Why The Phantom Menace isn't as bad as you remember 25 years on
Does it deserve a little more appreciation?
Has any film in history ever been hyped quite as much as the Star Wars movie The Phantom Menace? Released 25 years ago on 19th May 1999, George Lucas's long-awaited return to a galaxy far, far away was the cinematic event of the century. The initial reception upon its release was largely positive. Critics lavished Lucas's prequel with praise while fans lapped up the opportunity to revisit one of the definitive pop culture landscapes of their childhoods. But then came the backlash. Driven by the growing concept of "fandom" and the burgeoning world of online discourse, The Phantom Menace would become a byword for on-screen awfulness, the subject of near-universal disdain from the franchise’s ferociously protective fans. But were they right? Or does Star Wars' Episode I deserve a little more appreciation? Let's take a look. Bright, breezy and bombastic Looking back now, the most startling thing about The Phantom Menace is quite how different it is from any other instalment of the franchise. The original movies had given us a glimpse of a galaxy under the yoke of an evil empire, a grim and grubby world of outlaws and oppression. But The Phantom Menace provides an entirely different take on a galaxy that we all thought we were familiar with. This is an altogether more optimistic setting. Through a journey that takes in a kaleidoscope of colourful civilisations, the sprawling cityscape of Coruscant and the eye-popping panoramas of Naboo, viewers get to experience the Republic in its pomp. Even the spaceships are buffed to a polished chrome, gleaming with the kind of hope and optimism that’s in stark contrast to the darkness of the original instalments or the impending doom that surrounds the rest of the prequel trilogy. It’s not just the world-building that’s on point, either. Against this brightly-coloured backdrop, we’re presented with an equally luminous cast. From Liam Neeson's stoic Qui-Gon Jinn to the understated excellence of Ian McDiarmid’s would-be puppeteer Palpatine, the movie introduces us to characters that have become as much a part of Star Wars canon as any of the original ensemble. And let’s not forget Ewan McGregor, who not only steps out from Alec Guinness's sizeable shadow but ultimately eclipses him as a Star Wars icon. View Affiliate Playlist on the source website Incredible action For a franchise that has conflict baked into its title, we can’t discuss The Phantom Menace without considering the action. And though fans may have been fearful when the opening crawl detailed the innermost workings of galactic trade disputes, it’s an area where Episode I undoubtedly delivers. Unlike the subsequent prequels, where Lucas was given free rein of his CGI sandbox, The Phantom Menace combines practical effects with computer wizardry. The end result is nothing short of electric. Whether it’s the adrenaline rush of the Tatooine pod race or the discombobulating din of outer space dogfights, the on-screen action is an assault on the senses that’s unlike anything we saw in the original movies. <img src="https://images.immediate.co.uk/production/volatile/sites/3/2024/03/EpisodeIPhantomMenace-f39d2e0-e1715942999236.jpg" width="2306" height="1539" alt="Three figures engaged in an intense lightsaber battle in a grand hall, two Jedi - Qui-Gon Jinn and Obi-Wan Kenobi – with green and blue lightsabers against a dark-cloaked figure, Darth Maul, wielding a red double-bladed lightsaber." title="Star Wars Episode I: The Phantom Menace - Unit Stills" /> Above all, however, it’s the dueling Jedi who elevate the instalment to action excellence. The balletic battle with a dual-blade-wielding Darth Maul is the best lightsaber sequence the franchise has ever committed to screen. It’s a pulsating encounter accentuated by John Williams's incredible score to deliver the kind of thrill that fans have long since been starved of. Even the showdown between the Gungans and battle droids passes muster on repeated viewings, offering an upgrade on the tree-swinging shenanigans with which the Ewoks enchanted younger viewers 16 years earlier. Disney disdain Look, I’m not going to sit here and tell you that The Phantom Menace is a flawless masterpiece - the Citizen Kane of space operas, it is most certainly not. From the problematic patois of Jar Jar Binks (or his very existence, for that matter) to the clunky disposition and incessant yippee-ing of Jake Lloyd’s school-aged Sith-in-waiting, the film is littered with flaws. But then, so has every other Star Wars movie that has followed in its wake, especially those that have been unfurled during the era of Disney’s ownership. From the damp Womp Rat that is Solo to the pedestrianly plotted sequels, a number of acclaimed directors have tried and failed to breathe new life into a story that cinemagoers have been dipping in and out of for more than five decades now. At least The Phantom Menace attempts to achieve more than another unimaginative retelling. Lucas isn't flogging a dead Bantha here; he’s unapologetically trying to create something different, a jumping-on point for a whole new generation of fans to enjoy. It’s bold, bright and breezy - a fresh narrative thread plucked from the comfort blanket of a big screen universe we’re all happy to cuddle up in. And because of that, it’s far from the affront that many fans paint it out to be. It’s not even the worst movie the franchise has ever spawned. In fact, I’d say it’s not even in the top three. So, if you’ve not revisited it since first exiting the auditorium in 1999, then why not use the 25th anniversary as an opportunity to rediscover The Phantom Menace? You might just be surprised with how much you enjoy it. The Star Wars films are available to watch on Disney Plus. Check out more of our Sci-Fi coverage or visit our TV Guide and Streaming Guide to see what's on tonight. For more from the biggest stars in TV, listen to The Radio Times Podcast.
