January 30, 2014

A Student Asked Billy Joel To Sing A Song with him. What Happens Next Is a Once in a Lifetime bit of Awesome.

It takes a lot of nerve to approach an idol of yours and ask him a question. 

It takes even more to ask that idol to do you a favor.   
Yet that's exactly what Billy Joel fan Michael Pollack did at Tennessee's Vanderbilt University in January. During a forum with the six-time Grammy Award winner and hall of famer, Pollack asked if he could accompany Joel on the piano for a performance of "New York State of Mind." After a brief pause, Joel simply said, "Okay."

The Huffington Post  |  By 
So Pollack joined his idol on the stage, "And then from there," he later recalled to Vanderbilt's student paper, "it was just ... foggy. It's hard to remember. I just started playing. I had practiced it a little bit thinking maybe I’d get the chance to go up ... I kind of lost myself playing."
If Pollack did indeed lose himself up on the stage, you'd never know it. Any nerves the undoubtedly on-edge Pollack may have had to begin with don't seem to have affected his musical abilities. A YouTube video of the event, uploaded on Feb. 26, shows him confer briefly with Joel, then absolutely knock the performance out of the park.
"That's Michael Pollack. Remember that name," Joel said after Pollack stepped off the stage. "Guy's got chops!"
Though Pollack is currently a freshman at Vanderbilt, he's sure to attract attention when he graduates, especially with a Joel endorsement on his resume.

January 27, 2014

Mr. Selfridge 2 - Episode 2

Episode TWO - review below

Talk of Britain being on the brink of war causes unrest within the Selfridges staff, with fears that they will all lose their jobs if Mr Selfridge escapes back to America to avoid the European conflict. This, and demonstrations by Trade Union representatives, leads Harry to create an ‘Empire Exhibition’ to explain to both the customers and the staff that the store is staying put. This is topped off with a staff party held at Delphine’s to boost morale, but with it comes all sorts of conflict and drama.
War is the common theme to all the elements of the episode: the marital rivalry of the embittered Loxley’s and the slowly repairing Selfridges, the Trade Unionists versus the Selfridges staff, Agnes and Mr Thackeray’s departmental one-upmanship, Mr Grove’s internal battle between the life he has and the one he wants. What’s great about this common thread is that it allows necessary development of key characters without detracting from the drama of it all, and in fact allows certain players, somewhat overlooked so far, to come to the fore.
Cal Macaninch’s Thackeray, armed with a very dry wit, is proving to be a great foil for Agnes, who is showing signs of strain under her new position. Tim Goodman-Hill’s portrayal of Mr Grove is expanded nicely, demonstrating the skill of the actor, and this will no doubt be a recurring theme, given the re-introduction of his family in this episode. Even Kitty (Amy-Beth Hayes) is given a nice line in character development as she gets one up on Frank Edwards not once but twice, thanks to a Yardley face cream and a very daring tango.
It’s a wonderfully paced episode, written by Kate O’Riordan (The Bad Mother’s Handbook) which winds up its tension for a very dramatic series of outbursts in the episodes final scenes: the fighting Selfridges, the unsure loyalties of Harry’s son Gordon and, of course, the angry assault of Lord Loxley against Lady Mae. Really wonderful stuff.
The reappearance of Henri Leclair clearly is set up for development in later episodes too, but Delphine Day’s casual declaration of his presence, which causes unnecessary strain in the Selfridges marriage, points that she may have her own agenda in befriending Rose. Time will tell.
At the heart of it all this week was the lovely chemistry between Jeremy Piven’s Harry and Frances O’Connor’s Rose. Despite their mutual mistakes in this episode and signs of both the good and bad times ahead, there’s is a chemistry that makes you root for them as a couple, but not without yet more hurdles along the way.
Having laid all the major plot points down so successfully in last week’s Series 2 opener it was always going to be interesting which ones would take priority over others in the following episodes. Luckily, the balance is struck again successfully with all the major plot points expanded upon to a noticeable degree as well as some entertaining and welcome character development.

