THE BORGIAS is a complex, unvarnished portrait of one of history's most intriguing and infamous dynastic families. Oscar(r)-winning actor Jeremy Irons returns in his Golden Globe(r)-nominated role as the cunning, manipulative patriarch of the Borgia family who ascends to the highest circles of power within Renaissance-era Italy to become Pope Alexander VI.  Seeking to consolidate his power, Alexander enlists his family to take an oath of revenge on the great noble houses that dared to stand against him, causing his Papacy to face political turmoil once again.  But Alexander's real problems lie with his children, all of whom are growing up and defying his authority.  Lucrezia forges an unlikely alliance between Vanozza and Giulia, and together they plot to battle Vatican corruption.  The sibling rivalry between Cesare and Juan will soon turn to hatred as their father's unwavering favoritism toward Juan triggers Cesare to engage his dark side.  Elsewhere in Rome, Alexander's old enemy Della Rovere has entered the city incognito and conspires to assassinate him.   

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SEASON 2 SYNOPSIS

 

THE BORGIAS is a complex, unvarnished portrait of one of history’s most intriguing and infamous dynastic families.  Oscar®-winning actor Jeremy Irons returns in his Golden Globe®-nominated role as the cunning, manipulative patriarch of the Borgia family who ascends to the highest circles of power within Renaissance-era Italy to become Pope Alexander VI.  Seeking to consolidate his power, Alexander enlists his family to take an oath of revenge on the great noble houses that dared to stand against him, causing his Papacy to face political turmoil once again.  But Alexander’s real problems lie with his children, all of whom are growing up and defying his authority.  Daughter Lucrezia forges an unlikely alliance between her mother Vanozza and her father’s mistress Giulia, and together they plot to battle Vatican corruption.  The sibling rivalry between sons Cesare and Juan will soon turn to hatred as their father’s unwavering favoritism toward Juan triggers Cesare to engage his dark side.  Elsewhere in Rome, Alexander’s old enemy Della Rovere has entered the city incognito and conspires to assassinate him. 

 

THE BORGIAS SEASON TWO

PRODUCTION NOTES

While rats, disease and poverty festered outside the Vatican walls, the infamous Rodrigo Borgia and his notorious family ruthlessly held power through the Papal throne during the turbulent Bacchanalian decadence of 15th century Rome.  They ruled via intimidation and violence, crushing their enemies and fomenting fear, division, and revulsion among anyone who would dare challenge their power.  They were the original “one percent.” 

 

But as season two of the SHOWTIME hit drama series THE BORGIAS unfolds, the greatest existential threat to Alexander’s Papacy may not come from foreign adversaries or ambitious political operatives, but may linger within his own brood.  His inevitable fall from power could come from the duplicitous deeds of his most trusted inner circle – his family.  “The Pope has insisted that there be no family rivalry,” says the Academy Award®-winning series star Jeremy Irons. “He knows rightly that if the family is to be powerful, it has to be powerful because it’s united.”

 

Filmed entirely on location in Budapest, Hungary, the series stars Oscar® winner Jeremy Irons, in his Golden Globe®-nominated role as Pope Alexander VI, a Spanish outsider whose political cunning and ruthless ambition elevated him past his rivals.  Premiering Easter Sunday, April 8th, the series also stars François Arnaud, Holliday Grainger, Joanne Whalley, Lotte Verbeek, David Oakes and Colm Feore.

 

“The first year, I felt the need to lay out the historical tableau with a great amount of clarity,” says executive producer, writer and director Neil Jordan.  “So when we came to the second season, it was like, suddenly you’ve got all these characters, and you can let them rip.  It was a lot of fun.”

 

Executive producer James Flynn adds, “Season two is not only set in the luxury of the Vatican, but expands onto the squalor, grit and grime of the Roman streets – this is a violent, muscular and compelling saga which we believe will deliver in spades everything that our core audience loved about season one.”

 

The Academy Award®-winning Jordan penned five scripts this season, then handed the reins to executive producer David Leland to write four, and Guy Burt (Kingdom) to write one.  Jordan (Byzantium) directed episodes 1 and 2; Jon Amiel (Creation) directed episodes 3 and 4; Kari Skogland (Endgame) directed episodes 5 and 7; John Maybury (Edge of Love) directed episodes 6 and 8; and Leland (Band of Brothers) served as director for the final two episodes.

 

ABOUT THE STORY

Fraternal strife boils over.  Sexual proclivities of the Pope blossom.  Women unite in a new display of power.  Borgia enemies multiply.

 

As season one ended, the Pope’s beloved daughter Lucrezia had just given birth, and the family celebrated together. Almost like a happy new beginning.  Almost.  “All of the characters are going to darken this season,” says Jordan.  The cunning Cesare, engages his dark side, becoming more like The Prince Machiavelli wrote about; the profligate Juan is ostracized by his family and turns murderous; and the increasingly independent Lucrezia refuses to be a pawn in her family’s continued quest for power.  Meanwhile, the Pope faces unrelenting struggles: The French return with a vengeance, having been tricked into invading a plague-infested Naples in season one. Various Italian clans plot his demise.  The devious antagonist Cardinal Della Revere trains an assassin; while in Florence the puritanical Friar Savonarola’s grip on power tightens and the Borgia fortunes, deposited with the Medici Bank, are jeopardized.

 

COMPLEXITIES OF THE POPE

Pope Alexander is flush with contradiction.  He loves his children and grandchildren with great dedication, yet would equally order the cold-blooded murder of an enemy.  Even with two paramours at his side, Vanozza, as the mother of his children, and Giulia, his mistress, his eye still begins to wander to a new conquest this season: Vittoria, a sensuous sculptress. However, he is not without conscience.

 

This season, when lightning strikes the Vatican (in an historically documented event), killing many and nearly himself, Pope Alexander believes it is a sign from God.  “He took it as a judgment on his Papacy, and his sins – of which there were many,” Jordan says. “And for a brief period, he tried to transform himself.”  Which leaves Rodrigo Borgia to a period of penitence and fasting.  Contemplating his mortality, and his legacy, he knows the future of the Borgia dynasty rests with his son, Cesare, whom he has forced into a Cardinal robe. 

 

“The important thing for Alexander is that Cesare stay within the church - he remains hopeful that he will become a future Pope to continue the Borgias’ line,” says Irons. “But that’s against Cesare’s nature.  So you know what happens when a rock comes up against a hard place: something has to give.  And I think what we’re watching in this series, and what we may be watching in the future, is what gives.”

