Nicole Kidman is providing $50,000 of her own money for a TV industry award named in honor of an Australian executive who died earlier this year.
The Australian Academy of Cinema and Television Arts (Aacta) is to present the newly-created Brian Walsh Award for Emerging Talent at its annual award ceremony in February. The award aims to discover and nurture the next generation of Australian actors.
The award pays homage to the late Brian Walsh, one of Australia’s most admired screen creatives, who left a lasting impact on the entertainment industry, both in Australia and internationally. He died suddenly in March at the age of 67.
Walsh began his career in radio and later took up leadership roles at Ten in Australia and Sky in the U.K. He spent some 28 years at Australian pay-tv leader Foxtel, during which time he commissioned iconic series such as “Wentworth,” “The Twelve,” “Colin From Accounts...
The Australian Academy of Cinema and Television Arts (Aacta) is to present the newly-created Brian Walsh Award for Emerging Talent at its annual award ceremony in February. The award aims to discover and nurture the next generation of Australian actors.
The award pays homage to the late Brian Walsh, one of Australia’s most admired screen creatives, who left a lasting impact on the entertainment industry, both in Australia and internationally. He died suddenly in March at the age of 67.
Walsh began his career in radio and later took up leadership roles at Ten in Australia and Sky in the U.K. He spent some 28 years at Australian pay-tv leader Foxtel, during which time he commissioned iconic series such as “Wentworth,” “The Twelve,” “Colin From Accounts...
- 11/16/2023
- by Patrick Frater
- Variety Film + TV
Claire Foy made another wonderful return to “The Crown” last year as she featured once more as Queen Elizabeth in the Netflix drama.
Foy shot to stardom for her Emmy-winning turn as the Queen in the first two seasons of “The Crown,” in which she played opposite Matt Smith as Prince Philip. Then, she returned for the fourth season in a guest-starring role in episode eight. That won her another Emmy. Now, she’s back in the fifth season, which takes places in the 1990s.
Imelda Staunton takes over the role of Queen Elizabeth for this season, which depicts several major events in the 1990s including the Queen’s “annus horribilis,” the public divorce of Prince Charles (Dominic West) and Princess Diana (Elizabeth Debicki), and the latter’s interview with “Panorama.” But it’s the return of Foy as a younger version of the Queen that caught fans attention the most.
Foy shot to stardom for her Emmy-winning turn as the Queen in the first two seasons of “The Crown,” in which she played opposite Matt Smith as Prince Philip. Then, she returned for the fourth season in a guest-starring role in episode eight. That won her another Emmy. Now, she’s back in the fifth season, which takes places in the 1990s.
Imelda Staunton takes over the role of Queen Elizabeth for this season, which depicts several major events in the 1990s including the Queen’s “annus horribilis,” the public divorce of Prince Charles (Dominic West) and Princess Diana (Elizabeth Debicki), and the latter’s interview with “Panorama.” But it’s the return of Foy as a younger version of the Queen that caught fans attention the most.
- 6/22/2023
- by Jacob Sarkisian
- Gold Derby
Apple TV+’s “The Last Thing He Told Me,” adapted from the best-selling novel of the same name by Laura Dave, arrives 17 years after we bade farewell to Sydney Bristow, and critics agree it’s great to see Jennifer Garner on television again. Though she headlined HBO’s “Camping” and has a recurring role on Starz’s “Party Down,” this is Garner’s most solid Emmy vehicle since “Alias” earned her four nominations throughout its five-season run on ABC.
Artisanal woodworker Hannah Michaels (Garner) has worked to shield herself from unwanted surprises, but that carefully curated existence is thrown into disarray when her husband (Nikolaj Coster-Waldau) vanishes amidst an FBI raid of his software startup. All Hannah’s given is a handwritten note requesting she protect his 16-year-old daughter (Angourie Rice). The mismatched duo must dodge investigators and a host of seedy figures while attempting to uncover the truth behind their newfound state of jeopardy.
Artisanal woodworker Hannah Michaels (Garner) has worked to shield herself from unwanted surprises, but that carefully curated existence is thrown into disarray when her husband (Nikolaj Coster-Waldau) vanishes amidst an FBI raid of his software startup. All Hannah’s given is a handwritten note requesting she protect his 16-year-old daughter (Angourie Rice). The mismatched duo must dodge investigators and a host of seedy figures while attempting to uncover the truth behind their newfound state of jeopardy.