How Jamie Oliver's The Naked Chef changed TV cooking forever
Twenty-five years on, Daniel Bettridge looks back at how Jamie Oliver's The Naked Chef changed everything when it came to cooking on telly.
Chef, restaurateur, social campaigner and sworn enemy of the Turkey Twizzler - these days Jamie Oliver needs no introduction. But it was an altogether different story when he made his TV debut 25 years ago. On Wednesday 14th April 1999, The Naked Chef exploded onto our screens. The show introduced us to a then-unknown Oliver, a shaggy-haired sous chef from London’s River Cafe who whizzed around London on his Vespa before cooking up a feast for his friends at the swanky Islington apartment where the series was filmed. With a format that was as fresh as his food, The Naked Chef was unlike anything we’d ever seen on TV before. An overnight hit, it didn’t just launch Oliver’s career but changed the face of small-screen cuisine – shaping the way that TV chefs (and indeed an entire nation) cooked forever. "Cooking has got to be a laugh" A quarter of a century ago, the recipe for TV cooking was almost unrecognisable from the kind of shows we see today. Back then the format felt as stiff as the starched white aprons worn by the chefs who stood behind the stove. Pre-measured ingredients in little glass ramekins were put together with almost scientific precision, as impeccably-spoken hosts guided us through elaborate processes used to prepare pretentious dishes that would be out of place in all but a handful of households. Oliver however existed at the opposite end of the chef spectrum. The brand of slapdash simplicity that gave the show its “Naked” moniker stripped food back to basics, delivering big flavour with minimal effort. It was also fun, every bit the laugh that Oliver said it had to be during the show’s opening credits. Gone were the time-consuming techniques and precision measurements – instead Oliver "dolloped", "shoved", "smashed" and "chuffed up" his ingredients, guiding viewers through "pukka" recipes with a distinctive Essex patter that was more Del Boy than Delia Smith. He looked and sounded like someone you might know in real life, which only added to the feeling that these were delicious dishes you actually stood a chance of recreating at home. Fresh format It wasn't just Oliver who was different, The Naked Chef’s format also provided a fresh take on proceedings. Shot in an eye-catching London pad, Oliver bounced around the kitchen, dropping ingredients and slapping pots and pans down on hobs with reckless abandon, before sliding down the bannister of a spiral staircase to open the door to guests. He didn't stare down the barrel of the camera like other TV chefs, instead he chatted with the off-screen figure of Patricia Llewellyn, the late great BBC producer who’d first discovered him. The conversational style was supposedly a tactic used to overcome Oliver’s on-screen nerves, but it had the added effect of enhancing the relaxed informal style that made The Naked Chef so appealing. That wasn’t the only innovation the show served up, however. Handheld camerawork combined with creatively framed close-ups and rapid-fire edits echoed Oliver’s on-screen energy. And as the dishes sizzled and sautéed in front of us, the audio followed suit, setting the show to a soundtrack of late nineties indie hits from the likes of Inspiral Carpets, The Stone Roses and Toploader. This was music to cook to, and proved so popular that it was even released as an accompanying CD. The overriding impact made it feel more like a movie than a cooking show. It was kinetic, it was exciting and above all, it was cool. Cooking became cool Perhaps that’s The Naked Chef’s greatest achievement. Before the show arrived on our screens, cooking was something your mum did or it involved stuffy chefs preparing stuffy dishes for equally stuffy dinner parties. But Oliver and co made food fun. They took home-cooking out of the kitchen and made it a part of the late nineties lifestyle. From hangover breakfasts with your friends to post-gig grub with your beer-drinking bandmates – The Naked Chef made food the fulcrum around which Oliver’s aspirational social circle orbited. Chefs were the new rockstars and Oliver’s overnight stardom would usher in a new generation of celebrity cooks onto our screens. It would also change the way that Britain cooked, how we shopped and how TV was made. Looking back now, it’s clear that The Naked Chef still provides the raw ingredients from which the recipe for TV cooking is constructed, its influence as fresh today as it was when it first hit our screens 25 years ago. Check out more of our Entertainment and Factual coverage or visit our TV Guide to see what's on tonight. For more from the biggest stars in TV, listen to The Radio Times Podcast.
How The Matrix created the modern blockbuster
As the action classic turns 25, we look back on its legacy.
