Stephen Moyer Is a True Bloodhound in Art Detectives — Watch a Sneak Peek From the New Acorn TV Drama
Starring and executive-produced by Moyer, Art Detectives is centered around the Heritage Crime Unit, a police department consisting of art-loving DI Mick Palmer (Moyer) and straight-talking DC Shazia Malik (Virdee's Nina Singh). Together, they solve murders connected to the world of art and antiques, from Old Master paintings to Banksy street art, medieval manuscripts and collectible vinyl.
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'Each episode follows Mick and Shazia as they navigate a rich and colorful world driven by greed, obsession, lust and revenge,' the synopsis tells us. 'Throughout the season, the artfully astute detectives encounter a fake Vermeer, Viking gold, a rare Chinese vase, and items rescued from the Titanic. Mick navigates these demanding cases while managing a budding romance with museum curator Rosa (Pennyworth's Sarah Alexander).'
In the series premiere, titled 'Pictures at an Exhibition,' Mick and Shazia visit a country house where an art historian has been brutally murdered. In the exclusive sneak peek above, the duo survey the crime scene, where they pore over a takeout menu and find a crucial clue.
In the second episode dropping on Monday, titled 'Dead & Buried,' Mick and Shazia investigate the discovery of a gold hoard and realize it's been stolen from a prehistoric burial chamber. As they dig deeper, they uncover a faked suicide, professional betrayal and a thousand year-old cover up!
Will you be tuning in for the ' artsy investigations?
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Forbes
2 days ago
- Forbes
Alicia Silverstone Talks ‘Irish Blood' Series And ‘Clueless' At 30
When it comes to Millennials and the Generation X population, Alicia Silverstone remains forever cemented in their hearts and minds for her iconic acting career - especially for playing Cher Horowitz in the 1995 comedy classic Clueless, a popular Beverly Hills high school student navigating around peer pressures, unfair stereotypes and personal ambitions. These days, Silverstone, 48, is taking on a brand new role in a lighthearted yet gripping drama series, Irish Blood, which is now streaming on Acorn TV. She plays Fiona, a successful lawyer who receives a note from her estranged father, which sets her on a journey to Ireland to uncover the truth about her longtime absent parent and to deal with the unresolved anger that his abandonment has had on her life. Sitting down with Silverstone for a conversation over Zoom, I first wondered what it was about her Irish Blood lead character that initially intrigued her to want to make this the next project in her career. 'I think that I was attracted to the possibilities,' Silverstone said. 'When it came to me, it was just an idea, and I was attracted to the idea - this Irish land and the potential. Ultimately, what I think I love about the show and what I had hoped for was you've got the mystery, which is super fun, and the crime elements - but it's quirky. There's a quirky nature to the whole thing, and on top of it, I think it's an emotionally rich drama, and that's what I, as an actor, want - is to be able to sink my teeth into something. So, when they asked me to come onboard, I was able to be the producer, so that I could have the opportunity to make all these key creative hires and decisions. My focus was to make it as layered and nuanced and grounded as possible, so that I would have a lot to do - so it would be fun for me to act. I want to do things that are challenging and interesting.' Being also an executive producer on Irish Blood at this stage of her seasoned career in and around the entertainment industry, I was curious if Silverstone has noticed that her creative interests in stories and characters have evolved at all over the years. Silverstone said, 'I think I was lucky to do really complicated, layered things when I was young. I mean, The Crush is my first film and that's complicated, and there's lots to do there - and honestly, many of the roles I feel that I got to do - Clueless was a complicated pick. I got to work with James Gandolfini and Alain Corneau when I was little, and Kenneth Branagh on Shakespeare with Love's Labour's Lost. So, I think I've had a lot of juicy opportunities, but then I think those juicy opportunities got a little bit more light for a while, and then I went to theatre for that. I would go get all my workouts in the theatre with Laura Linney and with David Mamet, and that