- 4/20/2023
- by Ronald Meyer
- Gold Derby
“The Slap Heard Around The World” is how Australia’s Sydney Morning Herald has appropriately described it.
The Oscars have once again permeated the cultural conversation. Sadly, for the wrong reasons.
Will Smith’s rash and disproportionate response to Chris Rock’s ill-advised jibe has landed plenty of column inches and air time on the international stage. The overriding tone has been censorious.
While the Ukraine conflict is rightly the lead story on most outlets, some UK tabloids are leading with #slapgate and most foreign publications have the shocking Oscar moment as their number two story in terms of prominence. Most have the moment as their lead Oscar story ahead of other coverage from the night.
In the UK, The Telegraph‘s critic Robbie Collin branded Smith’s act as “the most shameful and unforgivable Oscar moment ever”.
The Guardian called the evening “a historic night for women – overshadowed by male violence.
The Oscars have once again permeated the cultural conversation. Sadly, for the wrong reasons.
Will Smith’s rash and disproportionate response to Chris Rock’s ill-advised jibe has landed plenty of column inches and air time on the international stage. The overriding tone has been censorious.
While the Ukraine conflict is rightly the lead story on most outlets, some UK tabloids are leading with #slapgate and most foreign publications have the shocking Oscar moment as their number two story in terms of prominence. Most have the moment as their lead Oscar story ahead of other coverage from the night.
In the UK, The Telegraph‘s critic Robbie Collin branded Smith’s act as “the most shameful and unforgivable Oscar moment ever”.
The Guardian called the evening “a historic night for women – overshadowed by male violence.
- 3/28/2022
- by Andreas Wiseman
- Deadline Film + TV
When Foxtel first began to craft with Fremantle Wentworth back in 2011, the hope was it would sit comfortably alongside the service’s premium HBO and BBC dramas.
While based on Reg Watson’s long-running ’80s drama Prisoner, and suitably honouring its legacy, it was not designed to a be remake. The desire was to see a modern reimagining of the characters; one that was ambitious and bold.
“We wanted to make something great for Foxtel and set the bar high. It was all part of our hopes for what we could do in the future,” executive producer and former Foxtel head of drama Penny Win recalls to If.
Originally created by Lara Radulovich and David Hannam, Fremantle Australia CEO Ian Hogg pitched Foxtel director of television Brian Walsh the series over a meal in Cannes.
By December that year, early plotting was underway, with journalist and critics Michael Idato and...
While based on Reg Watson’s long-running ’80s drama Prisoner, and suitably honouring its legacy, it was not designed to a be remake. The desire was to see a modern reimagining of the characters; one that was ambitious and bold.
“We wanted to make something great for Foxtel and set the bar high. It was all part of our hopes for what we could do in the future,” executive producer and former Foxtel head of drama Penny Win recalls to If.
Originally created by Lara Radulovich and David Hannam, Fremantle Australia CEO Ian Hogg pitched Foxtel director of television Brian Walsh the series over a meal in Cannes.
By December that year, early plotting was underway, with journalist and critics Michael Idato and...
- 10/26/2021
- by Jackie Keast
- IF.com.au
When the skilled dramatic actor Caroll O’Connor took a comedic turn as Archie Bunker in “All in the Family” in 1971, critics noticed the layered performance. Looking back decades later, Ronald Brownstein wrote in The Atlantic: “‘All in the Family’ commanded national attention to a degree almost impossible to imagine in today’s fractionated entertainment landscape. Archie Bunker’s catchwords — stifle, meathead, and dingbat — all became national shorthand. Scholars earnestly debated whether the show punctured or promoted bigotry.”
A Smithsonian Magazine article by Sascha Cohen stated that the fictional working-class TV dad “was retrograde, incapable of dealing with the modern world, a simpleton left behind by the social upheavals of the 1960s and 1970s, a pathetically displaced ‘historical loser.’ (Producer Norman Lear) used him as a device to make racism and sexism look foolish and unhip, but liberals protested that as a ‘loveable bigot,’ Archie actually made intolerance acceptable. Lear...
A Smithsonian Magazine article by Sascha Cohen stated that the fictional working-class TV dad “was retrograde, incapable of dealing with the modern world, a simpleton left behind by the social upheavals of the 1960s and 1970s, a pathetically displaced ‘historical loser.’ (Producer Norman Lear) used him as a device to make racism and sexism look foolish and unhip, but liberals protested that as a ‘loveable bigot,’ Archie actually made intolerance acceptable. Lear...
- 7/5/2021
- by Jordan Barkin
- The Wrap
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