Twenty-five years ago, the Wachowskis gave cinemagoers a choice: They could choose the blue pill and stick with the tried and tested film formula that had come to dominate the box office, or take the red pill and follow the filmmakers down a rabbit hole towards a new era of cinema. Inspired by comic books, Japanese anime and French philosophical musings - little was expected from The Matrix when it first hit theatres on 31st March 1999. The movie, however, became a critical darling and a commercial smash hit, scooping four Oscars, hauling $467.2 million at the box office and spawning two sequels (a third would follow 22 years later). Beyond its success, however, the lasting impact of The Matrix was how it sparked a revolution that would ultimately come to shape the modern blockbuster. Before he was 'The One', Keanu Reeves was a far cry from the all-action superstar we’re used to seeing today. Though he’d had some success with 1994’s Speed, the Bill & Ted actor was better known for his air guitar skills than his action chops. He wasn't even the Wachowskis’ first choice for the role of Neo, only landing the part after the likes of Will Smith, Brad Pitt and Leonardo DiCaprio had all turned it down. Like those who’d been considered before him, Reeves looked nothing like the leading men who fronted the box office in the '90s. The decade was dominated by the likes of Terminator 2: Judgement Day, Con Air and Cliffhanger - muscle-bound movies filled with vest-clad, square-jawed superstars performing physical feats in stories that were more concerned with pyrotechnics than plot devices. Thanks to the gravity-defying physics of The Matrix, however, the likes of Schwarzenegger and Stallone would soon be obsolete. Borrowing heavily from the choreographed kung-fu and balletic wire-work that was pioneered by Hong Kong action auteurs like John Woo - this was a new breed of film fisticuffs that demanded a new type of action hero. It wasn’t just physiques that changed after The Matrix, though - filmmaking as we know it was forever altered after the Wachowskis' high-concept smash hit. This was on-screen action that was unlike anything audiences had ever seen before. Thanks to technical advancements like "bullet time" - the slow motion effect that became the film’s calling card - The Matrix ushered in a new era of filmmaking where live-action and CGI could be seamlessly interwoven. And audiences lapped it up. So much so that the film’s success opened the floodgates to a new wave of adaptations that studio execs had never been able to bring to the big screen, until now. In many ways, The Matrix was Hollywood’s first successful superhero movie. Hard as it may be to imagine in an era dominated by comic book films, there was once a time when Hollywood had tried (and largely failed) to bring spandex-clad heroes to the silver screen. Films like Richard Donner’s Superman, Tim Burton’s Batman and Sam Raimi’s Darkman had struggled to escape their inherent implausibility, caught between the cartoonish origins of their primary-coloured protagonists and the unrelenting realism of live-action cinema. For all of its cyberpunk aesthetic, The Matrix was every inch a comic book movie. It may have looked cooler, but the film still followed a costumed hero engaging in gravity-defying derring-do. It even ends with Neo taking flight as Rage Against the Machine’s Wake Up roars over the final credits. This was an evolutionary leap that showed Hollywood that cinemagoers could suspend their disbelief and invest as heavily in physics-defying special effects as they would in live-action. Released alongside universe-expanding comic books, animated shorts and subsequent sequels, The Matrix also proved that you could maintain an audience’s attention beyond the auditorium. It was the first step on a road that eventually led us to Robert Downey Jr’s Iron Man and the birth of Marvel’s all-conquering cinematic universe. Read more: Ghostbusters' Ernie Hudson pitches sequel about Winston’s investigations Benedict Wong says there's scope for MCU return: "Maybe Strange is the sidekick now" The Matrix, however, wasn't just about spectacle - it was also about storyline. It was influenced by everything from the philosophy of Jean Baudrillard and Descartes to the learnings from Buddhism and the Bible. There are even references to Japanese anime, gender identity, self-actualisation and the intricacies of computer programming language. The end result was a collective "whoa" from audiences, who, like Keanu Reeves's hero, had their eyes opened to a whole new world. This was mainstream entertainment that didn't spoon-feed us. Instead, it was complex and challenging, something that could be endlessly dissected and reinterpreted in the growing communities that were using dial-up modems to connect with like-minded fans in early online forums. Without The Matrix, we don’t get cerebral cinema like Christopher Nolan’s Inception or Tenet. We don't get the kind of action that audiences loved in John Wick, or the special effects advancements that directors like Zack Snyder and Michael Bay would later hang their hats on. You could even argue that had it not been for The Matrix, we’d have never got ambitious escapism on the small screen, either. Indeed, it’s impossible to imagine the thought-provoking fantasy served up by shows like Lost, Westworld, Black Mirror and Severance without the Wachowskis' influence. A quarter of a century later, The Matrix’s influence is still being felt. It was a transformational event that, like its on-screen hero, sent ripples through reality. Like Morpheus's pill-based paradox, it offered audiences a choice to free their minds. It showed us a door to a different world and we collectively walked through it. As a result, it didn’t just inspire the next generation of filmmakers, it gave them the blueprint for the modern blockbuster, one that they continue to follow to this day. View Green Video on the source website Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. Try Radio Times magazine today and get 10 issues for only £10 – subscribe now. For more from the biggest stars in TV, listen to The Radio Times Podcast.
Harley Quinn season 3 release date: Trailer, cast for DC Comics series
Here's all the essential info on the much-anticipated third season of the DC animation.