Call the Midwife 3 - Episode 2


Call the Midwife: Jessica Raine as Acting Sister Jennifer Lee
This week was just as emotional as the first, with the major story here being that of Doris, a woman forced to give away her child Carol. Even though she wanted to keep her, she recognized that there was a better life out there for her with an adopted parent. Just in case this was not bad enough, we also learned that Doris was not even able to send along a letter with Carol for her to understand why she had to give her up in the first place. The adoption for the baby was one where the parents requested no contact at all, and this letter instead had to just float around in the ether.
Eventually, Doris had to learn to let go in this episode, and not blame or hate herself for what transpired. Given the violent and volatile situation that existed in her home, she made the right decision … but a hard one.
All in all, this was a strong episode at least in that it showed just what sort of struggle women in the 1950s go through when it comes to welcoming a child under unusual circumstances. Doris was not going to ever be a part of her daughter Carol’s life, and it was all thanks to her fear as to what the man in her life would do, knowing that this child in particular was not his.


January 22, 2014

The Musketeers, Episode 1

The Musketeers, Episode 1

The brightest and best musketeers of the King's Regiment - Athos, Porthos and Aramis - are dispatched by Captain Treville to find a missing musketeer carrying important letters on behalf of King Louis. Meanwhile, d'Artagnan travels from his family farm in Gascony to Paris to petition the king, but his peaceful plans are turned upside down. - Written by BBC

January 21, 2014

Hollywood A-listers sing Downton's praises

All about the Abbey: 
Gravity actress Sandra Bullock is a Downton fan

All about the Abbey: Gravity actress Sandra Bullock is a Downton fan
Downton fever is sweeping Hollywood, just as it is the rest of the United States.

Sandra Bullock said she watched the period drama during any free time she had when she filmed the phenomenally successful movie Gravity in England.

During her stay, Bullock said she commuted between a rented house by the Thames at Richmond and Shepperton film studios.

‘It’s an impeccable drama,’ she told me of the series, which is just starting its fourth season in the States.

‘I love the period, the stories, the characters, the actors, the costumes, the houses . . . everything about it!’

We were chatting with Downton Abbey creator Julian Fellowes at a reception hosted by the LA branch of Bafta.

Bette Midler is another Downton addict.

She was due for lunch at the LA home that Lesley Nicol — aka Downton cook Mrs Patmore — has been renting with her husband Da’aboth, who’s a spiritual practitioner. And he’s doing the cooking.

Nicol summed up Downton’s appeal well: ‘It’s like putting an arm around an audience.’

Fellowes, Nicol, Michelle Dockery (Lady Mary) and Laura Carmichael (Lady Edith) were all at the Golden Globes awards, and tomorrow they’ll be joined by Phyllis Logan (Mrs Hughes) and Sophie McShera (Daisy) at the Screen Actors Guild awards, where Downton is up for best cast.

Then they return to the UK to prepare for series five, which begins filming next month.

Dockery, who was wearing fabulous jewellery sourced by the World Gold Council’s LoveGold experts, thinks Lady Mary’s going to have a fight on her hands . . . with her father.

‘She’s becoming a bit of a businesswoman, and I like the dynamic between her and Robert,’ she told me.

‘She knows how to put up a fight.We’re getting into a period where Downton’s at risk — I think it’ll be interesting to see where that goes, and what she does to try to save it. It’s her birthright, and her son’s,’ she told me.

Fellowes said series five will cover the years 1924-25.

Loyal fans: The fourth season of Downton Abbey continues to win over new fans on both sides of the pond.

‘We’re chugging pretty slowly through the Twenties, because I don’t want them to have to do wobbly stick acting with talcum powder in their hair by pushing on into the Thirties.

‘Also, I feel the Thirties has been much dramatised, with the looming threat of Nazi Germany and so on. I think the Twenties is a much less filmed period — yet I think it’s a very interesting one because it had a foot in both camps: one in the past, one in the future,’ he told me at the Mulberry and Jaguar-sponsored bash.

Fellowes added that as the Twenties wore on, it became clear ‘something had altered in the mind-set. People didn’t want to be servants any more, and people didn’t want to change their clothes five times a day.

‘They wanted to drive around and didn’t want to live in a house the size of a hotel. It was a time of great change and we’ll see a lot of that in series five.’

And series six. And from the way he talked, series seven, though ITV won’t give that the green light till next year.

