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This typically iconoclastic FX network comedy-drama series was dedicated to the proposition of “Stealing the American Dream.” The Malloys were a family of “travellers”, roving con artists who lived perpetually on the fringes of society and just outside the reach of the law. After years of running scams and fleecing the unsuspecting, Wayne Malloy (Eddie Izzard) began to wonder if it was all worth the effort. At the same time, Wayne’s drug-addict wife Dahlia (Minnie Driver) had been released from prison after a two-year stretch, and was raring to go back on the road with her husband and her equally disreputable children Sam (Aidan Mitchell), Cael (Noel Fisher) and Dehliah (Shannon Marie Woodward).

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2. Cross Dressing in The Riches
3. Todd Stashwick, Dale Malloy of ‘The Riches’, explores his mind

The idea of Sam’s cross dressing could have been inspired from Eddie Izzard who portrays the character of Wayne Malloy on the show. Eddie Izzard is known for cross-dressing both on and off stage. But he has made it clear that for him cross dressing is not at all a sexual thing. On the other hand, it is not even part of his performance. He claims that he simply loves to wear make up and dresses that are considered to be domain of women only.

Sam was known to have a very artistic temperament and he drew a large mural on a wall in the Rich home on the very first night they spent there depicting their recent adventures, including the car accident and Dahlia’s release from prison. In addition to his artistic accomplishments, he was fluent in French. Sam happened to be very bright and expert at trickery, which going by his family trade was expected of him.

Sam also played the key role in an elaborate con of Dahlia’s to get the Malloy children into Rosemere Academy.

You are free to shrug The Riches off as a cross between “Weeds,” a series about a pot-dealing soccer mom and “Beverly Hillbillies” but the series had a voice and a style of its own, as its comedy was always offset by a lurking sense of sadness and menace.

Though the series came to an end in 2007, you can download The Riches episodes here, absolutely free. Join us toady to get all your favorite American, Canadian and British TV Shows with best DVD quality.

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Yesterday, I read the interview of Todd Stashwick, the man who portrayed the character of Dale Malloy on ‘The Riches’, given to some private website. He played the cousin of Dahlia Malloy, with a violent and impulsive temper. His relationship with Wayne was not good for a long time period. Following are the abstracts from the interview Todd gave, while shooting for the indie film ‘To Be Friends’.

The first question which Todd was asked was “Were You Always the Funny Kid?’. His reply was that he was not an athlete so had to do something to grab the attention of the girls. He added that after watching ‘The Muppet Show’, he discovered that making others laugh, is one of the most impressive things. Another important question was ‘Did You Love Your nasty character on ‘The Riches?’. Todd said that ‘yeah’, he liked being bad. Todd also admitted that the cancellation of ‘The Riches’ left everybody sad.

Todd Stashwick also gave signs of a movie version of the series. He said that a movie version, which Eddie has plans of, would surely help to wrap up the loose ends. Well, there are no confirmed words on the movie version of ‘The Riches’ yet, would let you know as soon as anything comes out, officially.

‘The Riches’ ran for two seasons only and the not-so-good ratings brought the show to an end. Some campaigns were started by the fans to get the show back, but it never returned. All episodes of The Riches are available here to download and watch online. You can join the website and can download The Riches, besides all your favorite American, Canadian and British TV shows here.

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The Riches is recession-proof entertainment. FX’s drama, entering its second season, actually feels sharper amidst a foundering economy of subprime mortgages, credit crises, and supersize debts. The Riches runs on the fuel of acquisition: It’s all about getting and keeping, and the mental costs of possession. Last season, the Malloy family of Travellers — Irish-American gypsies — slipped into the identity of the late Rich family, taking their mansion, luxury cars, and high-end job as a real estate lawyer for dad Wayne (Eddie Izzard). The new life also includes the constant threat of discovery and never-ending pressure to make more money. This season’s premiere sees the family in crisis in the wake of potential exposure: Wayne tries to deal with everything from drunk bosses to dead bodies while matriarch Dahlia (Minnie Driver) goes on the run with the kids. Whizzing down the highway, she declares, ”We are grifters and drifters and nomads, we’re the scourge of the goddamned earth — we’re Travellers!” Penniless and pursued, she looks more at home than she ever was in the snooty — and ominously named — suburb of Edenfalls, La.