 

CESARE AND JUAN: SIBLING RIVALRY HEATS UP

Sibling rivalry also takes a nefarious turn this season.  Cesare begrudgingly continues serving as Cardinal per his father’s edict and coveting Juan’s job as head of the Papal Army, which suffers a humiliating defeat this season. Juan’s erratic and violent behavior has become a threat to the Borgia throne and the Pope senses the dangerous discord.   

 

Though competition rages between brothers, when it comes to the Pope’s affection, Juan wins hands down, much to the chagrin of an increasingly cynical Cesare, who is fast becoming the “dark horse” his sibling always knew him to be.  “He’s not looking for his father’s love as much as he did in the first season,” says Arnaud.  “He’s not even looking for his father’s approval anymore. He just kind of decides to go rogue, and more often than not, knows that his ideas are just better.”

 

THE RISE OF LUCREZIA

As the season opens, Lucrezia is now mother to a love child, having survived a disastrous marriage to Giovanni Sforza, who betrayed her family politically, and violated her personally as a wife.  Says actress Holliday Grainger, “I think family members expect Lucrezia to sit back and resign herself to marriage, to being bullied by her brother. But she doesn’t. She stands up for herself, and says, ‘Yeah, I’m a woman, but I’m a strong woman.’”

 

Though Lucrezia’s innocence of season one has faded, she’s not quite the monster as depicted in history books – which were often written by Borgia enemies.  “Those who vilified her, without exception, were all men,” says Zoltan Rihmer, Papal consultant. “That speaks for itself.”

 

In another interesting twist taken from the history books, known as in loco parentis (“in place of a parent”), Pope Alexander places Lucrezia on the throne while he leaves Rome on business, a very taboo act during those times.  But it wasn’t just the Papal stint that emboldens Lucrezia this season.  When Juan crosses her, we learn that she too is capable of dark deeds, a Borgia trait she shares with Cesare.

 

Lucrezia’s arc this season as a mother brings a new dimension to her character.  We see her maternal side in her love for her baby, who was born of a sweet, illicit affair with commoner Paolo (played by Luke Pasqualino), that was entirely of her own choosing.  “When I was reading the script, I found myself really rooting for them,” Grainger says. “But it can never be – the poor stable boy and the princess of Rome. It’s quite heartbreaking. I think everyone in life always ends up falling in love with someone that they shouldn’t, right?”

 

THE POPE’S LOVERS & THE LADY ROBIN HOODS OF ROME

To keep his mistress busy while he whets his appetites elsewhere, Pope Alexander sends Giulia on a mission to uncover financial corruption within the Vatican. She enlists Vanozza and Lucrezia, and the trio takes to the gritty streets to find the Cardinals in their favorite haunt: the bordello.  Historically, Vanozza owned numerous “hotels,” commonly believed to be brothels, which were ubiquitous in Rome of this era.  “Vanozza, with her past life as a courtesan, has a lot of experience in digging deep, and finding the weak sides of the cardinals, which the three of them use for a better means,” Grainger says. “They’re like the three Robin Hoods of Rome.”

 

Another type of an alliance forms when Giulia seeks Vanozza’s advice when she learns the Pope’s eye has started to wander.  Says Lotte Verbeek, “Vanozza and Giulia in the first season were competitors, in a way, but they’ve never really seen it that way, which is really interesting. They’re smart enough women to accept their positions, accept their fate, but also use it.”

 

Pragmatist Vanozza stands firm in her powerful position as matron of the family. “Vanozza is going to keep the reins of her power and have influence, as far as she can, over her children, and their lives. This has been her life’s work. And she’s not going to let a little thing like Giulia Farnese get in the way of that,” Whalley says.

 

MICHELETTO AND ‘THE WILD BUNCH’

As the Borgias’ enemies have increased in numbers, so has the need for more help to fend them off: enter the ruffians known as the “Wild Bunch,” in a nod to the celebrated Western Magnificent Seven, directed by John Sturges.  Says Jordan, “Micheletto would get these disenfranchised members of Roman families, with no jobs basically, no soldier’s fortune, and put them together. They decide to have some fun and revenge, with the promise of some booty.”

 

Since his father refuses to install him at the head of the Papal Army, Cesare continues going rogue to settle Borgias’ scores, including avenging the sadistic death of his beloved Ursula, with unflinching henchman Micheletto by his side.  “Cesare was a godfather of commando guerrilla warfare,” says director Jon Amiel.  “What you see Cesare creating is a precursor to ‘SEAL Team 6’ – those guys who killed Osama bin Laden,” says Amiel. “He was creating a stealth force. They were masked in a way a commando team would be masked. They had special weapons, they were specially trained, and designed to inspire terror, to work under the radar of contemporary warfare.”

 

THE POPE’S NEMESES: DELLA ROVERE AND SAVONAROLA

“Della Rovere is a super cardinal in season two – a sort of ‘Cardinal James Bond,’” says François Arnaud.  Della Rovere antagonized Pope Alexander throughout his entire reign as Pope, and himself was the next Pope in line, known as “Il Papa Terrible,” or Julius the Terrible.

 

In season one, Della Rovere (played by Colm Feore) tried to unseat the Borgias through legal means; this time around, he’s playing dirty.  He enlists a young apprentice, who is willing to give his life for his faith – a kind of medieval suicide bomber.

 

 “What I am now prepared to do, instead of playing by the rules, is learn from the Borgias’ playbook,” Feore says. “I discover that with God’s blessing, sometimes you just gotta do what you gotta do, and I figure it’s better to fight fire with fire, poison with poison, and pointed sticks with pointed sticks.”

 

Meanwhile, the incendiary Florentine Friar Savonarola, played by Steven Berkoff, escalates his condemnation of the Borgias this season, to his own dreadful demise.  Berkoff says, “The Pope is everything that Savonarola hates. Alexander is lascivious, lecherous, promiscuous, and all of the other ous-es. Savonarola finds this intolerable.”

 

Savonarola’s fiery fanaticism culminates in the infamous “Bonfire of Vanities,” which Berkoff calls a “collective hysteria.” As the flames soared across Florence, so did Savonarola’s hostility toward the Borgia Papacy.  “He refused to kowtow to the Catholic Church and to the Pope, which gives the Pope the excuse to excommunicate him, and eventually get rid of him,” Irons says.  “Remember, this is a time when witches were burned for heresy. Savonarola believes he speaks directly to God. And that, of course, in the structure of the Church, cannot be allowed to any other person, apart from the Pope.”  The Pope dispatches Cesare to Florence to order that Savonarola cease his ways.  Savonarola, of course, refuses.  Berkoff says, “The Pope is wondering, who is this lunatic? He has power. He has largesse. He is compelling…”

 

ABOUT THE PRODUCTION

PRODUCTION DESIGN

 

THE BORGIAS season two is bigger and bolder in both scale and depth due to the grander production design.  In depicting the hardscrabble realities of the city’s underbelly, a poverty quarter set was erected for this season, which will also feature a bareback horserace through the streets of Rome, a bloody castle siege, the notorious “Bonfire of Vanities,” and a sumptuous masked ball. Intermixed with the drama and intrigue lurking in the shadows are remarkable new cameras and more elaborate props, and costumes.

