Radio Times
type: channel
link: https://www.radiotimes.com
date: 2024-12-13T15:20:28.000Z
update period: hourly
update frequency: 1
update base: 2000-01-01T12:00+00:00
items: Bridgerton cast talk season 2, sex scenes and lavish set designs
items: The Cry's Jenna Coleman: 'People confuse your private life with the roles you play'
items: Call the Midwife’s Helen George on pregnancy, childbirth and women being shamed for choosing to have C-sections
items: The Crown: Claire Foy and Matt Smith on the royal challenge of playing the Queen and Prince Philip
items: Amy Adams on body image, the gender pay gap and playing a woman with no vanity in Arrival
items: Vicky McClure on corsets, Soho sex shops and (not) being a secret agent
items: "One man’s pursuit of justice": the real-life story behind Reg
items: Why Michael Crawford brought Frank Spencer out of retirement for Sport Relief 2016
items: Hugh Bonneville on W1A: "Clarkson's always been a great source of material for us"
items: Helena Bonham Carter and Dominic West play with fire as Taylor and Burton
items: From Birdsong to Les Misérables, Eddie Redmayne is taking Hollywood by storm
items: Michael Palin on Brazil, sex, slaves and convincing the BBC to make his shows

Bridgerton cast talk season 2, sex scenes and lavish set designs
type: item
date: 2022-03-20T09:00:08.000Z
creator: Kirsty Lang
subject: Drama
subject: TV
subject: Netflix
subject: On demand
subject: The Big RT Interview
description: Kirsty Lang and Kelly-Anne Taylor talk to the stars of Bridgerton season 2.
encoded: Consider the ton well and truly ready for the return of Bridgerton as season 2 lands on Netflix on 25th March. With everyone desperate to read more from Lady Whistledown and her scandalous gossip, Radio Times magazine spoke with lead star Jonathan Bailey, who plays Anthony Bridgerton, about sex scenes and how he feels with the spotlight well and truly on him. If that's not enough, Radio Times also caught up with sisters from the Sharma family, Simone Ashley and Charithra Chandran about what we can expect from the newcomers on the scene. Without further ado, prepare to enter the world of Bridgerton once more below. Jonathan Bailey: 'Dance scenes and sex scenes help propel the narrative forward' By: Kirsty Lang Prepare yourself for heaving breasts, rakish behaviour and plenty of ballroom dancing. The Bridgertons are back. The much-anticipated second season opens on a shot of their wisteria-covered London mansion. There are horses and carriages waiting to take the eight siblings and their mother to court for the annual debutantes’ ball. It is 1814, but there is no mention of the Napoleonic Wars or the Congress of Vienna. All eyes are on Anthony Bridgerton. The young Viscount has decided to give up cavorting with actresses and opera singers and settle down. Once inside the well-upholstered carriage with his younger brothers, he explains he will be drawing up a list of suitable debutantes and that his intended must be “tolerable, suitable, have good child-bearing hips and half a brain”. When Bridgerton, based on the Regency romance novels by Julia Quinn, launched on Netflix over Christmas 2020, it soon became the streaming service’s biggest original series, viewed by 82 million households in the first four weeks. The conscious casting of Black and brown actors as British aristocrats turned the conventional world of period drama on its head. This was something radically new, attracting viewers from around the world not used to seeing themselves represented on screen in co…