Season 2 wrestles constantly and noisily with the idea of freedom: Is freedom money or the absence of money? Is it a home or rattle-around homelessness? And how does anyone stop craving? ”The minute you get what you think you want, you always want more,” Dahlia frets, and she’s right. Everyone in this drama, rich or poor, is on the make, from Dahlia’s murderous, coyote-eyed cousin Dale (Todd Stashwick), who blackmails the Malloys for a piece of the action, to Wayne’s venal boss, Hugh (Gregg Henry), whose latest real estate venture depends on screwing over Katrina victims. Even the Malloys’ marks have crushing needs. In the midst of stealing a car, Dahlia and her crew get taken hostage by the vehicle’s fed-up owner. At his house, the man paces with a gun as a collection agency rings constantly, his wife grumbles about her Wal-job, and Dahlia tries to figure out what the man needs to feel better. After all his debts and desires are summed up, it turns out he needs about $6,158.87. Hey, everyone has a price. The Malloys eventually decide to risk staying in Edenfalls another few months, until Wayne can cash in on his share of the Katrina land scheme for a tidy $13 million.

The Riches isn’t subtle: It’s filled with symbolic sing-alongs, boisterous speechifying, and a lot of unbelievable story lines, the biggest requiring us to believe that pretender Wayne, in his top legal perch, still hasn’t made a huge foul-up. The drama’s strange coincidences and unlikely twists are boundless. But The Riches is like a skillful shell game: Even when you know you’re being played, the dizzying machinations are irresistible.

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I reviewed the first season and analyzed it as the story of a family moving from pre-modernity into modernity: “The Malloys go from a pre-Industrial Revolution cottage-industry way of life straight into the 1950s–it’s like watching a single family experience the changes of the past 200 years in time-lapse photography.”

In the second season, the Malloys discover that before you can even get a handle on modernity, post-modernism is sneaking in the window. Questions of truth and authenticity loom large. In their premodern lives, they were Travellers–con artists–who lived by a clear code distinguishing their own kind from the “buffers” of the outside world. Traditions and morality were clear and understood by all–by all who mattered, anyway. And you were known in the clan. For the buffers, you had a dozen different names, a hundred different games, a thousand cons. It never affected who you were, because buffers don’t matter. In the clan, you were known.

But Wayne and Dahlia left the clan, and took their children with them, into the world of the professional self versus the personal self, the world of Brand You, the world in which there are no buffers, there is diversity training. They knew how to be honest, authentically themselves, in their Traveller life: you lie to the buffers, you tell the truth to your own people, you follow the rules. Now it’s not so clear for them.

Everyone except Sam, the youngest, faces an existential crisis in season two, and you can tell Sam’s is coming. Wayne makes a unilateral decision and, more than that, lies to his own family for the first time–and Dahlia nearly breaks under the strain of maintaining that lie in front of their children. Meanwhile the constant threat of her parole status leads her to try to lead a conventionally honest life–which requires lying to Wayne, and doing some very strategic truth management with her parole officer. Minnie Driver and Ntare Mwine are powerfully good scene partners. Spent and raw and tearful, Dahlia sees in Officer Devereaux what she once saw in Wayne, a man who can be trusted to believe in her, a man who has a plan for her. And Devereaux sees Dahlia’s humanity and desire for honesty, just as clearly as he sees that she’s playing him. He, too, is tired and disillusioned and wants to believe in his work, that maybe there’s an ex-con out there that really can be rehabilitated, whom he can help. Watching them negotiate with each other, with their own fantasies of what the other could be, with their own fears of what they themselves are, is like watching a slow and intricate dance … with razors.

Cael and Didi, meanwhile, are drifting apart. Adults see more shades of grey than teenagers do; Wayne and Dahlia still hope to find a way to live as Travellers in a buffer world. Cael and Didi can only see one or the other way of living, and with typical adolescent self-righteousness reject their parents and head in opposite directions from each other.

When “The Riches” began, the emotional and economic center of the Malloys’ lives was the huge RV they ate and slept and schemed in together. Season 1 ended with them in separate rooms in a McMansion, heading off to school or work during the day. By the end of Season 2, the centripetal forces have accelerated: Wayne sleeps fitfully in the mansion, clutching a pillow where Dahlia’s body used to lie; Didi sleeps with the ultimate corruptible buffer–a teenage security guard–in the Eden Falls houses they break into; Sam sleeps in a tent in the front yard, Cael sleeps in a Traveller camp; and Dahlia works the night shift at a fish shack and paces her parole-ordained apartment in the rough side of town.

Life comes at you too fast, too hard, sometimes, and you get tired and confused and let go of the wrong things.

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Actress. Born Amelia Driver, on January 31, 1971, in London, England. Driver, her two brothers, and two sisters were raised in Barbados by their parents, financier Ronnie Driver, and former model Gaynor Churchward. When Driver was seven, her parents divorced, and she was sent to the Bedales Boarding School in Hampshire, England. She acquired the name Minnie from her younger sister, who had difficulty pronouncing Amelia.

