The Novemeber 21st issue of the Daily Express In The UK reported that Johnathan Rhys Meyers could be replaced in the second season of The Tudors. For those of us who love His portrayal of Henry find this news very upsetting the only thing we can conclude is that they made a mistake and either mean season3 or they just have thier facts wrong . Since the previews of season two already shown JRM as Henry we can only think they are going to change it for season 3 if there is one. For those of who enjoy JRM”S portrayal of the Tudor king will be awaitng news on this possible replacement. Sad thing is if Johnny goes surely most of his fan base will follow as well. Here is the snippet from the paper. Timing notice: They printed this shortly after his problems with drinking and the death of his mother occured with in the same week. So this is why we think it could very well be a rumor.
Last year we sent Johnathan Rhys Meyer’s a letter congratulating him on his role of Henry and letting him know that we felt that he gave the King’s legacy a new leash on life and portrayed him as he felt fit and did a great job doing so. Well almost a year later we recieved a letter back from his fan mail corordinator Rose and a brief message from Johnny himself with 2 photos of him as Henry VIII. This is our second corspondance with the cast members of The Tudors. our first with Marie Doyle Kennedy was in May of 2007 via email.
After interviews to promote August Rush in New York recently, recovering alcoholic Jonathan Rhys Meyers fell off the wagon and landed hard on his face.
The Irish actor was arrested for public drunkenness and breach of peace at the Dublin airport last week. Then he was spotted a few days later drinking in North London, apparently grieving for his mother Geri Meyers O’Keeffe, who died recently at a County Cork hospital in Ireland.
For all his success, Rhys Meyers seems to be working out some troubles, yet faltering under the pressure.
Eight months ago, friends and family hoped he had come to grips with his demons when he checked into a rehab centre after wrapping August Rush. Apparently, it didn’t take.
Yet days before his Dublin airport relapse, the churlish, but charming, 30-year-old seemed at peace and enjoying his promising professional life. He portrays a rebel rocker in the just-released adult film fable August Rush and he’s redefining the raunchy Henry VIII in the soapy R-rated cable series The Tudors.
“I just finished shooting it,” says an energetic Rhys Meyers of The Tudors 12-part second season airing next March in the U.S. And, yes, he confirms, they managed to complete the show before the U.S. writers guild strike cut things short.
And, of course, he acknowledges his Henry VIII is wire thin compared to the bulky historical figure. But then the miniseries isn’t especially accurate either.
“I did put on muscle, but I couldn’t really put on the weight,” says the slim actor. “I said to them right from the start, ‘Listen, if you are looking for a guy to put on 200 pounds I’m really not him.’ My frame wouldn’t hold it.”
So what can Tudors’ fans — the first season ran on CBC this fall — look for in the second part? “It’s like in the first season we laid the rope,” he says. “Second season it gets pulled. It’s very vicious, and the fall of the Boleyn family is quite incredible.”
Playing a rebellious guitar-strumming singer in August Rush is more his thing. In the film, he’s a rocker who has one-night stand with a concert cellist (Keri Russell), then discovers 12 years later he has a musically gifted son (Freddie Highmore).
Along the way, Rhys Meyers plays and sings tunes like a seasoned pro.
“Yeah, I can sing and play a little, but I’ve got some brothers,” he says of younger siblings Jamie, Paul and Alan, “who are proper musicians and play in groups.”
Not that their older brother is ever far from a guitar or his music.
“Everybody’s life has a soundtrack,” he says. And so does his. While shooting August Rush, “I would listen to the choral stuff, and found this great organ piece by a guy called Wolfgang Rabson, and felt a little highbrow,” he confesses.
“At the end of the day, though, it was gutter rock ‘n’ roll for me — a lot of The Pogues, Dropkick Murphys. All that removed despondent Irish stuff.”
