USA gives series order to The Starter Wife

Debra Messing will return to her role as Molly Kagan in The Starter WifeGood news for Debra Messing and all of the others involved in the miniseries The Starter Wife. After garnering some pretty decent ratings and several Emmy nominations, USA Networks has given a full series order to the comedy-drama based on the successful novel by Gigi Levangie Grazer.

Former Will & Grace star Messing will return as Molly Kagan, the former Hollywood wife who is now experiencing a second chance at life after her recent divorce. Also returning will be the executive production team of Grazer, Josann McGibbon and Sara Parriott. There is no information as to when filming will begin for the premiere season of The Starter Wife or when the first episode will air.

Wife was nominated for ten Emmy awards this year, including Outstanding Lead Actress in a Movie or Miniseries for Messing’s performance and Outstanding Supporting Actress in a Movie or Miniseries for Judy Davis. Davis won for her performance.

Judy Davis Biography

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If a woman with an opinion in Hollywood is considered hazardous then Australian Judy Davis could easily qualify as one dangerous female. The petite, pale redhead, whose slash of red or brown lipstick has almost become her trademark, is considered one of the finest actresses of contemporary cinema and has garnered a reputation for her passion, high artistic standards and frank speech. Not unlike Bette Davis in the 1930s and 40s, Judy Davis was not one to suffer fools and had no trouble expressing her feelings. To her, the work was paramount and she consistently has delivered superb performances whether acting on stage, screen or TV.

The youngest of three, Davis has admitted to suffering a repressed childhood, in part due to her family’s staunch Catholicism but also tempered by the remoteness of Perth, Australia, where she was raised. After dropping out of convent school, she joined a rock and blues band and toured Asia. Returning home, Davis eventually enrolled at Sydney’s National Institute of Dramatic Arts (NIDA), where she appeared as Juliet to Mel Gibson’s Romeo. With stage experience and a one-line role in 1977’s “High Rolling”, she auditioned for and won the star-making role of Sybylla Melvyn, the headstrong anti-heroine, of “My Brilliant Career” (1978). Davis later admitted she had difficulties with the neurotic character and occasionally clashed with director Gillian Armstrong, but her performance was undeniably forceful and earned her numerous accolades including Best Actress citations from the British Film Academy and the Australian Film Institute.

Sybylla Melvyn may not have been an appealing personage to portray but she represented what became a typical Judy Davis role–a strong, plain-speaking woman who shatters social mores. The actress was nothing short of astonishing as a desperate prostitute seeking a way out of her life in “The Winter of Our Dreams” and as an anarchist in “Heatwave” (both 1981) and proved stunning as the young incarnation of Israeli Prime Minister Golda Meir in an Emmy-nominated turn in the syndicated 1982 miniseries “A Woman Called Golda”. Davis resisted Hollywood but did accept the leading role of the genteel cultural adventuress Adela Quested in “A Passage to India” (1984). Again, there were reports of conflict with aged director David Lean, but the ultimate onscreen result was a rich performance of grace and skill that earned her a Best Actress Academy Award nomination.

Although her career was on the ascent and she undoubtedly could have taken on American parts, Davis returned to Australia to co-star with her husband, actor Colin Friels, in “Kangaroo” (1987), based on the semi-autobiographical novel by D H Lawrence. She then delivered what is arguably her best leading performance as a footloose singer who reconnects with the daughter she abandoned years earlier in “High Tide” (1987), directed by Gillian Armstrong.

Beginning in the 90s, Davis did begin to work more in projects outside of her homeland. At the start of the decade, she inaugurated a relationship with Woody Allen with a small role in “Alice” (1990). Since that less than auspicious collaboration, Allen has provided her with rich characters to play. Davis received a well-deserved Best Supporting Actress Oscar nomination playing a cynical, neurotic woman who sabotages her relationships in “Husbands and Wives” (1992) until she discovers true love. “Deconstructing Harry” (1997) posited her as the high-strung sister-in-law of Allen’s title character while “Celebrity” (1998) cast her as the schoolteacher wife of a journalist who blossoms into a TV star after their divorce.

In 1991 alone, Davis lent her careworn but attractive presence and edgy performance style to a series of intriguingly uptight but sympathetic characters. The Coen brothers tapped her to play the lover of a William Faulkner-like author in their study of Hollywood “Barton Fink” while David Cronenberg cast her as the bug-spray addicted wife of William Burroughs in the film adaptation of “Naked Lunch”. On the small screen, Davis reunited with “Brilliant Career” co-star Sam Neill for “One Against the Wind” (CBS), a based-on-fact drama about a British woman active in the French Resistance movement during WWII.

Davis demonstrated her formidable comic capabilities with a deft turn as Kevin Spacey’s embittered, shrewish wife perpetually engaging in battles with her spouse in the black comedy “The Ref” (1994). That same year, she essayed a similar role, paired with Peter Weller as a feuding, jobless L.A. couple who open an upscale boutique to finance their divorce in “The New Age”. Shifting gears, Davis won an Emmy as the patient, loyal and supportive lesbian lover of a US Army colonel who discloses her sexual orientation in the fact-based “Serving in Silence: The Margarethe Cammermeyer Story” (NBC, 1995).

