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ChristianFictionQueen
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Name: Ruth
Country: United States
State: Tennessee
Birthday: 9/21/1980
Gender: Female
Interests: Reading - Christian Fiction - Writing Reviews - Talk Radio - Being an "Evil Conservative" - Frank Sinatra - MGM Musicals - BBC - Chris Botti - Broadway - World War II History - Jane Austen - Middle Tennessee Christian Writers - Books & Literature Editor for The Bridge
Expertise: Books in general, especially Christian fiction...and I'm considered something of an expert on Frank Sinatra in certain circles.
Occupation: Inventory Associate
Industry: Retail
Message: message meEmail: email me
Website: visit my website
Member Since:
5/9/2005
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Spoilers...
Weeelllll, this was an interesting episode of Robin Hood. As the title implies, "Bad Blood" delves into Robin (Jonas Armstrong) and Guy's (Richard Armitage) complicated past. Let me get the best point of this storyline out of the way first - Guy and Robin are together at last, and they are the only members of the regular cast to appear in this episode. Hip, hip, hooray! Now let me get out a major gripe...after two and a half years of watching this show, all of a sudden Robin and Guy HAVE a past? They grew up together?! WHAT THE HECK?? Robin and Isabella never even let on that they previously knew each other at earlier in this season. Talk about pathetic storyboarding. This really drives home the biggest problem with the show this season - lack of focus. The Black Knights storyline in season 2 really gave the entire season focus and purpose, and the results were glorious. *sigh* I'm apt to get all choked up remembering the good ol' days... 
Apparently Robin's widower father Malcolm, played by Dean Lennox Kelly, and Guy's thought-to-be widowed mother Ghislaine, played by Sophie Winkleman, started having an affair resulting in a pregnancy (more on that later). Kelly is a very familiar face to obsessive viewers of British TV like myself. :) He's appeared as Puck in ShakespeaRe-Told, Shakespeare in a Doctor Who episode, Cranford series 1, Being Human, and most recently in the fantastic Collision. Sophie Winkleman looked very familiar but she's only played in a handful of projects that I recognized: the "Five Little Pigs" Poirot episode, an episode of Inspector Lewis, and as the older Susan at the very end of the first Narnia film. I didn't recognize Guy's father at all so he's not worth talking about. LOL!
However, the return of Guy's father from the Crusades throws a crimp into Malcom & Ghislaine's plans, especially since he returns infected with leprosy and cannot possibly cover for the birth of their illegitimate child. And now to talk about this kid for a second...I know the show's already been canceled and all, but I cannot believe this is the direction the showrunners chose to go after the announcement at the end of season 2 that Jonas Armstrong was leaving the show. This would've been a PERFECT opportunity to turn Guy into the hero all of us Richard Armitage fans know he could've been. It would've been fantastic, a freaking dream come true. But NOOOOO, we to go the route of creating a third random person, mashing up the best qualities of Armstrong and Armitage (it's arguable that that's even possible, but whatever...LOL!). And to add insult to injury, this random Robin/Guy sibling is named ARCHER. That has to be some of the worst telegraphing EVER. *sigh*
It was marginally intersting to see youngish versions of Robin and Guy. However, what was with the selective recreation of their childhoods? Where were kid versions of Marian and Will? Why wasn't Little John living in the village in his pre-outlaw days? That's too much to ask for, obviously. *sigh again* Kid Robin was a jerk, it is easy to see where his need for a hero complex comes from. And kid Guy was quite a brooder back in the day, wasn't he? No shocker but I had much more sympathy for Guy's tortured past than Robin's, LOL!