 

The series’ backlot at Korda Studios, outside Budapest, has been nearly doubled in size by production designer Jonathan McKinstry and team.  Flanking the Vatican are more Roman buildings and a City Gate, completing St. Peter’s Square; the streets of Rome and the Basilica are expanded; while a slum quarter, and a market area are new complements to season one’s rich interior Vatican and villa sets.

 

Director of photography Paul Sarossy is particularly enthused about the backlot additions. “The fact that now our main Roman Square in front of St. Peter’s is complete means we can shoot in all directions – 360 degrees – opening up many possibilities for filming,” he says. “The scope of our world had doubled!”

 

Practical filming locations range from the bucolic Hungarian countryside for open battlefield scenes, to a palatial family estate doubling as an opium den, to an eerie, centuries-old military fortress serving as a scorched convent.  “I did try to go out on location more this season to push the boundaries out a bit further and give us a slightly greater variety of imagery,” McKinstry says.

 

The grandest new set this season is the Forli Castle, the stronghold of Catherina Sforza, who refuses to bow to the Pope and is thus attacked by Juan Borgia and the Papal Army.  Built in just six weeks (when the real thing often took centuries), the castle measures approx. 170 feet wide by 60 feet high, and has a Romanesque design, based on Italy’s Ritaldi Castle, dating to 1,000 AD.

 

The Florence set is a drastic contrast to the feeling of antiquity of the Rome sets; this was the seat of cultural enlightenment, reflected by its bright, sunny color palette.

 

ARTISANS AT WORK

Hundreds of artisans and thousands of hours of research and labor went into crafting the props, costumes and other lush accessories for season two.  From opium pipes to carnivale masks and from hand-sewn jeweled gowns to finger crushers, the filmmakers mined original manuscripts, artwork, tools, weapons, and artifacts from medieval Italy to recreate the extravagant environs of Pope Alexander VI.  Great attention was paid to historical detail whenever possible, though artistic license also was taken on occasion, for example with the invented “penis scraper” used in a medical exam on the promiscuous Juan Borgia.

 

Academy Award®-winning costume designer Gabriella Pescucci and her team, hailing from Italy, France, the UK and Hungary, created hundreds of costumes from original designs, using more than six miles of fabric and 475 pounds of dye.  Pescucci studied medieval paintings from her native Italy for inspiration on detail, color and style, Piero della Francesca being one of her favorite painters.

 

A skilled artist in her own right, Pescucci sketches the costumes herself, and begins her intricate process:  Hand-beaded silk gowns for the ladies, fitted leather pants for the muscular “Wild Bunch” assassins, fleur-de-lis French military regalia, “street wear” for the Pope.

 

Pescucci and her team found fabric, la stofa in Italian, from around the globe – and that’s where the design begins, she says: “There is a conversation between me and the fabric.  La stofa becomes the protagonist.”

 

Observant viewers will delight in the masks for the carnivale.  Handcrafted, and personally painted by Pescucci and team, each mask is inspired by Greek and Roman theater, and relates to the particular character: Mars, the god of War for Juan; Minerva the goddess of magic for Giulia; and the two-faced god Janus for Pope Alexander VI.

 

For the highly detailed props filmed this season, prop master Philip Murphy and his team perused antique shops, and museums in Italy, Hungary, and the Czech Republic. “From the torture point of view and brutality, Prague is where we went.  For high-end Renaissance detail, it was Rome and its museums,” says Murphy. “One thing that was surprising is how technically, artistically, and aesthetically advanced Rome was at the end of the 1500s, and start of the 1600s, amazingly so.”

 

From swords to cannons to poison kits, Murphy and a team of blacksmiths, model makers, leather makers, painters, etc., would study, sketch, and reproduce the items, mostly in Hungary. The horrifying torture device, known as the ‘pear of anguish,’ was rented from a specialty house. This pear-shaped wooden device would be inserted into an orifice in the victim – i.e., into the mouth of a blasphemer – then wound up, expanding in size about five times, breaking bones, tissue, muscle – and likely the victim’s will.

 

HISTORICAL CONSIGLIERE

In the sea of a film crew clad in blue jeans and fleece, Papal consultant Rihmer wears a suit and carries a briefcase filled with books and academic materials.  Among them, hymns, ecclesiastical documents, liturgical ceremonies, canon law, in Latin, German, Italian – he is fluent in them all, as well as French, Spanish, English and his native Hungarian.  He has offered text for mass at the Vatican; he advises the filmmakers on marriages, baptisms, burials, and the very minutiae of ceremony for which the Catholic Church is known.  Rihmer brings his wealth of academic zeal to set – and then works with filmmakers to boil things down, in order to make the story work cinematically.

 

 “When I’m doing any ecclesiastical work, I can look to him and say, ‘Did you believe it?’ and it gives me an imprimatur, a confidence which is invaluable,” says Irons. “It’s a bit like if you’re playing a surgeon, and you’ve got to do a scene where you cut someone’s stomach out, it’s quite useful to have someone who’s done it standing beside you and saying, ‘actually, this is the knife you use for that; this is how you hold it.’ That’s really what Zoltan is doing for us, in an ecclesiastical way.” 

 

Attention to historical accuracy was a priority for filmmakers – as was the willingness to disregard it to further the story, and entertain.  And it’s a rich era to mine for plot lines: in the 15th century, Columbus and other explorers pillaged the New World.  David Leland wrote a scene in which Juan Borgia brings a Spanish conquistador to Rome to share New World tales and treasure, including tobacco (at the suggestion of Jeremy Irons), an incident which may – or may not – have happened.  “If you want a history lesson, read a book and watch a documentary. If you want drama, watch THE BORGIAS,” Leland says. 

 

Amidst the dramas of torture, warfare, and turbulent times surrounding the Borgia Papacy, at the central core is the family.  “What I love about THE BORGIAS is that it’s a huge, epic tale of wars, and power, and God, and faith, and poverty, and riches,” says Joanne Whalley. “But at the center of that, it’s a family. It humanizes everything.”  Says Irons, “An audience will always be engaged by the human condition. Battles are great, political movements are great – they give tension, and they’re interesting to watch …But certainly what I care about, as an audience, are people. How they interact. And I think what we’re seeing is how this pretty wild family is dealing with one other. How each character is developing, getting stronger or weaker.  And it’s them we watch, and them, hopefully, we love, in a strange way.”

