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‘Outlander’ Recap Season 2 Episode 9: Je Suis Prest

Outlander Sam Heughan and Caitriona Balfe
Sam Heughan and Caitriona Balfe in ‘Outlander’ (Photo © 2016 Sony Pictures Television Inc)

Episode nine of Outlander season two is titled for the Fraser motto, Je Suis Prest, I Am Ready. The entire episode is about just that, being ready or, more accurately, getting ready. There is a wealth of activity in this episode, and so much of it is unlike the book; I won’t dwell on the comparison. I will point out a few more interesting deviations though. The first addition of note is there is a great deal more reference to World War II. Before the episode even gets going you see a puddle and then wheels roll through the puddle. They are not wagon wheels as you might expect, they are rubber tires from an armored vehicle. I must say that I did enjoy the flashbacks for Claire because it touched on several items that, thus far, only book readers knew.

The scene begins with a gorgeous view of the Highlands again. The Scotland mountains are simply breathtaking…but I digress. The marching men…focus, focus!!! You see Claire and Jamie pick up right where the Old Fox left them. The men are on the march to the encampment. As will happen with the clans, about half of Simon Fraser’s (James Parris) forces deserted before they even got the men combined with the 30 men Jamie (Sam Heughan) pulled together from Lallybroch lands. Simon was dispatched to try to gather back in as many men as would be willing to return. A soldier is much better when they want to fight for the cause, not when they are forced to fight.

With a snappy wisecrack, they are welcomed by the always warm, and typically fuzzy, Murtagh (Duncan Lacroix). He has some choice words for the men who walk into the camp, not the best of Lord Lovet’s (Clive Russell) crop. Jamie remarks that the ol’ fox kept his best men at home. Then Fergus (Romann Berrux) bursts out of the door with shouts of welcome for his Lord and Lady Broch Tuarach. Claire (Caitriona Balfe) bestows a radiant grin on the boy and a rather sizable hug. Everyone goes about getting settled in and making a place for themselves to rest before the training and preparations begin the next day. The music in this episode is such a gift in the moment, love the Highland songs and how they give incredible ambiance to the show. Bear McCreary does such an amazing job in every episode. Okay, back from fangirl land…

As Claire and Jamie come out of their quarters the next day, they are welcomed by two highly missed characters: Rupert (Grant O’Rourke) and Angus (Stephen Walters). After that last totally inappropriate kiss Angus bestowed on Claire at the end of season one, Claire heads off another such mishap. She grabs Angus by the jaw and turns his head to kiss him on the cheek. Rupert gave her a big bear hug and picks her up off the ground. Joyful reunion all around. And then who do we see but none other than Dougal MacKenzie (Graham McTavish) walking down the hill to join the gathering.

Dougal is just the same, overbearing and completely full of his own ego. This part is considerably different from the book. The circumstances in the book for Dougal joining the troops is done in a different way from the show – no spoilers so don’t ask for more details on how they are different. Dougal is so kind as to remind Jamie of the torture he experiences at the hands of the British in Wentworth. Such a compassionate man Dougal is. {You know I’m being completely sarcastic, right?} He also entertains with a fine speech about how Jamie is like a son and how proud he is that Jamie has joined the Jacobite cause. Did anyone else throw up little at all that declaration, or was that just me? Jamie bursts Dougal’s bubble a bit by telling him how much work they will need to do to get the men ready to join the Jacobite forces. Jamie is being realistic; Dougal is itching to get into battle and thinks they can handle it like a clan confrontation is always handled. You need to crawl before you can walk big man, and the walk this time is more disciplined British war. Not clan cattle raiding.

As Murtagh starts to work on the men, Claire is walking about the camp. What she sees reminds her of activities that WWII soldiers were also doing in downtimes. Some men were playing Shinty, but she saw men playing baseball. She tries to shake it off and continues to take care of preparations that the women and healers are doing about the camp. Jamie and Murtagh continue to instruct and drill the men. Dougal continues to press for joining Prince Charles (Andrew Gower), but Jamie and Murtagh both tell him that the men are not ready. Not quite Suis Prest! {I don’t know French so pardon any misapplication of the language, but you probably get my meaning.}

Then we see Claire tending to food for the men, and she has a flashback. I like that they included this one. You see an American Corporal, Grant (Billy Griffin Jr.), in WWII saying Claire’s famous line, “Jesus H. Roosevelt Christ.” Book readers knew this is where she picked that up, the WWII American soldier. Of course, what he was cussing about is different in the show versus the book. In the show he was not happy about the food; in the book, it was in the hospital. In war, I would imagine either place it would be an appropriate declaration. Back in their room, Jamie enters to see Claire sitting in front of the fire. He remarks that she has been overly quiet the past few days, very much out of the norm for our heroine. She tries to excuse it away with activities and preparations taking up her time. Jamie knows something more is going on but doesn’t press the issue.

Jamie watches Murtagh trying to drill the men the next morning and decides to fill them in on why they should focus more on their activity at hand. Jamie is fully aware of what is ahead of them. He has been in battle, been trained as a soldier in a formal army with the French, and knows what it feels like to see and hear volleys of muskets firing directly at you like a metal cloud of hail. This group of farmers and clansmen have no idea of what they are going to face and neither does Dougal, really. Jamie rallies their attention and hearts to the task at hand. Dougal pulls out the Highland charge on them, and the group scatters. Dougal knows the typical Highland skirmish; Jamie knows the formal battle stance the British will take. Jamie pulls Dougal to the side and lays down Dougal’s choices once and for all. Dougal is to either leave with his men OR he will stay and heel to Jamie’s command. As you can imagine that did not go down well, but Dougal didn’t argue the point. He just decided to take a different tack.