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The Cry's Jenna Coleman: 'People confuse your private life with the roles you play'
type: item
date: 2019-02-08T13:22:52.000Z
creator: Kirsty Lang
subject: Drama
subject: News
subject: TV
description: The Doctor Who and Victoria star discusses her new BBC1 child abduction thriller — and why she's so excited about Jodie Whittaker's Doctor
encoded: Television dramatists are good at preying on our darkest fears, and what can be worse than your child vanishing into thin air? From Kiri to Stranger Things and The Missing, the abducted child storyline keeps returning to our screens. BBC1’s new drama The Cry, opens with the mother of a missing baby stepping out of her front door into a scrum of journalists and TV reporters. The parallels with Madeleine McCann’s disappearance jump out of the screen. The couple involved are attractive, middle class and articulate, but they left their child alone, they say, just for a moment, and he vanished. The young mother – played by Jenna Coleman – is beautiful, tragic and dignified, perhaps a little too controlled. Here viewers are left to ponder whether she might have had a hand in her own child’s disappearance. It’s radically different from anything Jenna Coleman has done before. After cutting her teeth in soaps including Emmerdale and Waterloo Road, she went on to make her name in Doctor Who, and after that the young Queen in ITV’s successful Sunday-night drama, Victoria. When is Jenna Coleman’s child abduction thriller The Cry coming to TV? When is Victoria back on TV? Stay up to date with the RadioTimes.com newsletter “The Cry is a real contrast to Victoria and Victoria was a contrast to Doctor Who,” says Coleman. “That was the attraction for me. If I’d been offered something sci-fi after Doctor Who I probably would have turned it down. I’ve never done anything like a psychological thriller before, so that made it interesting.” View oEmbed on the source website Coleman is currently shooting the third series of Victoria, and when we meet during a break in filming she expresses relief about not being in a corset. Instead she’s wearing a large white ruffled collar under a velvet trouser suit. She’s petite with huge eyes and sits on the chair opposite me with her back ramrod straight, feet in black strappy high heels. She’s 32 but looks younger. She’s keen to know what I thought…

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Call the Midwife’s Helen George on pregnancy, childbirth and women being shamed for choosing to have C-sections
type: item
date: 2018-06-20T08:37:09.000Z
creator: Kirsty Lang
subject: Drama
subject: News
subject: TV
description: “I think there needs to be a national conversation about how C-sections are alright and they don’t just have to be for emergencies”
encoded: I spot Helen George through the window pushing a pram and looking remarkably well groomed for someone who has recently given birth. She’s in black-feathered slippers, which is exactly the sort of thing her character might wear. Trixie is the ditzy blonde with a beehive and red lipstick who adds a touch of glamour to Call the Midwife, but it soon becomes clear that Helen George is quite different from her character. She describes herself as having the sporting tastes of a 50-year-old man – she likes boxing and watching Aston Villa with a nice cup of Bovril – and has strong views on the NHS, childbirth and sexism in the entertainment industry. “I do get stereotyped as the dumb blonde. A lot of the parts I get offered are accessories to a male character: the blonde girlfriend, the doctor’s wife, or simply having a romantic scene… I mean really, just kill me,” she says wearily. “But the great thing about Call the Midwife is that the women are the protagonists.” She points out that over the course of six series, Trixie has gone from being quite a frivolous character to a complex young woman struggling to overcome alcoholism and a difficult childhood. Meet the cast of Call the Midwife series seven Helen George takes break from Call the Midwife to have her own baby Viewers spot inventive ways Call the Midwife is hiding Helen George’s baby bump The period drama continues to pull in big audiences. The Christmas special – set in the Big Freeze of 1962, with rosy-cheeked midwives cycling to the rescue through snow drifts – was viewed by nearly ten million people and was the most-watched programme on Christmas Day. Eagle-eyed viewers might have noticed that Trixie was looking more voluptuous than usual. That’s because George was pregnant with her first child when they started shooting. “I did the Christmas special and the first four episodes [of the new series, which starts on Sunday], but after that I was too big. I was always carrying things or sitting behind a high desk to c…

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The Crown: Claire Foy and Matt Smith on the royal challenge of playing the Queen and Prince Philip
type: item
date: 2016-12-09T14:28:00.000Z
creator: Kirsty Lang
subject: Drama
subject: News
subject: TV
description: “As an Englishwoman you pick up a lot through osmosis. I’ve been watching the Queen all my life,” says Foy
encoded: Early on in The Crown it’s clear this epic series about the royal family will not be a toadying hagiography. It’s 1952, Princess Elizabeth has just touched down in Kenya on a tour of the Commonwealth with her husband. There’s a receiving line on the tarmac and as the young couple move down it, Philip raises a sarcastic eyebrow at a tribal chief in an elaborate feathered headdress and remarks in a public school drawl, “I like the hat.” His wife, walking two steps head, winces with embarrassment before turning to correct him. “It’s a crown,” she hisses. It was on that trip to Kenya that the 25-year-old princess found out that her beloved father, George VI, had died and that she was to become Queen. Despite the TV series graphically depicting the King’s final illness – coughing up blood and undergoing surgery inside the Palace to remove a lung – his death came as shock to his daughter. Her father was relatively young and she had planned to follow Philip to Malta for his naval career. Elizabeth is played by Claire Foy and she manages to humanise the Queen while retaining a sense of mystique. The Oscar-nominated director Stephen Daldry (Billy Elliot, The Hours) who co-created the TV series along with Peter Morgan describes the British monarch as “the most visible, invisible woman in the world”, which must have been quite a challenge for the actress. Queen Elizabeth II aged 27 “There is no first-hand account of what the Queen was saying or thinking, so my job as an actor is to interpret her circumstances,” says Foy. “To think of a young girl who didn’t want all that attention, who just wanted to be a good wife and mother and live in the country with lots of horses. And then suddenly she loses her father and gets the biggest responsibility in the world.” Foy says the role got harder as the series progressed. “In the first two episodes, before she becomes Queen, I could be a lot freer with my emotions, but as the series goes on she develops an armour in order to cope with h…

