‘MRS WILSON’ BBC SERIESKEELEY HAWES, IAIN GLEN JOIN RUTH WILSON IN NEW DRAMA
BBC has revealed full cast and 1st photo for their new three part period set drama MRS WILSON based on memoir of Ruth Wilson‘s (she plays the lead) grandmother and her family’s complicated history. Iain Glen, our dearest Keeley Hawes and Fiona Shaw will also star!
YOUR HUSBAND IS MY HUSBAND
Set between 1940s and 1960s London, the series follows Alison Wilson, who thinks she is happily married until her husband dies and a woman turns up on her doorstep claiming that she is the real Mrs. Wilson. Alison is determined to prove the validity of her own marriage – and Alec’s (Iain Glen) love for her – but is instead led into a world of disturbing secrets. Alexander Wilson was a writer, spy and secret service officer who served in the First World War before moving to India to teach as a Professor of English Literature, where he began writing spy novels.Biography | Drama | Mystery
The series will on PBS Masterpiece in USA
Rudyard Kipling once said, “If history were taught in the form of stories, it would never be forgotten.” Cinema has long played a part in helping people remember the past, and now, as the comic book movie has become a dominant genre in the film industry, it’s time to make more of them set within the annals of history.
There was certainly precedence for this seven years ago when two major superhero movies premiered in theaters, both of them boasting a period drama label. The first, in May 2011, was 20th Century Fox’s X-Men: First Class. Two months later, Disney introduced Steve Rogers to the Marvel Cinematic Universe with Captain America: The First Avenger.
X-Men: First Class, the fifth in the franchise, traveled back to 1962 during the Cuban Missile Crisis to introduce Charles Xavier and Erik Lensherr (Magneto) as young men before they became adversaries. Captain America: The First Avenger was set 20 years earlier during World War II and centered on a sickly Steve Rogers and his transformation into a super soldier who would come up against the Nazis and the Red Skull.
Since then, there has been an increase in superhero movies taking place in the past. Warner Bros. chose to set their solo Wonder Woman film during the First World War, with Diana heading to the front to battle both the Central Powers forces and the god Ares. The plot benefited greatly from the historical backdrop and context it provided, and now the sequel may be set in the ’80s, during the Cold War. Still to come are X-Men: Dark Phoenix and Captain Marvel, both set in the ’90s. This might not be entirely applicable to Dark Phoenix (which takes place just after X-Men: Apocalypse), but the latter’s setting in the past means that its narrative and character arcs do not have to be influenced by events of movies set in present day.
Captain Marvel gets to use characters from the MCU that have already fallen, like Ronan the Accuser and Korath the Pursuer, who previously appeared in Guardians of the Galaxy. If Marvel Studios chose to set more of their movies in the past they would be able to reintroduce additional characters and fan favorites that deserve more of a run, like Peggy Carter.
That film will also allow Brie Larson’s hero to shine without having her story diluted by the presence of the Avengers, or vice versa. Marvel Studios head Kevin Feige has said that Captain Marvel is the most powerful hero in the MCU so far, so if she was knocking around in the 21st century, the Avengers would be second-tier heroes. However, by setting it in the ’90s, Carol Danvers is free to face off against the Skrull villains and enjoy her own narrative while Steve Rogers is still cryogenically frozen, Thor is back on Asgard, Natasha Romanoff is in training to become a Russian spy, Tony Stark is dealing with the death of his parents (maybe, depending on the exact date), and Bruce Banner is simply just … being Bruce Banner.
The brilliant thing about the superhero period drama, like Captain Marvel, is that it doesn’t need to interfere with the present-day Marvel movies but instead offers a separate narrative that works to both enhance the genre and the breadth of storytelling. It also gives subordinated individuals a chance to lead.
So often when it comes to historical films or non-romantic period dramas, the stories revolve around men. To quote Scottish philosopher Thomas Carlyle, “The history of the world is but the biography of great men,” and that has long been the case for cinema, even in the fictional retellings of historic events in superhero movies.