Good news for fans of DC Comics’ Cupid of Crime, Harley Quinn is returning to our screens for a third season later in 2021. The critically acclaimed animated series is an altogether more grown-up take on the time-honoured anti-heroine, complete with a darker tone, adult humour and sexual content that you might not expect from a comic book adaption. There have been 26 episodes of the hit show since it first aired in 2019, but fans have been forced to wait for news on the Mistress of Mayhem’s latest outing, which has been delayed due to the COVID-19 pandemic. Keep reading for everything you need to know about the upcoming third season. Harley Quinn season 3 release date Fans have had a long wait for news since Harley Quinn left our screens after the conclusion of the show’s second season in June, 2020. US streamer HBO Max announced a third season with this tweet last September. View oEmbed on the source website We don’t know the exact release date, but we reckon fans can expect the series to hit E4 in late 2021 or early 2022. For the latest news and expert tips on getting the best deals this year, take a look at our Black Friday 2021 and Cyber Monday 2021 guides. Harley Quinn season 3 trailer We're still waiting on a first-look trailer for the upcoming third season, but if you're a newbie and are keen to get a feel for the series, you can watch the season two trailer below, which showcases Harley Quinn's wild and chaotic tone. (Warning: contains adult content!) View oEmbed on the source website Harley Quinn season 3 cast Kaley Cuoco (The Big Bang Theory, The Flight Attendant) will once again return to voice the titular character. She’ll be joined by an all star voice cast which includes series regulars Lake Bell (Poison Ivy), Tony Hale (Doctor Psycho), Ron Funches (King Shark), Jason Alexander (Sy Borgman) and Alan Tudyk as Clayface and Joker. Harley Quinn season 3 spoilers We are still somewhat in the dark over what to expect from season three of Harley Quinn. However fans can expect the show to explore the newfound relationship between the titular character and her partner in crime, Poison Ivy. The duo shared a kiss in the explosive finale to season two as they rode away Thelma & Louise-style from Ivy’s abandoned wedding with Kiteman, the culmination of 26 episodes of romantic development. A musical episode has also been rumoured (we're here for it!) with series composer Jefferson Friedman revealing in a recent interview that the production team had long-planned to pen an instalment in the style of Buffy the Vampire Slayer’s Once More with Feeling. If you're looking for something else to watch, check out our TV Guide or visit our Sci-fi hub for the latest news and features.
How the Fast & Furious series became Hollywood's most important franchise
These adrenaline-fuelled action movies have changed the face of cinema.
First released 20 years ago this month, 2001’s The Fast and the Furious is a film that should have been consigned to the big screen scrapheap. Made for just $38 million, the movie about muscle-clad stars in muscle cars wasn’t exactly adored by critics (it currently holds only a 53 per cent fresh rating on movies aggregator Rotten Tomatoes), but fans loved it. Two decades later The Fast and the Furious has spawned eight sequels, a spin-off series, TV shows and even a boardgame and is on its way to grossing the GDP of a small nation ($5.8 billion to be exact). But the franchise’s legacy shouldn’t just be measured by the number of zeroes it’s added to studio execs’ bank accounts. Instead, as we celebrate 20 years since the film first revved its way onto our screens, we should take a moment to appreciate the indelible impact it’s had on the entire industry. "I live my life a quarter mile at a time," Vin Diesel’s Dominic Toretto tells Paul Walker’s undercover cop in the film’s first instalment. "Nothing else matters: not the mortgage, not the store, not my team and all their bulls**t. For those 10 seconds or less, I’m free." It’s an example of the kind of clunky dialogue you’d expect from one of the big screen’s most notorious beefcakes, but it might as well be the mission statement for the entire franchise. You see, unlike so much of Hollywood’s current output there was nothing pre-planned about Fast & Furious’ success. This is not a series born out of popular source material with a pre-existing audience. It’s not an adaptation, a reboot, or a reimagining. Nor does it follow the kind of carefully choreographed world-building made popular by the Marvel movie-verse. Instead Fast & Furious has followed an altogether more chaotic trajectory. Each film over the past two decades has organically built on what came before it - or blown it up entirely. The Fast Franchise has its own interconnected mythos now, a world filled with a rolodex of interrelated crew-members and villains that’s even governed by its own physics-defying logic. It’s no longer a franchise, it’s a genre in its own right; a cinematic sandbox in which the on-screen action can constantly shift over time. In that regard it’s perhaps most similar to MGM’s long-running Bond movies than any of its contemporaries, a series that like Fast & Furious has seamlessly morphed to accommodate changing times, tastes and trends. It’s not just the on-screen action that’s evolved over the years either, the Fast franchise’s cast has too. A series that started with a gaggle of relative unknowns now boasts bonafide star power including Hollywood big hitters like Kurt Russell, Helen Mirren and Charlize Theron. At the franchise’s heart however one thing remains unchanged. Because, while Fast & Furious may be a series of big silly action movies, it’s core message is that there’s nothing more important than family. Indeed the idea of "family" is baked into the very fabric of each film, the cast of characters always gathering to chew the fat over a BBQ and a few Coronas. It’s not just for show either. There’s an inherent authenticity to the stars’ connection, one that’s been built over decades of shared experience and crystallised in the wake of Paul Walker’s death in 2013. It’s that authenticity that audiences buy into. In an era where weapons-grade banter between A-list actors has become studios’ shortcut to on-screen chemistry, the Fast Franchise shows there’s no substitution for the genuine article. What started as a story set in the backstreets of LA has since gone global and alongside its locations, the Fast franchise’s cast has got ever more diverse too. In fact the Fast & Furious is arguably the most representative franchise on the planet, featuring a cast of multiethnic actors who all enjoy an equal share of the action. Diversity is celebrated behind the camera too. What started with John Singleton’s stewardship of 2 Fast 2 Furious has continued with directors Justin Lin, James Wan and F Gary Gray breaking new ground for the big screen. While Fast & Furious’ natural evolution, its diversity and its inherent humanity have all played a key role in the franchise’s global popularity, under the bonnet the real secret sauce to its decade-spanning success is that it doesn’t take itself too seriously. In an industry where money talks, Hollywood has increasingly trended towards playing it safe with studios eschewing risk in favour of cinematic sure-things. However the Fast franchise succeeds precisely because it flies in the face of such logic. It’s not afraid to take creative risks, to push box office boundaries or to set itself apart from the crowd. It’s unadulterated fun, a throwback to traditional cinematic escapism that audiences have appreciated for decades. And now with news that the franchise’s latest instalment, Fast and Furious 9, will screen at this summer’s Cannes Film Festival; it looks like the critics might finally be catching up to its appeal too. Fast and Furious 9 will be released in UK cinemas on 24th June – revisit the eight previous films by watching the Fast and Furious movies in order. Visit our Movies hub for more news and features, or find something to watch tonight with our TV Guide.
