documentary

A three-part series following investigative reporters and police investigators who were instrumental in holding Gary Glitter accountable for his sex abuse crimes has been paused

Netflix has paused the release of an investigative docuseries into disgraced Gary Glitter’s history of sexually abusing minors.

The streaming giant has issued a statement confirming that the three-part series will no longer be released on October 14 as they originally announced.

A spokesperson for Netflix said: “We have made the decision to pause the release of Hunting Gary Glitter originally due to launch on October 14.

“This follows new legal information we recently became aware of. We’re not able to share further detail at this time, but we’ll provide an update as soon as we’re in a position to do so.”

The synopsis for the series states: “A string of dogged journalists chases fugitive pop star Gary Glitter across the globe — from Cuba to Cambodia to Vietnam — determined to expose the child sexual abuse he concealed behind decades of chart-topping fame.

“This documentary follows their pursuit alongside the survivors who speak out, charting Glitter’s 1997 conviction, through to his years on the run, and eventual incarceration.”

The rocker, real name Paul Gadd, was a popular British glam rocker in the 1970s and sang numerous hits like Do You Wanna Touch Me and I Love You Love Me Love.

In 1999, his popularity was derailed by numerous allegations of child sexual abuse and subsequent conviction for possession of child pornography.

Later, in 2006, he was jailed in Vietnam for the sexual abuse of two girls. In 2015, he was convicted of sexually abusing three additional young girls.

In 2023, Gadd was released for a short time on probation before being reincarcerated. Police did not publicly say how he violated the terms of his release.

Featured in the trailer of Hunting Gary Glitter, the docuseries uses first-person interviews to detail Gladd’s original convictions and years hopping from country to country, including Vietnam, Cuba, and Cambodia to avoid prosecution and jail time.

The advert was released alongside the initial announcement but has now been pulled as has all the other assets from Netflix’s media website.

Hunting Gary Glitter was due to be released on Netflix on October 14 but has been paused

East Asia is facing a demographic reckoning, with societies in Japan, South Korea and Taiwan ageing rapidly.

With a drastic shortage of burial space, a lucrative new market is emerging.

From AI avatars to DNA gems, technology is bringing loved ones back to life – in digital forms – raising questions about whether it will help heal or hinder the grieving process.

101 East investigates how new technology is transforming the way we bid farewell to those we love.

JERUSALEM: Prime Minister Benjamin Netanyahu vowed on Wednesday ‌to pass a law to revoke the citizenship of anyone who defames Israel’s soldiers, his latest threat against the Israeli directors of “NAZA,” a documentary about soldiers’ killing of Gaza ​civilians.

Directed by Israeli journalists Yuval Abraham and Rachel Szor, NAZA alleges that mass civilian deaths were routinely built into Israeli targeting decisions in Gaza, something Netanyahu and the military reject.

The film, which won a major prize at the Venice Film Festival on Saturday, takes its title from an Israeli military term for expected “collateral casualties” and is built around anonymous interviews with intelligence officers and soldiers.

It has drawn a backlash in Israel, with ‌the military examining potential ‌legal action against those involved in it. But ​it ‌has ⁠also ​played into ⁠the charged political atmosphere ahead of Israel’s October 27 election, which public opinion polls show Netanyahu’s right-wing coalition could lose.

On Tuesday, Netanyahu accused some of his election rivals of failing to take a tough stand against the documentary, saying this made them unfit for office. And on Wednesday, he pledged to advance two bills that he said aimed at addressing the “immense damage” done to ⁠Israeli soldiers.

“The first, to revoke the citizenship of anyone ‌who defames (Israeli) soldiers, and the second ‌to hit them in their pockets and increase ​the statutory damages for defamation they ‌can be sued for by 20 times,” Netanyahu said in a social ‌media video.

“We will hit them both in their pockets and in their citizenship, as their place is not with us.”

Netanyahu cited three incidents in proposing the bills: “the recent film NAZA which portrayed (Israeli) officers and soldiers as war criminals“; 2025 remarks ‌by left-wing ex-general turned politician Yair Golan that “a sane country does not kill children as a hobby“; and a ⁠military legal officer’s ⁠2024 leak of a video showing soldiers abusing a Gaza detainee.

Reuters could not immediately reach the NAZA filmmakers for comment.