Dougal goes to Claire to try to get her on his side to convince Jamie to listen to him. He actually tries to threaten her in typical Dougal fashion, but Claire has had his number for a very long time. She pretty much breaks it off in his arse! She goes so far as to recount the Greek Mythology of Narcissus and how Dougal is so full of his own ego and self-worth that he cannot see anything else.

Next we see Murtagh trying to teach the men how to load and fire a musket. Highlanders typically use a hand pistol, so this is new to all of them. Jamie comes up and warns that the British can get off three shots a minute, so they will have to do better and soon. Jamie turns to notice Claire stirring a pot and remarks how out of sorts she is to Murtagh. Both men know she is not one to hold back her opinions so her quiet demeanor is worrisome, to say the least.

Next, Claire comes upon Angus messing with his feet, filthy slabs that they are, and expounds on the dangers of trench foot. Trench foot is not a term they would have heard of during this time. She flashes back and forth between Angus and a class in which she was training WWII soldiers about the same thing. It was paramount that a soldier take care of their feet in any time period. All the mud, standing water, and just plain sweat could cause a person’s flesh to melt from their bones. It could lead to losing the foot altogether. Claire barks loudly at Angus and then turns on her heels and leaves. She throws a few F-bombs out this episode too; the fine WWII nurse that she is. Claire walks out of the room and is hearing WWII around her and seeing the Highlanders in front of her. She is experiencing Post-Traumatic Stress but doesn’t realize it. She did fall through the stones about six months after WWII ended. She hasn’t even had time to deal with it and now she is thrust into another war.

Later that night Jamie is brought a batch of new recruits from Dougal. Dougal just does NOT get it. This is Jamie’s command, not his. Jamie asks them if they want to stay, explains the dangers such as being hung for treason if the cause fails, and (as you would expect) they turn and leave for home again, not to mention these men are NOT of clan MacKenzie. It’s simply Dougal trying to continue to force his will in the situation. Jamie then has to make Dougal get the point that it is Jamie’s command! He orders Dougal to oversee sentry duty from that point forward. He and his men are to be accountable for it. The next morning, Jamie has to punish the two men on sentry duty that let Dougal into the camp with all the other men in tow. Discipline has to be adhered to strictly and at all times. Both the sentries get six lashes with a strap for the oversight. He makes a display of it in front of the rest of the men to prove the point; this is what you will face if you do not follow orders.

Later that day while the men were at target practice again, Claire is walking behind them and starts to panic. She walks faster and faster, even lays down her basket, and eventually leans on a wagon of hay nearby. All of a sudden she hits the ground, and the scene goes to her riding in a jeep with the American Corporal. The jeep suddenly takes heavy fire and they crash. She wakes to see the Germans coming down the road. She is forced to hide all night after she sees the soldier she was with gunned down by the Germans. The Germans then fire on the jeep and make it explode. She is rescued the next day by Americans but is in shock, curled up in a ball on the ground.

The scene comes back to Jamie kneeling over her as the rescuing soldier had just been doing. Jamie gets her up off the ground eventually. She finally tells him about the jeep and the soldiers being killed right in front of her. She felt cowardly hiding and not going to help. Jamie points out that if she had she would have been killed too. She admits she knows that, and she tried to just close the night out of her mind. The war preparations have forced it back again. Jamie says he will have her taken to Lallybroch, but Claire resoundingly refuses to go. She has to stay and help; she will not be helpless and alone again. The PTSD that Claire is living in the show, to me, is a tool to help rush through many chapters the book had around her involvement in WWII. She never really had those symptoms in the book, but it makes sense for the show because you have to get into her head quickly.

Later that night as Jamie is out in back of the building he and Claire are staying in, Jamie is almost assassinated from behind by a fairly young lad. He is a British soldier, so that means Dougal’s men failed as sentries. Jamie breaks the boy’s arm in the attempt of cutting his throat. And, the interrogation begins. His name is William Grey (Oscar Kennedy) and he admits he was drawn to the area by the fires. He got close enough to see “Red Jamie” and took the opportunity to strike down a man the British have already put out notice is a danger. Jamie works to get information out of the boy, but he refuses to answer the questions put to him.

Claire enters this little scene just as Jamie is about to burn the boy’s face with a heated dirk blade. She makes out like she is captive of these Highlanders and if he would let the boy go free she would give herself to him. Jamie picks up quickly on the ploy to make the boy talk without harming him. The book had it as Jamie’s idea. An honorable soldier would not stand idly by and watch a filthy Scot ravage an English Lady. Jamie wrestles around with Claire a bit, pulls up her skirt {way too high for a hubby to do in front of his men}, and Claire gives him a nice knee in the groin for it. Way to almost give up the game, Jamie! He uttered ‘Sassenach’ under his breath when she kneed him…giggle-snort. He pins Claire against something and the boy finally relents to the demand for information. Jamie has two of his men hold Claire so as to keep up the ruse until they find out what they need to know.

