Latest news with #BritBox
Boston Globe
2 days ago
- Entertainment
- Boston Globe
Bono, ‘Captain America,' and more new movies and TV shows to stream this weekend
Bono in "Bono: Stories of Surrender," premiering Friday on Apple TV+. Apple TV+ 'Bono: Stories of Surrender' It's a beautiful day for U2 fans, as 'Bono: Stories of Surrender' arrives on Apple TV+ Friday. The new black-and-white film features a mix of music and personal stories from the singer, including footage from his popular 2022 one-man show at New York's Beacon Theatre. The project is also new ground for Apple, as it's the first feature-length film released via Apple Immersive Video available on the Apple Vision Pro augmented reality headset. Available on Apple TV+ 'Captain America: Brave New World' After taking up the Captain America mantle from Sudbury native Chris Evans, Anthony Mackie is back as the Star-Spangled Avenger in Available on Disney+ Advertisement TV shows now available to stream David Sconce in "The Mortician." Courtesy of HBO 'The Mortician' HBO's new three-part docuseries 'The Mortician' debuts on Sunday night, telling the macabre tale of a family-run California funeral home. The series centers around David Sconce, who took over the family business in the '80s, engulfing it in scandal through illegal and ethically dubious practices like mass cremating bodies and stealing from the deceased. 'The Mortician' features interviews with former employees, families of victims, and Sconce himself, who gives his side of the story after being released on parole in 2023. Streams on Max beginning Sunday Advertisement 'Death Valley' British detective mysteries are a dime a dozen, but 'Death Valley,' debuting on BritBox this week, puts a fresh twist on the genre. The series stars Timothy Spall ('The King's Speech,' the 'Harry Potter' movies) as a retired actor who gained acclaim for his role as a popular TV detective, but now lives a reclusive life in the Welsh countryside. However, he gets roped into real-life murder mysteries thanks to an ambitious detective sergeant (Gwyneth Keyworth), who wants to team up in order to keep her career afloat. Available on BritBox Binge-worthy weekend TV pick Ebon Moss-Bachrach as Richard 'Richie' Jerimovich in "The Bear." FX 'The Bear' Yes chef! Fans of FX's hit anxiety-inducing dramedy 'The Bear' won't have to wait too long for season 4, which returns June 25 with 10 brand new episodes. Ahead of the new season, hop back in the kitchen with Carmy, Richie, Sydney, and the rest of the gang with a weekend binge-watch session of its first three seasons. Available on Hulu Movie night pick Alfred Hitchcock in the trailer of "The Birds." Hitchcock movie night It's always a treat when classic films hit streaming services, and to kick off June, Netflix is bringing a collection of Hitchcock hits to its library. Highlights include 1963's 'The Birds,' starring Tippi Hedren, about a California town under avian attack; and 1954's 'Rear Window,' starring James Stewart as a nosy neighbor who bears witness to a crime. Other Hitchcock titles streaming in June include 1956's 'The Man Who Knew Too Much,' 1958's 'Vertigo,' 1972's 'Frenzy,' and 1976's 'Family Plot.' Streams on Netflix beginning Sunday Matt Juul is the assistant digital editor for the Living Arts team at the Boston Globe, with over a decade of experience covering arts and entertainment. Advertisement Matt Juul can be reached at
New York Post
3 days ago
- Business
- New York Post
A rarely available home on Pomander Walk in NYC is for sale
A home is now available on one of New York City's most exclusive streets — and it's straight out of an old English play. The $749,000 two-bedroom unit sits along Pomander Walk, a 104-year-old gated enclave on the Upper West Side. The idyllic co-op community — with its mock-Tudor style, plus blue, green and red shutters and doors — is like nothing else in Manhattan. Advertisement 11 The quaint street looks otherworldly compared to its urban surroundings. Stephen Yang 11 Pomander Walk was landmarked in 1982. Stephen Yang 11 This 600-square-foot unit is on the market for the first time in roughly 30 years. Vistabee Advertisement 'It feels like you're on a TV series from BritBox,' said Compass agent Cole Burden, who is co-listing the property with Nest Seekers' Natalie Weiss. 'It's a very special experience.' Listings on Pomander Walk are exceedingly rare. The secret street's 27 homes, totaling 60 units, reside off of the city's standard street grid — akin to Sylvan Terrace in Washington Heights. The micro-neighborhood is tucked away between West 94th and 95th streets, just blocks away from Riverside Park and Central Park. 11 A rendering shows a furnished vision of the two-bedroom home. Vistabee Advertisement 11 The larger bedroom. Vistabee 11 A second bedroom can double as a workspace. Vistabee 11 The kitchen. Vistabee 11 An idyllic view from one of the home's windows. Vistabee Advertisement The 600-square foot unit currently on offer last sold roughly 30 years ago, according to Burden. The home includes two bedrooms and one bathroom, with a small kitchen and neat built-ins. Burden said he was originally brought in to prepare the apartment for sale through his company SimplifyNYC, which he co-owns alongside his partner Caleb Dicke. Burden described the home as a renovation project. 