In 2022, Israel’s Supreme Court upheld a law that permits stripping citizenship from Israelis who carry out actions that constitute a breach of trust against the state. Any new legislation would likely face similar court challenges.

The NAZA filmmakers say they believe it is important that Israelis watch the documentary and grapple with the narrative it presents.

Gaza health authorities say more than 73,000 Palestinians, most of them civilians, have been killed in Israel’s military campaign that has left much of ​Gaza in ruins.

The war was ​triggered by Hamas’ October 7, 2023, attack on Israel which killed 1,200 people, most of them civilians, according to Israeli tallies.

LONDON: Film festivals and filmmakers around the world have rallied around the directors of the Gaza documentary “NAZA,” after an Israeli minister accused them of treason and threatened to revoke their citizenship.

Israeli filmmakers Yuval Abraham and Rachel Szor have faced mounting criticism from officials in Israel since their documentary, which documents Israeli military operations in Gaza, and in particular the killing of civilians, won the Special Jury Prize at the Venice Film Festival at the weekend.

Israel’s minister of culture and sports, Miki Zohar, said he would “act immediately” to revoke the citizenship of the filmmakers, accusing them of “treason against the state.”

The film, produced by The Guardian newspaper, features testimonies from 24 Israeli military and intelligence personnel about the use of AI-powered targeting systems in Gaza. It builds on investigations published by Israeli media outlets +972 Magazine and Local Call, as well as Guardian news reports.

The threats against the directors prompted a broad response from the international film community, with the directors of the Telluride, Locarno, Berlin and San Sebastian film festivals among those expressing support.

Julie Huntsinger, artistic director of the Telluride Film Festival, said that threatening the filmmakers’ citizenship was “unacceptable” and that the issue “should be condemned by any thinking human.”

The Berlin International Film Festival’s director, Tricia Tuttle, said artists must be free to examine events critically, and argued that in a democratic society the response to films should be “dialogue and scrutiny, not intimidation or punishment by the state.”

More than 1,500 Israeli filmmakers signed a petition backing Abraham and Szor, and rejecting the accusation that they sought to damage Israel’s international reputation. The petition warned that the campaign against them was moving toward rhetoric that could effectively sanction violence and pose a threat to their lives.

Abraham and Szor won an Oscar last year for their documentary “No Other Land”, made in partnership with Palestinian filmmakers Basel Adra and Hamdan Ballal, which examined Israeli settler violence against Palestinian communities in the occupied West Bank.

The Israeli military has rejected claims “NAZA” makes about its operations, saying they were based on anonymous sources that could not be independently verified.

ONCE dubbed “the most boring man in football” Michael Owen’s choice to sign up for a fly-on-the-wall Amazon documentary about his family was unexpected to say the least.

The former England striker turned pundit, 46, allowed cameras to follow him, his wife Louise and their children Gemma, James, Emily and Jessica as they balance family life with running a horse racing business in Cheshire.

And it was a distinctly left-field move from Michael, who – unlike celebrity documentary subjects David Beckham, Wayne Rooney and the larger-than-life Tyson Fury – has largely stayed out of the spotlight.

He is seen joking in six part series Meet The Owens that he is now best known as a “boring p***k” or “Gemma Owen’s dad” after she appeared in Love Island, raising questions about why he would agree to film the at-home-with style show.

And we can reveal that the ex-footballer – often referred to as ‘the most boring man in football’ – signed up for his TV payday after ploughing £13 million into his racing business pushed him to his financial limit.

While he may have other streams of income, accounts for Michael’s company Owen Promotions show it holds just £7,219 in cash and owes £2.3m to creditors.

It also has three outstanding loans, two of which were taken out in March 2022 and February 2024 with Leeds-based MR Denton Properties.

A further loan was taken out in February 2024 with Andrew Black, who co-founded Betfair.

Two other loans with Grosvenor Funding, which claims to offer “fast and flexible” bridging loans were paid off in 2023.

And all five loans were secured using parts of the Owens home estate – a 42-acre estate he bought in 2001 for £4million.

Speaking in Meet the Owens, which is now number 3 on the Amazon Prime UK chart, Michael revealed he has had to put “£12 or £13 million” into Manor House Stables to build it to its current level.

But he admits the business – which makes cash by persuading investors to back the horses they buy at auction – still desperately needs investors.

And he describes their current status as: “Premier League. Brighton, but not seventh, but kind of bottom half.”