The boy does spill all he knows: the count of soldiers, cannons, cavalry, and position of their encampment. Jamie gave the boy back his life {so to speak, tying him to a tree a mile from the British camp constitutes giving him back}, so the boy says he has a life-debt to repay someday if they ever meet again. Jamie has to punish those who made the mistake that let the boy into the camp. You would think it would be Dougal or his men that Jamie punished, but no. Jamie admits it was his fires that drew the boy to the camp, so he takes six lashes for the fires from the strap and then a dozen more for carelessness. All the men look around in bewilderment. Jamie is showing what a true leader does. He is not above admitting a mistake and taking the punishment for it. Poor Murtagh, his own godfather, had to do the honors.

The men prepare to make a commando raid on the British camp. Dougal strolls in, sword in hand, and is ready to get into some fun. Jamie says that he will remain and perform his ordered sentry duty along with his men. Not happy but agreeing nonetheless, Dougal and his men turn and head back to their posts as sentries of the camp. Jamie, Murtagh, and several other men go to the British camp. They take the pins out of the wagon wheels and take the wheels themselves from beneath the cannons. They can’t take the cannons with them, but the Highlanders have made sure that the British cannot either. They have a nice large bonfire of the wheels.

Jamie bursts in on a sleeping Claire and throws the string of pins on the bed. He admits they went on the raid and that she better be getting dressed before the British come looking for their wheels. Jamie thanks Claire for her selflessness in tricking the boy to give up the information. In the book that scene played much more harshly on Claire. Jamie even ripped her bodice to expose her chest to his men and the boy in order to induce the boy to speak. In the book that was another reason for some of the lashes on his back, but the fire reason was the same in both places.

Now looking much more like a unified force, the camp marches to join their kinsmen with Prince Charles. Jamie gives Dougal the honor of announcing their arrival at the camp to His Majesty Prince Charles. Je Suis Prest! Tulach Ard!!!

Outlander Season Two Recaps:




‘For the Love of Spock’ Documentary Heading to Theaters

For the Love of Spock Poster

Adam Nimoy’s documentary For the Love of Spock has been picked up for distribution by Gravitas Ventures. The documentary directed by Adam Nimoy premiered at the 2016 Tribeca Film Festival and provides an inside look at the life of beloved Star Trek actor Leonard Nimoy. Timed to coincide with the 50th anniversary of the iconic sci-fi TV series, For the Love of Spock will be opening in theaters and available on demand beginning September 9th.

The documentary raised nearly $663,000 during its Kickstarter campaign, setting a new record for the most-funded documentary. Commenting on the film’s pick up by Gravitas and its opening release date, Adam Nimoy stated, “I’m very excited about the world wide release of this film which celebrates the life of my father Leonard Nimoy and his most iconic role. Gravitas approached us early on during production of For The Love Of Spock and their enthusiasm and commitment to this project was evident from the start.”


“It’s no secret that Star Trek is internationally beloved and has shown the world both on screen and off what it truly means to be a global community,” added Nolan Gallagher, Founder & CEO of Gravitas Ventures. “We are honored to be collaborating with Adam Nimoy and look forward to bringing this film to audiences everywhere during a monumental year in the Star Trek timeline.”

The Plot: The highly anticipated documentary is not only a tribute to the titular character and the actor who portrayed him but also serves as an homage to the dedicated fans who have adored and respected him for decades. For The Love Of Spock celebrates the upcoming 50th Anniversary of Star Trek through a personal, intimate look at the life and career of Leonard Nimoy – and his alter ego Mr. Spock – as told by his son, Adam Nimoy, featuring never-before-seen home videos and family photos. Zachary Quinto, William Shatner, George Takei, J.J. Abrams, Simon Pegg, Zoe Saldana, Jim Parsons and more join in the celebration revealing why the world holds both Leonard Nimoy and his iconic character so dear and how Star Trek still affects the globe 50 years after it’s origin.

Gillian Anderson Joins ‘American Gods’ Cast

Gillian Anderson
Gillian Anderson (Photo Courtesy of Starz)

The X-FilesGillian Anderson has signed on to play Media, the mouthpiece for the New Gods, in Starz and FremantleMedia North America’s American Gods. The series is based on Neil Gaiman’s fantasy novel and was adapted for television by Hannibal‘s Bryan Fuller and Heroes‘ Michael Green. Fuller and Green are the series’ showrunners and will executive produce along with Gaiman, Craig Cegielski, Stefanie Berk, and David Slade. Slade’s also involved as the director of multiple episodes. Anderson joins a cast that includes Ricky Whittle, Ian McShane, Emily Browning, Sean Harris, Yetide Badaki, Bruce Langley, Crispin Glover, Jonathan Tucker, Cloris Leachman, Peter Stormare, and Chris Obi.


Anderson’s character Media is described as the New Gods’ “public face and sales representative, by taking the form of various iconic celebrities. She lives off the attention and worship that people give to screens-to their laptops, their TVs, to their iPhones in their hands while they watch their TVs. Ever the perky spokesperson, and always in control, she spins stories in whatever direction best suits her.”

The Plot: American Gods posits a war brewing between old and new gods: the traditional gods of mythological roots from around the world steadily losing believers to an upstart pantheon of gods reflecting society’s modern love of money, technology, media, celebrity and drugs. Its protagonist, Shadow Moon, is an ex-con who becomes bodyguard and traveling partner to Mr. Wednesday, a conman but in reality one of the older gods, on a cross-country mission to gather his forces in preparation to battle the new deities.

