strange and random happenstance

The first time I ever heard of The 39 Steps was when my mom got her complete set of The Franklin Library of Mystery Masterpieces. I spent hours pouring over the covers of the books. The one that fascinated and intrigued me the most was The 39 Steps. It was a pen and ink drawing of what appeared to be a giant black cloud or rock hovering over a staircase going down the side of a cliff. It was unnerving and strange so it should come as no surprise that it was done by Edward Gorey. At the time I was not yet an avid reader so books were all about their outward aesthetic and this one has always stayed with me. Which is why when I started to get into film, and in particular Alfred Hitchcock, I was really excited to watch his adaptation of The 39 Steps. Hitchcock, especially in his early films, is very hit or miss. I feel like 1940 and Rebecca was his turning point. Therefore The 39 Steps, made five years earlier, suffers. It doesn't help that a lot of outdoor scenes were filmed on sound stages. This is something that is a personal pet peeve of mine, primarily because of Hitchock's Suspicion. Therefore when it was announced that there was a new version of The 39 Steps coming out staring Rupert Penry-Jones I was more than a little excited. He is Captain Wentworth in my favorite version of Persuasion, so I was all in, even if he wouldn't reach the pinnacle of his career until a year after The 39 Steps with Whitechapel. When creating this adaption they wanted to go all in on the Bond meets Bourne vibes, but I think of it more as Lord Peter Wimsey meets Indiana Jones. There's an elegance to Penry-Jones as Hannay that is more upper class English gentleman than Bond ever was. He's also just reacting to situations he's thrust into, much like Bourne, but oh so British. Bond was almost always in control and too cool a customer. This was just a thrilling adventure with some of the best of British television stars where sadly David Haig was playing against type as the baddie. Which is why I feel it's more in the territory of Indiana Jones. This could be an exciting serial at the cinema back in the day. And much like Professor Jones, I objected to some of Hannay's more sexist attitudes towards women. But by the end his partner in crime, Victoria Sinclair, had more than corrected all of his attitudes with her competence and cunning. The fact that a woman with eidetic memory saves the day really warmed my cold embittered heart. Yet the highlight for me, and for Rupert Penry-Jones according to interviews, is that they totally did the crop duster scene from North by Northwest. Now you might think they just added this as a little nod to Hitchcock's film but that isn't the only reason why. In the book when he arrives in Scotland Hannay's pursuers use a plane to find him. So maybe Hitchcock liked the scene from the book so much that instead of using it in his adaptation he kept it to use on a later film? I'm just saying it's a possibility. But the biggest possibility I wished for this movie hasn't come to pass, and that's a sequel. As I mentioned before it has that vibe of adventure serials which inspired Indiana Jones, and it's not like John Buchan wrote only one Richard Hannay adventure. He appears in eight books! Why can't we just have more fun shows like this? Well, probably because of all the people bitching about the wrong make and model of cars in this and not just taking it as it is.... But I can't blame them too much, I'm a pedant too depending on the topic.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: David Haig, Edward Gorey, Fifty-Five Years a Masterpiece, Hitchcock, Indiana Jones, James Bond, Lord Peter Wimsey, North by Northwest, Persuasion, Rebecca, Richard Hannay, Rupert Penry-Jones, Suspicion, The 39 Steps, Whitechapel