Footage from the first episode shows the racing enthusiast giving pal Jamie Carragher a tour of the impressive grounds and stables, showing off a horse owned by Sir Alex Ferguson and another he owns along with Paul Scholes, Steve McManaman and Owen Hargreaves.

Drone shots show the impressive site from the air, while graphics also flash up on screen showing how the structure works – a handy guide for any would-be investors.

One source told us: “Michael is passionate about Manor House and racing, and he has done an incredible job on Manor House.

“The problem is that it is a big money pit and you can pour millions into it without any guarantee of winning horses.

“He loves it, and would never walk away, but it would be naive to say it hasn’t had a massive impact on his finances.

“And the pressure is never ending because as a business, you have to buy horses each year – for £90,000 or more – and try to find investors for them.

“Then the million-dollar question is whether or not those horses win, as the stables need winners to succeed.

“But the reality is that you only win a very small percentage of the races in which you have horses.”

Michael is now the sole shareholder for Manor House Stables LLP, which owns the stables, after director and co-owner Andrew Black resigned in March 2022 after six years.

Accounts show the company has healthy assets of approximately £13.6million.

Yet the source said the business still has a way to go before it becomes a money-spinner, rather than a money pit.

They added: “The Amazon payday has come at a good time for Michael, but he is also hoping the airtime for Manor House will attract more investors.

“The more money that comes in, the better the horses and the more winners we will see here.

“That will help the business move higher up the rankings among the top British stables.

“Michael loves racing and he is driven by passion for the sport, but he is also very competitive and wants to win.”

Previously, a source told us: “Michael is extremely determined to succeed in racing. He has poured millions of his own money into Manor House, and he will not stop until he’s at the very top.

“Signing up to broadcast this to the world was a huge risk for him, and he’s desperate for it to work.

“Michael is keen to show off how much Manor House is a reputable and successful stable, and he hopes putting the business on screen ends up being a help rather than a hindrance.”

A spokesperson for Michael declined to comment.

At a time of global upheaval, one man has redrawn Turkiye’s political map. In an exclusive interview with Al Jazeera, Turkish President Recep Tayyip Erdogan reflects on more than two decades in power.

His rise began in the early 1990s, when he was elected mayor of Istanbul. He founded the Justice and Development Party, or AK Party, in 2001 and has won every election since then. After three terms as prime minister, he was elected president in 2014 and remains in office to date.

Marking the 25th anniversary of the AK Party, Erdogan talks to Al Jazeera Arabic’s Ali Al Dafiri about Turkiye’s growing role in the shifting geopolitical landscape, highlighting the recent defence deal he concluded with Saudi Arabia and Pakistan. He addresses the US-Israel war on Iran, advocating for open maritime navigation in the Strait of Hormuz while identifying Israel as the primary driver of the regional conflict. He also affirms Turkiye’s solid support for Syria’s new administration and his unwavering solidarity with Lebanon and Gaza. On a domestic level, Erdogan reflects on Turkiye’s sweeping economic transformation and its future, stating that European Union accession is no longer a priority.

VENICE, Italy — “My actual personality is not very friendly, I’m afraid,” claims Korean actor Jeon Do-yeon. “Myself and actor Sul Kyung-gu, we can be a little bit brusque. We don’t really have the talent to make the set fun.”

As she says it, though, Jeon and co-star Cho Yeo-jeong are laughing — making the assertion rather harder to believe when it arrives in English from Korean via an interpreter. Throughout our conversation, in fact, the pair chuckles, nods along to each other’s answers, interjects sounds of assent. Enough for me to understand that their chemistry comes naturally, whatever Jeon’s protestations.

“In the film I play a character that chases [Jeon’s character] and it really suited me, almost to the point where I didn’t really need to try and act this role,” as Cho puts it. “I was almost like a sunflower, constantly facing and chasing actor Jeon.”

The actors needed every ounce of the sublime chemistry they forged to portray the magnetic but fatally flawed relationship at the heart of auteur Lee Chang-dong’s first film in eight years, “Possible Love,” which premiered Sunday at the Venice Film Festival. South Korea’s international feature submission for the 2027 Oscars, the Netflix film sees Ye-ji (Cho), a documentarian married to a wealthy businessman (Zo In-sung), cozy up to Mi-ok (Jeon), whose husband (Sul) has been seriously injured in a brutal crackdown on striking factory workers, in order to secure an interview with him — only for divisions of class and professional ambition to expose the fault lines in their relationship, and in turn their marriages.