‘Popstar: Never Stop Never Stopping’ Interview: Andy Samberg, Jorma Taccone & Akiva Schaffer

Akiva Schaffer, Jorma Taccone, Andy Samberg Popstar
Akiva Schaffer, Jorma Taccone, and Andy Samberg on the set of ‘Popstar: Never Stop Never Stopping’ (Photo Credit: Glen Wilson © 2016 Universal Studios)

The three best buds that make up The Lonely IslandAndy Samberg, Jorma Taccone and Akiva Schaffer–have risen to comedy prominence over the past fifteen years by spreading their irreverent, in-jokey brand of humor via their groundbreaking series of SNL digital shorts, singable tunes that spoofed whatever musical trend the trio found funny at the time.

Millennials will likely never stop quoting dorm-room classics like “I’m On a Boat,” “Dick in a Box” and “Lazy Sunday,” and now fans of the trio can find them goofing around on the big screen. Popstar: Never Stop Never Stopping strings together the group’s signature parody-pop tunes into a Spinal Tap-style mockumentary that mimics the slick aesthetics of the lionizing, puff-piece “popumentaries” so often made about today’s young music icons.

Samberg stars as Conner4Real, a pop-rap superstar whose celebrity has long outgrown the boy band he originally broke onto the scene with, The Style Boyz. Schaffer and Taccone play Conner’s former bandmates in addition to handling co-directing duties.

At a roundtable interview, we sat down with the three Lonely Island members to talk about the movie, which hits theaters this weekend.

You guys have said that the movie took seven months to edit.

Jorma Taccone: “Seven and a half, yeah.”

What kinds of things come and go through the editing process?

Akiva Schaffer: “Any time we did a talking head interview, like when we sit down with Usher, we’d talk for, like, 30 minutes to an hour and go over everything that happens in the movie and kind of get what Usher’s take would be on it. We’d feed [him] jokes and say, ‘At this point in the movie, Conner’s album isn’t doing good and you don’t like his album,’ and then Usher would improvise and say in his own words, ‘Man, I really feel like Conner’s not doing well,’ or something like that. So there’s hours of that stuff to go through, and we had to choose what to go in.”

Andy Samberg: “Also, full musical performances that we didn’t use that are going to end up on the extras and the songs are on the soundtrack. And full chunks of storylines. You’ll see it when the DVD comes out if you care enough to check it out. [laughs] There were, like, whole sequences that we lifted that we really loved.”

Jorma Taccone: “We had to cut out some really great performances from people that we love, too, like Dave Franco, our friend Ryan Phillippe…we had to cut out Ed Sheeran. Akon’s not in the movie, and he’s on a whole song. We had to make some hard decisions.”

Andy Samberg: “From the beginning, we were looking at movies ‘in the genre,’ and they all seem to keep it tight, the successful ones. The Christopher Guest company ones, the Sacha Baron Cohen ones or eve Jackass, stuff like that. We were bent on keeping it under 90 minutes, and the cost of that was cutting some babies that we love.”


Test screenings are a huge part of that, right?

Jorma Taccone: “Yeah. It’s really helpful. You could look at that cynically or in a corporate way, but it’s just watching it with an audience and learning what works, what doesn’t work, what’s slow, what feels boring. You want it to be as entertaining as possible while still telling a good story.”

Through your work, we’ve discovered that Justin Timberlake kind of has a knack for…

Jorma Taccone: “…singing!” [laughs]

Andy Samberg: “It’s almost like he’s a great singer!”

Who’s a celebrity who was unexpectedly really funny?

Jorma Taccone: “I would say, for this movie, Mariah Carey really surprised me for how much she got the joke and how funny she was on camera.”

Akiva Schaffer: “Nas was another one just because he’s such a respected MC, forever. Seal!”

Andy Samberg: “Seal killed it. We talked about doing a crazy, public proposal scene. [Akiva] just jotted it down and I was like, ‘Oh, so Seal is in it.'” [laughs]

Jorma Taccone: “He just picked it out of nowhere. And then it had to be him.”

Andy Samberg: “I was like, ‘We gotta get Seal on the phone,’ and we did. He was in the studio recording his album and I was like, ‘Did you see the pages?’ and he was like, ‘Yeah, I’m just so focused on my record…’ I was like, ‘Just come do it! We love you!’ and he just showed up and nailed it. It was fun hanging out with him.”

Were there any challenges in expanding from TV to film?

Andy Samberg: “You get to play with character arcs a lot more. You can tell a much more nuanced story. In a digital short, you’re basically trying to get as many laughs as possible, as fast as possible. It generally has a…classic sketch structure, whereas with the movie, we were able to be like, what is the actual mentality of these characters? What’s their history? You have time to actually explore that stuff, which in a lot of ways is really helpful for comedy. When an audience keys into the characters and what they’re thinking, it allows you to get jokes. It’s the same in a TV show when you start getting multiple laughs because the audience just knows the characters really well.”

Jorma Taccone: “With a feature, you have more opportunity to get rolling laughs that go from one scene to the next if you’re doing your job correctly. That was always enjoyable to me.”

Behind the Scenes of Popstar
Judd Apatow, Akiva Schaffer, Jorma Taccone, and Andy Samberg on the set of ‘Popstar: Never Stop Never Stopping’ (Photo Credit: Glen Wilson © 2016 Universal Studios)

The list of cameos in this movie is amazing. How easy or difficult was it to get some of these names?