That ‘s not surprising. The Dublin school dropout — raised by his mother — was headed for a detention centre when he was spotted, at 16, in a pool hall. That would lead to a few London commercials, TV shows, then a career-making role as the assassin in 1996’s Michael Collins.
In North America, he is often remembered as the coach in 2002’s Bend It Like Beckham and for his portrayal of Elvis Presley in the 2005 miniseries Elvis. He also co-starred in last year’s Mission: Impossible III opposite Tom Cruise.
Still, he struggles with his past and with the bottle, and while August Rush coincidently bookends his drinking, then recovery, then relapse, he has fond memories of what the movie represents.
“Sometimes it’s nice,” he says of the film’s happy-ending fantasy, “to remember what it is like to be positive and creative for two hours.”
Even better, he met up with co-star Highmore on one memorable day last month to attend a game of the London-based soccer team Arsenal. Both are fans and both have season’s tickets.
“So we had breakfast at a greasy spoon cafe and had everything on the surgeon’s health warning,” says a smiling Rhys Meyers. “Then we went to the game together, laughing all the way.”
NEW YORK — It took a notoriously overweight, lusty and powerful British king to turn actor Jonathan Rhys Meyers into the next big thing.
The 30-year-old Irishman, and Versace/Hugo Boss fragrance model, previously got our attention with several roles: As an androgynous glam-rocker in Velvet Goldmine; as the pillow-lipped soccer coach in Bend It Like Beckham; as the king of rock ‘n’ roll in the TV mini-series Elvis; and as the social-climbing tennis-playing sociopath in Matchpoint.
But it is Rhys Meyers’ terrific turn as a young — and slim — Henry VIII on the CBC mini-series The Tudors that has made him a household name.
His intense glare stares out from the current cover of Details magazine with the headline “Jonathan Rhys Meyers wants to rule Hollywood.”
In the accompanying article, the two-time rehab visitor (this year alone) talks about how his “Richard Burton, Peter O’Toole days” of boozing were behind him and that “drink doesn’t fit into the groove of where my life is going.”
Given that he was arrested in a Dublin airport on Nov. 18 for public drunkenness and disturbing the peace, he obviously has had a relapse. Even sadder, three days after his arrest his mother died in hospital at age 50.
Rhys Meyers’ latest film role is a far cry from his current realities.
In the fairy tale-like family flick August Rush, he does his own singing in his portrayal of an Irish musician whose one-night stand with a cellist (Keri Russell) leads to the birth of a musical prodigy (Freddie Highmore).
“There’s a lot of really hard-hitting movies out there at the moment, a lot of real thinkers, a lot of sort of like political (films) that really, really make you think,” Rhys Meyers told reporters at an early-November media conference. “August Rush really has its place because you can’t watch that type of movie all the time, and people don’t want to.
“It’s not getting better out there, number one, so sometimes it’s nice for, like, two hours to just remember being positive and being creative. I think this movie has a great healing quality to it. So it does have a lot of open vulnerability, where if you want to be cynical or you want to be critical or ‘that’s not plausible,’ well, fairy tales aren’t plausible.”
Rhys Meyers has been in an on-again, off-again relationship with heiress and London-based student Reena Hammer since 2004; she accompanied him to his mother’s funeral. Rhys Meyers said he does believe in love at first sight, just as his August Rush character experiences.
“But it’s a very strange thing,” he said. “It wasn’t like thunderbolts and lightning. It was kind of like a sickly feeling and it was kind of uncomfortable, really, because it was just very factual. It was like, ‘The sky is blue. When it rains you’re wet.’ I was in love.”
Rhys Meyers, who just finished shooting the second season of The Tudors in his native Dublin, said he doesn’t get any heftier despite some initial controversy over his casting.
“I put on a stone (14 pounds) in muscle but I couldn’t really put on the weight, and when I said I’d do the series I said, ‘Listen if you’re looking for a guy to put on 200 pounds, I’m really not that guy, ’cause my frame wouldn’t hold it.'”
