Watch "MARRIAGE Trailer (2022) Sean Bean, Nicola Walker" on YouTube

BBC One's 'Marriage' Releases Launch Date And Trailer

BBC One’s ‘Marriage’ Releases Launch Date And Trailer

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This was probably my favourite part in all of No More Jockeys season 5, the classic Tim Key arguing to the death a point where he's clearly wrong, Alex having to do all the arguing back because the sheer audacity is killing Mark, until suddenly at the end Mark pokes his head up with renewed energy lobs a second challenge, like a boxer that's been rocked swinging wildly from the ropes. It's great stuff. Top quality NMJ.

Today I listened to the Cowards radio show for the first time (did all of his Late Night Poetry Programme in a few days last week, decided I hadn't had enough of Key & Basden, so did all of Cowards in a day), and look at this shit!

I suppose this doesn't count against the challenge, because the rule was it had to be a 3D person portraying the character, so voice acting doesn't count. But still, I was delighted to learn that Tim Key himself has, personally, portrayed the role of Crackle before. Complete with a script and everything.

I'm going to watch the Cowards TV show next week (I would say tomorrow, but tomorrow I have to work all day and then in the evening am performing in a comedy club for the first time, after doing five sets in pubs, it's just their little amateur night but I'm still quite nervous about it, probably won't have the time to focus on figuring out what Tim Key was doing in 2009 before I finish that), I will let you know if this sketch made it in there. Because if he did it on TV then that definitely would have counted as being defeated by himself!

stefan golaszewski’s “Mum” is making me feral like it’s just two old white people standing making awkward small talk in a hallway and i’m shaking and screaming

Ms. Harris travels to Paris | Exam

Ms. Harris travels to Paris | Exam

★★★ Lesley Manville has made the “welcome mat wife” an art form. Few in his field can grasp the tacit resignation of underappreciation so well. To this end, Mrs. Harris goes to Paris offers a clever sequel to Manville’s showcase work in Stefan Golaszewski’s BAFTA-winning sitcom Mom. It’s a movie that takes the budding power beneath Manville’s performance in this latest show and lets him rule the…

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Sean Bean in marriage with Nicholas Walker celebrates the relationship that lost its fizz

marriage★★★★ “Marriage for 27 years? It’s risky.” Sean Bean said in a recent interview about his role opposite Nicola Walker in the BBC drama. marriage. But in the opening scene, in which Ian (Ben) and Emma (Walker) bicker over the exorbitant cost of a bag of tomato sauce and the benefits of potatoes as you stand in line at a monotonous Spanish airport, you might wonder if the actor was momentarily confused about the show he was discussing. marriage It is exactly what is on the box. An unadorned title couldn’t be more accurate. Written and directed by Stefan Golashevsky.my momAnd the he and she), is caught in the middle of Ian and Emma’s long and enduring but perhaps turbulent marriage. Fizz got away with the relationship a long time ago. According to the traditional metaphors of TV drama, we have come to witness a marriage in the midst of his death. Nicholas Walker and Sean Penn in Stefan Golashevsky’s drama Marriage.attributed to him:Rory Mulvey They are an ordinary couple living an ordinary life in what appears to be an ordinary town in Britain. Ian was recently laid off from his (unspecified) job. A tough guy in his late fifties and early sixties, he’s eccentric and clumsy. His mother recently passed away and he is struggling to fill his day with meaningful activities. Watching him trying to find a certain shampoo in the supermarket or ironing about the condition of the elevator makes one laugh and cry at the same time. It became a square dowel in a round hole that probably wasn’t made for these times. Emma is distracted by her job as a lawyer at a lesser-known suburban law firm. Jamie (Henry Lloyd-Jones), her younger, smarter, and arrogant boss, takes her for granted. She leans loyally on her wicked and ruthless elderly father, Jerry (James Bolam), who relieves frustration over his plight at his understandably resentful daughter. Their fraught relationship is an insight into a generational conflict that is rarely seen. Although Ian and Emma’s interactions are cliched and boring throughout the four-part drama, it’s fraught with familiarity, realism, and a distinct sense that this is how two people who have endured a very long partnership talk to each other. The viewer must work for the redeeming returns in the marriage.attributed to him:Rory Mulvey But in many ways, marriage It is an elaborate game of misinformation. Beneath the everyday boredom that Golaszewski separates with an unhurried, long, and natural camera, there are other dramas lurking. Ian and Emma’s boring conversations about dishwashers (and potato jackets, while we’re at it) boil with unresolved tensions. Ian urges Emma to Jimmy and what he thinks is happening between them, each oblivious to the other’s emotional blind spots. Some conflicts erupt, and most don’t, but what we understand about this couple who were able to say nothing and everything at the same time is that this is the fabric of their enduring marriage. It’s hard to imagine actors other than Walker (who wistfully invested in every onscreen moment across four seasons of not forgotten) and Bean (recently seen in the serious prison drama time) Get rid of this kind of natural or balance between boredom and joy. Both have the ability to point to deep waters running through silence and provide lines full of overt and secret meanings. Source link Originally published at Melbourne News Vine