 

 

CAST BIOS

 

JEREMY IRONS

(Pope Alexander)

 

JEREMY IRONS won the Academy Award® for Best Actor for his performance as “Claus von Bulow” in Reversal of Fortune. He is also a Golden Globe® Award, Primetime Emmy® Award, Tony Award®, and SAG Award® winner, and most recently received a Golden Globe® nomination for his role as Pope Alexander.
 
The British Irons has an extraordinary legacy of film, television and theatre performances, including: The French Lieutenant's Woman, in which he starred opposite Meryl Streep; The Mission; and David Cronenberg’s Dead Ringers. Irons starred in Damage and M. Butterfly before he made pop culture history as the voice of the evil lion “Scar” in Disney’s classic The Lion King. Irons showed his grasp of the action genre starring opposite Bruce Willis in Die Hard: With a Vengeance, and also starred as Humbert Humbert in Adrian Lyne's Lolita. Other career highlights include: Being Julia with Annette Bening; Appaloosa with Ed Harris and Viggo Mortensen; and Bertolucci's Stealing Beauty. Irons received a Tony® Award for his performance in Tom Stoppard's The Real Thing and most recently appeared in London in the National Theatre’s Never So Good and in the Royal Shakespeare Company's The God’s Weep.  Irons is probably best known for his role as Charles Ryder in the cult TV serial Brideshead Revisited. In 2005, Irons joined Helen Mirren and director Tom Hooper in the award-winning television miniseries Elizabeth I.  He was also recently lauded for his portrayal of iconic photographer Alfred Stieglitz in the award-winning bio-pic picture Georgia O’Keefe.

 
Last year, Irons appeared in the award-winning independent feature, Margin Call with Kevin Spacey. Irons’ next movie The Words, with Bradley Cooper, was featured on closing night at the 2012 Sundance Film Festival.

 

This spring, he will play Henry IV, directed by Richard Eyre, as part of a series of films for the “Cultural Olympiad for Britain 2012.”  This series is a BBC2 adaptation that will form part of a Shakespeare season being made in collaboration with Oscar®-winning filmmaker, Sam Mendes. Irons also recently filmed The Night Train to Lisbon, directed by Billie August. 

 

FRANÇOIS ARNAUD

(Cesare Borgia)

FRANÇOIS ARNAUD was born in Montreal, Quebec.  At the age of 19, he attended the prestigious Conservatoire National d’Art Dramatique de Montreal for three years.  During this time, he and other classmates founded a theatre company for young audiences called “Theatre Juré Craché,” which toured in France in the summer of 2007.  During that same year, he soon landed a co-starring role as “Marc-Andre” in the television comedy TAXI 0-22 opposite Patrick Huard as his father.  He was then cast in the play Moliere for the Shakespeare in the Park touring company.  Arnaud has also appeared in Awake & Sing; L’Heure du lynx and works by Goldoni at Théâtre du Nouveau Monde.

 

In 2009, he starred in the film Les Grandes Chaleurs (Heat Waves), an adaptation of a play by Michel Marc Bouchard.  In 2010, he starred in I Killed My Mother, directed by Xavier Dolan and was awarded the Vancouver Film Critics award for Best Supporting Actor.  That same year, he was nominated for a Gemini Award as Best Actor in a Dramatic Series for his role as “Theo” in the drama Yamaska, a long-running, one-hour television series starring Anne Marie Cadieux and Elise Guilbaut. 

 

HOLLIDAY GRAINGER

(Lucrezia Borgia)

 

HOLLIDAY GRAINGER is currently filming the pivotal role of ‘Estella’ in a highly anticipated new adaptation of the Charles Dickens classic Great Expectations, opposite Helena Bonham Carter and Ralph Fiennes and set for release next year.  Grainger will next be seen in the lead role of ‘Suzanne Rousett’ in Bel Ami, co-starring Robert Pattinson, Uma Thurman and Kristin Scott Thomas. She first garnered attention when she took on the role of ‘Emily’ in The Scouting Book for Boys, a film previewed to critical acclaim at the London Film Festival and winner of the Best British Newcomer Award for its writer, Jack Thorne.  That same year, she played the role of ‘Mollie’ in Pat Holden’s feature Away Days, written by Kevin Sampson and starring Stephen Graham.  In 2011, she was seen in a much-lauded adaptation of Charlotte Brontë’s Jane Eyre accompanied by a stellar cast including Dame Judi Dench and Michael Fassbender.

 

In addition to her film and stage credits, Grainger’s television portfolio is extensive.  She starred in the BBC’s drama Five Daughters as well as reprising her role as “Sharon Bilkin” in the second season of Above Suspicion, based on the adaptation of Lynda La Plante’s best-selling crime novels. She also starred in the BBC Three pilot Stanley Park and has also taken on roles in the U.K. television series Demons, Merlin, Robin Hood and Blue Murder.  Grainger was also recognized for her character of “Charlie Cooper” in a one-off television adaptation of Kate Long’s novel The Bad Mother’s Handbook.  Grainger starred opposite Catherine Tate, Anne Reid and Robert Pattinson in this popular comedy drama. Other television credits include Waking the Dead and Waterloo Road for the BBC and Where the Heart Is for ITV.

 

Grainger made her stage debut in the four-handed play Dimetos alongside Jonathan Pryce, Anne Reid and Alex Lanipekun as the role of “Lydia” in Athol Fugard's 1975 tale of a reclusive engineer harboring a destructive passion for his niece.

 

DAVID OAKES

(Juan Borgia)

 

Since graduating from the Bristol Old Vic Theatre School in 2007, DAVID OAKES has worked on a number of exciting projects.  Last year, he starred in the award-winning Starz/Channel 4 mini-series Pillars of the Earth, based on Ken Follett’s novel of the same name.   Later this year, he will star as the lead in the horror film Truth or Dare, and make a cameo appearance in World Without End, the sequel to Pillars of the Earth.  Oakes’ other film credits include the short Faces of Change; the feature film Portrait of a Serial Winner and recently, he produced his first short film, Who Shall I Play With Now?, which will be released later this year.

 

In television, Oakes has also appeared in Henry VIII: Mind of a Tyrant, Walter’s War, Trinity and Bonekickers.

 

On stage, he recently performed at the Orange Tree Theatre in Three Farces, by the theatre company he co-founded; Dog Ate Cake - dedicated to re-interpreting Victorian farce and undiscovered comedy. His past theatre credits include All The Little Things We’ve Crushed; Journey’s End (one of The Daily Telegraph’s Top 10 shows of 2008); Mary Stuart; Kevin Spacey’s 24 Hour Plays at the Old Vic; Love’s Labour’s Lost and Much Ado About Nothing, for Shakespeare’s Globe and the Royal Shakespeare Company respectively; Eric Schlosser’s We The People; and The Wind In The Willows. He has also directed and created shows for various festivals, as well as assisting in other works at the Birmingham Repertory Theatre and Manchester's Contact Theatre.