'We've priced this in a place where buyers have some opportunity to really come in and make this property their own,' he said. Burden and Weiss both have a special connection to the unique community — Burden told The Post that he first discovered the close-knit community in his 20s, through a close friend that lived there, and Weiss grew up on Pomander Walk. 11 A still image from the 1910 play 'Pomander Walk,' by Louis N. Parker. NYPL 11 The community's developer was inspired by the theatrical set of 'Pomander Walk.' demerzel21 – 11 A gate maintains the exclusive community's privacy. Stephen Yang The highly private community was built in 1921 by the architectural firm King and Campbell, and commissioned by Irish developer Thomas Healy. Pomander Walk's bucolic, old-world charm was directly inspired by the set of a popular play of the same name. The historical British comedy 'Pomander Walk' premiered in 1910 and details nine days in the lives of couples living along a row of houses facing the River Thames. Advertisement The property, which counts among the city's few remaining mews and mew lookalikes, was landmarked in 1982. It has been reported that stars like Humphrey Bogart, Rosalind Russel and Lilian Gish once owned homes along the otherworldly lane. The home includes a $2,000 monthly maintenance fee, according to the listing, with amenities like a live-in super, porter service, bicycle storage and private storage units available to residents.
Yahoo
5 days ago
- Entertainment
- Yahoo
How Crime Series ‘Code of Silence,' Starring Rose Ayling-Ellis, Put Inclusion Front and Center
Crime drama Code of Silence, premiering on ITV and streamer ITVX in the U.K. on May 18 and on streaming service BritBox in the U.S. and Canada in July, breaks new ground in several ways. Not only does it star rising British actress Rose Ayling-Ellis, who has been tearing down walls left and right for years, in her first-ever lead role. And not only does her role as Alison, a smart and determined deaf woman who works in a police canteen and gets recruited to use her lip-reading skills in a covert operation, redefine how deaf characters can be featured on screen. More from The Hollywood Reporter David di Donatello Awards: Maura Delpero's War Drama 'Vermiglio' Wins Best Film What Happens to Hollywood When the U.S. Is No Longer the Good Guy? Turkish Mobile Gaming Studio Fuse Games Gets $7 Million in Funding But most important, Code of Silence is an example of a crime show targeting a broad audience that also provides representation for the deaf, disabled and neurodiverse communities, both in front of and behind the camera. As such, it is already being touted as a potential role model for inclusion and accessibility — and at a time when across the Atlantic, the White House has been cracking down on diversity, equity and inclusion (DEI) initiatives. Created and written by Catherine Moulton (Baptiste, Hijack), who drew on her own experiences with lip-reading and hearing loss, the detective show also features Kieron Moore (Vampire Academy, Masters of the Air, The Corps), Charlotte Ritchie (You, Ghosts) and Andrew Buchan (Black Doves, The Honourable Woman, Broadchurch). Code of Silence is executive produced by Bryony Arnold and Damien Timmer for ITV Studios' Mammoth Screen, alongside Robert Schildhouse and Stephen Nye for BritBox, as well as Ayling-Ellis and Moulton. Check out a trailer for the series here. The creative team saw the show as an opportunity to tell an exciting story with a deaf protagonist that allowed them to weave in and represent deaf people's experiences but without lecturing audiences. 'The fact that this is a deaf protagonist leading a show for a mainstream audience in such a compelling circumstance is just brilliant,' Arnold tells THR. 'It is a thriller and a relationship drama, but underneath that, we will hopefully be teaching the audience a little bit about deaf awareness and deaf culture.' Not that all deaf experiences are the same. 'Rose and I both have different experiences of deafness,' Moulton, who is partially deaf, tells THR. 'And we had a script head who is deaf, and we had deaf, disabled and neurodiverse (DDN) people throughout the crew. That just felt like a very different experience. The TV industry hasn't historically been great at being inclusive. And I just was really happy that we made this show in this way.' Arnold, who is a disabled wheelchair user, is a director of Deaf & Disabled People in TV (DDPTV), an organization made up of people who work in the TV industry helping to elevate offscreen deaf, disabled, and neurodivergent talent. 