Tuesday, March 3, 2015

Benedict Cumberbatch And Wife Sophie Hunter Are Having The Time Of Their Lives In Bora Bora! Get The Deets On Their Lavish Honeymoon HERE

PEREZ HILTON
3/02/2015 2:04 PM ET

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Now that everything settled down, the Oscar nominee is relaxing with his lady on the tropical islands and is doing all the things that tourists do — ever since they arrived last Tuesday!

An eyewitness on the island said Benedict was super excited when the two touched down for their vacation.

They shared:

"Benedict looked so excited to be there and was snapping pictures with his camera. They were given pineapple-infused water and beautiful flower leis that they immediately put around their necks and smelled the fresh flowers.

From the time they arrived, they rarely left their bungalow. Benedict had his arm around Sophie and was in awe of the beautiful water and their surroundings."



Pineapple-infused water and flower leis sound like heaven right now!

The insider continued to spill the details of their sunny honeymoon, saying the two have yet to leave their bungalow:

"They lounged around on their deck everyday and went swimming in the clear water. They had breakfast on the deck in the morning and it lasted for hours. Then they napped on side by side on their chaise lounges. Benedict went snorkeling whenever he could and Sophie relaxed and put her feet up. She is well into her pregnancy and looked happy to have down time.

They really seemed in love and like perfect partners. He was doting on her and rubbing her back and her pregnant belly. She was making sure he had sunscreen on and always re-applying it on his back. They had a lot of time alone and really enjoyed the slow pace of life and not having to do much."


READ MORE HERE: http://perezhilton.com/2015-03-02-benedict-cumberbatch-sophie-hunter-honeymoon-baby-moon-details-bora-bora#.VPXCoPnF_3M

Monday, March 2, 2015

Caroline Catz: 'Juggling work and family life is difficult'

EXPRESS
Published: 06:08, Sun, February 15, 2015
By SIMON BUTTON

Caroline Catz, interview

 “But that’s what’s brilliant about this job,” she beams. “You get to dip into other people’s lives, doing other things, researching, finding things out, and it becomes all-consuming as you try to immerse yourself into the mind-set of another person. That’s really brilliant. You almost get the best of both worlds.”

Like so many chameleon-like actors, it’s easy to be taken aback at how different she is in reality from the characters she plays. From tough-talking Helen Morton in DCI Banks to feisty Louisa Glasson in Doc Martin, it’s understandable to think Caroline will be equally frosty. In reality, she is softly spoken and very different from the characters she plays – and she loves them all the more for that. 


“Obviously there are elements of yourself you bring to roles, but Louisa and Helen are both so different and that’s what I enjoy – playing roles that are diverse,” says Caroline. 

“You immerse yourself in a new character and I’m not sure which bits of myself go in and which don’t.”

That, she suggests, is for others to decide. Caroline, 44, admits Helen probably isn’t the easiest person to live with.

“And when the new series starts, she’s had some big, big problems with her husband, so it’s going to be interesting…” 


“Louisa is a fantastic character because she’s so direct and she doesn’t care what people think about her. There’s a great liberation in playing a character who is very forthright and speaks her mind. She’s clumsy and blunt, while at the same time she’s just trying to get to the bottom of things,” Caroline says. “She’s quite practical and it’s not like she’s being unkind – she’s just trying to sort through what she says and all the irrelevancies and get right down to the nub of the matter. I find that very entertaining.”

The seeds of a career in acting were planted early for Caroline, whose parents took her to see shows at Manchester venues such as the acclaimed Royal Exchange Theatre and the Opera House. 

“I was so lucky to have that exposure to stuff and to be taken by my folks to see these amazing productions,” she says. “Going to the theatre was the thing that did it for me and especially going to the Royal Exchange where, incidentally, I’ve never worked, but I’d like to one day.”