was incredible. And so, getting to do now, I think, when I'm looking at something, all I want is to be able to - if I can sink my teeth into it, I'm happy. I just want to be gnawing on that nylon bone and I think that it comes in different forms.' She added: 'If it's with [filmmaker] Yorgos Lanthimos, I don't care what it is - I'm obsessed with him. He's a brilliant genius, so you just want to do whatever he wants to do. But sometimes, when it's something like this [with Irish Blood] that you get to kind of create it for yourself, or create it with people, and AMC has been so kind to me and so generous. I have a great relationship with their head of development, Rob Fox. We work great together - and so, I feel very lucky.' With this year marking the 30th anniversary of Clueless, what is it in Silverstone's opinion that has made people, generation after generation, continue to resonate these three decades later with her beloved movie? 'Well, I don't think that any one of us could have ever imagined or known what a cultural phenomenon this would be. I mean, there is no way to know that. And certainly not all the executives that passed on it for a year, saying that no film should be made with a young girl in it as the lead - and they all had to eat that! So, I think none of us could have imagined what it would do, but I think when I look at it, what is it that makes it? My guess would be as good as yours, but my guess is Amy Heckerling wrote a brilliant script. Jane Austen ain't too shabby herself - the book Emma - and then Amy put her brilliant twist on it. She understands - I think she has her finger on the pulse of what is culturally happening in any given moment in such an incredible way. She worked with Mona May - and Mona May is the costume designer, and together, they just did this beautiful - I mean, the costumes are so incredible. They are a character in it and I think that it's lightning in a bottle. For some reason, all the magic came together at the same time.' Silverstone added: 'I think that it's incredibly satirical, but it's also very, very warm, and I think that it's happy. I know that's what Amy wanted. She wanted this happy feeling that she didn't have in her. She talks about it. She's like - I was so miserable. I just wanted a happy place. I don't know if she says she's so miserable, but she's like - it's the opposite of her. She was interested in a character that was just happy all the time.' With plenty of chatter going around of a Clueless sequel series being in development at Peacock with Silverstone involved, I wondered what she might be able to share at this point in the process. 'I can't share much,' Silverstone said, 'I can tell you that I'm excited about the possibility of it. We've been working on it and talking about it for a few years now, and we are at the stage - we're baby stages. It's just nothing is there yet. I mean, we know what we're doing, but we're not - we haven't shot anything yet. I certainly have to mum's the word there, but I'm hopeful that we'll get it right.' Circling back to her Irish Blood six-part murder mystery, with Silverstone being a mom in real life to her son, Bear - I was curious if she noticed that her real world experiences as a parent benefited her father-daughter and mother-daughter dynamic on-screen within this series. 'Well, I think all of your life experience, if you bring it to your work, helps with everything. I mean, that's what makes it interesting, right? When you have experience to bring to your work - so, for sure. I mean, that stands true for all of it. I will say Bear loves the show very much. He's 14 and I let him watch when we would get to what's called pre-lock. I would do like five rounds of edits before we would get to pre-lock, and when you get to pre-lock, I would let him watch it with me. He was like - Mom, this is so good! And he wanted to see the next one and the next one and the next one. So, it was really cool.' While I concluded my conversation with Silverstone, I wondered what she is most excited for audiences to see come of her portrayal as protagonist Fiona in Irish Blood, as they witness how this story unfolds. Silverstone said, 'Audiences will be really happy with the storytelling, and I think they will enjoy how fast it moves. You know, it really – it does move very fast and I think it's a fun ride. I think they're going to feel all the things. They're going to laugh, they're going to feel emotional about things, and I think they're going to be really drawn in and enjoy this ride.'