'From the very moment I came on board, everyone was very much in agreement on the principle, the ethos that we wanted to make it an inclusive show,' she says with pride. 'Of course, there is inclusion in the story, but we needed to be practicing that behind the camera as well. We wanted to make sure that we had a really diverse crew, including deaf, disabled, neurodiverse people. We said we want to have this inclusive practice and would love for people to hire at least one DDN person into each department, and everyone was so up for it, which was wonderful.' The result: 'Accessibility and inclusivity were at the heart of the show.' How did the team go about the hiring? 'We did social media shout-outs, which isn't the normal way of employing people, particularly in TV, but we got such an amazing response from it,' Arnold recalls. 'Over 1,000 people wanted to apply, which was slightly overwhelming.' Beyond staffing, Code of Silence also focused on how the set and shoots were set up. For example, the production employed an access coordinator. 'They were liaising with any member of the crew saying, 'Can I have some assistance here?' Because sometimes something really, really small can make a huge difference. So we made sure our production base was all accessible,' Arnold shares. 'Sometimes it is just someone needing a chair or needing taxis. And it was the first time that a dining bus has been made fully accessible on a show and my first time in the nearly 20 years I've been in this industry that I could sit with everyone on the dining bus because it was wheelchair-accessible. So that was nice.' The production truck was also accessible as were the facilities. 'With the toilets, we were making sure that when we went onto locations, there was access via ramps and all sorts of other things,' she explains. The experience is now being analyzed for possible broader industry lessons. 'The problem with the government at the moment is that they want more disabled people to get into work. Unfortunately, there are not the necessary support systems in place. There is the Access to Work (AtW) scheme, but it's incredibly challenging to navigate alone, and so we've been doing this pilot to help navigate that system in a simpler way,' explains Arnold. Code of Silence is part of a pilot for The TV Access Project alongside the BBC and Channel Four and ITV, which aimed to streamline the application process and 'hopefully get the funding in place for an individual's access requirements so they could fully do their jobs,' adds the executive producer. 'This could cover anything from British Sign Language interpreters, having the right equipment, help with transport, etc. As the current wait times for applications to be considered are a staggering 35 weeks, ITV helped to plug the financial gap whilst we waited for the application to be assessed, with the aim of AtW eventually reimbursing the costs. We've yet to find out the results, but quite a few members of our crew used the system, and hopefully, it will create a new pathway for people to quickly gain access to work and get the necessary support they require.' Since small things can make all the difference when it comes to making everyone feel at ease, the production team on Code of Silence even had a printed Facebook of sorts. 'We had a unit list which had everyone's photograph on it because the moment you walked onto a set, there are about 100 new faces,' Arnold highlights. 'For me, as a hearing person, I'm going, 'Oh my god, there are a lot of people here.' So that was just something so simple, but really, really effective for everybody.' Plus, there was an easy-read call sheet. 'A call sheet can be quite a thing,' lead director Diarmuid Goggins (Kin, Black Cab) tells THR. 'There's a lot of information. So this just brought out the most important facts if you just wanted a quick glance.' His take on this and other measures on set. 'It's about small things. I think sometimes people think inclusion is going to be this wholesale change and are scared of change and or things that are different,' he says. 'But you don't really need to do anything other than just be a little bit.' Deaf awareness was, of course, particularly important. 'What makes this show really different is that we wanted to ensure that everybody who was coming on board had deaf awareness training,' Arnold explains. People coming to a shoot could also immediately notice key differences. 'When you went on set, there were interpreters there and the British Sign Language monitors working with the actors on the scenes that were all in sign language,' Moulton recalls. 'That felt like a really important positive thing about the show.' How did the British Sign Language (BSL) monitor work? 