So the episode ends with Robin and Guy going off to rescue their previously unknown brother. Oh, before I forget - the whole Robin's dead father suddenly reappearing thing - and the whole leprosy angle in general - that type of storyline just felt wasted. It's been done better before but what can I expect when the writers just decide to spring this kind of thing on the viewers? *sigh for the millionth time* The best thing about this episode was seeing Robin and Guy come to terms with each other and unite with a common purpose. That's been a long time coming, hasn't it? | | |
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The 2009 Masterpiece Contemporary season is now over, and I thought I'd be taking a pass on the entire schedule...but then I was reminded that Collision starred Douglas Henshall (the dearly departed Cutter on Primeval), so of course I had to watch. :) I am SO glad I did. This program was a real treat, full of intricate plot twists and fascinating characters. When I looked up the show on the IMDB, I was even more thrilled to discover it was scripted by Anthony Horowitz. In case you've never heard of Horowitz, let me tell you, for what it's worth I think he's some sort of freaking genius. It's my understanding that any book he releases is guaranteed to be a huge bestseller in England (you can check out his work on his website here - books, film, television, & theater credits!). The primary reason I love Horowitz though is because he created the absolutely fantastic, perfect, wonderful mystery series Foyle's War. I love, love, love that show and should write more about it in the future. Just warning ya. :)
So anyway, back to Collision. I'm not going to do my usual critique/spoiler-fest that normally accompanies any post I write about yet another British show I love and adore. Shocking, I know. But I really think this program is such a wonderful surprise, such an intelligent drama, that I would wish any new viewers to the story to enjoy the surprises as they unfold. Here's the brief story summary from the PBS website, just to whet your appetites:
Point of impact — Friday afternoon on England's busy A12 highway. Six cars collide in a terrible spectacle leaving two dead. Detective Inspector John Tolin (Douglas Henshall, Primeval) is called in to clean up, and quiet the cries of racism coming from the family of one of the victims. But a methodical investigation only scratches the surface of the ten strangers involved, and the surprising and touching ways they are transformed after the accident. Senior Investigating Officer Ann Stallwood (Kate Ashfield, Poirot), herself entangled with Tolin, joins the inquiry as allegations of corporate crime, infidelity, shameful secrets and murder slowly rise from the wreckage. Written by Anthony Horowitz (Foyle's War) and Michael A. Walker, Collision investigates human nature, fate and the intriguing ways the truths of our lives are revealed.
This show is a veritable who's who of British acting talent, so without giving too much away I do want to give a couple of casting shout-outs:
- Douglas Henshall (DI John Tolin) - This show was a really, really smart move - showed a completely different side of his personality than the one I came to love on Primeval. And check out his dorky "everyman" hair - adorable. :)
- David Bamber (Sidney Norris) - When isn't it fun to see Mr. Collins (from the 1995 version) make another appearance on TV?
- Lucy Griffiths - Also known as Maid Marian from Robin Hood. (Moment of silence for the dearly departed, please!) Since season 2 of RH has turned out to be the show's creative high-water mark, I no longer think Lucy was completely nuts for wanting to leave the show to pursue other projects. In fact, crazy blonde hair dye job nothwithstanding, I think it's brilliant she got to play in Collision because she got to star opposite...
- Paul McGann - I freaking love Paul McGann. We go WAAAAYYYY back, starting with his appearance as Lt. Bush in the Hornblower films (still bitter about how that series ended, A&E!). His voice will just make you melt, I kid you not. And while his character is not as admirable as one could wish for, dang it the man has never looked better. Wowzers. *swoons* It was SO nice to see Paul in a major project that actually got the chance to air in the US. Made me positively nostalgic for the ol' Hornblower days...
Sorry, didn't meant to get carried away there. Those four actors are just a small sampling of the faces I recognized in the cast. The show is a true ensemble piece, superbly scripted and executed. This is a story that will leave you thinking about the ripple effect our lives have on each other, and how the smallest actions - or inactions - can have enormous consequences. It's a fascinating program. The DVD releases December 15th. Here's a short video interviewing some members of the cast: | | |
|  Me and Orson Welles
By: Robert Kaplow
Publisher: Penguin
ISBN: 978-0-14-303522-0
About the book:
“This is the story of one week in my life. I was seventeen. It was the week I slept in Orson Welles’s pajamas. It was the week I fell in love. And it was the week I changed my middle name – twice.”