Still, he promises viewers won’t be disappointed with Henry’s coming hijinks.
“It’s almost like in the first season we laid the rope, in the second season it gets pulled,” said Rhys Meyers. “It’s very vicious. The fall of the Boleyn family is incredible. Some great directors like Jon Amiel came in to shoot the last two episodes. It’s magnificent.”
Filed under: The Show
Alex Strachan, CanWest News Service
Published: Tuesday, November 27, 2007
The Tudors has caused quite a stir in snob society and among historians, and not in a good way. Elizabeth Michael Hirst’s lush, romantic — and sexy — retelling of the early years of King Henry VIII’s reign in 16th-century England has caused a schism between those who think history should be recreated with a fastidious loyalty to the historical record, and those who value entertainment and storytelling above a history lecture.
Execution is everything, as the saying goes, and The Tudors is so beautifully crafted, so gorgeous to look at and compelling to listen to — Canadian composer Trevor Morris’ Emmy-winning main title theme and background score is TV music for the ages — that it’s easy to forgive any historical transgressions.
Hirst has managed to do something unusual in any event: take a story familiar to history buffs and anyone who paid attention to history class in school, add several layers of depth and urgency, and make it sexy, unpredictable and romantic.
But not shallow. In tonight’s episode, the second before the end of The Tudors’ first season — a second season has been made, and is waiting to be scheduled — Sam Neill’s scheming Cardinal Wolsey is disgraced, humiliated, stripped of his powers, banished to a chilly, godforsaken rooming house and eventually cut down to size.
Hirst’s love of language is plain — this is not your typical TV dialogue — as when a pained Wolsey tells the soon-to-be-promoted Sir Thomas More (Jeremy Northam), “Tell me, Thomas, what exactly do you think you might have achieved . . . that makes you look so smug?”
“With respect, Your Eminence,” More replies evenly, “to some degree it wasn’t for me to achieve anything.”
The arrogance of papal Rome and its acolytes, the murderous zeal of the new Reformist church and its agents, and the lingering effects of the Plague — an affliction which, as followers of The Tudors know, makes no distinction between taxpaying proles in their village hovels and the sexy blue-bloods in their gilded castles — are mere background.
The Tudors is first and foremost a love story. A twisted, eccentric and ultimately star-crossed love story, true, but a love story just the same.
Jonathan Rhys Meyers seethes with sensuality and repressed sexual energy as the young king, who wants what he can’t have. Details-oriented history buffs have complained in web forums and online chatrooms that Meyers’ Henry bears little resemblance to the portly, bearded Henry VIII of historical record, as depicted in paintings and drawing-room movie dramas like A Man For All Seasons, but even the Henry of historical record was an athlete in his younger days.
It’s the women, though, who wield the real power in The Tudors, and that’s the reason Hirst’s adaptation, like Rome before it, makes such compelling and unpredictable TV drama.
Natalie Dormer is alluring, wary, hypnotic, calculating and seductive as the ill-fated Anne Boleyn, and Maria Doyle Kennedy is the very picture of loyalty and long-suffering silence as Catherine of Aragon, the legal and legitimate wife Henry VIII decides to cast aside.If you think you know how tonight’s episode ends, think again. Next week’s finale ends on a jarring, unexpected note — Toronto’s Peace Arch Entertainment has just released the first season in a sumptuous DVD box set, if you can’t wait to find out — and tonight’s outing sets up the finale in high style.
The Tudors was not made for know-it-alls, which may be why know-it-alls dislike it so much. It was made for a wider audience, casual TV viewers who appreciate a good story, well told.
The Tudors isn’t just good — it’s near brilliant, both as TV entertainment and as a rousing portrait of a time in history when kings behaved like hooligans and decent people paid for their beliefs with their lives. (9 p.m., CBC, channel 9, cable 10)
Sadly, this will be the last new episode for a while, so enjoy it while you can. (9 p.m., Global, channel 22, cable 3 and Fox, channel 2, cable 7)
The Windsor Star 2007
Filed under: The Show
IF only cheap women’s magazines and trashy TV were around in Tudor England. They’d have done a roaring trade.