 

 

JOANNE WHALLEY

(Vanozza)

 

JOANNE WHALLEY was born in Salford, trained at the Braeside School of Speech and Drama and first appeared as a child in How We Used to Live. Whalley started her career on television with early roles in A Kind of Loving, The Singing Detective and Edge of Darkness – the latter of which saw Whalley nominated for a Best Actress BAFTA.

 

Between 1988 and 1994, Whalley was cast in Ron Howard’s Willow; John Dahl’s Scandal; and played “Scarlett O’Hara” in the TV mini-series Scarlett.  Whalley has appeared in numerous stage productions including Danny Boyle’s The Genius, Crimes of Vautrin and Peter Pan, all at The Royal Court. Whalley was nominated for a Best Actress Olivier for her work in The Edward Bond Season: The Pop’s Wedding & Saved.  In 2000, Whalley played Jackie Bouvier Kennedy Onassis in the TV movie of the same name and appeared in TV series’ Criminal Minds, Justice League and Unknown Sender.

 

More recently, Whalley was cast in Francis Ford Coppola’s Twixt and appears in the hit television series, Gossip Girl.

 

LOTTE VERBEEK

(Giulia)

 

Most Recently, LOTTE VERBEEK was cast in Mike Figgis’ psychological thriller, Suspension of Disbelief, which began filming earlier this year.  Her performance in the lead role in Nothing Personal, earned her a European Academy Award nomination for Best Actress.  She also won the Best Actress Award at the International Film Festivals of Locarno and Marrakech, and was nominated for the National Dutch Film Award, Golden Calf, as Best Actress.  In 2007, she won her first leading role in a feature film, Left, in which she played five different characters. The film was awarded a Silver Melies in Sweden.

  

Born in Holland, she professionally trained at the Amsterdam Academy of Dramatic Arts, as well as at the Amsterdam Academy of Jazz/Musical Theatre and Dance. During her training at the Academy of Dramatic Arts, she was cast as the lead in the television drama series, Moes.

 

COLM FEORE

(Della Rovere)

 

COLM FEORE’s talent crosses many borders: an international success story, he acts in both English and French and has conquered many mediums, with starring roles in film, television, and on stage.

 

In film, he most recently appeared in Thor with Anthony Hopkins and Natalie Portman.  He also completed filming The Trotsky, which is being released later this year.  His other film credits include Oscar® nominated Changeling, directed by Clint Eastwood; the Oscar® winning film Chicago, which also won the 2003 SAG Award for Outstanding Performance by the Cast of a Theatrical Motion Picture; The Chronicles of Riddick; The Exorcism of Emily Rose; Paycheck; The Sum of All Fears; The Listener, Thirty Two Short Films About Glenn Gould, which won the Genie Award for Best Picture and earned him a nomination for his performance; The Insider and Titus.

 

Celebrated as a fine stage actor, he recently had a triumphant return to Canada’s renowned Stratford Shakespeare Festival where he played two lead roles, Cyrano de Bergerac, directed by his wife, Donna Feore, and MacBeth.  In 2005, Feore starred with Denzel Washington in the Broadway production of Shakespeare's Julius Caesar. His performance earned him the St. Clair Bayfield Award.  Feore was featured in the 2006 Stratford Festival to star in Don Juan, in which he played the title role in both the English and the French performances of the play. Feore also acted in the title role in Coriolanus, and performed the role of Fagin in Oliver, to rave reviews.  Feore was also recently on stage as "Claudius" in Hamlet in New York and returned to Stratford for its 50th Anniversary season playing “Professor Higgins” in My Fair Lady.

 

Small screen movie credits include historical roles in Nuremburg, The Day Reagan was Shot, And Starring Pancho Villa as Himself, Empire, and Trudeau, for which he won the 2002 Monte Carlo Television Festival Award for Best Actor and the 2002 Gemini Award for Best Actor in a Mini Series, to classic dramas including Romeo and Juliet, and Taming of the Shrew.   Feore has also had many roles in such successful contemporary shows as 24, Flashpoint, The West Wing, Boston Public, and the Canadian mini-series Slings & Arrows II, a look behind the scenes at the chaotic world of theatre.

 

Feore is the 2007 recipient of the NBC Universal Canada Award of Distinction at the Banff World Television Festival.

 

EXECUTIVE PRODUCER BIOS

 

NEIL JORDAN

(Executive Producer, Director, Writer)

 

Born in 1950 in Sligo, Ireland, NEIL JORDAN began his career as a writer.  His first book of stories, Night In Tunisia (1976) won the Guardian Fiction prize. Since then he has published five novels, The Past (1979), The Dream Of A Beast (1983), Sunrise With Seamonster (1994) and Shade (2005). His most recent novel, Mistaken, was published in early 2011.

 

In 1982, Jordan wrote and directed his first feature film, Angel. Since then he has written, directed and produced more than fifteen films, including Company Of Wolves, Mona Lisa, The Crying Game, Interview With The Vampire, The End Of The Affair, The Butcher Boy, Breakfast On Pluto, The Good Thief and Ondine. His films have been honored with numerous awards worldwide, including an Oscar®, BAFTAs, Golden Globes®, A Golden Lion from The Venice Film festival and a Silver Bear from Berlin. He has been awarded five honorary doctorates, and in 1996 he was appointed Officier of the French Ordres des Artes et des Lettres. 

 

 

JAMES FLYNN

Executive Producer

 

JAMES FLYNN is an independent producer of feature films and television series, and is the principal of Octagon Films.

 

In addition to receiving two Academy Award® nominations in 2010 for The Door and The Secret Of Kells, Octagon’s recent production credits include As If I Am Not There, directed by Juanita Wilson; Ondine by Neil Jordan; and Love/Hate Series 1 and 2 by Stuart Carolan and David Caffrey.  In addition to The Borgias, Octagon Films produced Camelot, written by Chris Chibnall and produced by Morgan O’Sullivan.  Flynn was also one of the executive producers on all four seasons of the SHOWTIME series The Tudors

 

JACK RAPKE

(Executive Producer)


During a seven-year tenure as co-chairman of CAA’s motion picture department, JACK RAPKE cultivated a high-profile client list that included Jerry Bruckheimer, Ridley Scott, Michael Mann, Harold Ramis, Michael Bay, Terry Gilliam, Bob Gale, Bo Goldman, Steve Kloves, Howard Franklin, Scott Frank, Robert Kamen, John Hughes, Joel Schumacher, Marty Brest, Chris Columbus, Ezra Sacks, and Imagine Entertainment partners Ron Howard and Brian Grazer. Instrumental in building production companies around his clients, it was only a matter of time before he decided to build one of his own with client Robert Zemeckis.