When, or if, she treads the boards in her hometown’s most prestigious venue, it won’t be under her real name. She was born Caroline Caplan and when she started working assumed it was cool to keep the moniker. Then someone urged her to give Equity a call and she was told the name was already taken. “And I was like, ‘What?’” she says.

As Caroline is Jewish, she wanted a Jewish surname, and decided Catz had a nice ring to it. Studying at RADA in the days before mobile phones, she popped into a phone box. “Someone had drawn little cats everywhere, so that was my final decision on the matter,” she laughs. “You’d think you’d spend days, months or years agonising over a new name, but I didn’t even have anything in reserve. It wasn’t thought out – it took about three seconds.”

So the name Catz wasn’t in homage to Katz Delicatessen in New York – where Meg Ryan famously faked an orgasm in the movie When Harry Met Sally? Caroline yelps at the idea! “No, but funnily enough we were in New York recently. We didn’t eat at Katz, but we took some photos. I loved New York. It was my first proper visit and I was absolutely blown away by it.”



READ MORE HERE: http://www.express.co.uk/life-style/life/557740/DCI-Banks-Caroline-Catz-interview



(SPOILER ALERT) ‘Downton Abbey’ Recap: In the Finale, Mary Meets Mr. Handsome, With a Who Could-Care-Less Attitude (SPOILER ALERT)

NEW YORK TIMES
By LOUIS BAYARD  MARCH 1, 2015 10:37 PM

Michelle Dockery as Lady Mary with  one of the twin Barkers portraying Lady Mary's son, Master George Crawley.
Michelle Dockery as Lady Mary with  one of the twin Barkers portraying Lady Mary's son, Master George Crawley.Credit Nick Briggs/Carnival Films for Masterpiece

Season 5, Episode 9

Oh, Abbots. It can’t be over, can it? Another season, gone as quickly as a grouse flying over Brancaster Castle.

So let us keep sorrow at bay by reminding ourselves: We’ve finally pulled abreast. Oh, sure, those viewers in Britain got their usual three-month head start on us (just as the Brits used to get first crack at the latest Dickens installment). Viewers in the United States who were too impatient to wait for the weekly drip of revelation snapped up their DVDs and sometimes blurted out key plot developments over a few too many Manhattans. They had us in their spoiler-alert grip, Abbots, but no longer. Democracy reigns.

So now that we’re all on the same plane of knowledge, what can we say for sure about this fast-receding season? (For Baron Fellowes’ thoughts, read this.)

Longstanding relationships (the Bateses, Robert and Cora) were tested and left standing. Longstanding plot lines were either resolved (Edith’s daughter) or abruptly discarded (Mary Crowley’s sort-of-not-really love triangle). Characters like Violet, the dowager countess, were enlarged with new layers and backstories; others showed clear signs of outliving their narrative usefulness. From all indications, we have seen the last of:



1) Mary’s dim suitor Tony Gillingham (Tom Cullen), who gets a fine consolation prize in Mabel Lane Fox (Catherine Steadman).

2) Boston-bound Tom Branson (Allen Leech), who has taken longer to quit the scene than Cher.

3) Rose (Lily James) and Atticus (Matt Barber), who are heading off to New York. (Synchronously, Ms. James has veered off toward “Cinderella,” a part she seems genetically modified for.)

One way or another, the Downton family is fragmenting. Just like the Downton estate (headed for subdivision) and the Downton ethos, a victim to those winds of sociopolitical change that Carson (Jim Carter) keeps mumbling on about. As servants like Daisy (Sophie McShera) begin to imagine better lives, as Socialists like Sarah Bunting make scenes in fine dining rooms, as Edwardian ideals give way to harsh postwar realities (excellent historical timeline here), look for the Crawleys and their retinues to feel and fight their own anachronism.

We know they’ll lose, but what’s a historical drama without gallant fools engaged in rear-guard actions? So carry on, you lovely, maddening elitists, along with your lovely, maddening retinues. We’ll be griping and grumbling, and we’ll be watching.