Mum. BBC.

Mum is a British sitcom written by Stefan Golaszewski (Marriage) centred around recently widowed, suburban 59-year-old Cathy and her family, following her husband’s death. Each episode is named after a calendar month in the year, except series three which is set over just one week. Starring Lesley Manville and Peter Mullan. I watched this on the back of Stefan Golaszewski’s Marriage (Nicola…

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Sarah Solemani as Becky in ‘Him & Her’ - with Russell Tovey

Mum series 3, Behind the scenes click on the pics for better quality

GRACE (about the cabbie). We should make out. Give him something to look at. She laughs. He laughs for her. They just sit there, looking out of separate windows, chewing. Blackout.

Sex with Strangers, Stefan Golaszewski

Can’t believe there’s a little mini fandom for BBC’s Mum on tumblr I’ve been laugh-crying all by myself for OVER A YEAR

DVD review: “Mum - Series 3” (2019)

DVD review: “Mum – Series 3” (2019)

DVD review: “Mum – Series 3” (2019)

Television

6 Episodes

Created, written and Directed by: Stefan Golaszewski

Featuring: Lesley Manville, Peter Mullan, Sam Swainsbury and Lisa McGrillis

English television shows about singular characters are not new or even that original especially in this day and age which means that if you are wanting to watch new similarly themed shows then they…

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C: A-are you getting a place in Spain? M: Uh, I’ve been thinking about it.

There’s an interview by Amy Raphael with Nicola Walker, ahead of The Split returning on Monday, in this week’s issue of the Radio Times. (Be warned, only part of this piece is the interview with Nicola Walker, the rest is about women behind the camera.)

Nicola Walker is at home, in a large white room with timbered ceilings that appears to be completely empty. “It’s half term and my teenage son is around, so I’ve been banned from every other room. I’ve curated it so that it looks tidy, but either side of me looks like a tip.” She tilts the screen of her laptop to show a mountain of stuff. Walker is often shy in interviews – she is not, it seems, a natural show-off – but put her in front of a camera and she quietly and brilliantly shines, whether it’s in Spooks, Last Tango in Halifax, Unforgotten or The Split. 

She’s also queen of self-deprecation, saying that she will be officially unemployed on 11 June when the run of The Corn is Green, the play at the National Theatre in which she stars, comes to an end. It’s rubbish, of course – there’s Marriage to come later in the year, a TV series co-starring Sean Bean, written and directed by Stefan Golaszewski, of Mum fame, which Walker describes as “a couple who have been together for ever and whose lives are totally intertwined”. And then there’s this third and final season of The Split, about a family of divorce lawyers and their chaotic love lives, which is utterly addictive. 