Read more:
Follow us: @MailOnline on Twitter | DailyMail on Facebook

January 19, 2014

Mr. Selfridge - Season 2 - Episode 1

Mr Selfridge, series 2, episode 1


the following review is by The Telegraph  at

Remember Harry Selfridge? The man who opened his shop in 1909 with brio and bonhomie, flinging his arms wide (was Harry an early proponent of ‘hugging it out’?) and flashing those pearly whites? Well, things were a little different by 1914, as we rejoined Jeremy Piven's entrepreneur following a first series of multiplying business worries and self-inflicted marital trauma. At the start of this second series, he had become a brooding, bespectacled introvert, fielding press queries with a frown. These were, he intoned, "uncertain times". But you can’t keep a good grin down: it was the fifth anniversary of the central London department store, which meant throwing a party.
Having said that, Piven did seem to be reining in the razzle-dazzle a little. It was as if someone had actually reminded him that actors require a little directing to produce their best work, and need not try to outperform the spectacular production design. The result was less exhausting and more engaging, even if he still struggled with portraying the heavier end of the emotional range. It wasn’t such a problem with this opener, with Harry’s personal life in the ascendant as his estranged wife Rose returned and his young son pitched into the family business. And the supporting cast was more than capable of picking up the slack: it was a genuine thrill to see stalwarts of the stage such as Samuel West and Tom Goodman-Hill slumming it with such relish. Of the new additions, Aidan McCardle’s unambiguously villainous Lord Loxley and Polly Walker, playing ‘decadent’ nightclub owner and proto-feminist Delphine Day, made a real impression amid the whirl of characters and stories.
Elsewhere, sexual tension abounded – Harry and Mae, Agnes and Victor, Mrs Mardle and Mr Grove. While you couldn’t call all of it unconsummated after the bedhopping of the previous series, you could certainly deem it unresolved. And that’s before the late return of Spiral’s Gregory Fitoussi as Henri Leclair, even dishier now he’s dishevelled and, as seems likely, the proud bearer of "a past".
Mr Selfridge isn’t the sort of production to risk letting its viewers miss the point. Equally, it’s a drama that’s more comfortable the less seriously it takes itself. So it’s unfortunate that last night’s parting shot, in attempting to address one the grimmest narratives of the 20th century, instead provoked giggles with its ostentatious mise en scène: a newspaper strewn in the gutter, headline blaring "Archduke Franz Ferdinand Assassinated" mere seconds after a vendor has been heard shouting the same sentence not once, but twice. Like Downton Abbey, Mr Selfridge’s welcoming arms may do well to embrace the escapism and keep real human tragedy at a safe distance.


Lark Rise to Candleford

Lark Rise to Candleford is a British television costume drama series, adapted by the BBC from Flora Thompson's trilogy of semi-autobiographical novels about the English countryside, published between 1939 and 1943. The first episode aired on 13 January 2008 on BBC One and BBC HD in the UK. In the US, the series began airing on select PBS stations in the spring of 2009. A third series began airing in the UK on 10 January 2010. The fourth and final series began on 9 January 2011 on BBC One and BBC One HD, and was filmed during August 2010.

It was announced on 22 January 2011 that the show would not be returning for a fifth series, despite impressive ratings. The final series concluded on 13 February 2011.

The series is set in the small Oxfordshire hamlet of Lark Rise and the wealthier neighbouring market town of Candleford towards the end of the 19th century. The series chronicles the daily lives of farm workers, craftsmen, and gentry, observing the characters in loving, boisterous, and competing communities of families, rivals, friends, and neighbours.

The narrative is seen through the eyes of a teenage girl, Laura Timmins (Olivia Hallinan), as she leaves Lark Rise to start a new life under the wing of her cousin, the independent and effervescent Dorcas Lane (Julia Sawalha), who is Post Mistress at the local Post Office in Candleford. Through these two characters, viewers experience the force of friendship as Laura and Dorcas see each other through the best and worst of times.

Season Two



Series FINAL

Call the Midwife - Season 3 Episode 1

January 18, 2014

The REAL story of Britain's servant class (and it wasn't exactly Downton Abbey)

Downton Abbey's staff of twelve.


  • The butler - in charge of the house, coachmen, footmen and wine cellar.
  • The housekeeper - responsible for the housemaids and carried keys to the china and linen cupboards.
  • The ladies maid - the mistress of the house's personal attendant, helping her dress and do her hair.
  • The valet - the master's manservant, attending to his requests and preparing his clothes and shaving tools.
  • The cook - ran the kitchen and larder, overseeing the kitchen, dairy and scullery maids.
  • The governess - educated and cared for the children.
  • The hallboy - worked 16-hour days, lighting all the lamps and candles and polishing the staff boots.
  • The tweeny - in-between stairs maid earned £13 a year, worked seven days a week from 5am-10pm.