In 1998, Rapke departed CAA to form ImageMovers with Zemeckis and producing partner Steve Starkey. Primarily focused on theatrical motion pictures, the company’s first feature was the critically acclaimed Cast Away, directed by Zemeckis and starring Tom Hanks. Rapke and partners went on to produce numerous hits including Zemeckis’ thriller What Lies Beneath starring Harrison Ford and Michelle Pfeiffer, the Ridley Scott-directed “Matchstick Men” starring Nicolas Cage, The Prize Winner of Defiance, Ohio starring Julianne Moore and Woody Harrelson, and Last Holiday starring Queen Latifah.
Zemeckis’ pioneering use of “performance capture” technology in 2004’s The Polar Express blazed a new trail for modern 3D filmmaking. Rapke and partners produced four more films employing this revolutionary new technique: 2006’s Oscar®-nominated Monster House, 2007’s Beowulf, directed by Zemeckis and starring Anthony Hopkins and Angelina Jolie, and 2009’s A Christmas Carol, also directed by Zemeckis, starring Jim Carrey. 

 

Most recently, the partners executive produced Real Steel, starring Hugh Jackman, directed by Shawn Levy.  Currently, ImageMovers is in post-production on Flight, starring Denzel Washington, also directed by Zemeckis, due in theatres in 2012.

 

 

SHEILA HOCKIN

(Executive Producer)

 

SHEILA HOCKIN has more than 25 years’ of experience in television production and broadcasting.  She executive produced four seasons of the hit international co-production The Tudors, starring Jonathan Rhys Meyers, for SHOWTIME.® The series was sold to more than 100 countries internationally.  

Hockin’s past productions also include five seasons of the ground-breaking SHOWTIME® series Queer As Folk, numerous cable features and documentaries and several large-scale reality television series based on hit international formats, including three seasons of Canada’s Next Top Model and Andrew Lloyd Webber’s How Do You Solve A Problem Like Maria?

 

Hockin was previously a principal in Temple Street Productions, a company she developed with partner Patrick Whitley into one of the top 10 production companies in Canada. Her broadcasting experience includes two years as Senior Director, Broadcast Communications for the English Networks of the CBC.

 

 

JUSTIN FALVEY

(Executive Producer)

 

JUSTIN FALVEY serves as Co-President of DreamWorks Television, the television production arm of DreamWorks, overseeing all series development and long-form programming for the company.

 

In July 2011, DreamWorks Television’s seventh and final season of Rescue Me starring Denis Leary aired. In June 2011, TNT premiered Falling Skies, the highly-rated alien invasion series Falvey executive produced based on an original idea by Steven Spielberg, written by Robert Rodat (Saving Private Ryan) and starring Noah Wyle. Falling Skies is currently in production on its 2nd season. For SHOWTIME, Falvey executive produced The United States of Tara, a show based on an idea by Steven Spielberg and written by Diablo Cody (Juno). In September 2011, FOX premiered Terra Nova, executive produced by Falvey, the producers of 24, Chernin Entertainment and Spielberg. For NBC, Falvey is currently executive producing the hour-long drama series Smash, which chronicles the development of an original Broadway musical from its creative inception through opening night. For ABC, Falvey is executive producing the genre-thriller drama series The River, with producer Oren Peli (Paranormal Activity).

 

In the long-form arena, Falvey is developing Stephen King’s New York Times best-selling novel Under the Dome, for SHOWTIME, with Spielberg attached as an executive producer.

 

During his 16-year tenure at the studio, Falvey executive produced the drama Las Vegas for five seasons, as well as oversaw the development and current programming of NBC’s Freaks and Geeks, ABC’s The Job, and FOX’s Undeclared. Falvey also served as a co-executive producer on Into the West, an epic limited series from executive producer Spielberg, which became the most Emmy®-nominated program of the year with 16 nominations and a Golden Globe® nomination for Best Mini-Series or Motion Picture Made for Television.

 

 

JOHN WEBER

(Executive Producer)

 

JOHN WEBER began his film and television career in 1995 and has been involved in producing numerous television projects, including domestic productions, foreign-service productions and international co-productions. In 2009, Weber set up the Canadian-based production company Take 5 Productions and is currently president and CEO of the company. Prior to Take 5, Weber was the CEO of Dufferin Gate Productions, a Toronto-based production service company.

 

In 2007, Weber sold controlling interest of Dufferin Gate and embarked on a new venture by acquiring the international rights to the Emmy® Award-winning SHOWTIME series The Tudors. In addition to his services as president of Take 5, Weber was a producer of The Tudors and an executive producer of the ten-episode series Camelot and the epic mini-series World Without End.

 

DAVID LELAND

(Executive Producer, Writer, Director)

 

Acclaimed filmmaker DAVID LELAND’s career spans acting, writing and directing, from documentary to drama; music videos to musicals to comedy.

 

Born in Cambridge, England, Leland launched his career on screen and stage as an actor before turning his hand to writing and directing.  He netted a BAFTA for his directorial debut, Wish You Were Here. Among his other directing credits is the WWII series produced by Steven Spielberg and Tom Hanks, Band of Brothers, for which Leland garnered numerous Best Director Awards: an Emmy®, a Golden Globe®, an AFI Award, and The Christopher Award.

 

As a writer, Leland teamed up with Neil Jordan on the critically acclaimed Mona Lisa, and with director Terry Jones on the comedy Personal Services, for which he won the Peter Sellers Award for Comedy (along with Wish You Were Here).  Other screenwriting credits include Beloved Enemy, Psy-Warriors, The Decameron,  and Tales Out of School, a series of four tele-films about the darker side of life in Britain during the Thatcher era; one of which, Made in Britain, netted the Prix Italia Award; and Birth of a Nation the prestigious Prix Futura.

 

Leland has acted in theatre, television and films, taking the leading role in Solzhenitsyn's The Love Girl and the Innocent; a Samuel Beckett one man show for the stage; and the Palin and Jones Ripping Yarns football saga, Golden Gordon

 

His director credits for stage include Tennessee Williams' The Red Devil Battery Sign, Michael Palin and Terry Jones’ Their Finest Hours, Victoria Wood's Talent and the musical, A Tribute to the Blues Brothers.