The actress returned to Australia to star as a Stalinist with more than a passing acquaintance with the Russian leader in the farcical comedy “Children of the Revolution” (1996). Davis played a presidential chief of staff in the Clint Eastwood vehicle “Absolute Power” and portrayed Jack Nicholson’s ex-wife in the uneven “Blood & Wine” (both 1997). She then offered a trio of Emmy nominated performances that continued to showcase her extraordinary range. In “The Echo of Thunder” (CBS, 1998), she was cast as a stoic palm tree farmer in the Australian Outback who objects to raising her husband’s child by his first wife. 1999’s “Dash & Lilly” (A&E) paired her with Sam Shepard in a portrait of the dysfunctional, co-dependant relationship between authors Dashiell Hammett and Lillian Hellman. Davis also excelled as a self-centered wealthy woman whose marriage falls apart forcing her to interact more with her new housekeeper (Sally Field) in “A Cooler Climate” (Showtime, 1999). She then bravely tackled a portrayal of a cultural icon — singer-actress Judy Garland — in the 2001 ABC miniseries adapted from Lorna Luft’s memoir “Me and My Shadows”. Her portrayal was so dead-on and letter-perfect, Davis garnered critical praise and a much deserved Emmy Award. She was back on the big screen in the Australian feature “The Man Who Sued God” (2001). Two years later, she co-starred, along with Marcia Gay Harden and Lili Taylor, in the comedy feature “Gaudi Afternoon” (2003).

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Kate Beckinsale Biography

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Petite and pretty, with dark hair, pale skin and flashing eyes, Kate Beckinsale made a strong film debut as the virginal Hero in Kenneth Branagh’s sun-dappled adaptation of “Much Ado About Nothing” (1993). Although she was a screen novice, the actress projected the requisite intelligence and star quality that deemed her one to watch. As the daughter of comic Richard Beckinsale (who died when she was five years old) and actress Judy Loe, it was perhaps inevitable that she would eventually find her way to the limelight. Beckinsale, however, spent a good portion of her teen years struggling with an eating disorder (of which she has spoken frankly in interviews) before she decided to try her hand at acting. After a bit part in the BBC mystery “Devices and Desires” (1991), she landed the pivotal role of the rebellious daughter of a British woman (Judy Davis) involved with the French Resistance during WWII in “One Against the Wind” (CBS, 1991). Once she had become established as an ingenue with “Much Ado About Nothing”, Beckinsale carefully crafted a career path that would not find her typecast.

Simultaneous to pursuing her education at Oxford, Beckinsale continued to find challenging roles. In “Royal Deceit/The Prince of Jutland” (1994), which was based on the Danish prince whose life inspired Shakespeare’s “Hamlet”, she starred opposite Christian Bale. A lighter, more charming side to the actress was displayed in “Marie-Louise, or The Leave” (1995), in which she played a young woman searching for her lover in a crowded train station. Beckinsale delivered a strong turn as the meddlesome orphan taken in by eccentric relatives in the brittle comedy “Cold Comfort Farm” (also 1995). As Flora Poste, she anchored the film and managed to make a busybody character seem charming, and in some ways it was a warm-up for her tackling “Jane Austen’s Emma” (BBC/AE, 1996). Although Douglas McGrath’s feature version starring Gwyneth Paltrow had opened on American screens first, this version found its partisans who felt it was more faithful to the spirit of Austen.

Capitalizing on the sass and intelligence she had projected in both “Cold Comfort Farm” and “Jane Austen’s Emma”, Beckinsale shone as an aristocratic med student who falls in with two charming con men (Dan Futterman and Stuart Townsend) in the underrated caper flick “Shooting Fish” (1997). Adopting a flawless American accent, the actress next registered as the bitchy junior publishing executive seeking fun and perhaps Mr. Right in Whit Stillman’s “The Last Days of Disco” (1998). The following year, Beckinsale retained the Americanisms to portray a mousy tourist in Thailand who falls for a slick Australian, dragging herself and her traveling companion (Claire Danes) into accusations of drug smuggling in “Brokedown Palace”. After time out for motherhood, she returned to the big screen as Nick Nolte’s daughter in the Merchant Ivory adaptation of Henry James’ “The Golden Bowl” (2000).

The attractive actress finally had a shot at more mainstream success with two high profile leading roles in 2001. In the big-budget epic “Pearl Harbor”, she was cast as a US Navy nurse who falls in love with a dashing pilot (Ben Affleck) but when news of his death arrives turns to his best friend (Josh Hartnett) for comfort. And Beckinsale was cast opposite John Cusack in the mildly engaging romantic comedy “Serendipity”, playing a woman who believes more in fate than love at first sight and faces a long but seemingly inevitable road to romance. The actress surfaced again in 2003 in the arty indie “Laurel Canyon” as the icy fiancee of an L.A. native (Christian Bale) who returns to his eclectic mother’s home in Laurel Canyon, where Beckinsale’s character slowly becomes seduced by the sultry Los Angeles lifestyle.

Her highest profile role to date came in “Underworld” (2003), a glossy supernatural thriller with Romeo-and-Juliet overtones, in which Beckinsale played Selene, a vampire emobroiled in her kind’s long feud with a werewolf clan who falls in love with one of her blood enemies (Scott Speedman). Beckinsale followed up with another action-packed supernatural thriller, teaming with Hugh Jackman for “Van Helsing” (2004), in which she played Anna Valerious, a vampire slayer from a long line committed to ending the reign of Count Dracula who teams with the count’s longtime human foe. The actress was better served by her next project, director Martin Scorses’s Howard Hughes glamorous and visually arresting biopic “The Aviator” (2004), in which the actress provided a sultry spark as the firey film icon Ava Gardner, Hughes’ (Leonardo DiCaprio) most challenging, yet sympathetic, paramour.

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