However, through Wonder Woman and the sadly short-lived Agent Carter TV series, women were put at the center of these historical moments and able to offer a brilliant commentary on the social and cultural issues of the time. Both the Warner Bros. film and Marvel series highlighted the gross misogyny and sexism of each era but gave ultimate agency to its super-women in order to demonstrate the wrongness of those patriarchal attitudes. Future superhero movies could do something similar, but with established or new heroes.
Take, for example, an X-Men movie. Instead of using the mutant crisis as a metaphor for the Civil Rights movement, both events could be occurring simultaneously, pairing fictional and real-life struggle. It would provide a perspective on the cultural event that’s not entirely dominated by the central white points of view of Professor Xavier and Magneto, but rather the mutants of color like Storm. Ororo Munroe has no doubt experienced prejudice in terms of her sex, race and mutant status, but more often than not she has been pushed to the margins of the onscreen X-Men narrative.
There’s also the scope for an alternative historical narrative that has already proven successful for TV shows like Amazon’s The Man In The High Castle, films like Quentin Tarantino’s Inglourious Basterds and even comic book movies like Zack Snyder’s Watchmen. Marvel Studios could bring to the big screen a new superhero group like The Suffragists, who appeared in the alternative Earth-12591 universe. Columbia, Libertas, Miss America and Riveter battled Nazi zombies, who in this multiverse had won World War II, but managed to save the day. An adaptation of that comic book run would allow for more female heroes from diverse backgrounds to take center stage and improve the rather lacking female perspective that currently exists in the MCU.
Disney, Fox, Sony and Warner Bros. have so much rich comic book material from several decades to work with that it seems obvious to expand their investment in the superhero period drama—and the commercial and critical success of this kind of movie proves they’re worth continuing. Here’s hoping their writers don’t stop looking back at history in order to bring future superhero stories to life.
Chapter Eighteen (completed)
“Say it again. Humbly so.” Alex’ words were like the quick, lethal bite of a viper. Their utter coldness wrenched Rowena back to the present.
“I humbly ask for your forgiveness, Rowena.” Her half-brother was beet-red in the face, which always occurred when he did not have the upper hand. How many times had she seen that same expression on Roderick’s features when her father admonished him in soft tones.
“I did not give you permission to use my wife’s Christian name, sir, so you will repeat it once more.”
“But she is my sister!” Roderick exploded.
“Still you do not have the right to call her so,” Alex stated. “You lost that right when you chased her from her home, last winter, in harsh weather and dire circumstances.”
“I humbly ask for your forgiveness, Lady Ketteridge.” The words seemed to be wrung out of him, and Alex lifted one eyebrow, upon which Rowena gently touched his arm. He looked at her enquiringly but desisted when she very slightly shook her head.
“Well, my dear,” Alex said jovially, “I promised you a dance. Good evening, Daveston.”
He pulled her hand through his arm and set out for the dance floor. It was very crowded with barely room for moving, let alone dancing, and certainly not for waltzing, yet Alex managed to twirl Rowena around the floor’s perimeter in a steady rhythm. Rowena, still shaken by the encounter with her brother, moved stiffly at first.
“Rowie, look at me.” Velvety words which made her raise her head to meet her husband’s penetrating gaze. “Relax.”
And she did and instantly felt like she was floating. Her feet touched the floor only lightly yet she did not loose her balance in the strong grasp of her husband’s arms. Heavens, but he knew how to waltz.
Merciful heavens, but she loved Alex. When had that come about? And why? He was handsome and charming and strong and … he was everything she had always secretly longed for in the man who would be her husband. Everything she thought Peter had been.
Good gracious, but she had to desist! Now was not the time to reflect on her disturbing feelings. Rowena closed her eyes and let herself be swept away in Alex’ arms.
Struggling hard to overcome the fury that was still trying to overwhelm him, Alex concentrated on the slender body in his arms. One, two three, one, two three … watch out for the others, hold her tight … She was trembling, blast it all, she was still overcome by that blackguard’s rude behaviour. He had to comfort her, calm her, and he had not a moment to loose.
“My dear, why do you deny me your beautiful eyes? I cannot know if I am dancing correctly if I cannot revel in those chocolate eyes of yours.”
With a delicious little stab of male satisfaction, Alex watched Rowena’s eyes fly open. She suddenly stumbled, and it was all he could do to cover the faux pas.