I'm sure I'm not the only one out there who remembers the miniseries Cambridge Spies. Starring Toby Stephens, Tom Hollander, Rupert Penry-Jones, and Samuel West as the famous Philby, Bugress, Maclean, and Blunt respectively. This was a whose who of top British talent that followed the infamous spies from their halcyon days at Cambridge up until they were exposed. Needless to say it was kind of a rose tinted view of spying. They had scruples but their idealism, their conviction that they were doing this for the greater good, outweighed the downside. Yes they would touch on issues like Burgess's alcoholism, but I think it was more because Tom Hollander plays a wonderful dipsomaniac than any darker import like guilt. I felt at the time that it was missing a beat. The DVD set I had rented had a documentary on it and I think that did a better job than the entire miniseries in showing how what they did was a betrayal of their country. They might have been idealistic fools but they were also traitors. Which is why I was so excited for A Spy Among Friends. Based on the nonfiction book by Ben Macintyre, this seemed like it would actually give us a version of the truth. Because the truth is that we will probably never know the whole truth. And even here, even in a world of "truth" we are warned that some things aren't as they seem. This miniseries gets to the heart of the old boys network by showing that the education and comradery forged within the upper echelons of British aristocracy was ripe for infiltration because in the world they moved in it was something that simply wasn't done. The question isn't how it was done or why it was done it's a more intimate look at two friends who come to the realization that their shared history isn't what they thought it was. Damian Lewis as Nicholas Elliot was sent to Beirut to interview Kim Philby as played by Guy Pearce and Elliot let Philby run. Much like in the Watergate scandal there was some missing minutes on their taped debriefing and that lead to much speculation. A Spy Among Friends spins out what could have happened in that time and who is playing who. It's a cat and mouse game involving Russians, Americans, Britons, and old old friends. But by pulling back the iron curtain and seeing what Philby's life in Russia was actually like gives his crimes a greater weight. Was this the glorious life he was fighting for? And what of those he left behind and those he's reunited with? Through flashbacks and dreams, we see these two men circle each other. We see the same events over and over again through different eyes with new knowledge. The genius of this miniseries is that it relies on two of the greatest actors today, Guy Pearce and Damian Lewis. They bring a weight to this miniseries that makes every betrayal land a punch. You actually feel the dead Philby's legacy is propped up with. I don't know if I have ever seen a better Cold War thriller and the fact that it rests on the shoulders of so few yet talented actors shows that with the right people and the right material you can make magic.

Posted by Miss Eliza at 12:00 AM 3 comments  

Labels: A Spy Among Friends, And the Emmy Goes To, Ben Macintyre, Cambridge Spies, Damian Lewis, Guy Pearce, Kim Philby, Nicholas Elliot, Rupert Penry-Jones, Russia, Samuel West, Spy, Toby Stephens, Tom Hollander, Traitor

Persuasion
Based on the book by Jane Austen
Release Date: April 1st, 2007
Starring: Sally Hawkins, Alice Krige, Anthony Head, Julia Davis, Michael Fenton Stevens, Mary Stockley, Peter Wight, Marion Bailey, Amanda Hale, Sam Hazeldine, Jennifer Higham, Rosamund Stephen, Stella Gonet, Nicholas Farrell, Louis Shergold, Rupert Penry-Jones, Joseph Mawle, Finlay Robertson, Tobias Menzies, Maisie Dimbleby, Sarah Buckland, and Tilly Tremayne
Rating: ★★★★★
To Buy

All is chaos at Kellynch Hall. Anne Elliot, the daughter of Sir Walter Elliot and the younger sister of Elizabeth Elliot has tried all she could to get her family to retrench but the time has come to face reality. As her father and sister stuff their faces with delicacies the decision has been made to lease the house and move the family to Bath. The father of Elizabeth's dear friend Mrs. Clay has found a naval man without children to take the house. A perfect fit, as his wife has nothing to do but make sure the house is preserved. Though upon hearing that their name is Croft Anne is beset by emotions she thought long gone. Eight years previously she was engaged to Mrs. Croft's brother, Fredrick Wentworth. The engagement was broken as it was viewed he didn't have any prospects. He is now a wealthy captain and is coming back into Anne's life looking for a wife. Anne has no hope that she might regain his heart, instead tucked away with her younger sister Mary at Uppercross she sees Fredrick set his cap at Mary's sisters-in-law, Louise and Henrietta Musgrove. Anne is aflutter and constantly aware of his presence. He is kind, but he is no longer hers and it aches so painfully. When the party from Uppercross takes a trip to Lyme Regis the expected course of all their lives is upended. Louisa has a fall and Captain Wentworth's friends must nurse her back to health while Anne is sent off to Bath to rejoin her family. Soon Captain Wentworth comes to Bath and Anne can't help hoping that perhaps things have changed. Perhaps she can hope again. She has somehow attracted the attention of her cousin and her father's heir, Mr. Elliot, and could this jealousy spark Captain Wentworth into making his feelings known? Or will Fredrick lose the love of his life because he embraced the opposite of all that he initially regretted in Anne's behavior all those years earlier?