'We had our BSL monitor on set with us, for example, in scenes with Fifi Garfield, who plays Alison's mother, to help basically make sure that, with consultation with Rose and the director, the phrasing was right,' says Arnold. Because words in spoken English don't necessarily translate to BSL, so making sure that all felt credible, and also making sure that there's consistency all the way through, was important.' The whole cast and crew even got to learn a sign of the day from Ayling-Ellis. 'The sign of the day was based on what happened that week,' the star explains. 'During Halloween week, I did a Halloween theme. A favorite there was 'vampire.' And then Christmas week, we did a Christmas theme.' And when the team went to a pub, she taught everyone the sign for 'pub.' The set also featured other nonverbal cues to make things easier. For example, it used colored signs on the cast trailers/dressing rooms and production trucks. 'On most productions, every single door sign is white with black lettering,' explains Arnold. 'But, by using colors, it meant that cast and crew with access requirements could see, 'That castmember has a pink sign,' or 'The men's toilet has a yellow sign' — they would know to head for that color, rather than look for the words or the name. These benefit cast and crew with visual impairments, who are neurodivergent or learning disabled. Simple changes that benefit everybody are important.' The stars of the show enjoyed the open arms, open minds approach permeating the Code of Silence production experience. 'I really found and felt on the set how inclusive it was,' Ritchie shares her experience. 'Sometimes, TV sets can be really a bit fast-paced, can get a bit impersonal, and you can brush past people in the morning and maybe not take the time to communicate and check in. And I felt that with this production, there was such an emphasis on really looking at people, really making sure that people understood, and that there was communication.' The actress would be happy to see more of this. 'I think that the more that's possible, the nicer the set feels and the more people are able to work in a way that feels expansive and just puts communication at the forefront,' she concludes. 'So I felt really grateful for that. And Rose did a really amazing job, because [she] didn't have to, but [she] did make so much space for everybody to do that. It was just beautiful and great. It's just an example of why inclusion is so important, because it just opens you up and opens up your mind.' Ayling-Ellis hopes that the opportunity to play her first lead role in Code of Silence can also help young deaf viewers. 'When I was younger, I didn't have anyone on TV [as a role model] at all,' she recalls. 'So how much of a difference could that make. What I love about TV is that you can live in the smallest town ever, where you know everyone and everyone's the same. But TV can kind of break through that and show you a different world. That is the power of TV.' Best of The Hollywood Reporter 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise 'Yellowstone' and the Sprawling Dutton Family Tree, Explained
Yahoo
5 days ago
- Entertainment
- Yahoo
Kieron Moore and Rose Ayling-Ellis Didn't Have a Chemistry Test for ‘Code of Silence'
Crime drama Code of Silence, which premiered on ITV and streamer ITVX in the U.K. on Sunday and will debut on streaming service BritBox in the U.S. and Canada in July, features British star Rose Ayling-Ellis as Alison, a determined deaf woman working in a police canteen who gets recruited to use her lip-reading skills in a covert operation. As such, the show, created and written by Catherine Moulton (Baptiste, Hijack) and also starring Kieron Moore (Vampire Academy, Masters of the Air, The Corps), Charlotte Ritchie (You, Ghosts), and Andrew Buchan (Black Doves, The Honourable Woman, Broadchurch), is helping to redefine how deaf characters are featured on screen More from The Hollywood Reporter Nicola Walker, Jermaine Clement to Lead Disney+ British Comedy Series Kneecap Member Charged With Terror Offense, Band Vows to "Vehemently Defend Ourselves" Billy Williams, 'Gandhi' and 'On Golden Pond' Cinematographer, Dies at 96 During a recent panel discussion of castmembers, Moore, who plays Liam, shared the impact the experience of being on the show's set had on him. In the opening episode, his character seems to feel a special connection with Alison. 'Rose and I didn't do a chemistry test, which is quite insane,' he shared, highlighting that he felt they built a connection very quickly. 'We just met [in person] on the first day of filming.' Their first scene was for a later episode when their two characters have already been through all sorts of things. 'Arguably, it's one of my favorite scenes, because I think it goes to show when you're truly paying attention to someone and you're truly invested in them, chemistry is undeniable,' Moore said. 'I felt so safe with Rose. And I think anyone who meets Rose will come to say this: I felt like I'd never been truly listened to until I met Rose. She pays so much attention to you when you talk that I was constantly learning how to be a better person, as well as being a better actor, which I think I had in common with Liam.' About his character, Moore also had this to share: 'Liam's had a relatively troubled past, and he's very untrusting. And he sees this person who is like a bright bit of light.' Code of Silence is executive produced by Bryony Arnold and Damien Timmer for ITV Studios' Mammoth Screen, alongside Robert Schildhouse and Stephen Nye for BritBox, as well as Ayling-Ellis and Moulton. Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise
Yahoo
5 days ago
- Entertainment
- Yahoo
‘Code of Silence' Writer Catherine Moulton Knows: 'Lip Readers Are Detectives'
When you watch the crime drama Code of Silence, which premiered on ITV and streamer ITVX in the U.K. on May 18 and will hit streaming service BritBox in the U.S. and Canada in July, you quickly realize that lip reading is even harder, and much less of a science, than you may have believed. One big reason for this reality check embedded throughout the detective thriller series is the experience of partially deaf creator and writer Catherine Moulton (Baptiste, Hijack) and the show's deaf star Rose Ayling-Ellis who portrays the protagonist Alison, a deaf police canteen worker who gets tasked with a role in a sting operation due to her lip-reading skills. 'People are always looking for new ways into crime shows,' Moulton tells THR. 'And it just sort of made sense to me that lip readers are detectives. So to have a crime show with a lip reader at the heart was just something that felt very personal to me.' More from The Hollywood Reporter Marcel Ophuls, 'Sorrow and the Pity' Documentarian, Dies at 97 Crunchyroll Anime Awards: 'Solo Leveling,' 'Look Back' Big Winners at Star-Studded Tokyo Ceremony 'Romería' Review: Carla Simón Dives Deep Into Painful Family History in an Act of Reclamation That's Equal Parts Shimmering and Meandering The show, executive produced by Bryony Arnold and Damien Timmer for ITV Studios' Mammoth Screen, alongside Robert Schildhouse and Stephen Nye for BritBox, as well as Ayling-Ellis and Moulton, also features Kieron Moore (Vampire Academy, Masters of the Air, The Corps), Charlotte Ritchie (You, Ghosts) and Andrew Buchan (Black Doves, The Honourable Woman, Broadchurch). Moulton talked to THR about the inspiration for the series, the origin of its title, and her hopes for addressing misconceptions about lip-reading. Could you share a little bit about what inspired you to create and write ? I'm partially deaf, and I have been since childhood. Kind of like Alison, I I just picked up lip-reading. I just taught myself naturally, and it came quite instinctively. I didn't really know how I was doing it. Then, a few years ago, I wanted to understand more about it and get better at it. So I had lip-reading lessons, and I learned more about the theory. The statistic is that between 30 and 40 percent of speech is visible on the lips, and that's the best case scenario, when we're sitting looking at each other, and I can see you clearly. The rest of it is just very informed guesswork. You're looking at people's body language, you're taking things from the context of what you know about them, the situation that you're in, and even the rhythm of speech. And you're putting all those clues together to work out what the sentence is. So there's a lot going on. If I have to spend a whole day relying on lip-reading, I get very, very tired. It's really a lot of work. People are always looking for new ways into crime shows, and it just sort of made sense to me that lip readers are detectives. So to have a crime show with a lip reader at the heart just felt right, and it was something that was very personal to me. How did you come up with the title . I love that it has a couple of layers and meanings… It came very early on. I always find with titles, either you get them straight away, or you're forever changing it. This just felt thriller-y and tells you that you're getting a thriller. But it's also [a reference] to lip-reading. Lip-reading is a silent code, so that's what the show is about. As a viewer, you learn a lot about lip-reading and its challenges. For example, Alison asks in one scene if the police can zoom in on someone's face in a video. Or in another scene, she asks someone to turn to her while speaking. How did you approach integrating these issues into the script? The trickiest thing was marrying the kind of the information we needed to get in for the thriller and mystery story with the reality of lip-reading. [Lead director] Diarmuid [Goggins] has done such a brilliant job, because there was a version that could have looked really bad where either you definitely can't see the lip shapes, or they are weirdly always looking at the camera really conveniently. But Diarmuid