At an early age, Driver’s interest in acting was encouraged by her mother. She gained admittance to the Webber-Douglas Academy of Dramatic Art, receiving a drama degree in 1991.After graduation, she pursued a career in television, appearing in several British dramas, including God on the Rocks (1991), Mr. Wroe’s Virgins (1993), and The Politician’s Wife (1995). During the early ’90s, the struggling actress often supplemented her income by performing as a jazz vocalist and guitarist.

Driver made her film debut in the screen adaptation of Maeve Binchy’s autobiographical novel Circle of Friends (1995). She fought for and won the role of Benny Hogan, a frumpy Irish student who wins the heart of goldenboy Jack Foley, played by Chris O’Donnell. Driver gained 25 pounds in preparation for her role as the overweight and homely character. Her performance received recognition, but she feared being typecast in future parts as a demure English lass. She wanted to tap into the American film industry to seek more unconventional roles. In 1995, she shattered her girl-next-door image with her portrayal of a sultry lounge singer in the James Bond film Goldeneye (1995).

Sleepers (1996), starring Hollywood veterans Robert DeNiro and Dustin Hoffman, took Driver’s career to a new plateau. She acquired a very convincing New York accent for her performance as Brad Pitt’s street-smart girlfriend. Although Sleepers was billed as a true story, some controversy arose as to its legitimacy. As a result, the film lacked credibility and box office sales were low, but Driver’s performance remained noteworthy.

In her next project, Driver played John Cusack’s quirky girlfriend in the dark comedy Grosse Pointe Blank (1997). However, it was in the highly acclaimed film Good Will Hunting (1997) where she truly made a name for herself in Hollywood. Starring opposite newcomers Matt Damon and Ben Affleck, Driver became an integral part of a cast that won the hearts of critics and audiences. She earned an Oscar nomination for her performance as Damon’s English girlfriend, a role that she played on- and off-screen.

In 1998, Driver and her sister Kate formed the production company Two Drivers. Driver starred in and produced the company’s first release titled At Satchem Farm (1998). She segued into the action-adventure genre with her next film, Hard Rain (1998), costarring Morgan Freeman and Christian Slater. She took on more obscure roles in period dramas including The Governess (1998), and an adaptation of the Oscar Wilde play An Ideal Husband (1999), costarring Rupert Everett, Julianne Moore, and Cate Blanchett.

She further diversified her range of characters in 1999, when she provided the voice of Jane in Disney’s Tarzan and the voice of Brooke Shields in South Park: Bigger, Longer and Uncut. Toward the end of 1999, Driver landed the lead role in Slow Burn, where she also captured the heart of costar Josh Brolin (son of James Brolin, who is married to Barbra Streisand). Driver and Brolin became engaged in the spring of 2001, but broke off the engagement in October.

Driver’d other projects include her role as David Duchovny’s love interest in the romantic comedy Return To Me (2000), the starring role in Beautiful (2000), the directorial debut of Oscar-winning actress Sally Field, and her role in television’s “The Riches,” opposite Eddie Izzard.

Source: http://www.biography.com

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British comedian and actor Edward John “Eddie” Izzard was born on February 7, 1962 in Aden, Yemen. To avoid the dangers of the political crises during the 1960’s, his family relocated frequently, finally settling down in Bexhill-on-Sea, East Sussex, England. Izzard attended Eastbourne College, and in 1968, lost his mother to cancer. His mother’s death deeply affected Izzard, but he was able to find some comfort in the comedy stylings of Monty Python, Steve Martin, Richard Pryor and Benny Hill. While he was an accountancy major at the University of Sheffield, Izzard worked as a stand-up comedian. When Izzard was expelled from the university, he became a street performer and eventually went back to doing stand-up in 1987. He attained international success with and earned two Emmy awards for his work on Dress to Kill and in 2003, he garnered a Tony award for Best Leading Actor for his work on a revival of A Day in the Death of Joe Egg. Currently, Izzard is appearing as a regular on the FX series, The Riches.

Wayne Malloy is portrayed by Eddie Izzard on the show The Riches. Wayne and his wife, Dahlia, have spent most of their married life living in their RV and teaching their kids how to become ruthless con artists. When they accidentally kill Doug and Cherien Rich in a vehicular accident, Wayne gets his family to pretend that they are the Riches, and in the process gains unlimited access to the wealthy, but dead, couple’s money and properties.