San Francisco Chronicle
2 days ago
- San Francisco Chronicle
This 1962 San Francisco-set thriller is largely forgotten. Here's why
Hi Mick: Why is 'Experiment in Terror,' the 1962 noir movie filmed in San Francisco, largely forgotten today? It is seldom mentioned on lists or in books of movies filmed in the city. I'd advise everybody who is now 20 years old to make a list of the 25 films from the past five years that they believe are worthy of immortality. Then they should wait until they're 83, get out the list and count how many times over the course of the next day people under the age of 83 drop 'Deadpool & Wolverine' into the conversation. But 'Experiment in Terror' isn't entirely forgotten. It has an entry in Alain Silver and Elizabeth's Ward's book 'Film Noir,' and Eddie Muller has talked it up on TCM. It's around. Hi there Bonnie: I can think of a few, but if I go around calling actresses adorable, nobody will believe me when I praise their performances. So for the sake of all those adorable women out there, I'm going to remain silent. Hi Mick: Wondering if you agree with Foster Hirsch in his 2023 book 'Hollywood and the Movies of the Fifties' when he writes in his epilogue: 'At a pivotal moment [the 50's decade] . . . released more great films than in any other ten-year cycle in the history of American movies.' Donald Miller, Walnut Creek Seriously, what did you expect him to write in that epilogue? 'Upon further reflection, I realize now that the Fifties kind of sucked, and I shouldn't have wasted five years of my life writing this book.' Writers tend to avoid discouraging remarks like that. But no, I don't agree with him. Despite some great films, like 'Sweet Smell of Success' and 'A Face in the Crowd,' both from 1957, and several Hitchcock movies, the 1950s was one of the worst decades for American cinema in the 20th century. It was not good for actors and horrible for actresses. Musicals were bloated. Film noir was becoming an imitation of itself. And in matters of sex and romance, the '50s were a toxic mix of puritanism and prurience, with potentially great women like Marilyn Monroe enacting parodies of femininity that even a drag queen would find excessive. If I were to rank the decades of the 20th century in terms of movies, I'd put the 1930s at the top, followed by the '70s, and then the '90s, the 1920s, the '40s, the '60s, the '80s, then the 1950s, the 1910s and the 1900s. Hi Mick: I've just watched seven Hitchcock movies, and I liked six of them, but there are so many leaps of logic both in scenes and in dialogue. It seems that the audiences of those days, by today's standards, must have been incredibly obtuse. Did the critics of those days notice things like this? Rocky Leplin, Richmond Hi Rocky: They definitely noticed, enough so that Hitchcock used to call critics 'the plausibles.' They were the only ones who cared about that sort of thing. But Hitchcock didn't care about what was plausible. I think of it this way: When I want to see something plausible, I look in the mirror. When I want to see something implausible, I watch a movie.
USA Today
6 days ago
- USA Today
Alicia Silverstone reveals why she's never used Botox or fillers
Alicia Silverstone is saying "as if!" to Botox, fillers and other cosmetic procedures. The "Clueless" alum graced the cover of Byrdie magazine's "Legends" issue and got candid about aging in Hollywood, even though she looks nearly the same as she did 30 years after playing Cher Horowitz in the 1995 film. "I have lines," Silverstone admitted, but the star – who said she has never had Botox, fillers or gone under the knife for surgical changes – told Byrdie that she would "like to be an example" and is "curious to see what happens." Silverstone is currently promoting her new show "Irish Blood," set to premiere Monday, Aug. 11, on streaming service Acorn TV. However, Silverstone maintains a "critical" plant-based diet that she has followed since the late '90s because she "loved animals" and believed there were ethical and environmental pitfalls to eating otherwise. Silverstone didn't anticipate the health benefits of her choice, though. "My health, I did not plan for," Silverstone said. "I could think clearly, feel more, (and) be present. All of a sudden, my nails got really thick and strong. My hair got really thick. My eyes got all white." She continued: "This is the one thing in life that I feel so certain about. There's so much to not be certain about, but I am so absolutely certain about this … I feel like it really works with aging well." Silverstone curates the vegan lifestyle blog "The Kind Life" and represents animal advocacy nonprofit organization People for the Ethical Treatment of Animals as a spokesperson. Still, Silverstone revealed that "it's always easy to eat vegan, (but) it's just not always easy to eat healthy in the way you want to." "It's just about having a road map to living my most radiant life while also veering right a little or veering left and then coming back," Silverstone told Byrdie. "We can always aim for perfection; I'm always trying. But I always go back to plant-based food."