Andy Samberg: “Some of them were easy because we’d worked with them before. For example, we just emailed Adam Levine. Some of them were trickier. We had to go through reps for some of them. We’d get on the phone with them, or Judd [Apatow] would. Judd was like, ‘Hey, Ringo’s going to come do it!’ and we were like, ‘Holy shit! That’s amazing! Thanks, Judd!’ It was varying degrees of that, and then there were things like Nas where it’s like, holy shit, he’s actually here. He’s like, a legendary dude we came up listening to. Generally, people don’t show up unless they’re into it, so we have a real luxury in that. It’s generally folks who want to be like, ‘I’m funny! I have a sense of humor! I want to fuck with my image and do interesting things! What jokes do you have for me? What can I add to it?’ That’s part of the reason why the shoot was really exciting. Almost every day there was somebody who’d come to set. The crew was like, ‘This movie’s awesome!'” [laughs]

You guys have said that a lot of the jokes in your songs started out as in-jokes between you three, and I imagine the joke isn’t as funny to you after you put it out there. I also imagine fans quote these jokes to you all the time in public. Is that awkward?

Andy Samberg: “It becomes a different relationship [with the joke]. They’re no longer jokes to us. The best feeling we could have as people who make comedy is when people tell us, ‘Me and my friends quote such and such song all the time,’ or ‘We quote Hot Rod all the time,’ because that was us. When we watch comedy we love…we were those dudes who memorized stuff, would quote In Living Color to each other, quote Billy Madison to each other. It’s kind of like, we find the joke funny when we’re writing it, like it when we’re performing it, are very satisfied when people laugh at it, and then we just sort of let them go.”

Jorma Taccone: “And occasionally, when we’re messing with each other, we’ll sarcastically say lines from our songs back to each other. Like, ‘I’m on a boat, right? So cool. So funny. You remember?'” [laughs]

Andy Samberg: “I think that’ll read in print.” [laughs]

Jorma Taccone: “Use a sarcastic font.”

Why not play yourselves in the movie and make it about The Lonely Island?

Andy Samberg: “Like a Curb Your Enthusiasm version or something?”

Right.

Jorma Taccone: “Because you want to play characters. We’re not playing ourselves–Andy’s not a dick in real life, or a dipshit.” [laughs]

Andy Samberg: “We could do a heightened version of ourselves like Larry David does, and we talked about it, but we ultimately decided that it was a bigger idea to do characters. It’s easier to convince an audience that Conner4Real is a big popstar than be like, fake-rapper comedy outfit The Lonely Island is super successful. It would be a smaller scale, and we wanted to go bigger.”

Why end Conner’s story on a happy note rather than follow his tragic descent?

Akiva Schaffer: “We don’t hate pop stars. We wouldn’t have taken joy in seeing a pop star totally destroyed in the end. We respect pop stars. I feel like the movie is sort of about that. It’s not just bashing pop culture and pop stars. We don’t feel so negative that we’d have them eat shit the whole way.”

Jorma Taccone: “What you get from watching those puff-piece documentaries is that these people are really talented.”

You guys have been traveling, getting a bunch of questions and sometimes the same kinds of questions. Is there one question you wish would go away?

Andy Samberg: “None of them are that annoying. The one thing I’ll say we didn’t anticipate was how much people would latch onto the Bieber of it all. When we went into making this, we weren’t like, ‘Let’s make a movie about Justin Bieber.’ We were like, ‘Let’s make a movie about pop music and pop culture that we can make songs for.’ We have a few direct references to Bieber…”

Jorma Taccone: “And some of those have made it to the trailer.”

Andy Samberg: “I think because of the trailer and the title, it has on the surface seemed more about him than we intended or wanted. We’ve been doing a lot of reassuring people that we like Justin Bieber. We didn’t do it gunning for him, or something.”

‘Me Before You’ Movie Review: Starring Emilia Clarke and Sam Claflin

Me Before You Emilia Clarke and Sam Claflin
Emilia Clarke and Sam Claflin in ‘Me Before You’ (Photo © 2015 Warner Bros. Entertainment Inc. and Metro-Goldwin-Mayer Pictures Inc.)

You know the story. It’s played out many times before, although not with Me Before You’s exact ending. Even if you haven’t read the book, just one viewing of the trailer lets you know everything you need to know about Me Before You before you buy a ticket. You can safely assume from the trailers and clips it’s a tearjerker centering on a mismatched couple who will, over the course of two hours, go from irritating the heck out of each other to discovering they’re soulmates. Been there, done that. There’s nothing new to see here, right? Not so fast.

What you might not have been able to discern from the trailers is the genuine chemistry between Emilia Clarke as the optimistic, in over her head Lou and Sam Claflin as Will Traynor, a handsome, wealthy businessman/extreme sports kind of guy whose life was tragically altered in the blink of an eye.

The romantic drama is based on the bestselling novel by Jojo Moyes who adapted the story for the screen, which should help fans of the book get past the “Hollywood always screws it up” hurdle. The story follows Louisa ‘Lou’ Clark (Emilia Clarke) who, after losing the steady job she depended on to help her parents pay the rent, goes through a series of employment misfires before landing a gig helping Will. Lou has a kooky fashion sense, preferring mismatched outfits consisting of crazy leotards and interesting knitted sweaters to any sort of normal work attire. Will’s initially thrown off not only by Lou’s daily selection of bizarre apparel but also by her perky personality and lack of a filter. She says what’s on her mind and that’s not something Will has experienced much of since the accident that shattered his body. Lou hasn’t had any training in assisting a person with disabilities, but she’s a fairly quick study, and with the help of Will’s nurse, Nathan (Stephen Peacocke), she manages to get by when it comes to handling medical issues.