The southernmost kingdom of Westeros is known for its hot climate and equally hot-blooded inhabitants - here's everything you need to know to make the most of your visit
From beheadings in King’s Landing to shadow demons in the Stormlands, via Iron Island raids, Northern winters and eye-popping views from the Eyrie, we’ve all spent plenty of time in the Seven Kingdoms of Westeros over the past few years. But one region of the realm that hasn’t got much airtime yet is Dorne. Famed for its wine, women and fan-favourite Red Viper, the southernmost realm of the continent has only been hinted at during the Game of Thrones so far. That’s about to change, as the home of the late Prince Oberyn plays a crucial role in the action for the rest of season five and beyond. So to get you accustomed to the climate, customs and culture of Dorne, Daniel Bettridge, author of The Travel Guide to Westeros, has put together a handy introduction to the show’s newest setting... Landscape and climate Located on the southernmost peninsula of the continent, Dorne is the hottest kingdom in all of Westeros, with a scalding southern climate that’s helped to shape the land over the centuries. It’s perhaps unsurprising then that Dorne features the only desert in the Seven Kingdoms, an inland sea of sand where water is almost as valuable as gold, and wells are protected like vaults. Along the coast and the banks of its major rivers, however, the warm weather has formed fertile farmlands where exotic produce flourishes. Customs and culture Liberal Dorne is a world apart from the social constraints of most of the other kingdoms of Westeros. Dornishmen are known for their hot-blooded temperaments and sexual licentiousness, which draw frowns from other quarters of the continent. From the fine wines and fiery foods to the otherworldly landscapes and exquisite architecture, it’s easy to see why visitors keep coming back to this part of the world. Famous residents Before his unfortunate and grizzly demise at the hands of the Mountain in King’s Landing, Prince Oberyn Martell – known as the Red Viper thanks to his penchant for poisoned blades – was undoubtedly the most famous resident in the region. A member of the ruling Martell House he is survived by the Sand Snakes, his infamous band of bastard daughters. The most recent addition to the Dornish court however is Princess Myrcella, the middle child of the late King Robert Baratheon and Queen Cersei Lannister who is being fostered in Dorne in preparation for her arranged wedding with Prince Trystane Martell but, unless Jaime Lannister gets his way, is set to become a pawn in Ellaria Martell’s game of war. Dangers and difficulties Despite it’s beauty, a trip to Dorne, like anywhere in the Seven Kingdoms, isn’t without its dangers… Heat By far the hottest kingdom in all of Westeros, Dorne’s climate can be deadly for ill-prepared tourists. Rising tensions The recent death of Prince Oberyn Martell in King’s Landing has escalated tensions in the region. For a kingdom notorious for its population’s hot bloodedness and short tempers, the situation is currently a powder keg and travellers should seek advice before visiting the region. What to do when you're there The region’s relative poverty in contrast to the rest of the Seven Kingdoms also makes activities more affordable, meaning many tourists choose to indulge themselves during their stay. Try your hand at Cyvasse First introduced by Volantene traders, the board game Cyvasse spread like wildfire throughout the kingdom becoming the most popular pastime in the Dornish court (apart, perhaps, from the oldest pastime of them all). On one hand, it’s similar to chess: Cyvasse involves a variety of different pieces – from spearmen and crossbowmen to elephants and dragons – each with their own strengths and abilities. On the other hand, it features a board that changes from game to game with players arranging tiles on either side of a screen so that neither can see the other’s tactics. So, not that much like chess after all then… Visit Sunspear Located on the far southeast of the continent on the coast of the Summer Sea, the kingdom’s capital and the ancient stronghold of House Martell is a hodge-podge of mud and straw huts which cling to the castle and its walls like barnacles on a ship’s hull. Wild, exotic and alternative, a visit is one of the most unique experiences in all of the Seven Kingdoms. Bathe at the Water Gardens A palatial retreat three leagues west of Sunspear, the Water Gardens is an oasis of pink marble and cool water pools where visitors can enjoy a respite from the kingdom’s cloying climate. Food and drink Though much of the Dornish landscape is scarred with drought-ravaged deserts, the region’s few fertile lands are filled with a bounty of natural produce. If you thought the people here were flamboyant, wait until you try their food… Street food No trip to Dorne would be complete without sampling some of the kingdom’s famed street food. The best places to visit are the ramshackle stalls that set up around Sunspear serving crisp grilled snake cooked in its own venom, a fearsome concoction that carries quite a kick. Wine Dorne long ago formed a reputation as a formidable wine-growing region. Indeed Dornish wine is amongst the most prized in all of Westeros, second only to the Arbor Golds that adorn the tables of the continent’s upper classes. A Travel Guide to the Seven Kingdoms of Westeros by Daniel Bettridge is out now priced £7.99
The Hobbit: Peter Jackson denies Peta claims of animal mistreatment