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Amy Adams on body image, the gender pay gap and playing a woman with no vanity in Arrival
type: item
date: 2016-11-10T08:55:00.000Z
creator: Kirsty Lang
subject: Movies
subject: News
description: “ I didn’t have to play younger, I didn’t have to play coy, or try to attract or distract someone. I wasn’t trying to explore a love interest. It’s unusual”
encoded: The reason for my meeting with the five-times Oscar-nominated Amy Adams is to chat about her new film, Arrival, in which she plays a professor of linguistics hired by the military to decode alien communications. It’s a strong, intelligent lead role for a woman, so I’m embarrassed to confess that our conversation begins with her gravity-defying breasts. The actress is wearing the same plunging neckline that defined her role in American Hustle and I can’t resist asking if she worries about wardrobe malfunctions? She laughs. It’s a damp, autumnal London day and Adams says she is more worried about getting cold than exposing her breasts. “I think it comes from being a dancer for so many years. I’m not self-conscious about my body but maybe I should be. My daughter got upset by my chest-baring in American Hustle.” But it didn’t stop her from turning up to the London premiere of Arrival in a diaphanous white robe with a neckline to the waist. In sharp contrast, her character in Arrival is make-up free and wears nothing but plain T-shirts and combat trousers. “It was great just rolling out of bed and going to work, not having to worry about hair and make-up. It’s refreshing to play a character with no vanity. I have always felt an expectation to look my best. I often play characters who are younger than me so I worry about that. But with this role I didn’t have to play younger, I didn’t have to play coy, or try to attract or distract someone. I wasn’t trying to explore a love interest. It’s unusual.” Arrival Arrival plays to one of our greatest fears, the threat of planetary extinction, but does so without resorting to the action-packed hysteria of most Hollywood films. Jeremy Renner plays a supporting role as the mathematician on the team. His credits include The Hurt Locker, The Bourne Legacy and the Avengers films, and he was keen to work with Adams again after they met on American Hustle. It would be interesting to know how his fee for this role compares to hers. It em…

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Vicky McClure on corsets, Soho sex shops and (not) being a secret agent
type: item
date: 2016-07-17T07:00:00.000Z
creator: Kirsty Lang
subject: Drama
subject: News
subject: TV
description: McClure is the wife of an English spy in her first period drama The Secret Agent - some people think she could be a female Bond...
encoded: I’m sitting in a small, wood-panelled house in London’s East End, discussing Victorian sex toys with Vicky McClure. The actress with her cropped dark hair, jeans and trainers looks out of place in this Dickensian setting, rented out for period dramas and photoshoots. From This Is England to Line of Duty, we’re used to seeing McClure in council estates and police stations, not corsets and bonnets. But that’s about to change. At 33, McClure is appearing in her first period drama, a three-part adaptation of Joseph Conran’s literary classic The Secret Agent. It’s a political thriller set in 19th-century London, but there are parallels with today. Europe is gripped by a fear of terrorism, and relations between London and the other European capitals are under serious strain. “When I first went to meet the director Charles McDougall I was really nervous about how to play it. But he said we are not making a period drama. The way Tony Marchant [Garrow’s Law] has written it is so modern. There are a few moments in the dialogue when they use words you wouldn’t now, but for the most part it feels very contemporary.” Did she have to wear a corset? She grimaces. “Yeah, it’s really uncomfortable. But when you have the costume you feel instantly in that period, and I think it helps the way you move. I’m naturally a pockets girl.” Quite a change from the high-waisted jeans and Doc Martens she wore in This Is England? “Well you say that, but those jeans were really tight!” McClure’s most compelling feature is her piercing aquamarine blue eyes, fringed by thick black lashes. For TV viewers like myself, she’ll always be Lol, the troubled skinhead from This Is England whose eyes conveyed a well of misery - from incest and rape to attempted suicide. Set on a council estate in the Midlands in the late 80s, This Is England is an improvised drama directed by Shane Meadows. It started as a film in 2006 and then developed into three TV series with the same characters: This is England '86, '88…