As the days go by, what began as an awkward, almost adversarial relationship transforms into something deeper than a working relationship – and deeper than just a friendship. Lou and Will benefit equally from their time spent together, with Lou developing a new sense of purpose and Will discovering his smile again. But, there’s a reason this one’s labeled a tearjerker…

Clarke and Claflin elevate the material which, although adapted by Moyes, barely scratches the surface of the book. Supporting characters from the book did not make the leap to the screen, and relationships that don’t directly involve either Lou or Will are either lightly touched upon or completely neglected. There’s also a surprising lack of urgency in Lou’s actions in the film that was present (and crucial) in the book after the major plot twist is revealed. And as a fellow critic and book fan pointed out immediately after the screening, the film makes it clear what the answer to the pivotal question will be, while the book did a better job of teasing the decision and toying with the reader’s emotions.

Janet McTeer and Charles Dance are terrific as Will’s parents, and Matthew Lewis (best known as Neville Longbottom in the Harry Potter films) is not nearly as obnoxious as Lou’s exercise obsessed boyfriend as the character was in Moyes’ book. Peacocke’s also fine as Nathan, Will’s caretaker/nurse/friend, although the character is purely one-dimensional in the movie.

But, obviously, Me Before You depends on Emilia Clarke and Sam Claflin’s performances to draw you into the story, and both deliver first-rate performances. Clarke, in particular, is a joy to watch as she nails the quirky, optimistic character while avoiding going overboard on the perkiness. Claflin’s forced into delivering a much more restrained performance and it’s a nice counter-balance to Clarke’s effervescent Lou.

I’d advise you to bring tissues and wear waterproof mascara to Me Before You, and to keep in mind the book and movie are separate creatures. Put aside what you know about the characters from the book and let the film stand on its own. Romantic tearjerkers are few and far between, and you’re not likely to find many better than Me Before You in theaters this year.

GRADE: B

MPAA Rating: PG-13 for thematic elements and some suggestive material

Running Time: 110 minutes

Directed By: Thea Sharrock

‘UnREAL’ Earns a Third Season Renewal

UnREAL Shiri Appleby and Constance Zimmer
Shiri Appleby and Constance Zimmer star in Season 2 of ‘UnREAL ‘ (Photo by James Dittiger / Lifetime)

Lifetime has confirmed that the award-winning series UnREAL will be sticking around for a third season. The renewal order was announced just a few days prior to the premiere of the show’s second season. UnREAL season two will debut on June 6, 2016 at 10pm ET/PT with Constance Zimmer, Shiri Appleby, Craig Bierko, Josh Kelly, Jeffrey Bowyer-Chapman, and B.J. Britt in starring roles. The critically acclaimed drama was created by Sarah Gertrude Shapiro and Marti Noxon, with Noxon, Shapiro, Carol Barbee, Robert M. Sertner, Sally DeSipio, Stacy Rukeyser, Peter O’Fallon and Adam Kane executive producing.

Season three will consist of 10 episodes premiering in 2017.


UnREAL is that rare series that redefines a network,” stated Liz Gateley, Executive Vice President and Head of Programming for Lifetime. “It not only reflects culture, but pushes culture forward by creating television’s first female antihero. The overwhelming fan and critical reaction set the bar incredibly high, but the writers and executive producing team, coupled with the outstanding performances by Shiri Appleby and Constance Zimmer, have taken the second season to even greater creative heights. We are thrilled about the new ground we will break with season three while continuing our work with the incredible A+E Studios as we together build Lifetime’s Fempire.”

The Season 2 Plot: Set against the backdrop of the hit dating competition show Everlasting, Season 2 of UnREAL is led by flawed heroine Rachel Goldberg (Appleby), who returns as supervising producer, renowned for her skills manipulating her relationships with, and among, the contestants to get the vital dramatic and outrageous footage that the program’s dispassionate executive producer, Quinn King (Zimmer), demands. What ensues once again is an eye-opening look at what happens in the outrageous world of unscripted television, where being a contestant can be vicious and being a producer is a whole other reality.

Returning as series regulars are Craig Bierko as Everlasting’s creator, Chet, who is on a quest to reclaim his full power on set; Josh Kelly as Jeremy, Everlasting’s director of photography; and Jeffrey Bowyer-Chapman as Jay, a field producer whose ambitions run far beyond the show. Everlasting’s new suitor Darius Hill, an All-American football star, will be played by B.J. Britt.

‘The Americans’ Recap Season 4 Episode 12: A Roy Rogers in Franconia

The Americans Season 4 Episode 12
Keri Russell as Elizabeth Jennings, Holly Taylor as Paige Jennings, and Matthew Rhys as Philip Jennings in ‘The Americans’ (Photo by Patrick Harbron / FX Networks)

After seeing Elizabeth (Keri Russell) kill someone earlier in the evening, Paige (Holly Taylor) confronts her mother with a series of questions to open episode 12 of FX’s The Americans season four. “How do you know how to do that?” “How were you so calm?” and “Have you done that before?” she asks. Elizabeth responds that she was trained to defend herself, that it happened so fast, and she wanted to protect Paige. She hesitated before telling Paige that she had killed before to protect herself, but the reason her mother remained calm lies in Elizabeth’s answer that she didn’t know how many times she’s killed. That answer alone should be alarming to Paige. The bewildered expression on Henry’s face when the rest of his family go upstairs suggests that Henry (Keidrich Sellati) may learn the family secret sooner rather than later if he isn’t already suspicious.