“It seems like they want to be friends with each other, but then there seems to be a line that just cannot be crossed between them,” says Lee, also through an interpreter, of the actors’ accomplished double act, referring to a scene in which Ye-ji bristles at Mi-ok’s suggestion that her high-end clothes are out of place interviewing unemployed laborers. “[Jeon and Cho] knew of that and they went into shooting that scene knowing that it was quite challenging to express. There were, of course, some things that were up to the camera in bringing that about, but I think that was a scene where the two were able to express just how nuanced and quite strange the relationship can be.”

The film itself is just as slippery and multi-layered, down to Lee’s heady admixture of documentary and dramatic aesthetics. Inspired by real-life labor conflict in South Korea, “Possible Love” uses Ye-ji’s nonfiction study of laid-off workers as a window into the lives of ordinary people swept up in large-scale social change, against the backdrop of which the two women’s competing priorities are thrown into stark relief. Can a filmmaker who totes a $4,000 Lora Piana backpack, however well-intentioned, truly understand the plight of the working class? Is a subject eager to publicize a political struggle prepared for the risk that her personal privacy will be invaded in the process?

To choreograph the film within the film — so compelling that I almost missed seeing its conclusion when “Possible Love” shifts the focus to interpersonal fireworks in the third hour — Lee cast a real-life documentary director and cinematographer as Ye-ji’s crew, lending what Cho calls their “natural energy” to the movements of the camera. Cho herself prepared by consulting the late master of the form, Frederick Wiseman, who was unabashed about the tension between documentary filmaking’s often radical politics and the privilege required to turn it into a profession.

“[Wiseman] was posed the question by some students studying film and documentary: ‘How can I pursue this work in reality?’” she recalls. “And he replied with the immortal words, ‘Marry a rich man.’ And you know, I was preparing for the role of Ye-ji, so it was such an apt response for her situation.”

Jeon, left, and Cho in “Possible Love.”

(Joo Jae-bum/Netflix)

The potential for conflict bursts into the open at a seaside home that has been in Ye-ji’s husband’s family for years, where the group has decamped for a supposedly restorative holiday. Reminded of the setting by the location of our conversation — a set of green-curtained, pink-carpeted suites at the Hotel Excelsior, overlooking the northern shores of the Adriatic — I ask the actors what’s going through their characters’ minds when Mi-ok and Ye-ji’s promising connection ultimately severs.

Mi-ok “doesn’t really want to reveal to anyone else what’s going on in the family … She only wants to show the good side that they are trying to live their best life and trying to improve and move forward with hopefulness,” Jeon says, citing an early scene in which Mi-ok asks the crew not to film her son’s awkward taekwondo at a school field day. When the camera’s prying eye becomes more intrusive, though, she “feels a great sense of betrayal, that her family is being used and exploited.”

For Cho, who says Ye-ji is “constantly balancing the ethical dilemma” between documenting the truth and treating her subjects with care, the break was always inevitable, and no amount of Ye-ji’s remorse or guilt can repair the damage.

Against this microcosm of the class war Lee sets the emergence of artificial intelligence, which threatens to further destabilize labor across a range of industries — including his own. Although he’s uncertain if, when or how AI will “intrude” on the “entirely creative” filmmaking process, the “Poetry” and “Burning” director is already using it for everyday tasks.

“Before going to see the doctor, I like to ask AI all the symptoms that I have, ask what’s wrong with me. Or I would ask, you know, ‘What’s the weather like in Venice?’” he says. “AI gives us instant answers, and it goes even beyond that to where it gives you advice these days. And in that sense, AI has indeed really gotten deeply intertwined in my daily life.”

Similarly, Jeon is open to using AI for more “trivial” matters, such as simultaneous translation from English to Korean and vice versa. But she admits to more “extreme thoughts” than Lee about the technology’s role in the future of screen acting.

“I’m going to be starring in a [Korean-language adaptation] of Anton Chekov’s “The Cherry Orchard” upcoming in New York. And I was wondering, actually, is the stage the last place that cannot be conquered by AI, and will not be replaced by AI?”