Director and producers "completely reject" accusation that production was responsible for the deaths of 27 animals in New Zealand
Just days away from its Wellington premiere, Peter Jackson’s hotly anticipated adaptation of The Hobbit has been embroiled in an animal welfare scandal. The story erupted after the Associated Press spoke to wranglers involved in the production, who claimed that 27 animals perished “largely because they were kept at a farm filled with bluffs, sinkholes and other ‘death traps.’” The report, which is based on information provided by PETA, stated: “One wrangler said that over time he buried three horses, as well as about six goats, six sheep and a dozen chickens.” The whistle-blowers also revealed that two more horses survived major injuries during the course of filming. A spokesperson for the movie initially acknowledged that some animals perished unecessarily during the production, but maintained that most had died from natural causes. This was followed by an official statement in which Peter Jackson and co said they "completely reject" the accusations. “The producers of The Hobbit take the welfare of all animals very seriously and have always pursued the highest standard of care for animals in their charge,” it read. “The producers completely reject the accusations that twenty seven animals died due to mistreatment during the making of the films. Extraordinary measures were taken to make sure that animals were not used during action sequences or any other sequence that might create undue stress for the animals involved.” However, the statement admitted that some of the accusations had only just reached the producers, and that they were now being investigated. It added: "We regret that some of these accusations by wranglers who were dismissed from the film over a year ago are only now being brought to our attention. We are currently investigating these new allegations and are attempting to speak with all parties involved to establish the truth." The Hobbit: An Unexpected Journey will be the first in a new multi-million-pound trilogy based on the J.R.R. Tolkien’s novel. It is being made by Peter Jackson, the director behind the hugely popular Lord of the Rings adaptations, and features an all-star cast including Ian McKellen, Martin Freeman and Benedict Cumberbatch. The film will make its debut at a red-carpet premiere in Wellington on 28 November and will hit cinemas in the UK on 14 December.
Star Wars Episode VII: Brad Bird latest director to rule himself out
The Incredibles and Mission Impossible: Ghost Protocol helmsman is the latest in a line of high profile directors to deny an involvement with the 2015 movie project
You can cross another name off the list of potential Star Wars directors after Brad Bird confirmed that he won’t be joining the much-anticipated Disney project. The director, who’s best known for The Incredibles and Mission Impossible: Ghost Protocol, took to Twitter to quash rumours that he was set to helm the first of a proposed trilogy of Star Wars sequels. Asked by fans if his next project would be set in a galaxy far far away he simply said: “Not doing Star Wars.” He did however suggest that he’s looking forward to the next instalment, tweeting: “That said, Michael Arndt is a fantastic writer and Kathy Kennedy is a brilliant producer. I will be first in line to see the new ‘STAR WARS.’” Bird joins a growing list of directors including Steven Spielberg and J.J Abrams who’ve moved to distance themselves from the project, which was announced as part of Disney’s multi billion-dollar acquisition of Lucasfilm last month. Work on Episode VII, which is set for cinemas in 2015, is already underway with the aforementioned Toy Story 3 scribe Michael Arndt contracted to pen what will be the first new Star Wars instalment for more than a decade.
From 1D to 3D: Morgan Spurlock to direct One Direction movie
The British boy band who found fame on The X Factor will follow in the footsteps of Justin Bieber and Katy Perry by starring in a 3D movie due for release next summer
Niall, Zayn, Liam, Harry and Louis will be heading to a cinema screen near you next year, RadioTimes.com can confirm. One Direction will be the subject of a 3D concert movie helmed by Super Size Me director Morgan Spurlock. Set for release in August next year, the film will see Britain’s biggest boy band take to the big screen and follow in the footsteps of Justin Bieber and Katy Perry who’ve blazed the trail for a new breed of concert movie. “This is an incredible opportunity and an amazing moment in time for the band,” Spurlock said in a statement. “To capture this journey and share it with audiences around the world will be an epic undertaking that I am proud to be a part of.” Simon Cowell, who mentored the band during 2010’s X Factor finals added: “I’m delighted we’re making this film and Morgan is the perfect person to give that access-all-areas, behind-the-scenes look into what it’s like to be One Direction today. What the band have achieved is incredible, they and their fans have made history around the world – this is for them.” Since finishing third behind Rebecca Ferguson and eventual winner Matt Cardle in the seventh series of The X Factor, the band have gone on to find international fame selling more than 13 million records in the process. After breaking records with their debut album Up All Night the band have just released their second CD Take Me Home and are set to tour the UK in early 2013.