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"One man’s pursuit of justice": the real-life story behind Reg
type: item
date: 2016-06-06T15:04:00.000Z
creator: Kirsty Lang
subject: Drama
subject: News
subject: TV
description: Reg Keys lost his son in the Iraq War – and he's still waiting for an apology
encoded: Reg Keys has long been a fan of Tim Roth. He first saw him in Quentin Tarantino’s 1991 film Reservoir Dogs. So when the television producer Colin McKeown phoned Reg to say they were casting the actor to play him in a film about his life, the former ambulance driver and paramedic thought it was a joke. The reality only sank in a couple of months later when he met the Hollywood star in a pub in Liverpool where the drama was being shot. But then again there are many aspects of Reg’s life that he couldn’t have imagined in a million years, such as running for Parliament and taking on the then prime minister, Tony Blair, over Britain’s involvement in the Iraq War. Reg’s remarkable story is now being told in a 90-minute BBC1 drama written by the award-winning screenwriter Jimmy McGovern. Thirteen years ago, when he retired from his job in Birmingham, Reg Keys imagined a quiet life in north Wales. He and his wife Sally, a former nurse, had bought a house in the countryside and were looking forward to visits from their two sons, who were both in the Army. The film opens on the day Reg’s life changed, in June 2003. The couple are having lunch and on the TV news is breaking of the murder of six British servicemen in Iraq. The camera pans to a photograph of a young man in military uniform – and then comes the knock at the door: his 20-year-old son, Lance Corporal Thomas (Tom) Keys, was one of the dead. Just two years later, Reg stood as a candidate to be MP for Sedgefield in Durham, taking on Prime Minister Tony Blair. “If this war had been justified by international law, I would have grieved and not campaigned. If weapons of mass destruction had been found in Iraq, I would have grieved and not campaigned.” These are words uttered by Tim Roth in the drama, but Reg repeats them when it’s screened for the press. In the aftermath of the Iraq War, Reg Keys became a shop steward for the ordinary man, voicing the rage so many felt about being dragged into a conflict in the Middle Eas…

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Why Michael Crawford brought Frank Spencer out of retirement for Sport Relief 2016
type: item
date: 2016-03-18T15:00:00.000Z
creator: Kirsty Lang
subject: Entertainment
subject: News
subject: Sport
subject: TV
description: The comedy actor last played the Some Mothers Do 'Ave 'Em character 42 years ago, but decided that the opportunity to work with Sport Relief (and Bradley Wiggins) was too good to pass up
encoded: Forty-two years since last playing Frank Spencer, Michael Crawford is reprising his famous accident-prone character in a special Some Mothers Do ’Ave ’Em sketch for BBC1’s Sport Relief night. And even though he’s now 74, Crawford is still doing all his own stunts. The sitcom’s ever-more elaborate sequences became its trademark over the three series that ran from 1973 to 1978, and Crawford is determined to keep up the tradition all these years on. “We’ve been working on this for four months, which sounds extravagant for a ten-minute sketch, but we wanted it to stand out,” says Crawford. “They’ve let me run riot but the producers are now scared to be left alone with me in case I come up with any more dangerous ideas. It’s turning into Ben-Hur!” Two years ago Sport Relief revived Only Fools and Horses in a sketch that saw David Beckham join Del Boy and Rodney down in Peckham market selling a crate of dodgy underpants. Not to be outdone, Michael Crawford will be joined by sporting icon Sir Bradley Wiggins and – RT can exclusively reveal – former Formula One champion Jenson Button. “I don’t want to give too much away,” says Crawford, “but Frank is on a journey by bicycle and on roller skates to see his grown-up daughter, Jessica, take part in a race at the Olympic velodrome in London. I arrive just as Bradley Wiggins is trying to break the world hour record, with hilarious consequences.” One of the most iconic scenes from Some Mothers Do ’Ave ’Em was the original roller-skating episode broadcast in 1973, where Frank and Betty are expecting their first child and practising for parenthood by looking after the neighbour’s children. On an outing to a roller-skating rink Frank loses control, bursts through the fire exit onto a busy road at high speed, dodging cars and ducking under a lorry before eventually crashing into a baby shop. When I reveal that it’s my favourite episode, Crawford laughs. “You’ll be pleased to hear I’m doing exactly that same thing with the double-deck…