With this beginning, Robert Kaplow sweeps readers into a breakneck romantic farce that reads like a Who’s Who of the classic American theater. At center stage is the twenty-two year old Orson Welles, about to launch his debut production of Julius Caesar. Enter Richard Samuels, an achingly sincere teenager who literally walks into his first acting job. What he finds is a whirlwind of comedy and pathos, self-absorbed celebrities and their outsized egos, art and love. Me and Orson Welles is a joy.
Review:
When I saw the trailer for the upcoming film Me and Orson Welles, I knew I had to read the book on which the movie is based. The story looked tailor-made to cater to my tastes – the clothes, the music, the theater of the time period, I love it all. With the book, Robert Kaplow has crafted a witty and insightful coming-of-age story that doubles as one of the best love letters to a bygone age that you could wish for. (Just a heads up, there is some off-color language in this book – I would’ve preferred a less, but if you can get past that the story is that the story is terrific!) In the late 1930s, America was in a depression with no thought of the war to come, and master songsmiths like Irving Berlin and Cole Porter were making their contributions to what would become known as the Great American Songbook. It was a “golden age,” when American films featured stars like Gary Cooper and Cary Grant, and the theater was peopled by the likes of the Barrymores and young Orson Welles.
Into this glittering theatrical world, seventeen-year-old Richard Samuels literally stumbles upon his first acting job – a bit part in Welles’s fledgling Mercury Theatre production of Julius Caesar. Full of big dreams and hopelessly idealistic, Richard has no idea what he’s gotten into when he joins the production and finds himself in Orson Welles’s starry orbit. Welles is a star on the rise and he knows it. The man is a pompous jerk but the allure of his genius is irresistibly strong and undeniable. In one short week, Richard probably learns more about life, love, and his own purpose and self-worth than many people do in an entire lifetime.
Richard’s voice just shines and makes this novel a joy to read. He’s worldly-wise yet naïve, sarcastic yet sweet – in other words, a typical teenager made up of all the confusion and contradictions that accompany that time of one’s life. Kaplow also excels at building his setting – he absolutely nails NYC. The city itself is as much of a character as Richard or Welles, and reading the descriptive passages in the novel made the sights, sounds, and smells of the city come alive. This book is also one of the best mash-ups of fiction and historical fact that I’ve ever come across. I’m a huge classic film fan, so reading about Orson Welles’s theatrical beginnings, or learning that actor Joseph Cotten was a member of the Mercury Theatre troupe, were absolutely fascinating. While I could never claim to be a Wellesian scholar, based on my perception of Orson Welles’s character from his films that I’ve seen, Kaplow has done an excellent job of capturing the essence of the man. Every time Welles spoke on the page, it was his unmistakable voice that I heard in my head while reading.
If you’ve seen the television show Slings & Arrows, Me and Orson Welles comes as close as you could wish to capturing the humor, angst, and life found in the theater. Me and Orson Welles is a breezy, insightful, laugh-out-loud funny love letter to a golden age in American entertainment.
Here's the movie trailer:
I cannot WAIT to see this movie!! The last time I checked it opens in NY and LA over Thanksgiving, and then wide release December 11th. I just hope those dates don't change (unless they move the wide release opening up...I would totally go for that). | | |
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Spoilers...
I'll start off by saying this episode is the crowning jewel of this otherwise horribly uneven and spotty season of Robin Hood. If the episode focused entirely on Guy (Richard Armitage) it would've been absolutely perfect, because his storyline here was a freaking dream come true. But, before I talk about the really good stuff, let's get everything else out of the way first. :)
Sometime between this episode and the last, Isabella's (Lara Pulver) been officially appointed Sheriff of Nottingham. Go figure. We are allowed to see some of just how conflicted a woman she is - her marriage has scarred her, but it's not left her entirely without some good impulses. She's got a women empowerment agenda thing brewing, but she barely gets started implementing that by freeing Meg (Holly Grainger) from an unwanted marriage before her much talked of but never seen husband Thornton (Nicholas Gleaves) shows up. Gleaves looked terribly familiar, but in glancing at his IMDB page I didn't recognize any credits. (Oh, and more on Meg later.)