Perhaps. But the scene in “Possible Love” that best captures the finely honed chemistry of its female leads, in which Mi-ok and Ye-ji drunkenly bond over soju and Korean barbecue as their bemused husbands look on, seems to me beyond the capabilities of AI — it’s too warm, too meticulously rendered to be anything other than fully human, the sort of acting one hopes the Venice jury will remember when it hands out the Volpi Cup for best actress on Saturday.

“It is quite difficult technically and practically — it was a scene that we shot all night long,” Cho says. “But I remember shooting it with a lot of pleasure.”

No protest there.

It’s been a remarkable year for Bad Bunny, one of pop music’s biggest stars. After winning multiple trophies earlier this year at the Grammys, including album of the year for “Débi Tirar Más Fotos,” he can add another accolade: Emmy winner.

The Puerto Rican rapper and singer, also known as Benito Antonio Martínez Ocasio, won his first Emmy for variety special (live) on Saturday for his historic Super Bowl halftime show. It was the first Spanish-language halftime show, a 13-minute spectacle that transformed a football field into a variety of scenes including a sugar cane field, bodega, wedding party and casita, like the one in his 2025 San Juan residency. It also featured performances by Lady Gaga and Ricky Martin. Mikael Wood, The Times’ pop music critic, called it “a busy and colorful performance that drew lines between the traditional folk forms of his native island and the throbbing reggaeton beats that have made him an icon to young people around the globe.”

Bad Bunny served as a producer on the show. It won seven Emmys overall, including for directing for a variety special and music direction.

Also honored at Saturday’s ceremony was Mariska Hargitay for her documentary “My Mom Jayne,” about her mother Jayne Mansfield, a Hollywood actor who died in a car accident when Hargitay was 3 years old. Hargitay also received an Emmy for directing the film and Tony Hardmon won for cinematography. The movie, which premiered at the Cannes Film Festival last year, had a limited theatrical run before being released on HBO in June 2025. Hargitay won an Emmy in 2006 for lead actress in a drama for playing Det. Olivia Benson in “Law & Order: Special Victims Unit.”

In an interview with The Times last year, Hargitay said, “Making this film has been so extraordinary to me and totally reframed the narrative for me,” about Mansfield and the struggles she encountered over her brief but celebrated career. The film also revealed that Hargitay’s biological father was Nelson Sardelli, a former entertainer, and not Mickey Hargitay, the man who raised her and Mansfield’s second husband.

Mariska Hargitay will host the Primetime Emmy Awards on Sept. 14 in Los Angeles.

The first pair of Emmy ceremonies, formerly called the Creative Arts Emmys, are held over two nights, two weekends before the Primetime Emmy Awards, and honor many of the behind-the-scenes workers and craftspeople in television. An abridged version of the ceremonies will be broadcast Sept. 12 on FXX and stream on Hulu the following day.

Here is a list of winners from Saturday’s ceremony:

Variety special (live)
“The Apple Music Super Bowl LX Halftime Show Starring Bad Bunny”

Variety special (pre-recorded)
“The Muppet Show”

Documentary or nonfiction series
“Mr. Scorsese”

Documentary or nonfiction special
“My Mom Jayne: A Film by Mariska Hargitay”

Unstructured reality program
“Love on the Spectrum”

Structured reality program
“Antiques Roadshow”

Host for a reality of reality competition program
Alan Cumming, “The Traitors”

Game show
“Jeopardy!”

Game show host
Jimmy Kimmel, “Who Wants to be a Millionaire?”

The complete list of winners for Saturday’s ceremony can be found at televisionacademy.com.

The Great ADHD Myth? sparked fury among viewers as it sought to ‘determine whether ADHD is a genuine neurodevelopmental disorder, or a social construct’

Channel 4 has been hit with hundreds more complaints over its controversial ADHD documentary.

The Great ADHD Myth? sparked fury among viewers as it sought to “determine whether ADHD is a genuine neurodevelopmental disorder, or a social construct”. Last week, the media regulator confirmed that it had received 9,656 complaints after the show aired on Tuesday, August 18.

And the rage is still ongoing, with Ofcom receiving another 561 complaints, bringing it to a jaw-dropping total of 10,217.

An Ofcom spokesperson told the Mirror: “Complaints relate to the representation of ADHD in the programme.”

It comes after charity ADHD UK filed a furious complaint to the media regulator themselves, saying: “ADHD is not a myth. It is not a social construct.”