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Hugh Bonneville on W1A: "Clarkson's always been a great source of material for us"
type: item
date: 2015-04-23T15:35:00.000Z
creator: Kirsty Lang
subject: Comedy
subject: News
subject: TV
description: The BBC mockumentary's Head of Values on filming the second series and the future of Downton Abbey
encoded: Mention the show W1A to BBC employees and the most common reaction you’ll get is that it’s not TV comedy but a fly-on-the-wall documentary. Hugh Bonneville says when they were filming the second series in the BBC’s New Broadcasting House (in central London, postcode W1A), staff would sidle up to him and whisper: “You don’t know the half or it” or “Have you lot been bugging our meetings?” When a job advert for a “Head of Better” went on the BBC website earlier this month, very few people spotted it was an April Fools’ joke designed to publicise the new series of W1A. Disturbing when you consider that the specification for the job demanded “the ability to manage a wide range of incompatible priorities whilst remaining calm and where necessary in Salford”. My interview with Hugh Bonneville takes place in the wood-panelled council chamber in the old part of Broadcasting House surrounded by stiff portraits of former BBC director-generals. As Lord Reith stares sternly down at us, I can’t help but wonder what he’d have thought of Bonneville’s character, Ian Fletcher, the hapless BBC’s Head of Values, with his Brompton bike, which he can’t fold up, endless cappuccinos and incompetent, floppy-haired interns. Series two begins with a strategy meeting – what else? On the agenda is a royal visit; Prince Charles is giving the BBC a “green award” for its recycling efforts. There’s also concern about a rival broadcaster bidding for Wimbledon, the jewel in the BBC’s sporting crown. Siobhan Sharpe of Perfect Curve – who is hired at huge expense as a PR consultant – suggests they rebrand Wimbledon by replacing Sue Barker with Graham Norton and playing the theme tune from Strictly Come Dancing every time Andy Murray arrives on court. As usual the BBC computer system, Incompatico, has messed up and Fletcher doesn’t know where the meeting is. Eventually, he finds the team in the Frankie Howerd Room. Etched on its glass walls are huge photos of the comedian pulling faces. “Viewers think …

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Helena Bonham Carter and Dominic West play with fire as Taylor and Burton
type: item
date: 2013-07-22T13:06:02.000Z
creator: Kirsty Lang
subject: Drama
subject: News
subject: TV
description: “BBC4 should do The Making of... and release it as a comedy,” says Kirsty Lang
encoded: “I think we have great chemistry,” says Helena Bonham Carter, talking in a cod American accent and smiling coquettishly at Dominic West, her co-star in Burton and Taylor. “I try to lure him back into my bed but he won’t have me.” It’s the sort of remark that could make headlines except she’s talking of the film in which they appear together for the first time – a biopic about Richard Burton and Elizabeth Taylor’s final tempestuous reunion in a 1983 stage revival of Noël Coward’s Private Lives. “Dominic’s very funny,” she says, slipping back into her normal voice. “I didn’t want it to end.” After an hour with them, I believe it. Bonham Carter and West are like a double act switching in and out of their screen personas and teasing each other mercilessly. BBC4 should do The Making of... and release it as a comedy. Burton and Taylor charts the relationship between two of the 20th century’s greatest screen icons when they meet again on stage, having been married and divorced twice. Private Lives was a perfect piece of casting – a comedy about a divorced couple who end up in adjoining rooms in a French hotel while honeymooning with their new spouses. But the 1983 production, which ran for nine months on Broadway, Los Angeles and in London’s West End, was a car crash, panned by the critics on both sides of the Atlantic. Liz Taylor was drinking heavily and although Burton was on the wagon, he was not a well man and died the following year at the age of 58. The question at the heart of the film is why they undertook such a long, gruelling stage tour when they were so unwell. The press assumed it was for the money. They were getting $70,000 a week, which was a huge sum. But screenwriter William Ivory has another theory. “They didn’t need the cash. Richard Burton knew the tour would probably kill him and he knew Liz was bad for him but he was an addict. He couldn’t keep away from her. He couldn’t help himself.” Although the chemistry remained, Burton and Taylor never did get b…