Thornton is a terrible piece of work to say the least, and when you see the fear in Isabella's eyes at his appearance you can't help but have compassion for her situation. She is obviously a victim, but she hasn't lost her ability to use her past circumstances to manipulate Robin. This of course plays right into Robin's biggest weakness - the need to be the hero/savior.
The whole Robin (Jonas Armstrong) - Kate (Joanne Froggatt) - Much (Sam Troughton) thing is so wrong, on so very many levels, and so pathetically executed...well really is there more to say besides that? I felt like the scenes involving that threesome were so junior high it wasn't even funny. And every scene involving poor Much's crushed hopes and dreams were downright painful. Why didn't Kate just cut out Much's heart and stomp it into the ground??? So all of a sudden Kate is the best thing to ever enter Robin's life - even Little John (Gordon Kennedy) talks her up. Yeesh what is wrong with all of these people?! Robin has gotten unforgivably stupid about women, but this has been going on so long, with no promise of correction, that I sort of feel numb to it all by this point. Marian is rolling over in her grave, Robin. Yeesh!!
So by the end of this episode, Isabella's dispatched her evil husband - personally I think they could've milked that storyline a little longer, but oh well. She's got a nice evil queen vibe going on - she is CRAZY, but really her brand of crazy just made me nostalgic for Keith Allen's take on the Sheriff. *sigh*
And now for the best Guy scenes EVER! Guy in prison awaiting execution, and let me tell you, NO ONE can rock the whole dark, brooding, facing death yet unbelievably appealing thing like Richard Armitage. Excuse me while a swoon for a second (AGAIN!). :) He's thrown into the company of Meg, a self-proclaimed man hater who Isabella automatically connected with - but sadly Izzy's plans for her new BFF are going to fall through BIG TIME. Because no one in their right mind can resist the allure of the dark knight that is Guy. :)
Meg and Guy's scenes are fantastic. Because they're both in jail they're on equal footing, and Meg isn't afraid of speaking her mind and calling Guy out on everything from his attitude to his past actions. This is the kind of self-reflective time and turning point moment that I have wanted to see from Guy ever since he snapped and killed Marian in the finale of season two. He's just not supposed to be that guy who can do something like that without consequence. As he tells Meg, (referring to Marian) she believe in the better side of him, believed he could be a good man, and he let her down. When he says death means nothing because he's already in hell, you know that's true, because until he met Meg, he'd destroyed the only other person that believed in him at all. When Meg defies Isabella to try and free Guy, for the first time in ages, if not ever, his first thought is to save her. There's no ulterior motive, no desire to play the system. He's reached a point of selflessness and heroism that I always knew was there, I was just dying to SEE it. So thank you, Richard Armitage, in the midst of the mess that is season three, for giving me this performance.
Since we already know that Robin Hood's been cancelled, it's a bit pointless I guess to wish for what might have been. But I can't help but wish that the showrunners had wanted to develop the Meg/Guy relationship a bit further. Granted, her death scene was gut-wrenching, and having Guy actually break down and cry was a fanastic moment. I'm going to pretend to read Richard Armitage's mind here, but who cares? I felt like he wanted to convey that Guy was crying for more than just Meg's death - it was for all of his character's lost opportunities. So tragic, yet so loverly to see. :) I thought Grainger and Armitage had great chemistry together, and I loved how Meg was not a character who was going to give Guy and inch. She was quite a spitfire, and their relationship would've been a lot of fun to watch (much more rewarding than the Robin/Kate debacle). I look forward to seeing Grainger in more shows (she's appeared in an episode of Merlin, to name one recent credit).
This was a beautiful, fantastic Guy-centric episode and it's definitely a highlight of the season - one ep that will be getting rewatched a lot in the future.