When her mother comes to her room the next morning, it is clear that Paige is still deeply troubled. She spent a sleepless night and has more questions. Paige wants to know why her parents told her that their work wasn’t dangerous when Elizabeth admits that sometimes there is danger. “Did you know it would be dangerous?” Paige wonders. Foreshadowing a later exchange, she won’t let her mother evade the question or avoid the whole truth. Elizabeth’s response provides insight into her motivation when she explains that Russians were able to face the devastation, lack of food, and the cold during and after World War II by joining together and fighting back. “I wanted to be like that, to fight back; danger didn’t matter.”


In the best scene of the episode, Elizabeth and Philip (Matthew Rhys) are alone when Elizabeth tells him that Paige was reporting to her, like an operative, about a conversation with Matthew Beeman. Then in a long shot, Elizabeth and Philip are seated apart, staring at each other, but saying nothing. Philip has always hoped to avoid getting Paige involved in espionage and perhaps Elizabeth now feels the same, or is at the very least, ambivalent.

At the rezidentura, Tatiana (Vera Cherny) informs Oleg (Costa Ronin) that she has been offered a position as Rezident in Nairobi because the Centre has been pleased with her work in acquiring bioweapons. She offers Oleg the position of deputy if he comes with her to Nairobi. Later, in a misdirection we see an establishing shot of Russian buildings and think that we’ll catch up with Martha because we had just seen Gabe–with Philip nearby–on the phone reassuring Martha’s mother. Instead of Martha however, it was actually Oleg’s mother in Russia conversing with her son.

Meanwhile at the FBI, Agent Aderholt (Brandon J. Dirden) watches as a technician finds the listening device in the mail robot. They replace the device and subsequent surveillance of the mailroom allows agents to apprehend a woman in the act of retrieving the device. The agents, though doubtful that they will snare a high level operative, make plans to intercept the handler at an exchange of the tape with the titular “Roy Rogers in Franconia.” This plan gets sidelined after Stan (Noah Emmerich) has a meeting with Oleg.

During this meeting, Oleg expresses his concerns about Russians getting their hands on something that is very dangerous because while they have excellent universities, they don’t have the resources to handle things the right way. He knows that America’s military is working on bioweapons and that they subcontract with an outside firm, one that has a Soviet spy working there. Stan immediately tells his superior and they pull back on surveillance of the mail robot listening device exchange so as not to alarm the rezidentura.

Oleg is not alone in his concern about the consequences of Russia getting the deadly Lassa sample. William (Dylan Baker) tells Philip that he can’t go through with the plan to get the Lassa after Philip gives him the code to Level 4. Philip confides to Gabe (Frank Langella) that he also has reservations. Gabe says that we need the steadfast ones, Elizabeth, in Philip’s case. When Gabe tries to persuade William to do this “one last thing” with appeals to his patriotism and the opportunity to go home, William doesn’t look very convinced. Gabe, as it turns out, isn’t either.

Back at the FBI, agents scour employment records of military contractors based on the lead given to Stan. This task would be much easier today with computers but the reams of paper they need to go through is a nice reminder that this is set in the ’80s. They do discover that William is using the name of a deceased child.

After driving her home, Matthew Beeman (Danny Flaherty) shares a first kiss with Paige. Matthew then goes to the Jennings’ house to help Henry connect the computer to the TV. Paige joins in and she asks Matthew if he worries about his dad’s job being dangerous. This conversation takes place under Elizabeth’s watchful eye.

Alone with her parents later, Paige reports that Matthew told her that Stan hasn’t been home in two days. They tell her that she should see Matthew if she likes him, but they don’t want her to do anything because of them. They also warn her to be very careful in whom she confides. When a phone call prompting Philip to leave interrupts their conversation, Paige demands to know who the caller is. Her parents tell her that she doesn’t need to know and she responds that “you killed a man right before my eyes.” Reluctantly, Elizabeth tells her that Philip is getting part of a weapon the Russian army can use if ever attacked. Paige looks satisfied, but this exchange represents a precedent for Paige’s knowledge of operational details.

Just how much is Paige going to become involved as a spy, and what will be Elizabeth’s reaction when she learns that the Young Hee and Don operation may have been for naught? These are just a couple of questions that may be answered in the final episode airing next week.

TV Land Picks Up ‘Nobodies’ from Melissa McCarthy and Ben Falcone

Nobodies Cast Photo
Hugh Davidson, Rachel Ramras and Larry Dorf star in ‘Nobodies’ (Photo Credit: TV Land)

Melissa McCarthy and Ben Falcone’s Nobodies has been given a 12 episode season one order from TV Land. The comedy has MADTv‘s Michael McDonald on board as showrunner and executive producer, with Hugh Davidson, Larry Dorf, and Rachel Ramras starring, writing, and executive producing. McCarthy and Falcone are also executive producing through their On The Day production company. “Working with our hilarious and talented friends Rachel, Hugh and Larry is a complete joy. Adding a person of Mike’s caliber and a network as supportive as TV Land is truly a dream come true,” said Falcone and McCarthy.