They all look so jolly on television, forging friendships in the basement and occasionally nipping upstairs to lay the table or snuff out a candle.

But the truth of how most servants lived in Britain at the beginning of the twentieth century is a far cry from the soft-centred fiction portrayed in period dramas such as Downton Abbey, Upstairs Downstairs and Gosford Park.

Clipping your master's toenails, ironing his shoelaces, spending 17-hour days doing back-breaking work with no employment rights were just some of the realities facing servants in late Victorian and early Edwardian Britain, according to a new BBC series.

Servants: the True Story Of Life Below Stairs (watch entire series below) explores the reality of life as a servant in Britain from the Victorian era through to the Second World War.

And it wasn't exactly like Carson, Anna, Bates and Daisy have it in Downton Abbey.

Upon entering service, new servants were often given 'acceptable', easy to remember and generic names - Henry, John and William were popular choices for men, while many female servants were frequently named Sarah or Emma.

Moreover, if female servants received unwanted advances from their masters, they had little power to stop them.

In her new, eye-opening three-part series, social historian Dr Pamela Cox - herself the great-granddaughter of servants - explains that life for these people was much less 'cosy' than is imagined in television period dramas.  Dr Cox reveals that her own ancestors never enjoyed their time as servants as much as those in ITV's Downton Abbey seem to.

Thanks to the emergence of the new middle classes, the majority of household staff worked as the only servant in a home.
A late nineteenth century British family with their solitary servant.
And instead of partaking in a lively, jolly dinner after serving the family upstairs, these servants would live and eat alone in Britain's dark, damp, dirty basement kitchens.
Servants in grand houses fared little better.

Staff in stately homes were kept hidden from the 'polite' eyes of their masters with complex mazes of hidden passages throughout the home, helpful when trying to enforce complete segregation.

Moreover, strict servant hierarchy even separated staff from each other.
Dr Cox explains that in 1901 one in four people were domestic servants, mostly women, and that these people were seldom seen as 'working-class heroes'.
Servants tended to work seven days a week, often from as early as 5am until as late as 10pm, for very little money.

And, unlike the kind and empathetic Crawley family of Downton Abbey, employers were unlikely to take pity on staff who were overworked, exhausted or ill - even if they were just children.

Servants: The True Story Of Life Below The Stairs

Part ONE

Part Two



  • Never let your voice be heard by the ladies and gentlemen of the house
  • Always 'give room' if you meet one of your employers or betters on the stairs.
  • Always stand still when being spoken to by a lady and look at the person speaking to you.
  • Never begin to talk to ladies and gentlemen.
  • Servants should never offer any opinion to their employers, nor even to say good night.
  • Never talk to another servant in the presence of your mistress.
  • Never call from one room to another.
  • Always answer when you have received an order.
  • Always keep outer doors fastened. Only the butler may answer the bell.
  • Every servant must be punctual at meal times.
  • No servant is to take any knives or forks or other article, nor on any account to remove any provisions, nor ale or beer out of the hall.
  • No gambling, or oaths, or abusive language are allowed.
  • The female staff are forbidden from smoking.
  • No servant is to receive any visitor, friend or relative into the house.
  • Any maid found fraternising with a member of the opposite sex will be dismissed without a hearing.
  • The hall door is to be finally closed at half-past ten every night.
  • The servants' hall is to be cleared and closed at half-past ten at night.
  • Any breakages or damage to the house will be deducted from wages.
A 'Tweeny' servant who worked seven days a week, from 5am until 10pm, and was paid £13 a year.Downton Abbey's kitchen maid Daisy Robinson, played by Sophie McShera.


January 12, 2014

Sherlock BBC - Season 3 Episode 3

Sherlock Season 3, Ep. 3 "His Last Vow"                       

"His Last Vow" delivered a jaw-dropping final five minutes

[Warning - major spoilers below]  from Sherlock finale delivered jaw-dropping conclusion

‘I’m not a hero, I’m a high-functioning sociopath’
The first two episodes of this third series have proven divisive among the show’s fans, as more humour and the introduction of Mary marked a shift from plot-driven stories to more relationship-based ones.
Now we know why Moffat and Mark Gatiss pursued this route. The lightness of the opening episodes was needed to offset the darkness of the finale. Yes, there are humorous moments, but none of the whimsy particularly evident in The Sign of Three.
Mary’s role has been pivotal in helping to define Sherlock and John’s evolving friendship. Here she becomes a significant player in the central story and the first in a series of pressure points which allows Magnussen to gain leverage over Mycroft.