In the meantime, may I suggest just one incremental reform? On the evidence of Episode 9, you need better legal counsel.



I’m sure the Earl of Grantham’s lawyer, George Murray (Jonathan Coy), has a few gray cells poking around in there, but several years after botching the defense of Bates (Brendan Coyle), he seems bound and determined to do the same with Mrs. Bates (Joanne Froggatt), even going so far as to declare the police case against her airtight when — as we all know, Abbots — it has more holes than, well, a grouse flying over Brancaster Castle.

Turns out that, when Anna was a teenager, she cut her stepfather-molester with a knife, and while she was never charged, that mysteriously reconstructed incident has created some kind of — oh, I don’t know, “pattern” of violence that will sweep Anna straight to the gallows, and in the name of Perry Mason, can’t some fine lawyerly mind sweep this whole business to sea? Instead, it falls to Bates (Mr. Coyle) to confess to Mr. Green’s murder and then vamoose to Ireland.

Now if Sarah Bunting were still around, I would point out to her that, even without benefit of a welfare state, no one enjoys better job security than the Bateses. It doesn’t matter how much leave they take or how many heinous crimes they’re accused of, their jobs are always kept open, their home fires are kept burning, and free (if incompetent) legal care abounds. Sweden could do no better.

At any rate, Anna is sprung on bail, and Murray declares, “We’re going forward and not backward,” but to me, it feels like we’re on the same leaking story pontoon, which only stays afloat because Baron Fellowes’ legs are kicking as madly as they can. By episode’s end, even he must be a little fatigued because a York publican turns up to give Bates an alibi, and the witness who ID’d Anna sprouts “doubts,” and lo and behold, it’s Christmas, and who should pop out of the mistletoe, as it were, but Bates?




Love emerges when you least expect it, Abbots. Sometimes all it takes (and this will give aid and comfort to Freudians everywhere) is for a lot of men to pull out their big guns. The Sinderbys have rented Brancaster for a weeklong shooting party, and no one is immune. Even Edith (Laura Carmichael) loses a bit of her Mildred Pierce-y daughter fixation and dances a few rounds with agreeable castle agent Bertie Pelham (Harry Hadden-Paton). We wish them both well. (And by the way, Edith needs to let that hair flow. With her locks down to her shoulders, she goes from librarian to licentious.)

But no one is more moved by the sight of men and their gauges than Lady Mary Crawley (Michelle Dockery), who finds herself unaccountably aroused by the marksmanship of a handsome stranger named Henry Talbot. Now I don’t mean to crow, but as soon as I heard Matthew Goode was signed up for the final episode, I immediately discerned that his plot function would be roughly the same as it was in “The Good Wife”: to melt the froideur of a stern, ashen, erotically complicated brunette. Sure enough, he shows up on the Northumberland moors without even an establishing close-up but with enough swagger to remind us that Mary needs a chap who looks as good as Tony G but treats her as roughly as Inspector Vyner. “Heavens,” exclaims Mary, watching Talbot climb into his car. “What a snappy chariot.” Now I would’ve thought she’d be a little skittish of automobiles, given how her late husband met his end, but she seems to be all over Henry T and his Bentley.


Amazing to think, Abbots, that after two seasons of arid flirtation and Liverpool lovefests, Our Miss Flint has found someone to spark off. And the secret to his allure? He doesn’t give a damn if she likes him or not. Look for Talbot to stick around.




Sunday, March 1, 2015

Aidan Turner: BBC's Poldark remake: stars speak of 'pressure' of 1970s hit

THE GUARDIAN
Tara Conlan
Tuesday 24 February 2015 07.07 EST




The stars of BBC1’s new eagerly-awaited adaption of Poldark have told of the pressure they feel in bringing the adventures of the brooding 18th-century Cornish hero to a new generation due to the success of the 1970s version.

The White Queen star Eleanor Tomlinson, who plays Demelza, said at a screening of the eight-part drama in London on Monday night that she was “nervous” about the reaction, especially as her part was played in the previous adaptation by the late Angharad Rees.