“Oh, forgive me, Alex. I was not paying attention.” A rosy pink flush crept up her slender throat, instantly enflaming him. By Jove, what was he doing here? He should be making love to her in their bed at the hotel.
“Perhaps we should leave,” he croaked, astonished by the sound of his own voice. “We have finished what we came here for.”
“Yes, please …” Oh, what longing lay in those two words.
With a skill he did not know he possessed, Alex guided them off the floor, then led her to the entrance hall.
“Send for our carriage and fetch our coats.” Short, hard barks made the footman scurry away.
Dressed in nothing but his silk night shirt, Alex was pacing up and down his bedchamber at the hotel, unrest tugging at him. His wife, confound her, was making him wait. Emma’s wailing greeted them when they entered the sitting room, causing Rowena to rush to her daughter. The infant’s cries were so piercing that she did not even have the time to go to her own room. She began nursing the babe on the sitting room sofa.
It was more than Alex could bear to see those lush breasts revealed.
With a frustrated sigh, he sank into the straight-backed chair near the fireplace and fairly gasped for air while he was waiting, impatient and very aroused. How had it come to this humiliating situation where he could barely refrain from keeping his hands off her? She was just one woman he had bedded, an exquisitely beautiful woman, to be sure, but still only a woman. Only one woman. Rowena …
A realization dawned on him and made him sit down abruptly near the fire place. For the longest of times, Rowena had been the one and only woman he had taken to his bed, since he returned from Waterloo. He had, after all, been gravely injured in the battle. However, what struck him at that moment was the undeniable fact that Rowena, his wife, had become the only woman he ever wanted to bed, from that moment on. How odd …
He tried to remember some of his former bedpartners over the years, tried to recall the gratification they had given him. There had been Daisy, the scullery maid at Ketteridge House, who had deflowered him when he was sixteen. She was twice his age and had introduced him to a few naughty ways to pleasure a woman, which he had not come to appreciate to the full until he was much older. He wondered what had come of her. She was gone when he came back from Waterloo, and nobody seemed to know her whereabouts.
Then there had been Annie, his landlady’s daughter at Cambridge. She was almost forty and very plain, and did the housework chores for her aging, widowed mother. That was a lonely and unfulfilling task, as Alex understood it, for Annie had lured him into her bed one time. It had been a degrading experience which he had never repeated. Instead, he turned to the lightskirts of which there were plenty in a town full of young, healthy men. Yet the doxies were but a poor and shameful way of attaining succour to his manly needs, so he had left off after a while.
It was not until he was on campaign, first in the Peninsula and later in Brussels, that his appetite for women returned. Short, and disappointingly shallow pleasures, that left him longing for something vague and unattainable, a bright light that seemed to retreat ever farther from him over the years. Until Rowena came along and changed everything.
All of a sudden, he recalled their waltz and the strange glance she had given him. He had never seen that unusual light in her deep brown eyes before, and it had shaken him to the bone. How very odd …
Netflix has ordered a ten episode small screen adaptation of Jonathan Mabbery‘s best selling book V-WARS and has set Ian Somerhalder as the lead star!In the series that chronicles the first Vampire War, he will be Dr. Luther Swann, who enters a world of untold horror when a mysterious disease transforms his best friend, Michael Fayne, into a murderous predator who feeds on other humans. As the disease spreads and more people are transformed, society fractures into opposing camps pitting normal people against the growing number of these “vampires.” Swann races against time to understand what’s happening, while Fayne rises to become the powerful underground leader of the vampires.
The series is based on IDW Publishing’s V-Wars franchise, written by New York Times best-selling author Jonathan Maberry. High Park Entertainment produces alongside IDW Entertainment, which will distribute the series worldwide (excluding Canada). 1-800-Missing creators William Laurin and Glenn Davis will serve as showrunners. Brad Turner (Stargate, Stargate Atlantis) will direct and exec produce. High Park’s Eric Birnberg and Thomas Walden will exec produce alongside IDW Entertainment president David Ozer, IDW CEO Ted Adams and Marada Pictures’ Games Gibb.