Sure, the Windsor clan and Hollywood’s elite have their share of problems with the paparazzi in the present, but just imagine what Woman’s Day or Today Tonight could have done with some of the kings and queens of the past.
Henry Tudor’s mother Margaret was married at 12 and a widow by 14, making Britney look like the Virgin Queen. King Edward IV had his brother the Duke of Clarence executed, which even in royal circles is considered a rather nasty thing to do. At least, according to rumour, he made sure his brother went out in style, having him drowned in a butt of wine.
Richard III had his nephews declared illegitimate and then killed so he could assert his claim to the throne, which must have made for awkward moments when the family got together for Christmas.
Then there was that lovable rogue Henry VIII. Forget about The Farmer Takes a Wife; what about The King Takes A Wife, Series One to Six. It makes the shenanigans of Prince Harry seem rather tame.
David Starkey has learnt the trick of bringing the complex web of English history down to a digestible soundbite.
In his new series on the Monarchy that starts tonight (ABC, 9.20pm), Starkey looks at the reign of the Tudors which is represented by the Imperial Crown, a huge beast of a thing covered in bling and designed to represent their claim to the throne and to the head of the church.
Unfortunately for the Tudors, things didn’t work out as well as they intended.
“Their very scale of the crowns claims triggered an equal and opposite reaction and within 100 years a king was beheaded, the monarchy abolished and the imperial crown itself was smashed and melted down,” Starkey says.
Serving up a history of the English monarchy is something of a plat du jour at present. Cate Blanchett is at it again as Elizabeth I in her Golden Age. Then it’s the turn of Eric Bana, who will soon be slipping into the tights to portray King Henry VIII in The Other Boleyn Girl in which he has to choose between having sex with Natalie Portman or Scarlett Johansson – a dilemma which to borrow a phrase from another current film “is the quintessential question of our time”.
Life, even for a king, is never easy.
Filed under: Henry's Daughters
|LONDON: The earliest known full-length portrait of Queen Elizabeth I, thought to have been commissioned to help the English monarch “advertise” herself to potential suitors, sold yesterday for £2.6 million (BD2 million).
The life-sized painting by Antwerp artist Steven van der Meulen, who went on to become an important English court painter in the 1560s, had been expected to fetch between £700,000 and £1 million, auctioneer Sotheby’s said.
“Like her father, Henry VIII, she was incredibly conscious of how important her image was,” said Emmeline Hallmark, head of the Sotheby’s British paintings department. “This painting is so pretty and decorative, and the symbolism alludes to the fact that she is in the ripeness of her life,” she said, adding that the portrait was probably made when Elizabeth was around 30 years old.
The painting, nearly two metres tall, depicts the pale-skinned queen standing in a crimson satin dress adorned with pearls and coloured gems.
In her right hand she carries a carnation, which Sotheby’s said could symbolise a future betrothal, and in her left a glove, symbolic of power and wealth.
The auctioneer said that as well as emphasising her youthful appearance, the depiction of fruit and scented flowers in the background would have reinforced her allure.
In gazing to the viewer’s left, she looks like she may be expecting the arrival of a suitor.
Elizabeth was under pressure to find a husband from early on in her rein. Just a year after she succeeded her sister in 1558, a select committee of the House of Commons presented her with a formal request that she should marry. Despite a string of suitors throughout the 1560s and 1570s, Elizabeth never married, and was dubbed the Virgin Queen.
According to Sotheby’s, the oil on canvas was given by Elizabeth to the Hampden family during a visit to the mansion which it owned.
The painting remained in the Hampden and linked Hobart families ever since, although it was loaned to Aylesbury Crown Court in Buckinghamshire, England, where it hung, largely ignored, for 50 years on the wall of a private meeting room.