Tomlinson said the weight of expectation for older audiences was made plain when she told her parents about the role and they said: “Oh my God, wow.”

“It’s a lot of pressure, it was a tremendously successful previous adaptation and I’m really nervous about it coming out!”



Her co-star, The Hobbit actor Aidan Turner, said that when he told his mother he was playing the eponymous figure in Winston Graham’s books, she said: “You’d better not mess this up.”

However, he said he had to Google the name Poldark when the offer came in to play him as he was too young to have seen the 1970s version and made a conscious decision to only use the script and original novels, not to watch it: “I just wanted to see what I came up with myself.”

He said it was not daunting following in its wake, despite people asking him if he was worried about playing such an iconic role: “You just have to focus on the job in hand and trust that what you’re doing is right … and that people will trust your choices as the actor.”

Tomlinson had also never seen the previous adaptation, neither had writer Debbie Horsfield – who has adapted Graham’s novels – and she said she only watched it after she had written about five of the eight episodes because she did not want “to be influenced” by it.



Eleanor Tomlinson plays Demelza in the BBC’s eight-part adaptation of Poldark. Photograph: BBC

BBC controller of drama commissioning, Ben Stephenson, pointed out in a speech before the screening that it was almost 40 years since the last version of Poldark, stressing: “It ain’t a remake, it’s an adaptation of some truly brilliant books. It’s an adaptation, not a remake.”

There are some links though, with Turner’s predecessor Robin Ellis appearing in a cameo in two episodes as a vicar. He was asked to take part after he contacted producers Mammoth to wish the project well.

Graham wrote 12 Poldark novels and only eight of them made it to screen – one in an ITV version in 1996.

The new series is due to air in March and Stephenson said he hoped there would be “many more series.”

READ MORE HERE: http://www.theguardian.com/media/2015/feb/24/bbc-poldark-remake-stars-eleanor-tomlinson-aidan-turner

Saturday, February 28, 2015

Tom Hardy dons Bane-esque mask as he fights for his life alongside bald Charlize Theron in new trailer for Mad Max: Fury Road

 DAILY MAIL
By DANIEL VAN BOOM FOR DAILY MAIL AUSTRALIA
PUBLISHED: 18:22 EST, 23 February 2015 | UPDATED: 18:47 EST, 23 February 2015

The newest trailer for Mad Max: Fury Road sees Tom Hardy don some familiar accessories as he's trapped in a bane-esque mask

He's most well known as Bane in Batman: Dark Knight Rises, and it seems the key to Tom Hardy's success is a good mask.

The 37-year-old English actor is seen in a new trailer for Mad Max: Fury Road and it appears as though he'll spend much of the blockbuster film trapped in a heavy Bane-like mask.

Playing the titular character, Tom is seen literally fighting his way through a world of danger as he's joined on screen by the likes of Natalie Portman and Nicholas Hoult.



'My world is fire and blood,' he says at the beginning of the trailer as he overlooks a desert wasteland.

It's unfortunately not long before Max finds himself captured, bound to a stake tied to a villainous crew's vehicle.

One explosion later the soft spoken hero uses the stake to pole vault his way from his captors, as a gang of girls led by Charlize Theron's character Imperator Furiosa head towards the chaos.


'Out here everything hurts. Take what you can and run' she says to her group.

From there all hell breaks loose, with flashes of intense vehicular combat and a healthy dose of Tom Hardy action.

It all crescendos to a scene of fiery tornadoes, with Mad Max clinging to life at the centre.

Fleeing with style: One explosion later the soft spoken hero uses the stake to pole vault his way from his captors

READ MORE HERE: http://www.dailymail.co.uk/tvshowbiz/article-2965963/Tom-Hardy-dons-Bane-esque-mask-fights-life-alongside-bald-Charlize-Theron-new-trailer-Mad-Max-Fury-Road.html