ITV's Jane Austen season of 2007 did a lot to rectify issues I had in previous Austen adaptations. Consisting of Mansfield Park, Northanger Abbey, and Persuasion, while Northanger Abbey easily won the day, Persuasion wasn't that far behind. What this adaptation did while not being 100% faithful to the book was to give us an intimate, introspective, and artistic adaptation that emotionally connects you to Anne Elliot. This adaptation favored music that pulled on your heartstrings instead of attempting to jam all the book's dialogue into a ninety minute movie. This allows the quiet to fill the space, to let you dwell as Anne has dwelled on the loss of Wentworth all those years ago. You can actually feel a void opening up inside you as Anne's pain becomes your own. In this adaptation Anne is always the touchstone for the audience. She is front and center, it is her POV that we take as our own. The camera work reinforces this with her always on screen while other characters are off screen, their dialogue sometimes buried in the background, not fully heard, because as Anne is our conduit we only observe what she does and a human can only see and hear so much, they're not omniscient. Yet it takes awhile for the viewer to get at what the director is trying to do. For the first few minutes all you can think of is how jittery the handheld camera work is and how close the closeups are. But then you start to realize that the agitation in the camera work reflects Anne's state of mind, and while yes, it's jittery, you realize that it also makes what would be a static image on a television screen alive. The camera and Anne have a symbiotic relationship, with the modern technology being there to reflect Anne's emotions. This can be seen when Anne looks directly into the camera. It's not gimmicky like in Mansfield Park with a wry and arched brow that makes you want to slap Frances O'Conner or just too much like in The House of Mirth where you're counting Eric Stoltz's pores, here it lays bare Anne's soul thanks to Sally Hawkins's portrayal. Sally Hawkins is such an amazing actress that the smallest facial gesture, the intimation of a tear conveys so much. So while this adaptation doesn't go for strict accuracy the feeling is correct and that can cover a plethora of sins.

Yet sometimes the lack of faithfulness results in absurdities. The main absurdity of this adaptation is Anne and the running of Bath. As in, she seriously runs all over Bath after Captain Wentworth. First she runs after him when he suddenly leaves a concert and accosts him in the entryway. Secondly she runs after him when he leaves the Elliot's residence after he was inquiring after Kellynch Hall for his sister. This then starts the main running sequence that rivals Frank Potente's race through Berlin in Run Lola Run. She runs outside and is directed to the Croft's residence where she runs into Captain Harville who gives her Wentworth's letter and sends her to the Pump Room, where the Croft's say she's just missed him, and at this point when she starts running again, you might be laughing a little, because seriously, all the running! Yes, a panting Anne finally runs into Wentworth and all is well. But seriously, ALL THAT RUNNING THOUGH! Even Anne's poor friend Mrs. Smith had to run to tell Anne the truth about Mr. Elliot and his schemes. Yes, Mrs. Smith, who in the book can't even walk due to her horrid health joins Anne on a leg of her epic race. From the Elliot residence to the Croft residence running along the Royal Crescent actually away from the main part of town and everyone's residences for those who know Bath and who know where everyone in the book lives, poor Mrs. Smith is panting out her story. She's trying to break through to a distracted Anne about Mr. Elliot and yet, all I could think of was, seriously, stop running for five seconds and hear her out! But what bothered me more than just the absurdity of this situation was that this shows a total lack of propriety. A woman in this time period would NEVER have done this. And yes, I know that by showing Anne breaking with convention it shows how her love for Captain Wentworth overrides all other concerns. But still! This is Anne Elliot! It's a total break in her character. If I wasn't so emotionally invested by this point I would have totally written off the adaptation for this need for speed. But as it is, I was there for every single second of her run panting with fervent hope that she wouldn't be too late.

