Wilcox

BBCTwo确认预订由BenElton执笔的喜剧《UpstartCrow》，本剧主要讲述威廉·莎士比亚的生平，将作为BBC在2016年莎翁纪念节的一部分播出。DavidMitchell将饰演早年的莎翁；同时出演的还有HarryEnfield、PaulaWilcox、LizaTarbuck以及GemmaWhelan。故事主线的一部分将来自于莎翁的灵感源泉，Elton说：“我努力站在莎士比亚的角度讲故事，甚至用一只鸡的羽毛做的笔写剧本，一年都没换过内裤。”2016年的莎翁纪念节将会举行一系列活动纪念莎翁去世四百年。此外，BenedictCumberbatch和JudiDench主演的《TheHollowCrown》三部系列以及RussellTDavies执导，MaxinePeake、MattLucas、BernardCribbins、ElainePaige以及RichardWilson主演的《仲夏夜之梦》也将献礼本次莎翁纪念节。

Netflix直接预订VeenaSud负责编剧﹑GavinO’Connor执导的诗选剧《七秒SevenSeconds》，定于美国时间2月23日上线，首季10集的《七秒》用了美国时下热门题材，讲述在泽西市因为一个黑人少年受到警察的严重伤害而死，因而黑人市民与白人警察关系十分紧张。Clare-HopeAshitey饰演K.J.Harper，新泽西州的助理检察官，接手了这次事件。MichaelMosley饰演绰号”Fish”的JoeRinaldi，一个经验丰富的新泽西警探，被指派跟检察官KJHarper合作。DavidLyons饰演MikeDiangelo，大男人主义者的他奉献了生活给新泽西警察，是他那小型缉毒部队的实际领导者；BeauKnapp饰演部队的菜鸟PeterJablonski，他渴望取悦队长/父亲榜样似的MikeDiangelo。ZackaryMomoh饰演FelixOsorio﹑PatrickMurney饰演GaryWilcox，四人皆在同一支缉毒部队。《格林Grimm》主演RussellHornsby饰演虔诚的IsaiahButler，他对儿子Brenton发生的事件感到震撼。RaulCastillo饰演SethButler，Isaiah的弟弟，他刚从阿富汗旅行回来，刚好为这家庭给予支持。ReginaKing饰演LatriceButler，虔诚的她经常去礼拜，身兼合唱领导﹑学校秘书﹑妻子及一个15岁男孩母亲的身份。当她和家人成功置业后，她因为儿子Brenton卷入事件而令她的核心价值被动摇；另外Latrice与丈夫还意识到自己对儿子的真正情况并不了解，儿子的困境令她感到愤怒，这股怒火将改变她的生活﹑与丈夫的关系等。

克里斯汀（TuesdayKnight饰）在跟弗莱迪（罗伯特·英格兰德RobertEnglund饰）的缠斗停止后未多少,后者狞恶的抽象就再次造访了她的梦幻。克里斯汀向曾一起在病院医治的搭档金凯跟托伊流露了弗莱迪返来的新闻,但是两个男孩以为弗莱迪已逝世,期待他们的不外是镇静的芳华期生涯。弗莱迪很快再度发威,将金凯跟托伊杀逝世在梦中,克里斯汀得到了一起战役的友人,多少近掉望,幸亏有以为梦是摆脱事实压制良方的挚友好丽丝（LisaWilcox饰）涌现,克里斯汀在梦中被弗莱迪侵犯之时向爱丽丝告急,将后者拉入了本人的梦幻,也使其卷入了弗莱迪的跋扈狂屠杀。克里斯汀终于被杀,而爱丽丝,决议为友人报复……

在上一会合,爱丽丝（LisaWilcox饰）在弗莱迪（罗伯特·英格兰德RobertEnglund饰）手中幸运逃走,但近来她又开端被恶梦困扰,结业的季节到了,爱丽丝与男友丹尼尔面临着全新的人生,弗莱迪的威逼不惹起她四周人的留神。爱丽丝在梦中目击鬼婴出生并生长为弗莱迪,面临弗莱迪步步紧逼的追杀,爱丽丝向丹尼尔告急却使男友被弗莱迪杀戮,爱丽丝得悉本人有身,而婴儿很可能被弗莱迪附体,弗莱迪开端用梦幻杀戮爱丽丝身边的友人们,对“梦中恶魔杀人”故事不屑一顾的人们连续逝世去,阿曼达修女在爱丽丝的梦中涌现,指导后者要阻拦弗莱迪行凶跟寄身她腹中的胎儿,就必需掉掉落本人的赞助……

Sixty Glorious Years is an exercise in the creation of iconography, both for Victoria and its star, Anna Neagle (who subsequently became known as 'Regal Neagle'). Just as Elizabeth I commissioned artists to create flattering iconic images for public consumption, so this film performs a similar function, for Neagle is more beautiful than the real life Victoria. Controversial events (such as the 'Irish problem') are omitted and unpleasant aspects of Victoria's character (her petulance, arrogance, favouritism and 'right to privilege') are glossed over as endearing little 'whims'. Albert acts as a moderating influence when she goes too far.　　The film followed a year after the highly successful Victoria the Great (d. Herbert Wilcox, 1937). Again the screenplay is by Miles Malleson and Robert Vansittart, and many of the supporting cast (the cream of acting talent of period) repeat their roles, this time for the colour cameras. This was the first full length Technicolor film of cinematographer Freddie Young, who captures the spectacle of royal weddings, grand balls and opulent interiors, with scenes actually filmed at royal palaces. Vivid battle scenes, set in Alexander Korda's empire territory (Sevastopol and the Sudan), rival those in The Four Feathers (d. Zoltan Korda 1939).　　The title music sets the tone a regal choir sings over a shot of the crown. Elgar's 1901 'Pomp and Circumstance' march is heard during the diamond jubilee celebrations and, as Victoria's coffin lies in state, the film concludes with Anthony Collins' stately music accompanied by the text of Rudyard Kipling's 'Lest we forget'. Combined with the emotional appeal of scenes of Victoria connecting with her 'ordinary folk', this is stirring stuff.　　The film connects with contemporary events of 1938. The release of two celebratory royal films was intended to boost public affection for the monarchy in the wake of Edward VIII's abdication. Anglo-German relations were another touchy subject. With another war on the horizon, influential voices wanted appeasement, and the film could be seen to fit that agenda. Victoria herself was of mainly German descent, nicknamed 'the grandmother of Europe', while Albert is a 'good German', charmingly played by Anton Walbrook as a cultured, decent man.　　Sixty Glorious Years now seems unduly formal and reverential. Had movies existed during Victoria's reign (they only emerged at the end) this might have been the kind of film produced. Unlike Mrs Brown (d. John Madden, 1997), it is all so very 'Victorian'.　　Roger Philip Mellor