Source: http://www.buddytv.com

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While barreling through the Southland in their RV, the Malloys were involved in a traffic accident (not their fault, for a change!) in which the other drivers, a married couple, were killed. Rifling through the dead motorists’ belongings, Wayne and Dahlia discovered that the victims were Doug and Cherein Rich, an upper-middle-class couple who’d just purchase a mansion in a gated community somewhere in Louisiana. Thus handed an opportunity to start life anew, the Malloys “became” the Riches and moved into that selfsame mansion, using their conning-and-hustling skills to convince their new neighbors that they were whom they claimed to be. Carrying the charade to the ultimate, Wayne, alias Mr. Rich, sweettalked his way into a job with family lawyer Hugh Panetta (Gregg Henry), while Dahlia found work as a dental hygienist and the kids tried to fit in at the local high school. Of course, there was always the possibility (or rather the likelihood) that the Malloys would revert to their old dishonest ways, especially whenever the former crooked associates would breeze into town. Forever playing fast and loose with manners, morals and audience expectations, the weekly, 60-minute The Riches made its cable-TV bow on March 12, 2007.

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With Dahlia’s breakdown, Didi rebelling against her father, and the growing tension between Wayne and Quinn, things are building nicely. As a season finale though, I’m left feeling disappointed. Still, “The Lying King” did offer up some good bits to the story. More on that, after the jump.

To start, let us go to the end, with Quinn’s closing words for the season, “I have your son.” Last week I suspected that was the motivation for his interest in Cael. But they did do a good job selling the possibility that Quinn could have other ideas. For just a moment, as he defended Wayne to Cael, you could almost believe that he was a changed man and did want to take the family in a different direction. Alas, as we saw, not so much.

Clearly, Wayne wants no part of a partnership with Quinn. We’re missing some pretty big bits to that back story, and it’s something that I would really like to see in season three. Of course, even if Quinn was sincere in his desire to deal with Wayne, that ship had already sailed with what happened at the Bayou Hills construction site. Sabotage and just showing up to take over are not the friendliest of methods for saying let’s be partners.

For me, the best part of the Bayou Hills construction story was the entrance of Wayne’s mafia muscle. It was good to get Minkov back into the story. It’s a great example of just what the Riches project has become for the Malloys. It did all start on a fluke. It was a perfect storm of coincidences that brought them into this situation to begin with. And with everything that has happened, all the close calls, they should have cut and run by now, cashing out for whatever they could from Doug’s estate.

And they almost did, but then we had Bayou Hills and the promise of the big payday. It’s just as much the definitive deadline as it is the $13 million. When they first took this gamble, it was all wide open. But now, if Wayne can just get to the end of the Bayou Hills project he can disappear with a big score. So now the game becomes juggling all of the balls until the very last minute. It’s a tricky bit of business. He doesn’t have to actually solve all of these problems. He just has to delay any negative resolutions until just after he’s out.

That’s what we see shaping up with Minkov. Given the choice, Wayne would surely side with Hugh and turn the tables on Minkov. And really, unless he absolutely has to in order to keep the game going, he’s not going to throw Hugh under the bus. At some level, Wayne is growing to like Hugh. When we see Hugh stop to share a genuine moment where he thanks Doug for everything he does for him, it is just that much more pressure on Wayne. It all makes for a fascinating story.

On the other side of our tale, we have Dahlia. I found myself mesmerized by Minnie Driver this week. The breakdown of Dahlia as her past and her present just overwhelm her is great TV. It was impressive how much of her story they were able to tell by letting us watch her think about her situation. Dahlia’s part of the story also served as the setting for some of the best Nina scenes we have had yet. I’ve liked the Nina character from the start, but watching her deal with Jim’s death, and both Dahlia and Wayne, was Nina at her best. It really showed just how much alike Wayne and Dahlia are. She is so angry with Wayne, yet doing the exact same thing to Nina.

The only part of Dahlia’s story, and the episode, that didn’t work for me was the scene with Devereaux. I just wasn’t buying his sudden kiss of Dahlia to start with, let alone with his wife and kids just inside the house. That’s just not at all what I got from all of the earlier Devereaux scenes.

As to the kids, there’s not a lot to take from Sam and Cael’s involvement this week. I’m curious to see more with Sam and his new friend, but as this was the season finale, that bit felt kind of tacked on because they needed something for Sam to be doing. And Cael, he was more or less playing support to get to Quinn’s big line. There was a bit more for Didi this week though. Dahlia tossing Wayne under the bus by telling Didi about Pete set a lot of things in motion. The telling line for me was Didi asking Wayne if that’s who they are now. She’s left searching and confused, seeing everything falling apart and takes off for some good old fashioned teen age rebellion.

And there we are. All the seeds have been planted for what should surely be a great season three. I do wish that we could get all of those answers over the next couple months as a full season two raps up, but what are you gonna do? I suppose we should take from it that six episodes of a very good show is still a check in the win column.

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