Of course the observant reader will notice that this running was all necessitated by the moving of some important dialogue to an earlier part of the book. Anne's speech about women loving longest after all hope is gone is originally said to Captain Harville and overhead by Captain Wentworth, leading to him writing his soul piercing confession which reunites them near the end of the book. Instead Anne's speech is entrusted to Benwick when they are all seated at the Harville's home in Lyme Regis. In between talking about poetry and prose she decides to drop her big speech as a confidence to Benwick while Wentworth is way on the other side of the room being quite boisterous and therefore he doesn't hear it. This of course then forces the narrative to find some other contrivance for Wentworth to hope and write that letter to Anne. Here it's Wentworth coming to the Elliot's residence in Bath and asking if his sister and brother-in-law should give up the lease on Kellynch because news has reached them that Mr. Elliot and Anne are to live there once they are married. Anne of course refutes this instantly and then is interrupted by Lady Russell and the running begins. This asking after Kellynch is just too forced. Too direct. Anne and Wentworth are both stumbling in the dark unable to realize that the other is still in love with them and this just seems too active. The way Austen wrote it is sweet. It dawns on Wentworth how wrong he was and thus lays his heart bare in the only way he has at his disposal, a letter. How else is he to hope unless he overhears Anne's speech? Asking after a lease on a house, that's not romantic, it's pragmatic. Plus he goes home, then writes the letter, then has to be hunted down. It's just too much work. There's also the fact that we know how they both feel so this seems to be done just to draw out the suspense a little longer. You can't have perfect happiness without a little hurdle, and apparently the previous eight years wasn't enough for this adaptation.

But any faults can be forgiven, even the odd detail of Captain Wentworth apparently buying Kellynch Hall, by the superb cast. You couldn't hope for a better cast. Of course the casting that made me giddy was that of Anthony Stewart Head as Sir Walter Elliot. Buffy fan that I am seeing "Giles" relish playing this vain and pompous man was a dream come true. Seriously, just cast him in almost anything and I'll watch. I say almost because there's no way anyone's getting me to watch that Shondaland show Still Star-Crossed. As for the rest of the cast, yes, it's a little weird seeing The Borg as Lady Russell, but she's a far less domineering Lady Russell than other versions, and I appreciate that. But I'm not going to sit here and just list why I love every actor, and seriously, I love every single actor in this all the way down to Cully's husband from Midsomer Murders, when there are two that need to be talked of, Sally Hawkins and Rupert Penry-Jones. Sally Hawkins has been the darling of independent British cinema for years, especially working with Mike Leigh, even winning a plethora of awards for their collaboration Happy-Go-Lucky. But it's her more miniseries roots that brought her to my attention first in Twenty Thousand Streets Under the Sky, and later in The Young Visiters, Byron, and the Sarah Waters adaptations of Tipping the Velvet and Fingersmith. Yet it's in Persuasion that you can see how she can inhabit a role so completely that dialogue isn't even needed to convey what she is feeling. As for Rupert Penry-Jones, well I might have written him off as a pretty boy with The Prince of Hearts, Cambridge Spies, Casanova, and his basically replacing Matthew Macfadyen on Spooks, but then I watched Whitechapel. Holy hell, that show is amazing and his portrayal of a driven yet completely OCD DI makes it one of my favorite shows ever. Persuasion mined the best of British drama and has a stellar cast that makes you shake your head in amazement that all these people are in one place at one time.

Though I feel that this review would be incomplete without me taking a shot at PBS. Oh PBS, I have so many issues with you. Seriously, SO MANY. Substandard releases could be brought up here, but instead I'm going to take you to task for your editing. Seriously!?! Stop it! Thankfully you've basically stopped editing the DVD releases because of the fan outcry for which I really have to thank Downton Abbey. But I'm still waiting for my Sally Lockhart mysteries with the sex scene back in... Instead I'm going to bitch about your broadcast editing. I watched this adaptation of Persuasion when it first aired in England, then when it finally aired the following January on PBS I was excited to watch it again but found it lacking. As in lacking all scenes with Captain Wentworth and Captain Harville talking to each other in and around Lyme Regis. I actually had to turn it off I was so enraged. Here's the thing about movies, television shows, any kind of visual broadcast: it's the vision of a person or group of persons that go to the trouble to make this beautiful show. That vision should NEVER been lessened, censored, or randomly changed not for "objectionable" reasons but to make more time for your sponsors! PBS made a pledge to bring quality television to America and more and more it's about the appearance of doing so without actually doing it. Even since Exxon left Masterpiece no longer theater has been in a steep decline and it's come to the point where I no longer even watch the channel. I can't abide editing, and as for speeding up the frame rate, which you totally did during season one of Poldark, it actually makes me physically sick. Also, why can't you air shows at the same time as England? I mean, you've fixed it with Sherlock so what gives!?! Yes, I know, I shouldn't end a review that is glowingly in favor of a production with a negative, but do you ever get the feeling that PBS isn't really involved in these shows at all and is just taking credit for what the BBC and ITV are doing?