The documentary featured a 10-year-old boy with ADHD who made changes to his lifestyle and stopped taking his medication in an attempt to see how it would affect him. At the end of the programme, his mum said that he would continue to not take his medication – however a caption later confirmed at the end that he had resumed taking the drugs and his school performance improved.

“The programme’s own end credits told you what its 60 minutes wouldn’t: the boy at its centre went back on his medication, and his schoolwork improved,” said ADHD UK. “Their experiment disproved their conclusion. They aired their version anyway. We have already complained to Ofcom.”

The NHS recently released information about the number of people affected by ADHD. Data from May 2025 reports that it is estimated that 2,498,000 people in England have ADHD, including those without a diagnosis.

Of those, an estimated 741,000 are children and young people aged between five and 24. The report also stated that in March 2025, up to 20,000 people were newly referred for an ADHD assessment to mental health services, an increase of 13.5% from the previous year.

In a statement shared after the documentary was announced, amid backlash, a Channel 4 spokesperson stated, “This documentary does not deny the lived experience of people with ADHD traits, but does hear from a group of senior medical and academic experts – many of whom work or have worked with the NHS or have held presidential roles at professional membership bodies – who seek to question whether ADHD is a neurodevelopmental disorder. They also ask whether modern living has contributed to a rise in diagnoses, and whether there may be better alternatives for children than medication.”

The documentary featured NHS psychiatrist Dr Max Pemberton, who had previously said: “As a psychiatrist, I’ve watched ADHD go from a diagnosis that was only occasionally made and after careful assessment, to one that is increasingly demanded and dispensed, and I wanted to understand why.

“There’s no doubt that the people seeking these diagnoses are genuinely struggling; that isn’t in question. What the film asks is whether ADHD is really the best explanation for that struggle and my hope is that we come away with permission to ask better questions about what modern life is doing to all of us.”

When the documentary was first announced, viewers were left appalled. One wrote: “The endless hostility toward people with ADHD, autism, and anxiety is reaching a terrifying point.”

Another wrote: “More demonising and minimising those with mental health struggles. Fabulous.” One person called it “absolutely disgusting”, while another said it was “incredibly hurtful”.

However, some viewers called the documentary “interesting”, with one writing: “Interesting programme on Channel 4 about ADHD.” Another called it “great”, while a third said: “I filled it in to say how interesting I found the programme. I have a child with a diagnosis of ADHD.”

The Mirror has reached out to Channel 4 for comment.

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads.

A new three-part documentary series on Netflix will explore the life and struggles of Matthew Perry and feature an interview with his sister Mia Perry Bowick, along with unreleased photos and videos from the private archive of the Perry family.

“The One About Matthew Perry” will premiere on the streaming platform Oct. 27, according to an announcement by Netflix on Tuesday. The docuseries, directed and executive produced by award-winning director Mary Robertson (“Quiet on Set”), will tell the story of Perry and his journey from rising comedic star to the man behind the Emmy-nominated role of Chandler Bing on “Friends.”

“Through his many films, TV and stage performances, and his unforgettable portrayal of Chandler Bing, he made millions of us laugh, connect, and feel a little less alone,” Robertson said in a statement. “He also gave us so much more by bravely speaking about addiction. Yet the public only knew part of his story. That’s why we set out to make this series: to let the people who knew and loved Matthew reveal the person behind the public figure.”

The documentary will explore new details about Perry’s private struggles with prescription painkillers and alcohol through firsthand memories from his family and collaborators. The actor died in 2023 from acute effects of ketamine, according to the Los Angeles County medical examiner. Five people were sentenced to prison for supplying Perry with the drug, including his assistant, two doctors, a former drug counselor and a drug dealer known as the “Ketamine queen.”

Perry Bowick hopes the series gives everyone who loved him an appreciation of who he truly was and the legacy he leaves behind.

“It’s taken time for me to feel ready to share these memories and what it was like to love Matthew through all the complexity of his life — to see him as a whole person, not just as Chandler, and not just as someone who struggled with addiction,” she said in a statement.

“The One About Matthew Perry” is the latest documentary about the late actor; “Matthew Perry: An American Tragedy” was released on Peacock last year. The Netflix docuseries is produced by Maxine Productions, a part of Sony Pictures Television. Lisa Kalikow, Eli Holzman and Aaron Saidman are executive producers along with Robertson, Lora Moftah is co-executive producer and Jessica Call is producer.