Twilight: Breaking Dawn – Part 2 reviews
It's the end of the road for Kristen Stewart and Robert Pattinson as Bella Swan and Edward Cullen - but did the critics think they went out in style?
Beloved by a legion of fans, the Twilight franchise has been nothing short of a box office phenomenon since it first aired four years ago. In that time the five film saga has scooped more than £1.5billion at the global box office and made stars out of its cast, including Robert Pattinson (pictured), Kristen Stewart and Taylor Lautner, who took to the red carpet on Monday night for the film’s L.A premiere. Fans here in the UK will have to wait until Friday for a chance to see the final part of the immortal Bella/Edward romance for themselves, but the early reviews are already starting to find their way onto the web. Here’s what they’re saying... Variety said Breaking Dawn – Part 2 was “a doozy of a finale” adding that “this second of two Bill Condon-directed installments clears a low bar to stand easily as the franchise's most eventful and exciting entry. Admittedly, much of the credit should go to a jaw-dropping extended climax that will give fans something to chew on besides the delicate matter of Kristen Stewart and Robert Pattinson's offscreen romance -- not that a movie this commercially invincible requires too many talking points.” The Examiner has a slightly different view of the film’s finale stating, “As many fans have been warned, the big showdown with the Volturi is a touch different than what we read in the book. The biggest question about that is, ‘Is it so different that I won't like it and/or recognize it?’ The answer is no. Mark my words on this: The theaters will be in a cheering and gasping uproar during these scenes. To say anything else would be a spoiler to the experience of it.” Baz Bambigoye in the Daily Mail agreed with the consensus on the film’s finale “The last half of this movie had me on the edge of my seat,” he said. He gave the film three out of five stars saying “I can’t deny that I didn’t care very much for the four other movies. For the most part they were poorly made and badly acted…But somehow the final film has stuff to say about love, friendship and loyalty that works.” The Hollywood Reporter however offered a more cautionary review: “One of the distinguishing factors of the whole Twilight Saga has been its unerring ability to prevent four directors of variable talent from demonstrating any real cinematic flair,” it said. “The prevailing approach in the many romantic interludes has been one of moony dourness…Although the new film builds to a massive confrontation on a wintry field between more than two dozen vampires, backed up by their hirsute werewolf allies, and the more numerous and gifted Volturi, this remains the rare popular series without any great set pieces or even memorable scenes; from the beginning, it all has just sort of chugged along in a stylistically mundane way that has not infrequently slipped over into dullness.” Indiewire was similarly damning saying that Twilight: Breaking Dawn – Part 2 “…is as thrilling, scary and swooningly romantic as this series gets. But it's still dire.” You’ll be able to make up your mind for yourself when the film lands in cinemas this Friday, but until then why not whet your appetite by watching the trailer below: View oEmbed on the source website
Star Wars Episode VII: Toy Story and Little Miss Sunshine writer in the frame
Oscar-winning scribe looks likely to pen the first Star Wars film from Disney, due for release in 2015
The ink may barely be dry on the deal that paved the way for Disney to bring Star Wars back to the silver screen, but reports suggest that the House of Mouse already has a writer on board as they forge ahead with Episode VII. Toy Story 3 scribe Michael Arndt looks likely to pen the project before shooting begins in 2014 according to Vulture. Arndt, who won an Oscar for his work on Little Miss Sunshine, has already written a treatment for the film, which suggests that work has been underway on a potential Star Wars sequel long before the multi-billion dollar deal with Lucasfilm was announced last week. Apparently studio bigwigs are keen to bring back major characters including Luke Skywalker, Princess Leia and Han Solo for the sequel. No deals have been announced, but both Mark Hamill and Harrison Ford have already gone on record during the past week to say that they’d be open to the suggestion. Disney revealed that it has plans for three Star Wars sequels when it announced its $4billion dollar acquisition of Lucasfilm last week, the first of which will hit cinemas in 2015.
Pulp Fiction writer to head up Castle Wolfenstein movie
Roger Avary will write and direct the big-screen adaptation of the iconic 80s computer game
Pulp Fiction scribe Roger Avary is set to write and direct a big screen adaptation of the iconic Castle Wolfenstein series of video games, RadioTimes.com can confirm. The Oscar-winning writer will take charge of the adaptation, which follows a young U.S army captain and a British special agent on a top secret mission to a German castle where Hitler is unveiling a new secret weapon. That weapon turns out to be Himmler's Paranormal Division - a threat that the allied heroes must stop at all costs. The project, which has been described as “an action adventure film in the vein of Captain America and Inglourious Basterds” by its producers, will draw inspiration from the iconic shoot 'em up series of games, which first appeared on the Apple II in 1981. Since then it's spawned five sequels and even a hack called Castle Smurfenstein that replaced the game's Nazi foes with Smurfs intent on wiping out mankind. “I’ve been playing the Wolfenstein games since I was a kid, and feel that their outlandish sensibility has deeply influenced my own writing and directing throughout my career,” Avery said in a statement. “I have always thought Wolfenstein, transformed and opened for the screen to wider audiences not familiar with the games, would be a major cinematic experience...and I could not be happier that we are now embarking on this adventure.”