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Adaptation, Anthony Stewart Head, Bicentenary Ball, Buffy the Vampire Slayer, ITV, Jane Austen, Mansfield Park, Midsomer Murders, PBS, Persuasion, Run Lola Run, Rupert Penry-Jones, Sally Hawkins, Whitechapel

Ah, Jack Reid. The British Harrison Ford. There is one man and one man alone I could ever see playing you, no matter what his age. He IS Jack Reid.

Name: Toby Stephens

"Dream" Character Casting for the Lauren Willig Miniseries: Jack Reid, aka The Moonflower

First Impression: The Great Gatsby. OK, it wasn't so much the ill-advised 2000 adaptation with Paul Rudd of all people that was my first impression, it was an article in People Magazine about the adaptation that got my attention. The article was about Toby and his breaking into America with The Great Gatsby. The real reason I found this so fascinating is that Toby is Maggie Smith's son! Even if you aren't a British dilettante you know who Maggie Smith is! Toby Stephens was quite literally born to be a great actor, though not in The Great Gatsby.

Why they'd be the perfect actor for the Lauren Willig Miniseries: Um, because he just is Jack? OK, you probably need more convincing as I'm casting a forty-six year old in the role of a man twenty years his junior. He has the gruffness down pat. Between playing Mr. Rochester and Captain Flint he's got gruff covered. With Flint he's got that ruggedness that is necessary to survive in the wilds of Portugal. But more then that, think of how Jack creates these characters and lives their lives, there's a survival attitude, but also a mischievous imp in there too... one who might dress up as a gypsy woman to mess with people perhaps? Also, really, I often say how all British actors have an American counterpart and vice versa, he really is the British Harrison Ford. He can call me Princess any day.

Lasting Impression: OK, this is a really close call between Cambridge Spies and Jane Eyre, it's a dead heat tie in fact. In Cambridge Spies I really got a sense of the range of his acting skills, I mean he's such a wicked good actor that you are actually rooting for him to outwit the British. But it was in Jane Eyre that I fell in love with him. He IS my Rochester. Before I had read Jane Eyre and in all the adaptations I have watched I just couldn't get why anyone thought Rochester was so broody and wonderful. Orson Welles, nope. George C. Scott, Timothy Dalton, William Hurt, and even Michael Fassbender didn't work for me. As for Ciarán Hinds? Spare me. No no and no. It's Toby Stephens and only Toby!

What else you've seen them in: Toby is everywhere, never wanting to be typecast or pigeonholed. From several Bronte adaptations, to Shakespeare, great period pieces like Cousin Bette to actually being the villain in a Bond movie, his range and where he will show up next will surprise you. Yes, that's him on Law and Order: UK and Inspector Lewis. That new star-studded production of Agatha Christie's And Then There Where None, yes please! And if you want some comedy with your mystery, check out Vexed, but ONLY the first season. Why yes, why not star in the revival of Noël Coward's Private Lives with his wife! But one of my all time favorite random appearances is Toby's three episodes on Robin Hood as Prince John. He is the ONLY one who understood the camp nature of this show and made you realize how awesome it could have been all along if only he had been there. He was a light in a dark and depressing show, which I did completely watch for Richard Armitage, who now owes me one.

Can't believe it's them: Space Cowboys! Really!?! He played a young Clint Eastwood!?! This is too hilarious to have not known. This is now forever in my mind as the funniest fact about Toby. Might actually have to watch the movie now...

Wish they hadn't: The Chamomile "Cousin Fucking" Lawn. And yes, that is my version of the title, though most people just call Toby's first acting role as The Chamomile Lawn. I remember it so well, the one and only time I watched this miniseries. It wasn't available in the US and I was visiting my friend Sara in Canada and we went to the video store and there it was. I was so excited. But this is such a weird miniseries. All about Tara Fitzgerald having a love affair with twins. Jennifer Ehle has a great line about DANCING! But overall I remember that it was about two cousins who were in love, hence, "cousin fucking." Avoid this, it's not worth your time. Though I do wish my friend Sara had kept a running log of all the random exclamations I made while watching this, it would be quite entertaining, especially as she was in the other room and I would literally yell out random things.