Check out this link for some great Guy wallpapers! | | |
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Spoilers...
For episode eight of this season, the writers of Robin Hood drag out the ol' is the king dead or is he not plot, and can the usuper successfully stage a coup/fake coronation (any guesses as to how that always turns out? ). The episode opened with an assassin/knight called Lord Sheridan (who just happened to train Robin back in the day) played by Robert Pugh. He looked very familiar so I checked out his IMDB page - turns out he's appeared in Marple, Poirot, Bleak House, The Virgin Queen, and Torchwood, to name a few appearances. The fact that Sheridan's joined John's camp is a textbook chance for Robin (Jonas Armstrong) to act all brooding and angsty. Why oh why doesn't the whole world see things Robin's way? Poor guy. *sigh* Two things about this first segment of the episode - did anyone think it was weird/odd that such skillful wax artisans were around in King Richard's day? Maybe I am just not up on my history in that era. Also, is it weird that Isabella (Lara Pulver) would be making a play for the position of sheriff? Also - three things, I lied - part of me really loved how over-the-top hammy Prince John's (Toby Stephens) response to the news of his brother's "demise was - Stephens seems like he's really had a heckuva lot of fun with this role and it shows. He's in on the joke - I only wish Prince John had been able to make an appearance in season two, which for my money was the most consistent and well-scripted run of episodes.
The Gisborne siblings sure are messed up, aren't they? Despite the fact that Isabella jumped the shark and became completely unhinged in episode seven, I loved the nuance that Richard Armitage gave Guy's character in their first scene together. Sure, Isabella ends up smooth-talking her way out of imminent danger by offering reconciliation and promising to speak to the prince on Guy's behalf. But for a few brief moments, it seems like Guy hesitates killing Izzy because he's changed, because he can't quite make himself cross that line and kill family. The Marian thing still haunts my favorite dark and brooding anti-hero. He's still got a LONG way to go though, as he walked right into that whole drugging and betrayal scenario, didn't he?
You know I've got to say, it cracks me up that Robin & Co.'s bright idea for stopping Prince John is stealing the crown so there can't be a coronation. Seems flimsier than usual, even by this show's standards, but what do I know? *rolls eyes* I do have to say, though, that I got a kick out of Robin navigating the obstacles in the booby-trapped strongroom. Just like the good ol' days of Indiana Jones-style action in season two. Speaking of crowns and coronations, I have to call out the actor playing the archbishop - Ian Gelder. He was most recently seen as Mr. Dekker in Torchwood: Children of Earth.
Love, love, loved Guy going off on Isabella and Prince John ("I can't be disfigured for my coronation!!" - HILARIOUS!). This is what I've wanted to see since the beginning of this show, practically - Guy exploring his potential good side and being forced to realize that the corrupt, power-hungry people he's banked on don't care about him, they only care about him as long as he's useful to them. However - in case you haven't figured this out yet, the showrunners really dropped the ball on running the show this season in my opinion, the lack of focus directly leading to the cancellation of the show. Tragically SQUANDERED potential. *sigh*
You know what this episode really made me miss? Storylines that actually made me interested in the various members of the gang. Storylines like Allan's (Joe Armstrong) betrayal in season two, that made me care about his character more than every other one in the show (save Guy, of course). Now all Allan and Much (Sam Troughton) are good for is crushing on Kate (Joanne Froggatt), and all she's good for crushing on Robin and engineering a play for a little upward social mobility. Even when Marian was at her most annoying, she had Kate beaten by a mile.
A few words about the coronation scene. First - the outlaws' play to stop the proceedings by impersonating Richard behind shiny shields? Completely lame. LOVED Guy's appearance and how he and Robin seem to be able to set aside the past to some degree and recognize that for the first time ever, they have common enemies. Also got a chuckle out of the fight turning into a fist fight after the archbishop threatens anyone who draws blood in the church with eternal damnation. Way to work around that little problem. Final verdict: this episode had one or two good moments, but it's one of the weakest of season three so far. | | |
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