From Birdsong to Les Misérables, Eddie Redmayne is taking Hollywood by storm
type: item
date: 2013-01-11T11:16:00.000Z
creator: Kirsty Lang
subject: audio
subject: News
description: "There was something both grounding and surreal about watching Gladiator, Wolverine and Catwoman doing vocal exercises"
encoded: Chiselled cheekbones, hair gelled into spikes and a tightly fitted tweed suit with drain-pipe trousers are the first things I register about Eddie Redmayne as he bounces into the Claridges hotel room booked for our interview. I can see why Burberry asked him to model for them. Flattery is often the best way to open an interview with an actor (they’re an insecure lot) so I tell him that Radio Times readers loved his performance in the TV adaptation of Birdsong last year. “How do you know?” he asks, a cheeky grin spreading across his angular face. “Did they write lots of steamy letters?” There was plenty of steam in Redmayne’s performance as the young British army officer having an affair with a married Frenchwoman, but he says it was one of the hardest jobs he’s ever done. “Because the drama jumps between war scenes in the trenches to an indoor period drama, there would be days where I would spend the morning up to my neck in mud, get hosed down over lunch and spend the afternoon doing a love scene in the drawing room.” Mud, rain and amorous clinches with a Frenchwoman are also features of the young actor’s latest, and possibly starriest, role to date, the film adaptation of Les Misérables. The stakes are high – Les Mis is the world’s longest running musical, seen by more than 60 million people in 42 countries worldwide and the film is a big-budget affair with a high wattage cast including Russell Crowe, Anne Hathaway, Hugh Jackman, Helena Bonham Carter and Sacha Baron Cohen. It’s no surprise that Eddie Redmayne should be included in such a high profile venture, but what is interesting is that he’s one of several Old Etonians dominating the acting world at the moment. The list includes Dominic West, Damien Lewis, Tom Hiddleston and Harry Lloyd. Redmayne points out that they’ve all continued to do theatre alongside their TV and film work. As well as Birdsong and the film My Week with Marilyn, Redmayne also starred in Michael Grandage’s Richard II at the Donmar Warehou…

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Michael Palin on Brazil, sex, slaves and convincing the BBC to make his shows
type: item
date: 2012-10-24T10:10:00.000Z
creator: Kirsty Lang
subject: News
subject: Travel
subject: TV
description: The former Monty Python star reveals all about his latest travel adventure in South America
encoded: Michael Palin is standing in the luxurious white suite of a Love Hotel in Rio. There is a hot tub, an indoor swimming pool and a bed the size of a football pitch. Hugh Hefner would love it, but Palin is examining the room-service menu with horror. “No tea and biscuits here,” he says, cocking an eyebrow as the camera zooms over his shoulder to reveal a selection of sex toys. There’s something rather shocking about seeing Michael Palin looking at pictures of such objects. There are lots of references to sex in Palin’s latest BBC travel series because it’s a journey across Brazil and sex is something they’re very keen to talk about. So, as he travels the country from north to south, he’s offered a herbal version of Viagra made from Amazonian plants (which he refuses), attends the Gay Pride Parade in Rio de Janeiro with a group of transvestites and interviews one of Bahia’s most famous female chefs, a buxom lady of some charm who leans across the table as she tucks into her fish stew and proclaims that good food is like an orgasm . I meet the former Python in altogether more sedate circumstances at a restaurant near BBC Broadcasting House in London, where the food is good but not orgasmic although he does persuade me to have a glass of wine when I had sworn not to drink at lunchtime. Having just watched the first three episodes of Brazil, I’m struck that what you see is what you get. Palin in real life is exactly like Palin on TV: warm, modest and equable. He really is Mr Nice Guy. No wonder he’s the only Monty Python member who has remained constantly on good terms with all the others. While we’re eating, a woman comes over and introduces herself as the director of a charity that helps HIV-positive children in Africa. She tells him she is a huge fan, passes him a card and asks if he will lend his support. He takes it, smiling warmly but promising nothing. I imagine this happens to him all the time. Brazil is the first series Palin has made about just one country. All h…

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