 

Music video director credits include the Traveling Wilburys, (with George Harrison, Roy Orbison, Tom Petty. Bob Dylan, Jeff Lynne and Jim Keltner); also for Tom Petty and Paul McCartney.  And he won a Grammy® for his film Concert for George.  

 

EPISODE DESCRIPTIONS

 

EPISODE 201 – “THE BORGIA BULL”

Inspired by the discovery of a caché of long-lost ancient Roman artifacts, Pope Alexander VI throws a grandiose pagan-themed feast for the people of Rome.   Meanwhile, Lucrezia tends to her new baby while her brothers Cesare and Juan find their mutual animosity spilling over into outright conflict, culminating in a heart-stopping bareback horse race.  Alexander’s mistress, Giulia Farnese, learns that the Pope has taken a new lover and turns to Vanozza for advice…who counsels that there is room for three.  Elsewhere, Della Rovere, returned to the simple life of a pastoral priest and narrowly escapes an assassination attempt by Cesare.  In the south, the former prince of plague-ridden Naples, Alfonso, is hunted down on the slopes of Vesuvius and tortured to death by the occupying forces of a furious – and gravely sick -- French King Charles VIII.

 

 

EPISODE 202 – “PAOLO”

Paolo, the young stable lad from Pesaro, has made his way to Rome, determined to rejoin his one-time lover Lucrezia and the child that she bore him but he has never seen.  Meanwhile Giulia, finding her feet in her new role (as part of a threesome) turns her attention to charitable works:  with the Pope’s new lover Vittoria as their guide, she takes Alexander out into the city in disguise to show him first-hand the plight of the poor.  With the aid of good-hearted prostitute Beatrice, Paolo eventually manages to speak to Lucrezia and she begs for Cesare’s help to arrange a tryst.  Embittered Juan, however, jealous of Cesare and full of misguided notions of family honor, gets wind of his sister’s secret rendezvous and in a drunken rage kills Paolo as he leaves the Borgia Villa the following morning and leaves a fake suicide note in the corpse’s hand so he’ll be mistaken for a common suicide.

 

EPISODE 203 – “THE BEAUTIFUL DECEPTION”

When her father tells heart-broken Lucrezia that Paolo’s suicide cannot be given a Christian funeral and will go to Hell, she refuses to feed either herself or her baby.  Worried for his grandson, Alexander relents, but he also suspects what she has already realized:  Juan murdered him.  Soon however, the family faces a greater threat.  The French army is marching from Naples, King Charles is eager for vengeance for having been tricked by Alexander, and what’s worse, his forces are backed by those of Giovanni Sforza, Lucrezia’s humiliated ex-husband, and his powerful cousin Catherina.  The French lay siege to Rome once more and this time it seems the city must fall to Charles’ superior artillery.  But Cesare concocts an elegant plan and works with Vittoria to outwit the French once again.  Meanwhile, Della Rovere has arrived in Rome unnoticed, seeking conspirators for his new plot to assassinate the Pope.

 

EPISODE 204 – “STRAY DOGS”

Alexander’s old enemy Ludovico of Milan and the powerful Mantuan Duke Gonzaga seek the Pope’s blessing for an alliance with Venice to attack the French army, which is still laying waste to the Italian countryside.  Cesare learns that the retreating French have burned the nunnery of St. Cecilia and his beloved Ursula has been killed; he and Micheletto recruit a band of cut-throat killers and mercenaries to seek revenge.  Leaving Lucrezia in charge at the Vatican, Alexander and Cesare travel to join the Italian forces who seem doomed in the face of the French cannon.  But the dreaded artillery does not fire – either because of Alexander’s fervent Papal prayers for rain or because of Cesare’s hired killers’ daring raid on a French ammo dump.  The battle is a bloody inconclusive draw, but the wily Alexander has come out on top, seizing abandoned French booty as the price of his blessing and seeing potential enemies weakened by the slaughter.  Back in Rome, Lucrezia tests her new power as she joins in Giulia’s quest to fight Vatican corruption and provide charity for the poor.

 

 

EPISODE 205 – “THE CHOICE”

Alexander is determined to deal with the twin thorns in his side:  the haughty Sforza family and the rebellious Florentine friar Savonarola.  He sends Cesare to Catherina Sforza’s castle at Forli to demand that she swear allegiance to Rome while he himself travels to Florence in disguise to hear the increasingly powerful Savonarola preach – not knowing that Della Rovere is there too, getting Savonarola’s blessing on his plot to assassinate the Pope.  At Forli, Catherina receives Cesare graciously and proceeds to seduce him, but subsequently refuses to swear allegiance to the Pope.  Enraged, Cesare kills her cousin Giovanni – as revenge for his brutal treatment and rape of Lucrezia during their ill-fated marriage.  In Rome, Lucrezia, Vanozza and Giulia put their plan for reform into action by funding the renovation of a run-down brothel.  Lightning strikes St. Peter’s Basilica during a Mass and the roof collapses – Alexander is almost killed, but courageously tries to save the lives of choirboys trapped in the rubble.

 

EPISODE 206 – “DAY OF ASHES”

Convinced that the lightning strike was a sign of God’s disapproval, Alexander begins a fastidious regime of Lenten fasting.  Alexander’s political problems worsen:  Cesare’s intemperate killing of Giovanni has hardened the enmity of the powerful Sforzas, while Piero de Medici flees to Rome with news that Savonarola now rules Florence and that Papal deposits with the Bank may be lost.  Desperate for new allies, Alexander recruits Vanozza to persuade a reluctant Lucrezia to marry again.  Lucrezia resists and plays the diva.  Meanwhile, she and her mother along with Giulia, confront Cardinals Versucci and Piccolomini and demand that they channel curia money to the poor for whom it was intended.  In Florence, Cesare confronts Savonarola, but is almost killed by the friar’s chilling child army.  Seeking to prove to his father that he is capable of taking control of the Papal armies, Cesare and his “wild bunch” attempt a daring heist of Medici gold, but he is disappointed when he learns that Juan is coming back from Spain to take military command once again.

 

EPISODE 207 – “THE SIEGE AT FORLI”

Juan returns from Spain, flanked by a retinue of conquistador generals led by the proud Don Hernando.  Alexander is impressed by his son’s newfound confidence and orders him to lead the Papal armies to besiege Catherina Sforza’s castle.  Lucrezia meanwhile, stalls attempts to marry her off – her father favors rich Genovese merchant prince Calvino – but Lucrezia, obstinate and deliberately perverse, proceeds to flirt with his younger (and thus inappropriate) brother Raffaello.  In Florence, Cesare and Machiavelli witness Savonarola’s puritan zealots strengthen their grip on power, culminating in the fevered destruction of art works and luxuries in the “Bonfire of the Vanities.”  Della Rovere has recruited angelic-looking young friar Antonello as the “suicide” assassin for his plot, and begins to feed the willing boy small doses of poison to create a tolerance to deadly cantarella.  Meanwhile, Juan’s siege of Forli reaches a stalemate until he manages to kidnap Catherina’s son Benito, whom he tortures and threatens to kill in view of the castle walls.  Hernando is disgusted by this ignoble behavior and Juan’s true cowardly nature is revealed when he flees in terror as the siege is broken by a surprise attack by Ludovico Sforza’s reinforcements.