Falcone directed the pilot and stepped in front of the camera as an episode one guest star. Jason Bateman, Maya Rudolph, Jim Rash, and Nat Faxon also guest starred in the Nobodies pilot. “The initial pitch for Nobodies was really funny, and man, did they ever deliver a pilot that is so honest and bold that it’ll make you laugh and cringe at the same time,” said Keith Cox, Executive Vice President, Development and Original Programming TV Land.

The Plot: Groundlings alums Hugh Davidson, Larry Dorf and Rachel Ramras (Mike Tyson Mysteries) and revolves around the three as they try desperately to land one of their famous friends for a feature script that they have developed, so that they, too, can rise to fame in Hollywood.

Jamie Foxx and Tom Kapinos’ ‘White Famous’ Series Coming to Showtime

Jamie Foxx at the Rio Premiere
Jamie Foxx (Photo © Richard Chavez)

Showtime’s ordered a pilot for White Famous from executive producers Jamie Foxx and Tom Kapinos. The half-hour comedy sprang from an idea of Foxx’s and will be written by Kapinos, with the pilot marking Kapinos’ return to Showtime after seven seasons of writing and executive producing Californication. Oscar winner Foxx (Ray) will guest star in a recurring role. According to Showtime, White Famous will “focus on a talented, young African-American comedian whose star is rising, forcing him to navigate the treacherous waters of maintaining his credibility as he begins to cross-over towards becoming ‘white famous.'”

“I came up from standup comedy, so to be able to share that aspect of my life on screen with a project like White Famous is incredibly exciting,” said Foxx. “We couldn’t have found better partners than SHOWTIME, Lionsgate and Tom Kapinos to tell this story in the best possible way.”


“They say you can’t go home again, but I’m thrilled to be back at SHOWTIME, where I’m equally jazzed to be working with the brilliant Jamie Foxx on the creation of another wickedly profane TV antihero,” said Kapinos.

Foxx’s credits include Collateral, Any Given Sunday, Django Unchained, Dreamgirls, The Soloist, Ali, Miami Vice, Annie, Jarhead, Horrible Bosses, White House Down, Due Date, Law Abiding Citizen, The Kingdom, and Stealth. Foxx recently wrapped up working on Sleepless with Michelle Monaghan and Edgar Wright’s Baby Driver co-starring Jon Hamm and Kevin Spacey.

Kapinos’ television career kicked off in 1998 with the teen series Dawson’s Creek. He followed that up with Showtime’s dark comedy Californication starring David Duchovny. Most recently he’s been keeping busy with Fox’s hit series Lucifer starring Tom Ellis and Lauren German.

Julie Andrews Stars in Netflix’s ‘Julie’s Greenroom’ Preschool Series

Julie Andrews Julies Greenroom
Julie Andrews stars in ‘Julie’s Greenroom’ (Photo Credit: Netflix)

Julie Andrews stars in and co-created the new Netflix preschool series Julie’s Greenroom which will premiere in early 2017. The series, which comes from The Jim Henson Company, will kick off with a first season consisting of 13 30-minute episodes. Andrews, Lisa Henson, Halle Stanford, Emma Walton Hamilton, and Steve Sauer are executive producing, Bill Sherman is the series’ composer, and Emmy winner Joey Mazzarino is on board as co-producer and director.

Julie’s Greenroom will feature new puppets who will help Andrews teach kids about the performing arts. Guest stars confirmed for the first season include Alec Baldwin, Sara Bareilles, Joshua Bell, Tituss Burgess, Carol Burnett, Chris Colfer, Robert Fairchild, Josh Groban, David Hyde Pierce, Bill Erwin, Ellie Kemper, Idina Menzel, Tiler Peck, and Stomp.


“This project represents the fulfilment of a long held dream to educate children about the wonder of the arts,” stated Andrews. “I am thrilled to be partnering with my daughter and long time coauthor, Emma [Walton Hamilton], to bring this show to life along with our co-creator, Judy Rothman-Rofe. We could not be more honored to be working with the extraordinary Jim Henson Company. We are equally delighted to be premiering as a Netflix original production.”

“It’s been such an incredible treat to work with Julie on this project,” said Andy Yeatman, Director of Global Kids Content at Netflix. “This show is all about awakening children’s interest in the performing arts while introducing a new era of puppets to the viewers.”

“The best of the best have joined together to bring Julie’s Greenroom to Netflix,” said Lisa Henson, CEO of The Jim Henson Company. “Our award-winning director, Tony-nominated puppeteers, Broadway composer, and accomplished guest artists, led by the incomparable Julie Andrews, together will inspire kids to explore, appreciate and celebrate all forms of performing arts.”

The Julie’s Greenroom Plot: Andrews stars as Ms. Julie – the director of the Wellspring Center for the Performing Arts in which she teaches performing arts workshops in the theatre and its “Greenroom.” Ms. Julie and her devoted assistant Gus (Giullian Yao Gioiello) bring the performing arts to a new generation of kids known as the “Greenies,” played by original puppet characters built by the renowned Jim Henson’s Creature Shop. The Greenies are a diverse group of kids who are mesmerized by all that the arts and creativity has to offer. Over the course of the season, with Ms. Julie’s guidance and inspiration from the visiting guest artists, the kids create an entirely original new show, that is a mashup of all the performing arts including mime, music, dance, improv, circus arts, voice and more.

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