Bio: Toby Stephens was literally born into acting royalty, his mother being Maggie Smith, his father was no less a great actor, being Robert Stephens. After his parents divorced he followed his mother around the world for her various acting jobs. Therefore it is not at all surprising that both him and his brother became actors. While offered so many television and film roles he has almost always shunned Hollywood, turning instead to his first love, theater. When he first started out he quickly garnered many awards, winning the Sir John Gielgud Prize for Best Actor and the Ian Charleson Award for his performance in the title role of Coriolanus at the Royal Shakespeare Company in 1994 when he was only twenty-five! He is also a prolific narrator of books, which I didn't know and must now hunt up, oh, looks like he does Flashman, makes total sense for Jack Reid, as well as performing in broadcast radio dramas, yadda yadda, Flashman! He is married to the actress Anna-Louise Plowman, whom he has stared with several times and with whom he has three children. He is also totally and completely awesome. He can be good or evil and whatever he is you will root for him. Doubt me? Watch Black Sails STAT, especially if you want to see him get "reacquainted" with his Cambridge Spies co-star Rupert Penry-Jones.

Posted by Miss Eliza at 12:00 AM 0 comments  

Labels: Agatha Christie, Cambridge Spires, Dream Casting, Jack Reid, Jane Eyre, Lauren Willig, Lewis, Pink Carnation, Robin Hood, Rupert Penry-Jones, The Great Gatsby, The Lure of the Moonflower, Toby Stephens

Now just because I've finished casting my leading ladies (and gents), don't be thinking that I'm done! Oh no! What about all those supporting players? Well... I do have a few ideas, not as solidified as say my previous choices, I have given them some thought... so here goes... the
ensemble! You know, to tide you over, seeing as I'm sure you've read The Betrayal of the Blood Lily at least once by now (it's been out a week already) and Turnip's book feels quite a ways away...

Name/Role: Raymond Coulthard as Colin Selwick

The whys: Sure I first saw him in knee breeches in He Knew He Was Right, but it was his sweet country farmer on an episode of Love Soup that made me realize he might have been made for period dramas, but he would look damn good as a certain Colin Selwick!


Name/Role: Jeremy Swift as Amy's Brother Edouard

The whys: Ever since he played Amelia Sedley's put upon brother in Vanity Fair (the good one with Natasha Little, not the crappy Reese one) I've habitually cast him in similar roles in my reading. So why not just have him pop by and play some pomposity Napoleonic style?


Name/Role: Maggie O'Neill as Miss Gwen
The whys: For some reason I never picture Miss Gwen as old as she is, hence Maggie O'Neill seems perfect. She's not actually that old, but there's something about her that exudes age and a domineering personality that would indubitably thwack you with a parasol.


Name/Role: Geraldine James as Richard's Mother, Lady Uppington

The whys: She's been around forever in miniseries and there's something about her that is at once motherly, but at the same time you don't want to cross her. A will of iron. That scene in He Knew He Was Right when she goes and confronts Louis... that is the Lady Uppington I know and love.


Name/Role: Frances Barber as the Marquise

The whys: Because I've always pictured an older version of Natalie Dormer as the Marquise... and Frances Barber sure looks the part. As for kind of scary and domineering... have you seen her on Manchild?


Name/Role: Jamie Sives as Tommy

The whys: As first Lieutenant Summers in To the Ends of the Earth, I wanted him to be the hero... so wistful... and so Tommy. Plus his guest spot in Doctor Who wasn't bad either.


Name/Role: Ed Westwick as Medmenham

The whys: Laugh all you want, but Medmenham is so a 19th century Chuck Bass.


Name/Role: Rupert Penry-Jones as Freddy

The whys: Sure he might be getting older, but I can't think of anyone who has the pretty boy, slightly vacant charm that Rupert has. Plus he can be nasty when he needs to be. A great versatile actor for a great foppish role, seeing as you need someone with real acting prowess in order to appear that doltish and caddish.


Name/Role: William Beck as Fiske

The whys: Because he looks like a fish! I mean, great actor, wonderful in Northanger Abby, really surprised me in Robin Hood... but blah blah.. he's a fish.

Posted by Miss Eliza at 12:00 AM 8 comments  

Labels: Chuck Bass, Ed Westwick, Frances Barber, Geraldine James, Jamie Sives, Jeremy Swift, Lauren Willig, Maggie O'Neill, Pink Carnation Spotlight, Raymon Coulthard, Rupert Penry-Jones, William Beck