has done it so brilliantly that it really works. You draw viewers into that idea of lip-reading as detective work that you have mentioned in scenes where Alison pieces together lip movements and we see letters appearing and moving around on screen until they end up forming a sentence or phrase. I felt so frustrated following these puzzles and gained additional respect for lip-reading because I often couldn't figure out what was being said until the words were shown on screen. I assume you wanted us to feel this stress… Yeah, I wanted to put the audience in the position of a lip-reader, and for them to understand how difficult it is, and how tiring. I think there's this misconception that lip-reading is just like reading a book — you just magically see all the words. And I don't think people really understand quite how much work lip-readers are doing. So, I'm glad you felt stressed. Catherine Moulton How did you think about balancing this educational aspect and the entertainment focus of your show? It was really important to me that the show was entertaining and that you could just watch it and be entertained. It's hopefully a really good crime story. I love detective shows. I've grown up watching them, and I really love mainstream crime drama. With Code of Silence, what I wanted to do was just think about how to put someone with some of my experience and some of Rose's experience in a crime show. Obviously, there are elements that we've seen before, like surveillance shows and heist shows. But if you put a very different character, like Alison, at the heart of it, what does that do to the story? How does that change it? Hopefully, that makes it feel fresher. What was the biggest challenge as a writer on the show? The biggest challenge was definitely making the lip-reading realistic and difficult, but also making sure that we were getting enough of the right beats of the crime story at the right point. so that people could understand what was going on and wanted to know more. And the lip-reading subtitles kind of evolved even in postproduction. Obviously, it was quite an unusual script in a way, because there was the scene you're seeing on camera, Rose with the police, and what she's able to see, but then we had to also write the scene that was happening in the background — the scene of the crime gang and what they're saying to each other. So there was a lot of trying to balance what they would really be saying and what we wanted to reveal. So it was different from any other crime show that I've worked on. What feedback did Rose give on her experience that led you to adjust the script? Rose, I think, was brilliant when we got to finalizing the lip-reading subtitles in that she was very, very focused on the authenticity of the moment and what we can actually see on screen. What lit patterns are there? What can we work with? Whereas I was kind of juggling that with what the audience needs to know. So, she really kept me honest in that respect. Sometimes it was just really great to have someone else who is a brilliant lip-reader on the show. A lot of the time it was us just going: Oh, can I actually see that on screen? Or do I just know that I wrote that line? Did you always know Alison would be someone who gets a chance to work with the police? It started from that thing about lip-readers being detectives, and then the idea that lip-readers have to watch all the time. You have to watch very closely, so that suggested a surveillance show. And because she's deaf, it feels unlikely that she would be a police officer, and I didn't think she should be a criminal. So she was obviously going to be a civilian [who ends up working with the police]. I caught myself rooting for Alison early on because everyone seems to doubt her but she is ambitious, and you want to see her succeed. What can you share about why you chose to make her so driven and not, as you could have done, a more passive character who gets dragged into a big role? I didn't want that character to feel like a victim. That's not how Rose is. That's not how I am. We don't see ourselves as victims,. We're kind of happy with who we are and being deaf, so I never wanted to make Alison any kind of victim. She had to be an active character. I did want you to both be rooting for her to succeed and to worry. At the start, she's not where she wants to be in her life. And she's running between two jobs, and when she gets this opportunity with the police to use her skill that often goes unrecognized, she grabs onto it with both hands. But I wanted you to worry a little bit about how far she would push that, because you see that she's got something to prove. Best of The Hollywood Reporter 'The Studio': 30 Famous Faces Who Play (a Version of) Themselves in the Hollywood-Based Series 22 of the Most Shocking Character Deaths in Television History A 'Star Wars' Timeline: All the Movies and TV Shows in the Franchise