 

EPISODE 208 – “TRUTH AND LIES”

Back in Rome, Juan flaunts a wounded leg and spins a yarn about his valiant conduct at his army’s defeat at Forli.  But Hernando brings the boy Benito back to Rome and Cesare is determined to have his father hear the truth of Juan’s cowardice.  Juan, bitter and humiliated, is now dying from syphilis and the infected wound and turns to opium addiction to dull his pain.  Lucrezia, Giulia and Vanozza discover that the improvements to an orphanage they demanded from the Cardinals have not been begun, so they turn to blackmail to finish the project.  Lucrezia meanwhile, still prevaricates over marriage to Calvino while flirting with his brother;  Vanozza gives her some homespun advice about taking lovers; and Lucrezia seduces Raffaello.  Della Rovere’s assassination plan faces one last hurdle:  how to replace the Pope’s taster with his own agent?  While Della Rovere ponders the moral dilemma of killing a good man for a greater end, his accomplice Antonello takes matters into his own hands. 

 

 

EPISODE 209 – “WORLD OF WONDERS”

It’s Easter, but Alexander continues to fast.  A new taster is recruited, and Antonello gets the job – Della Rovere’s assassin is ready to strike.  In Florence, Cesare challenges Savonarola to a trial by fire.  Raffaello meanwhile, formally asks for Lucrezia’s hand but Alexander sends the brothers packing.  Giulia persuades Alexander that his Papacy has been a good thing, so he ends his fast and orders a celebration for the baptism of Lucrezia’s baby.  At the party, Antonello is ready to strike but is thwarted by Alexander’s switch from water back to wine.  As the party continues, Juan is completely out of control, and threatens the life of Lucrezia’s child.  A chilling Cesare at last comes to terms with what needs to be done.

 

EPISODE 210 – “THE CONFESSION”

While Alexander worries that Juan has not come home, Savonarola is tortured on the rack but will not confess.  Cesare, determined to destroy his legacy as well as his body, fakes a confession and Savonarola is burned as a heretic.  Meanwhile, a new suitor for Lucrezia’s hand – Alfonso of Aragon – arrives in Rome.  Playful Lucrezia sets out to play the minx with him as with the others, then surprises herself by falling for him.  She announces she will marry him.  The Pope’s joy, however, is short-lived when he receives dire news, furthered by a shocking confession from Cesare.  Later, during celebrations for Lucrezia’s betrothal, Alexander and Cesare reunite over a cup of wine, but Antonello is there and Cesare realizes the danger too late as the Pope raises the poisoned cup to his lips…

 

CAST & PRODUCTION CREDITS

 

Cast (Episodes 1 – 4)

 

Rodrigo Borgia/Pope Alexander VI…………….JEREMY IRONS

Cesare Borgia………………………………FRANÇOIS ARNAUD

Lucrezia Borgia…………………………...HOLLIDAY GRAINGER

Vanozza………………………………………JOANNE WHALLEY

Giulia Farnese…………………………………..LOTTE VERBEEK

Juan Borgia………………………………………….DAVID OAKES

Micheletto……………………………………….......SEAN HARRIS

Savonarola……………………………………STEVEN BERKOFF

Niccolo Machiavelli………………………………JULIAN BLEACH

Cardinal Sforza…………………………………PETER SULLIVAN

Cardinal Della Rovere ……………………………C.OLM  FEORE

 

Guest Stars

 

Cardinal Versucci………………………..VERNON DOBTCHEFF

Djem………...……………………………………. ..ELYES GABEL

Prince Alfonso ………………………………..AUGUSTUS PREW

Machiavelli.……………………………………….JULIAN BLEACH

Ursula Bonadeo………………………………RUTA GEDMINTAS

Paulo…………………………….……………LUKE PASQUALINO

Francesca…………………………………..…..MICKEY SUMNER

Giovanni Sforza…………………………………...RONAN VIBERT

 

Production

 

Episodes 201 & 202

Written by NEIL JORDAN

Directed by NEIL JORDAN

 

Written by NEIL JORDAN

Directed by NEIL JORDAN

 

Episodes 203 & 204

Written by NEIL JORDAN

Directed by JON AMIEL

 

Written by NEIL JORDAN

Directed by JON AMIEL

 

Episodes 205

Written by  NEIL JORDAN

Directed by KARI SKOGLAND

 

Episodes 206

Written by DAVID LELAND

Directed by JOHN MAYBURY

Episodes 207

Written by DAVID LELAND

Directed by KARI SKOGLAND

 

Episodes 208

Written by DAVID LELAND

Directed by JOHN MAYBURY

 

Episodes 209

Written by DAVID LELAND

Directed by DAVID LELAND

 

Episodes 210

Written by  GUY BURT

Directed by DAVID LELAND

 

Executive Producers………………………………..NEIL JORDAN

…………………………………………………………JACK RAPKE

……………………………………………………..JUSTIN FALVEY

………………………………………………………DAVID LELAND

………………………………………………………..JOHN WEBER

……………………………………………………..SHEILA HOCKIN

………………………………………………………..JAMES FLYNN

 

Co-Producers.…………………………………KAREN RICHARDS

..…………………………………………………….BILL GODDARD

..………………………………………………….ADAM GOODMAN

……………………………………………………..HOWARD ELLIS

 

Consulting Producers……………………TONY LAWSON, A.C.E. 

.............................................STEVE MATTHEWS

 

Casting By …………………………………………..SUSIE FIGGIS

Original Casting  by…………………………………SUSIE FIGGIS

…………………………………………………..FRANK MOISELLE

…………………………………………………. NUALA MOISELLE

 

Canadian Casting By………STEPHANIE GORIN C.S.A., C.D.C.

 

Costume Designer………………………GABRIELLA PESCUCCI

 

Music By………………………………………...TREVOR MORRIS

 

Edited By…………………………………..TONY LAWSON A.C.E.

.………………………………...WENDY HALLAM MARTIN C.C.E.

.……………………………………..LISA GROOTENBOER C.C.E.

 

Production Designer……………………JONATHAN McKINSTRY

 

Director of Photography………..PAUL SAROSSY B.S.C., C.S.C