Fry and Laurie to reunite for The Canterville Ghost
The duo's first project together for well over a decade is an animated version of the Oscar Wilde short story
Stephen Fry and Hugh Laurie are to work together for the first time in 13 years, on an animated version of Oscar Wilde’s 1887 short story The Canterville Ghost. The comedy cohorts first found fame in the late 80s with their hit sketch show A Bit Of Fry & Laurie and continued their partenrship in PG Wodehouse adaptation Jeeves and Wooster. They’ve each since gone on to achieve international acclaim, with Laurie winning plaudits for his role as the titular character in hit US series House, while Fry has become a British national treasure, maintaining hosting duties on BBC panel show QI, as well as making appearances in Hollywood movies including upcoming blockbuster The Hobbit. The project was originally announced in May but was officially given the go ahead yesterday after a deal was struck between Canadian companies Dorado Media and Arc Productions, the studio behind animated hit Gnomeo and Juliet. Fry and Laurie will lend their voices to the 90-minute CGI movie based on Wilde’s farcical tale of an American family who move into a British mansion, much to the annoyance of its world-weary ghost. Fry will star as the title character, Sir Simon de Canterville, whilst Laurie will voice his resident nemesis, a lowly gardener who is not what he first appears. The film is being produced by London-based Melmoth films, with Kim Burdon in the director’s chair and legendary composer Ennio Morricone providing the score. The Canterville Ghost will be released worldwide in time for Christmas 2014.
Community - the best show you’re not watching
It's a hidden gem with all the spark and insane inventiveness of Arrested Development
Community might be the best show you’ve never watched. A US series from network giants NBC, the college-based comedy is just reaching the conclusion of its third season across the pond, but has barely registered with audiences over here. So it’s probably fair to say that the debut of its superb second season on Sony Entertainment Television tonight will have passed you by without incident. Sony’s satellite station is hardly one of the first channels you come across on the EPG. But this hardly befits the most inventive comedy to have come out of America since Arrested Development. So what’s it all about? Seven quirky college students form a motley crew of adult learners, around which the show’s offbeat antics are set: a simple enough premise, brought to life by a great cast that includes Chevy Chase, former stand-up star Joel McHale and Mad Men’s Alison Brie. At its heart Community is a sitcom and, like all US shows of the same ilk, it devotes a good five minutes of every episode to letting us know that its characters have learnt a valuable life lesson. But rather than simply exist within the confines of the well-worn comedy staple, Community ingeniously and overtly plays with them. Community isn’t afraid to take creative risks: in fact it revels in them, which is perhaps no surprise given that it was created by Dan Harmon – an executive producer and writer on The Sarah Silverman Program – and counts Arrested Development alumni Joe and Anthony Russo among its creative team. As a result, those who do tune in to the second series will be treated to everything from episodes shot entirely in stop-motion plasticine to a two-part, paintball-fuelled homage to Western movies. And don’t be surprised if you hear the characters themselves referencing the absurdity of these instalments. Community is self-aware, a TV show that knows it’s a TV show and doesn’t shy away from that fact. Meta referencing But its self-referential moments are just part of the meta-referencing that’s become the show’s calling card. Every episode is punctuated with a smorgasbord of pithy pop-culture nods. From The Breakfast Club to Beastmaster via Cougar Town, Glee and Doctor Who, visual gags lurk in in every frame of every episode, while the script is just as likely to offer up throwaway references to your favourite films and television shows. An example of just how far the show’s writers will go in pursuit of their geek-fuelled agenda is this slowburn Beetlejuice gag that’s been more than three seasons in the making. Watch closely... View oEmbed on the source website The writers obviously enjoy rewarding their eagle-eyed audience, so it’s easy to see why the show has often been described as America’s answer to Spaced. So why aren’t more people watching it? Ironically, given how obsessed with mainstream pop culture Community is, its lack of popularity among the mainstream might well prove to be its downfall. While the offbeat humour continues to appeal to the show’s devoted fans, Community simply isn’t designed for the masses, and the lack of ratings success across the pond is no doubt what’s relegated the show to the scheduling graveyard over here. Simply put, it’s a joke that not everyone’s going to get. But for those who do, there’s every chance that Community will become appointment viewing. Completists will want to get a hold of the show’s freshman season on DVD or catch up via Virgin Media’s on-demand service; but you can just as easily hop aboard tonight’s second season opener without missing a beat. Trust me, you won't regret it. Season two of Community starts tonight at 10:30pm on Sony Entertainment Television (Sky channel 157, Virgin Media 193)