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Please don't feed the children new photo

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EXCLUSIVE: Michelle Dockery and Eva Birthistle have joined Imelda Staunton in the cast of Ita Fitzgerald’s UK-Ireland drama West The Road for Bankside Films.

Produced by Matthew James Wilkinson and Jamie Harvey for the UK’s Stigma Films and John Wallace of Ireland’s Cowtown Pictures, the film will start shooting in western Ireland later this year. It marks the feature debut of Fitzgerald, an Irish writer-director based in London, who began her career in TV.

Charlie Murphy and Philippa Dunne have also joined the cast.

AdvertBankside has pre-sold the film to Benelux (Paradiso), Bulgaria (Beta), former Yugoslavia (MCF), Eastern Europe (HBO), Israel (Nachshon) and Spain (A Contracorriente).

West The Road tells the story of a group of women brought together by the death of their childhood friend. When they discover their friend was forced to give her daughter up for adoption at the age of 15, the group embark on a journey from the west of Ireland up the Wild Atlantic coastline – accompanied by a donkey called Thatcher – in the hope of connecting the child with their grandmother.

Backing comes from Screen Ireland, while the executive producers are Stephen Kelliher and Yana Georgieva for Bankside Films, Alan Maher of Cowtown, David McLoughlin of Metropolitan and Evan Leighton-Davis.Previously announced cast members Siobhán McSweeney, Eileen Walsh and Hannah Waddingham are no longer attached.

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MICHELLE DOCKERY AS LADY MARY TALBOT IN THE OFFICIAL TEASER TRAILER FOR DOWTON ABBEY: THE GRAND FINALE

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Okay, I have to admit that this poster is gorgeous.

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waking the dead S8 E3

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ITS A BLESSED DAY MICHELLE SUZANNE WENT OUTSIDE

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this new photo of Michelle makes me so happy because she looks so beautiful and sunshiney and is wearing her signature hoops but also because to me she looks so like *herself* it's just really inspiring to love and admire someone like her!!

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I remember her talking about this picture in an interview. She said it was her first photoshoot. She wore a floral dress with her horrible dirty sneakers. Its out there somewhere and she wants to find and burn it.

Archive from @telegraph on instagram

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I'm not strong enough for this Final Downton Film talk 😭

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spoiler alert: Michelle talks about Downton 3 and it made me emotional!!

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she's such a fucking icon.

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extended version of the interview!

Michelle saying "this was different from any genre I'd done before" when she's *literally* done a thriller on an airplane before has sent me into outer space. She's so special.

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elizabeth mcgovern with michelle dockery, laura carmichael, & allen leech on the set of season 5 of "downton abbey" (aired 2014) | 📸: masterpiece/pbs

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Merry Christmas and Happy Hogswatch

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Happy Christmas ♥️💚

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1. "so nice to see you again!" 🥹

2. "it's bittersweet" "we're like a family" (this final press tour will end me if we're already doing this)

3. "she helped me with my wedding" about Anna Robbins!!!!

feeling *extremely* soft actually!!!!

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EVERYTHING EVERY TIME ALL IN ONE PLACE

Playing wide in the multiplexes right now:

Here--A spot in a living room in an upscale eastern Pennsylvania suburb--that's the title locale of this latest from Robert Zemeckis. It's our static vantage point for, essentially, the whole movie, looking across the room through a picture window that offers a view of the big brick colonial-era house across the street. 

We see the view there before it was a living room--long, long before. As in, we see it during the extinction event that ended the Cretaceous Period, sixty million years ago. We see it as a woodland make-out spot for indigenous lovers (Dannie McCallum and Joel Oulette), and as a burial site. We see it as part of a dirt road leading up to the aforementioned historic manse, which once was occupied by William Franklin (Daniel Betts), estranged Loyalist son of Benjamin (Keith Bartlett).

After the house is built, we get glimpses of the lives of its early 20th-Century inhabitants, like an enthusiastic aviator (Gwilym Lee) whose wife (Michelle Dockery) frets about his flying. They're followed by a whimsical inventor (David Fynn) and his sexy flapper wife (Ophelia Lovibond). This guy is working to perfect a reclining chair; his working title for it is "Relax-y-Boy." And we see the house's early 21st-Century occupants, an African-American family; Nicholas Pinnock and Nikki Amuka-Bird are the parents, and Anya Marco-Harris is the beloved housekeeper.

But the movie's main focus is the midcentury family that takes the place over after WWII: Dad (Paul Bettany), a combat veteran and a seething, disappointed functional alcoholic, his sweet, quietly unfulfilled wife (Kelly Reilly), and his oldest son (Tom Hanks), an aspiring artist. The son gets his beautiful girlfriend (Robin Wright) pregnant, so there goes both art school and her college dreams. They move in with the parents, and stay for decades.

So the movie packs in a lot of history (and prehistory), a lot of longings fulfilled and unfulfilled, and cultural references ranging from the Spanish flu to the Spanish Inquistion sketch from Monty Python. But I'll admit that when I realized we were going to be parked in one place for the whole thing--I went in not knowing this--I panicked for a moment.

I needn't have worried. Zemeckis has always been a skillful showman, and while the audacious experiment of Here is by no means an unqualified success, it certainly never bored me. The script, by Eric Roth and Zemeckis, is based on a 2014 graphic novel by Richard McGuire, and Zemeckis employs comic-book techniques like overlapping inset panels to interweave the various timelines and bounce them off each other thematically. It's an impressive and confident exercise in narrative, and it does carry a cumulative emotional punch.

There are downsides, however. The fixed point of view means that the actors tend to seem a bit far away from us a lot of the time, and when they are brought up into the foreground it somehow feels forced. Zemeckis may have been worried about this distancing too; Alan Silvestri's music, though pretty, is ladled on a bit thicker than it should be, as if to telegraph what we're supposed to be feeling.  

Much more jarringly, though, the people in Here often have an ersatz, CGI "Uncanny Valley" look to them. The leads were taken all the way back to teenaged through some sort of real-time computer tech, and while the results are tolerable, they aren't perfected in realistic terms.

It must be admitted, however, that Hanks and Wright transcend this limitation, especially Hanks. The other actors sometimes feel like cyber-phantoms, but Hanks is so vibrant that he can project his humanity right through the program. And after Apollo 13, Castaway, Captain Phillips and Sully, it's also a relief to see the poor guy stay put.