drink and drug problems.

      And then there is Christian, an unassuming young man with a complicated story of his own. Sole carer of his kid sister Esme, he's trying and failing to keep her away from a local gang. To protect her, he ends up doing the bidding of the gang's charismatic leader. This leads to him stealing a big bag of cash and hiding it in the very community centre where he and the other outlaws are working.

      But Christian doesn't hide it well enough, and soon some of the other outlaws - including John (the right-wing blowhard businessman), Mryna (the radical activist stuck in the 1980s), and Frank (an unreformed con-artist and womaniser) - suddenly and accidentally take possession of a life-changing amount of money. Without realising it, Christian and the outlaws have placed themselves in the centre of a highly dangerous criminal turf war. And it will be Rani who ends up saving them.

      Set in modern-day Bristol, the series celebrates the city's distinctive culture and people. Along the way, there'll be legal chicanery, budding romance, audacious acts of heroism and unexpected cases of mistaken identity. As the net closes around them, the outlaws will come to realise that they have more in common than that which sets them apart.

      Character Biographies

      Oxford-bound high-flyer Rani has been hot-housed from a young age and has never really known a world outside her overprotective family. When her serial shoplifting finally catches up with her, she is given community service - much to the shame of her parents and to the detriment of her Oxford University scholarship. Removing graffiti and undertaking other menial tasks, Rani finds herself interacting with very different people for the first time. She'll realise there is a whole world beyond her textbooks, and that the dreams of her parents may not necessarily be the same as her own.

      Christian (in his early 20s) is in debt to the wrong people, doing everything he can to keep his kid sister Esme free of their clutches. To protect her, Christian agrees to do the bidding of the gang's charismatic leader. On his orders, Christian steals a big bag of cash, setting in motion a deadly game of cat-and-mouse and threatening the safety of anybody in his orbit - including the other outlaws. Unassuming, with a previously-untapped romantic streak, Christian will subvert expectations and labels as he seeks safety and security for himself, Esme, and his new friends.

      Sad-sack corporate lawyer Greg finds himself on the wrong side of the justice system after indulging his loneliness in the wrong car park. Greg just wants to get his head down and put yet another embarrassing chapter of his life behind him, but he soon finds that his shaky legal acumen might be a little too useful for comfort. Across the series, recently divorced Greg will form the unlikeliest of friendships, find himself battling workplace bullies, aristocratic landowners and even scary men with knives - coming out on the other side with a rediscovered sense of self-worth and purpose.

      Frank (in his 70s) is a twinkly-eyed small-time crook who has seen the world and done everything under the sun. After passing one too many counterfeit cheques Frank must move back in with the daughter he abandoned decades before, and finish his custodial sentence of community service while wearing a wing-clipping ankle tag. As an inveterate womaniser and con-artist who has spent a life running away from responsibility and letting down those who love him, Frank's work with the outlaws presents a second chance at family life - even as his old habits are offered an unexpected new outlet.

      On the surface, Insta-celebutante Lady Gabriella Penrose-Howe, (in her 20s), seems to have it all. 1.5 million followers across her social media, a chic Clifton apartment, and all the Dom Perignon she can drink. But beneath her effortlessly polished exterior, Gabby struggles with a number of deep-seated problems which threaten to swallow her whole. As she finds herself litter-picking alongside regular members of the general public, she'll realise what it is to feel part of something bigger than herself, liberating herself from the retinue of sycophants and hangers-on who love her credit card more than her personality.

      John (in his 40s) is a middle age and middle-class white businessman. John has always paid his taxes, and has always been the pillar of the community his strict Northern Irish father bred him in, and so is furious when he finds himself sharing oxygen with criminals while he scrambles to save his family business. John's common-sense approach to his sentence and contempt for political correctness will place him on a collision course with the other outlaws, his supervisor and some extremely dangerous people. But is there more to John than the starched-shirt, small island mentality he shows the world?

      Black Bristol civil rights veteran Myrna, (in her 60s), was there when Colston went into the harbour. She was there at St Paul's in 1981. Myrna has given her whole life to the cause of social justice. She's sacrificed friends, family, and even her innocence. Myrna is old school and refuses to admit that her approach has put her at odds with a newer generation of activists. But 40 years ago, Myrna made a terrible, life-changing mistake, which she's been running from ever since. Working with the other outlaws, Myrna will realise she must stop running and face the past head-on.

      Diane, (in her 30s), is a hyper-confident and seemingly competent supervisor for Bristol's Community Payback programme. She has been charged with overseeing the outlaws' dispensation of their duties, and treats the responsibility of directing litter-picking and repainting the community centre with deadly seriousness. Diane exudes the sense of power that minor authority bestows on insignificant people, but is a lonely woman at heart who wants to feel part of something bigger than herself; whether that's hijacking the outlaws' team-building exercises, or using every ounce of her self-professed detective's instinct to ingratiate herself with Bristol's bemused police force.
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