Sherlock: season 3 episode 3, His Last Vow
Mary was a central player in the final story (Picture: BBC)

Ultimately Sherlock’s final, shocking act is a product of his vow at the Watsons’ wedding to always be there for them. It’s an indication of the extent of his friendship that he does not hesitate to sacrifice himself for them – an emotional reaction which neither Mycroft nor the pre-fall Sherlock could have countenanced.
The power of information
In many ways, the creepy and charmless Magnussen is an even more chilling nemesis than Moriarty, both being mirror images of what Sherlock might have become.

Sherlock: season 3 episode 3, His Last Vow
The creepy and charmless Magnussen (Picture: BBC)

From his position as a media mogul, he acquires compromising evidence on people, which gives him the power and wealth to gain even more information and therefore influence. That’s a notion which strikes a chord with modern-day concerns about surveillance and personal data.
By contrast, John finds his power by burning the USB drive containing details of Mary’s past. In doing so, he unburdens them both.
For Magnussen, knowledge is power. For John, the absence of knowledge is freedom.
Misdirection aplenty
Moffat’s script contains a stream of misdirections from the opening scene right up to the closing one.
Initially we are led to believe Magnussen accesses his vaults via a Google Glass-like display in his glasses. Only at the climax do we discover it’s all just a visualization of his own mind palace.
We’re also teased by Sherlock’s romantic relationship with bridesmaid Janine, ultimately a means of gaining access to Magnussen’s office.
There he mistakes Mary for Lady Smallwood. Mary incapacitates rather than kills Sherlock – indeed, her immediate 999 call saves his life – as he uses his mind palace to maximise his own chances in a beautifully executed sequence.

Sherlock: season 3 episode 3, His Last Vow
Sherlock mistakes Mary for Lady Smallwood (Picture: BBC)

Holmes’ dummy at Leinster Gardens turns out to be Watson. And Sherlock’s treasonous theft of Mycroft’s laptop is also a ruse.
Finally, as Sherlock is flown away on what promises to be a fatal mission, the series’ theme starts to play before fading out to reveal the true cliffhanger: the seemingly impossible return of Jim Moriarty.
There’s something about Mary
The writers hinted in the previous episodes that Mary was not what she appeared to be. It’s enough for Sherlock to deduce the past she has tried to leave behind.
Remember also how she recoiled at the mention of ‘Cam’ in a telegram at the wedding? She recognised it as ‘C.A.M.’ – Magnussen’s initials. And her ’I'm panicking’ at the evening party was less shock at her pregnancy than the realisation that her window for eliminating Magnussen was closing.
So now we know she’s a former CIA agent and assassin. Her skills might come in handy in tackling Moriarty.
Where next?

Sherlock: season 3 episode 3, His Last Vow
His Last Vow delivered a jaw dropping final five minutes (Picture: BBC)

If the question on everyone’s lips at the start of this series was ‘How did Sherlock survive the fall?’, now it’s ‘How did Moriarty survive his suicide?’ Cue up the fan theories again!
Series three of Sherlock has brought us a different tone, greater depth to Mycroft’s character and the introduction of Sherlock’s parents.
But Moriarty’s survival provides the most significant departure yet from canon. Will series four see the partnership of Sherlock and John permanently expanded to include Mary? And will we see the show increasingly diverge from the original stories?
After an uneven run-up to the finale – I loved The Empty Hearse and was underwhelmed by The Sign of Three – His Last Vow barely missed a step, ramping up the tension steadily and delivering a jaw-dropping final five minutes that few could have predicted.

Am I thrilled at the prospect of Holmes and Moriarty locking horns again? Of course I am. Series four cannot come soon enough.

Mr. Selfridge

At the unfashionable end of Oxford Street in 1909 London, an American retail tycoon arrives to jettison fusty British tradition and open one of the finest department stores the world has ever seen: Selfridges. Three-time Emmy® winner Jeremy Piven (in his first television appearance since his iconic role as Hollywood agent Ari Gold in Entourage) stars as Harry Gordon Selfridge, the flamboyant entrepreneur and showman seeking to provide London's shoppers with the ultimate merchandise and the ultimate thrill.