But first things first. Shortly before our interview, it was announced that filming was about to start on the fifth season of Unforgotten – Walker’s character, DCI Cassie Stuart, was dramatically killed in the final episode of the fourth series. Her departure was a “joint decision” with writer/creator Chris Lang and had exactly the impact they both hoped. “We took Cassie on a fantastic journey,” Walker says. “It was very, very sad that she died, but the story was brilliant. I loved every second of it.” 

So will she be watching Sinéad Keenan take her spot alongside Sanjeev Bhaskar in the new episodes? “I know a tiny bit about where they’re going with the story and it’s incredible. I’ll be sitting on my sofa watching with everyone else.” 

Walker was born in London and started acting with the Cambridge Footlights. She turned down a place at RADA because she was already being offered acting roles and decades later, she still makes considered career choices. She was drawn to Unforgotten partly because Lang avoided the TV crime trope of violently murdered women – “Chris has never been interested in a body count” – but also because it was executive-produced by Sally Haynes and Laura Mackie of Mainstreet Pictures. 

When Walker started out in the mid 90s, the only female crew were in the make-up and wardrobe departments. But because executive producers like Haynes and Mackie, Nicola Shindler (Last Tango in Halifax and It’s a Sin) and Jane Featherstone (Chernobyl, This is Going to Hurt and The Split) have pushed for change, it now feels very different on set. “I want to look past the camera when I’m working and see a mix of men and women. You can’t magic it out of nowhere; doors have to open, people have to be trained. Girls have to be told at school that being in front of the camera is just the top of the iceberg when it comes to employment opportunities in our industry.” 

In the third season of The Split there was even a female grip – a job traditionally viewed as very male since it includes operating camera cranes. “The Split has always tried hard to make the crew at least 50 per cent female and on this season we had this incredible six-foot-two Norwegian grip who was brilliant at her job. I’ve never met a female grip in all the years I’ve been working and it felt ground-breaking, actually.” 

Part of the issue is that women often feel that need permission to take on roles perceived as traditionally male. When I talk separately to Abi Morgan, creator and writer of The Split, River (another Nicola Walker triumph) and The Hour she says that she felt “grateful” to be able to be a writer when she started out. And despite the fact that her father was a director and that she’s worked with female directors such as Phyllida Lloyd (Mamma Mia! And The Iron Lady) and Sarah Gavron (Suffragette), she still hesitated about getting behind the camera herself. “There was no way I was going to own that space. Then I looked at my 18-year-old daughter and thought, ‘I’ve got to front this out.’” 

So, finally, Morgan directed one of the new episodes of The Split. “I am massively risk-averse and going outside my comfort zone was terrifying. The first thing I had to shoot – I hope I’m not giving too much away – was a late-night scene with Hannah [Nicola Walker] and Nathan [Stephen Mangan] coming back from a camping trip. Someone shouted, ‘Action!’ and I was off. Writing is isolating and brutal but, for me, directing was relaxing. It’s been a very empowering experience. If there’s one thing I regret, it’s waiting till my 50s to give it a go rather than doing it in my 20s.” 

Morgan agrees that you have to see it to be it. “I looked at Emerald Fennell [director of Promising Young Woman] and thought, ‘God, not only is she comfortable owning her space on screen in The Crown [in which she played Camilla], but she wants to own it behind the camera, too.’ As women, we spend most of our time trying to minimise ourselves. I’ve tried to make as much space for other women on screen as I can and now I think it’s time for women to, quite literally, take hold of the camera.” 

These are not idle words; the other episodes of The Split were directed by Dee Koppang O’Leary, who cut her teeth on music and fashion documentaries and as an assistant director on The Crown and Bridgerton. “I came up through the ranks and make runners were always given the chance to have a go at directing ahead of female runners,” says O’Leary. “There was an assumption that boys did the tech stuff and girls looked after the contestants or celebrities. When I was in my early 20s, I said I’d quite like to do the third camera and an executive producer said, ‘James can do that. You look really pretty so you can talk to all the contestants.’ It was awful!” 

O’Leary went to drama school wanting to act, then realised her heart was behind the camera. “I’ve got a detail-obsessed brain and I love the analytical side of filming and putting together all the components you need to make a beautiful jigsaw puzzle. I’m fairly new to the world of drama, but I get the vibe that people want to be seen to employ female directors. If there are six episodes in a season, they definitely want to make sure they’ve got a female director on board for at least two. Having a female director cane make such a difference. It was important, for example, that the intimate scenes in Bridgerton were seen through the lens of a woman.” 

She concedes that simply box ticking won’t work and agrees with Walker about getting young women on board and showing them the opportunities that exist. “You have to get the female trainees in at 18, 19 and show them that they can be a director, a gaffer, or a director of photography [DP] or, in fact, anything at all behind the scenes. There are some really exciting women coming up through the ranks – I worked with an amazing DP on The Crown called Kate Reid and she’s just one of many talented women behind the camera.” 

“I’m hoping that one day soon female directors like the brilliant Emerald Fennell and Olivia Wilde will become the norm rather than the exception.”

Best of 2019 - Tv Series

It’s almost end of the year, time to look back and write my yearly lists as I do every year in December. In 2019 I watched more TV than ever so the list not going to end as a Top 20, it will be more than that. Let’s see how it goes.

01. Fleabag - Season 2. - I know everybody hate this one who’s a Guardian reader but this is still the best show on TV. No question. Unfortunately, Phoebe not planning on a third season for a while (or ever), so that was it.

02. Years & Years - Season 1. - Russell again. Love him. Want to marry him.

03. Killing Eve - Season 2. - How can I explain this for you ... I can’t. But for sure you going to be in love with a serial killer. No matter you gay or straight.

04. Mindhunter - Season 1 & 2. - Started watching this on a Saturday morning and couldn’t get up until both season ended. Almost forgot to eat or have a shit.

05. Workin’ Moms - Season 1,2,3. - Same situation. Unbelievable funny. This is my Friends. Watching non-stop whatever I’m doing. I think since October I watched all seasons minimum 3 times.

06. The Kominsky Method - Season 1 & 2. - The first season is better than the following one, but still ...

07. Chernobyl - Miniseries

08. Sex Education - Season 1.

09. Derry Girls - Season 2. - Almost cried at the end.

10. Russian Doll - Season 1.

11. American Crime Story - The Assassination of Gianni Versace

12. Unbelievable - Season 1. 

13. Pose - Season 1 & 2. 

14. Mrs Wilson - Miniseries

15. Back to Life - Season 1. - Story about the woman who just got out prison and restart her life, which isn’t easy, but incredibly funny.

16. The Crown - Season 1, 2, 3. - Olivia is terrifying me.

17. Schitt’s Creek - Season 5.

18. Mother Father Son - Miniseries - I have no idea why the critics didn’t like this. Billy Howle have to get a Bafta.

19. Dead to Me - Season 1.

20. Stranger Things - Season 2.

21. The Let Down - Season 1 & 2. - Australian version of Workin’ Moms.

22. The Good Fight - Season 3.

23. His Dark Materials - Season 1. - Ok, this isn’t finished yet, but have to be on the list.

24. The Umbrella Academy - Season 1.

25. Mr. Robot - Season 3.

26. Mum - Season 1, 2 & 3. -  I want more from Stefan Golaszewski. He’s a very talented writer. I’ve got so emotional while I was watching this.

27. Grace & Frankie - Season 5. - Still so funny and dramatic.

28. No Offence - Season 3.

29. The Good Place - Season 3 & 4. - No better place than hell.

30. The Durrells - Season 2.

31. The Act - Miniseries

32. Motherland - Season 1 & 2.

33. Fargo - Season 3.

34. Good Girls - Season 2.

35. Love, Death & Robots - Season 1.

36. Ghosts - Season 1.

37. The Politician - Season 1.

38. There She Goes - Season 1.

39. Dirty John - Miniseries

40. White Gold - Season 2. - The best business in the world. 

And the biggest disappointment of the year: Black Mirror - Season 5.