“We could not have dreamed of a better choice than Ian Somerhalder to bring his keen understanding of this genre from his years of starring in The Vampire Diaries to lead the cast of V-Wars as Dr. Luther Swann and to be a creative force on this series, as well as to serve as a director this season. We are thrilled to partner with Netflix to bring the multifaceted world that Jonathan Maberry created to audiences worldwide.”
V-Wars was first announced in 2014 as part of a straight-to-series deal with Entertainment One. That company, as well as the drama’s original writer and producers Circle of Confusion are no longer attached. The pickup comes as IDW’s Locke and Key is being shopped to other streaming outlets, among others, as the company looks to find a new home for the Carlton Cuse drama based on Joe Hill’s beloved comic series. Despite multiple attempts to bring the series to both the big and small screen, IDW remains committed to finding the project a creative home.
For Somerhalder, meanwhile, V-Wars arrives a year after he signed off of The CW’s Vampire Diaries following its eight-season run. He currently has a pod deal with TVD producers Warner Bros. Television with actress Nikki Reed, his wife, via their Rare Bird Productions banner. He is repped by ICM Partners, Untitled Entertainment and Morris Yorn.
V-Wars arrives as Netflix continues to spend an estimated $8 billion annually on original programming. The genre drama joins a roster of Marvel fare including the recently renewed Jessica Jones and gives the streamer a series vampire drama as The CW is prepping the final season of Vampire Diaries spinoff The Originals, while working on yet another offshoot from the franchise. The genre remains popular with NBC’s Midnight, Texas, and Syfy’s Van Helsing, among others.
Ian has previously starred in Vampire Diaries
ITV (alongside U.S. co-production partner PBS Masterpiece) has renewed period drama Grantchester for a fourth season. There’s no word on the size of the order for the new season.
In somewhat unexpected news, one of the co-leads, James Norton, who plays Sidney Chambers, will be exiting Grantchester during the fourth season. Casting is underway for a new Vicar.
“I’m ecstatic that – with Masterpiece and ITV – we are returning to Grantchester with all our favourite characters”, said Executive Producer Diederick Santer .”While I’m sad that these will be James Norton’s final episodes, we will make sure he goes out with a bang. We’ve got exciting plans for where the show is heading and the vicarage won’t be vacant for long.”
Based on the novels by James Runcie, Grantchester is set in the 1950s and follows an unlikely crime-fighting duo – the charismatic, charming clergyman Sidney Chambers and gruff, down-to-earth Police Inspector Geordie Keating. The drama series is produced by Kudos and stars James Norton, Robson Green, Al Weaver, Tessa Peake-Jones and Kacey Ainsworth.
The series was developed for television by Daisy Coulam, who is returning to pen the new scripts alongside John Jackson. Kudos and Masterpiece are producing, with Richard Cookson serving as the series producer. The executive producers are Diederick Santer, Emma Kingsman-Lloyd and Daisy Coulam for Kudos and Rebecca Eaton at WGBH Boston for Masterpiece. Director Tim Fywell is returning for the opening two episodes. Production on season four is set to get underway in June in London, Cambridge, and Grantchester.
I must say, I can hardly wait for this one. I hope they can do it justice to the original. I’ve always thought this was a film that should never be remade. The music in the original was haunting. ~Genie The series starts this May on Amazon Prime
Period set delights for you today, starting with the first trailer forNatalie Dormer’s THE PICNIC AT HANGING ROCKwhich will, produced by Australian Foxtel, air on Amazon Prime and also on BBC in UK. This new reimagining of Joan Lindsay’s novel, will first premiere its six episodes in Australia on May 6th and then on May 25th at Amazon Prime.
The original and it’s haunting flute.
National Geographic Season 2 – 10 episodes
|In the first season of National Geographic anthology series GENIUS last year Geoffrey Rush played Einstein, and this year the second season will focus on Pablo Picasso with a whole new set of actors in addition to some of the characters that appeared in both of their lives! Today you can enjoy the posters with Antonio Banderas and the rest of the cast.|
|The series starts April 24th worldwide|
Set to air April 24th later this year on National Geographic, the new period set television series will see its ten episodes exploring how the famous Andalusian artist’s passionate nature and relentless creative drive were inextricably linked to his personal life, which included tumultuous marriages, numerous affairs and constantly shifting political and personal alliances. Picasso produced around 50,000 artworks during his life.