Emmy® Award-winning writer Andrew Davies (Pride and Prejudice, Bleak House) conjures the opulence and excitement of Selfridges and the story of its founder, a man of exuberant, outsized, and potentially dangerous, appetite. Behind Selfridges' lavish shop windows, gleaming counters, and majestic doors, appetite intersects with ambition and desire not just for Harry, but for his staff, his family, and the various women drawn to the store and the man. Zoe Tapper (Stage Beauty) is showgirl and temptress Ellen Love; Frances O’Connor (Madame Bovary) as is Harry's loyal wife, Rose; Grégory Fitoussi (Spiral) is the mercurial window designer extraordinaire, Henri Leclair; and Aisling Loftus (Case Histories) is the spunky shop girl Agnes Towler.

Episode ONE part one

Episode ONE part two

Episode TWO

Episode THREE

Episode FOUR

Episode FIVE

Episode SIX

Episode SEVEN

Episode EIGHT

Episode NINE

Episode TEN


January 08, 2014

In the days before Downton: Mrs Hughes in a mini-skirt?!

Carson & Mrs. Hughes
We're so used to seeing them in period dress that it is, at first, quite tricky to work out who is who.  But once your eyes adjust you'll recognise housekeeper Mrs Hughes, Carson the butler, Lord and Lady Grantham, Matthew Crawley and Daisy the kitchen maid...just not as you know them. At all.

These photographs prove that there was life before ITV's Downton Abbey, and reveals what some of the hit drama series' stars were doing before it appeared on our screens.

You'll also find Hugh Bonneville removed from his seat as Lord of the house and left Holding The Baby in the 1997 comedy series, and Dan Stevens' dapper Matthew Crawley replaced by a beaten prisoner in Sheffied's Crucible Theatre's production of Romans In Britain, directed by Sam West in 2006.

And it's impossible not to be delighted by both Sophie McShera - that's Daisy the kitchen maid to you Downton fans - in her Waterloo Road school uniform in 2009, and, of course, Carson the butler (actor Jim Carter) as the cowardly lion in the Royal Shakespeare Company's 1987 theatrical production of the Wizard of Oz.

Phyllis Logan as housekeeper Elsie Hughes in Downton AbbeyPhyllis Logan at the Taormina Film Festival in Sicily in 1983, where she won a Best Actress Award for her role in Another Time, Another Place
Phyllis Logan as housekeeper Elsie Hughes in Downton Abbey, left, and at the Taormina Film Festival in Sicily in 1983, where she won a Best Actress Award for her role in Another Time, Another Place, right

Elizabeth McGovern as Lady Cora Grantham in Downton AbbeyBrad Pitt and Elizabeth McGovern in The Favor in 1994
Elizabeth McGovern as Lady Cora Grantham in Downton Abbey, left, and with Brad Pitt in The Favor in 1994

Hugh Bonneville as Robert Crawley, Earl of Grantham, in Downton AbbeyHugh Bonneville, front centre, with Sally Phillips, Joe Duttine and Lou Gish in Holding The Baby in 1997
Hugh Bonneville as Robert Crawley, Earl of Grantham, in Downton Abbey, left, and in TV comedy series Holiding The Baby in 1997, right
Dan Stevens as Matthew Crawley in Downton AbbeyDan Stevens, left, performing in The Romans In Britain at Sheffield's Crucible Theatre in 2006
Dan Stevens as Matthew Crawley in Downton Abbey, left, and performing in The Romans In Britain at Sheffield's Crucible Theatre in 2006, right
Sophie McShera as Daisy the kitchen maid in ITV's Downton AbbeyDownton Abbey actress Sophie Mcshera in Waterloo Road in 2009
Sophie McShera as Daisy the kitchen maid in ITV's Downton Abbey, left, and in Waterloo Road in 2009
Jim Carter as Charles Carson the butler in Downton AbbeyJim Carter as the lion in the RSC's 1987 theatrical production of the  Wizard of Oz
Jim Carter as Charles Carson the butler in Downton Abbey. left, and as the cowardly lion in the Royal Shakespeare Company's production of The Wizard of Oz at the Barbican in 1987

Read more: