drama

Viewers of ITV’s new true crime drama The Lady, starring Natalie Dormer as Sarah Ferguson, have voiced concerns about the timing of the series amid ongoing royal controversy

ITV’s The Lady debuted this evening, prompting immediate reaction from viewers just minutes into the Sarah Ferguson drama.

The four-part true crime series chronicles the devastating story of Sarah Ferguson’s royal assistant, Jane Andrews, whose trajectory from humble beginnings to palace life ended with her being convicted of murdering her partner, Thomas Cressman, in 2000.

According to the opening episode’s description, “Working-class woman Jane Andrews wants more for her life and is unlucky in love.”

It continues: “On the brink of losing all hope, she receives a letter inviting her to interview for a job with Sarah, Duchess of York, at Buckingham Palace. Securing the job, she moves to London – but life in the palace is gruelling, and Jane struggles to fit in, but she and Sarah find common ground in their experiences of love and betrayal.”

Mia McKenna-Bruce portrays Jane Andrews in the ITV production, whilst Natalie Dormer underwent a transformation to embody Sarah Ferguson, Duchess of York, reports the Express.

Within minutes of broadcast, audiences flocked to social media to voice their opinions, with numerous commenters branding it “poor taste” and “bad timing”.

One viewer declared: “Quite possibly, the worst-timed launch of a TV series, ever. #thelady,” whilst another questioned: “Was it the best time to show #TheLady, considering all the controversy around Andrew Windsor and Sarah Ferguson?”

However, a third viewer observed: “ITV couldn’t have timed this any better. It’s pretty good too #TheLady.”

Other viewers concurred, with one stating, “Bad taste at the moment showing anything to do with Sarah Ferguson,” whilst another remarked, “I don’t think this drama could have been timed any better #TheLady.”

For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website.

The production also garnered widespread acclaim, with one fan writing, “Ok tunes have me hooked already…..”

Another viewer shared their enthusiasm: “#thelady ok 15 mins in, and I’m hooked! Quality-made drama.”

Tomorrow evening’s second episode, which can be streamed on ITVX, promises: ” Jane meets dashing businessman Luis Castillo, and the two begin a relationship, but tensions soon erupt on a holiday in Greece and she becomes increasingly unstable.”

The synopsis continues: “As Jane’s carefully constructed composure starts to fracture and puts her position with the duchess at risk, a lifeline appears in the shape of the charismatic Tommy Cressman.”

The third episode will subsequently be broadcast next Sunday at 9pm on ITV.

The Lady continues tomorrow evening at 9pm on ITV, with episodes currently available to stream on ITVX.

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A sparkly pink electric guitar hangs on a wall of the recording studio where Hilary Duff made her new album. The cozy, gear-filled joint near the Van Nuys Airport belongs to her husband, Matthew Koma, who produced “Luck… or Something,” the singer and actor’s first LP in more than a decade. But as Duff points out on a recent afternoon, the paisley-print guitar is all hers.

“I got it for my 16th birthday,” she says proudly — a gift from the Fender company. “I found it in the storage unit and Matt was like, ‘Oh, that’s going up there.’”

Before Miley Cyrus, before Sabrina Carpenter, before Olivia Rodrigo, Duff arrived in the early 2000s as a Disney kid with pop-idol ambitions. She broke out in the endearingly awkward title role of the Disney Channel’s “Lizzie McGuire” then went on to star in family-friendly movies like “Agent Cody Banks” and “Cheaper by the Dozen.” By the time she received that guitar, she’d topped the Billboard 200 with her album “Metamorphosis,” which sold 4 million copies and spawned hit singles like “So Yesterday” and “Come Clean.”

Duff stepped away from music for most of her 20s to focus on acting and starting a family. (An attempted comeback album in 2015, “Breathe In. Breathe Out.,” didn’t really go anywhere.) Now, at 38, she’s returned with a bracingly honest record full of the texture and detail of her life as a wife, sister and mother of four.

In frank yet wordy songs that layer guitars and synths over shimmering grooves, Duff sings about trying to overcome old habits and about her fear that her best times are behind her. “We Don’t Talk” appears to address her estrangement from her older sister, Haylie, while “Weather for Tennis” describes her tendency to keep the peace as a child of divorce. In “Holiday Party,” she recounts a recurring dream in which Koma cheats on her with her friends.

“I wake up in a rage and he’s like, ‘I didn’t do anything!’” she says with a laugh. “And I’m like, ‘But you want to.’ A lot of this stuff came out of the hormonal boom of: I’ve just had a baby and I’m nursing and I’m trying to get my two feet back on the ground again.” (Duff and Koma have three daughters aged 7, 4 and 1, while Duff shares a 13-year-old son with her ex-husband, former hockey player Mike Comrie.)

Asked how he hopes the album fares commercially, Koma says, “I don’t [care]. Public perception or sales, that’s all cool, but it’s a separate experience from why we did it.” The producer, who’s known for his work with Zedd and Shania Twain, adds, “The whole purpose was to make something that Hilary could feel good about stepping into.”

Yet early-2000s nostalgia led to a recent run of sold-out theater gigs, and this summer it’ll carry her into arenas around the world, including Inglewood’s Kia Forum on July 8 and 9. (Less happily for Duff, it also made a viral sensation of an essay in the Cut by her fellow millennial Ashley Tisdale in which Tisdale wrote about leaving a “toxic mom group” that allegedly included Duff and Mandy Moore.)

Curled on a sofa in the studio’s control room, Duff says, “I’m finally at this place where I’m zero percent ashamed of my past and any of the things that used to embarrass me” — one reason she made the bold choice to open her set at the Wiltern last month with two of her biggest hits, “Wake Up” and “So Yesterday.”

After those songs came “Roommates,” perhaps the most vulnerable track on Duff’s new album. It’s about navigating a dry patch in a marriage, and the language is as vivid as it is unsparing: “I only want the beginning / I don’t want the end,” she sings, adding that she longs to be in the “back of a dive bar, giving you h—.”

A surprising word choice.
How would you have said it? Sometimes you need to make the lyrics fit — you need it to rhyme with something. [Laughs] It’s meant to be polarizing because it’s such a desperate plea. I can say I haven’t actually given h— in the back of a dive bar. But it’s just trying to capture the feeling of a time when you felt alive.

Like all teen stars, you had to figure out how to grow up and talk about sex as a public figure. Now there’s the idea that it’s better left to the young.
I finally feel like I know a lot about sex. My whole 20s, sex was not always enjoyable — it was so much to figure out. Now I finally understand it. Maybe that’s a female thing, but I’m not ready to be put out to pasture. People come up to me all the time and they’re like, “Wow, you aged really well.” I’m like, “I’m only 38! Just because you’ve known me since I was 9…”

You’re handling senior citizenship well.
When do I start getting the discounts? I feel like 38 is not old, although when I thought about my parents at 40, they looked so different than we look now.

I always stop at those TikToks where it shows what 35 looked like in 1982.
I don’t think anyone drank water back then. They were, like, dusty-crusty.

Hilary Duff, left, and Matthew Koma at Apple Music Studios in Los Angeles in December.

(Amy Sussman / Getty Images for Apple Music)

You borrow the chorus of Blink-182’s “Dammit” for your song “Growing Up.” Why?
Blink is one of my favorite bands. I remember getting my driver’s license, and that was what was playing on my iPod. “Growing Up” is such a deeply personal song to me, talking about sitting in the backyard with one of my best friends and just needing to drink too much wine and unload about life. But it also feels like a love letter to my fans. I don’t like saying that word, but I genuinely feel like I’ve had fans for 25 years, and getting to see them now in adulthood — I didn’t know I was going to have this opportunity.

What’s the problem with “fan”?
It puts me on a pedestal that makes me feel uncomfortable. If you were to talk to Matt or someone close to me, they’d probably say, “Hilary doesn’t understand what she’s meant to some people.” And I think that’s true. When I think of myself, I’m not like a grand pop star — I feel more like a woman of the people.

A woman of the people?
Am I allowed to say that? [Laughs] Is that offensive in any way? My feet hit the ground in the morning, and I’ve got a million things to do. Sometimes my baby’s still sleeping. And I have a teenager to get ready for school that we’re always all waiting on.

Why do you have four children?
I know — we’re sick.

Did you expect to have four?
I thought I would have at least three. I always wanted a big family because I come from a super small family and I always wanted more siblings. I had Luca obviously pre-Matt, and then we had Banks before we got married. Then the pandemic hit — we had a pandemic baby like everybody else. The fourth was just a crazy-a— decision. Matt was like, “Everybody’s gonna think we’re really Christ-y if we go for No. 4.” We also have three dogs, two cats and eight chickens.

As two artists, how do you sort out the work of child-rearing?
I don’t know if I’ve actually said this out loud — to Matt I have for sure — but I think that part of my wanting to make a record was coming out of having my fourth child. I love motherhood, obviously — I wouldn’t have four kids if I didn’t. But I think I felt really jealous that he got to go to work every day and just be alone with his thoughts. I was like, I need to stretch. That’s what it felt like after the fourth baby: I’m either gonna lose myself completely and just become a stay-at-home mom and wait for the phone to ring, or I’m gonna go make something that moves me.

You don’t need me to tell you that our culture is always happy to make moms feel guilty. Was it a journey to accept that it’s OK to do something for yourself?
That’s what the healthy part of the brain says. But the other part that’s wired to be with the children you birthed — sometimes that part overshadows it. And it’s very hard to fight that. I could probably cry right now thinking about all the things I’m gonna miss this year.

Hilary Duff in the studio where she recorded her new album.

(Jay L Clendenin / For The Times)

You’ve got a line in “Roommates” where you say, “Life is life-ing and pressure is pressuring me.” At the shows you just played, did you think of your audience as being at the same place in life as you?
For sure. When they were scream-singing it back to me, I was like, “Oh, you know.” That doesn’t mean you have to be a parent. “Life is life-ing” is the bills and the monotony and the traffic and the family — it’s all the things. I knew that if it’s bumping around inside my head, and I’ve been living a pretty normal life for 10 years — normal as I can get — then people would see themselves in it.

Twenty-five years ago, you were playing to 10-year-olds. Would a 10-year-old today be interested in your new songs?
I don’t think so. But I mean, I used to sing Natalie Imbruglia’s “Torn” all the time, and I had no idea what it was about.

The last decade has been a golden age for young female songwriters: Taylor Swift, Billie Eilish, Olivia Rodrigo.
You forgot Chappell Roan.

“Luck… or Something” feels aligned with that deepening craft. But maybe your early stuff felt sophisticated to you.
I don’t think the intent back then was sophisticated songwriting. There was no Taylor Swift yet — it’s like before Christ and after Christ.

She changed the game?
On all the levels.

How’d you end up on Atlantic Records? I wondered whether this was a product of personal friendships — the Elliot Grainge and Sofia Richie and Good Charlotte of it all.
We’re more personally friends with them now. I finished making the record and for the first time ever was like, “It’s done — do you like it?”

You weren’t looking for notes from the label.
I’m not saying I didn’t have meetings with A&R. But pretty much the record was created, and that was that. I didn’t go shopping anywhere else, which was fantastic because I hate a dog-and-pony show.

Did you feel like you’d been chewed up by the record industry in any way?
After “Breathe In. Breathe Out.,” it was very easy to be like, “RCA forced me to lead with this song when I knew it should’ve been this song.” But that was me not having [courage], you know what I mean? It was a joint effort of [messing] it up. But I learned a lot from that. I don’t think I would’ve made this record if I hadn’t fumbled the ball a little.

The story about the toxic mom group blew up just as you were launching this album. Did that experience give you pause about reentering the pop world?
I mean, this is not new for me. I’ve had this since I was maybe 15 and starting to get followed around by paparazzi. Everything starts getting documented and everyone knows my life and all the players in it. So the stories that get news pickup — it’s not what happens to a normal person who maybe became an actor as an adult. And now it’s escalated by the talking heads on TikTok that need clickbait. It’s hard because you’re like, “Wait, whoa, that person kind of got it right,” and “Whoa that person doesn’t know what they’re talking about.” I saw something that was like, “None of the moms at school actually like her and neither do the teachers,” and I was like, “First of all…”

Is it hard or easy for you to tune out —
By the way, the women at school are lovely and I’m obsessed with all of them.

But can you ignore the chatter about you on social media?
It just depends on the day. Knowing that I get to open up the backdoors and play soccer as a family and take a hot tub and go get our chicken eggs — that’s the purpose of life. On the days when crazy s— happens, I go home and quiet the noise.

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

This week we lost two towering figures with the deaths of Robert Duvall and Frederick Wiseman.

Duvall, who died at 95 at his home in Virginia, was known as an actor for roles in films such as “The Godfather,” “Apocalypse Now,” “To Kill a Mockingbird” and countless more. As a director, his work included “The Apostle” and a handful of other projects.

Robert Duvall in the movie “Apocalypse Now.”

(CBS Photo Archive / Getty Images)

The movies team published a list of 10 of our favorite performances, including “Tender Mercies,” for which he won an Academy Award, as well as “Network,” “The Great Santini” and “Widows.”

Wiseman, who died at 96 in Cambridge, Mass., directed more than 45 documentary features beginning with 1967’s “Titicut Follies” on through 2023’s “Menus-Plaisirs — Les Troigros.” His work was known for its rigorous examinations of systems and institutions, giving viewers insights into why things functioned the way they did.

Frederick Wiseman, photographed at the Venice Film Festival in 2014.

(David Azia / Associated Press)

“The institution is also just an excuse to observe human behavior in somewhat defined conditions,” Wiseman told the Associated Press in 2020. “The films are as much about that as they are about institutions.”

Tribute screenings have already started to pop up in tribute to Duvall, with presumably more for both men on the way.

‘Sunshine’ in 35mm

Rose Byrne in the 2007 movie “Sunshine.”

(Alex Bailey / Twentieth Century Fox)

The collaboration between director Danny Boyle and screenwriter Alex Garland has yielded an ongoing examination of societies in varying stages of collapse, lately in their recent revival of the “28 Years Later” series. Among their other works is 2007’s “Sunshine,” which, while seen as something of a disappointment on initial release, has only grown in esteem in the years since. The Academy Museum will screen the movie on 35mm Friday in the Ted Mann Theater.

In 2057, Earth is freezing as the sun has begun to die. An international crew of astronauts — including Cillian Murphy, Michelle Yeoh, Rose Byrne, Hiroyuki Sanada, Benedict Wong and Chris Evans — are dispatched with the improbable mission of reigniting the sun. When they encounter another ship along the way, things begin to go very wrong.

In his review, Kenneth Turan wrote, “Not reflected in a synopsis is the way screenwriter Garland has made ‘Sunshine’ a thoughtful genre film, one with philosophical concerns about God, man and morality. It’s not for nothing that Icarus’ talking computer echoes Hal of Stanley Kubrick’s ‘2001: A Space Odyssey.’ Garland and Boyle also have devoted time and effort to character psychology, to making the members of the Icarus’ crew into recognizable people and not Hollywood stick figures. … All these good things enable us to buy into ‘Sunshine’s’ story for a considerable span, creating a palpable tension that underlines that no one should feel safe in the far reaches of space.”

John Horn also wrote an extensive production story on the film. Referring to delays in the editing process, which caused a delay in the film’s release, Boyle said, “No director, unless they are contractually obligated, will ever go back and do a sequel set in space. When I finished it in January, I would have said no, it wasn’t worth it. Because I fell out with everybody. To make these movies, you have to be so uncompromising and scorch all of the ground in front of you.”

Slamdance Film Festival

Vondie Curtis-Hall in the movie “The Projectionist,” the opening night film of the 2026 Slamdance Film Festival.

(Slamdance Film Festival)

The Slamdance Film Festival has launched its second year in Los Angeles, running through Feb. 25 with screenings at the DGA, Landmark Sunset and 2220 Arts + Archives. The virtual edition of the festival will run from Feb. 24–March 6 on the Slamdance Channel.

The festival opened with the world premiere of Alexandre Rockwell’s “The Projectionist.” Starring Vondie Curtis-Hall along with Kasi Lemmons and Kevin Corrigan, the film tells the story of a lonely film projectionist confronting his past.

Rockwell, who, in 1992 won the Grand Jury prize at Sundance with “In the Soup,” lauded Slamdance as “a festival that embodies the vital spirit of independent film better than anywhere.”

Among other notable titles in this year’s program is “The Untitled Ruby Slippers Documentary” directed by Seth Gordon and Nikki Calabrese, the story of the theft and recovery of one of the most famous pieces of Hollywood movie memorabilia. Gordon’s “The King of Kong” premiered at Slamdance in 2007.

Points of interest

‘A Thousand and One’

Teyana Taylor in the movie “A Thousand and One.”

(Aaron Ricketts / Focus Features)

Teyana Taylor is an Oscar nominee for her performance in “One Battle After Another.” (She’s also a recent guest on “The Envelope” podcast.) She got that role after “One Battle” director Paul Thomas Anderson saw Taylor’s performance in “A Thousand and One,” written and directed by A.V. Rockwell. Vidiots will show the movie Saturday.

In the film Taylor plays Inez, recently released from jail in New York City and attempting to reconnect with her son who has been in the foster system. When an opportunity presents itself, she impulsively abducts him and tries to get them set up in a new life together.

In her review of the film, Katie Walsh noted that Taylor “brings to her astonishing performance the coiled physicality of a panther ready to pounce.” Walsh added, “The film is utterly absorbing, anchored by the unpredictable performance of Taylor, playing a hopelessly complicated, but deeply caring woman. When faced with dire circumstances, she survives, then dares to imagine a life for Terry beyond the cycle she’s experienced, forging a family unit she never had.”

Sonaiya Kelley spoke to both Rockwell and Taylor about the film. Taylor said of the part, “I was drawn to the role before I even read the whole script. … A lot of the emotions I put onto Inez were real emotions from real triggers.”

‘Dont Look Back’

Bob Dylan in the documentary “Dont Look Back.”

(Criterion Collection)

As part of an ongoing series, the Academy Museum will show D.A. Pennebaker’s 1967 “Dont Look Back” in the David Geffen Theater with doc director Joan Churchill in person to introduce the film.

A pioneering work of cinema verité, the film tags along on Bob Dylan’s 1965 tour of England, capturing a period of heady creative evolution. As Dylan plays a series of shows, he is also seen in various hotel rooms, cutting down journalists and others with a self-regarding wit.

As Charles Champlin said in his 1967 review, “The technical shortcomings deliberately enhance the atmosphere of claustrophobic chaos surrounding a pop idol on tour. And this, after all, is what the film is about. … [Dylan’s] milieu and its hangers-on are by no means uniformaly attractive. But after this skillful and exhaustive piece of film reportage, no one need ask what it and they and he are really like. The camera has become an X-ray.”

People are raving on about the drama series which is believed to be a ‘hidden gem’ and it’s available on a number of TV networks, including Disney+. So have you seen this before?

Looking for the next big TV series to binge-watch? It can be hard finding a new show to watch, especially if you’ve just finished something decent on Netflix or Amazon Prime.

Now people are raving on about a ‘hidden gem’ they found – and it’s available on a number of TV networks, including Disney+. After one TV fan asked for recommendations in a popular thread, many people flooded the comments section where they offered a number of suggestions, one of them being Will Trent, a American police TV drama. The series follows a Special Agent of the Georgia Bureau of Investigations.

As a child, Trent was abandoned and forced to endure a harsh coming-of-age in Atlanta’s overwhelmed foster care system. It was based on one of prolific New York Times author Karin Slaughter’s bestselling books.

The Reddit post read: “Any current network (CBS, ABC, NBC, etc.) TV shows that are any good? Most of the shows I currently watch are on streaming services and I’m wondering if there’s any hidden gems I’m missing out on.”

Many people shared their suggestions, including High Potential and The Rookie.

But plenty of viewers labelled Will Trent as a must-see. The series, which is also available on other network channels, can be streamed on Disney+ for subscribers.

The series was developed by Liz Heldens and Daniel T. Thomsen which stars Ramón Rodríguez and premiered on January 3, 2023, on ABC.

A year later in April, the series was renewed for a third season which landed on January 7, 2025. Then months later, the series was given the green light for a fourth season which finally premiered on January 6, this year.

The series follows Will who grew up in the Atlanta foster care system after being abandoned as a child. Despite being dyslexic and his upbringing having a lasting effect on him, he became a Special Agent in the Georgia Bureau of Investigation (GBI).

Will, a highly observant character, had been assigned a corruption case involving the Atlanta Police Department which shares an office building with the GBI.

The story also shows his on-again off-again relationship with APD Detective Angie Polaski, a childhood friend from the foster care system.

Will Trent has a 7.7 out of 10 rating on IMDb and 83% on Rotten Tomatoes. To watch it on Disney+, you must have a subscription on the streaming platform.

LEIGH-ANNE Pinnock shrugged off her Jesy Nelson drama as she flashed her underwear at a film premiere – after Little Mix reunion hopes were dashed this week.

Day ago, Jesy, 34, shocked fans when she released her bombshell documentary which, according to sources, was “upsetting” for Leigh-Anne, 34, and fellow bandmate Perrie Edwards, 32, and Jade Thirlwall, 33.

Jesy’s Prime doc, called Life After Little Mix, caused shockwaves when she made claims of “feeling alone” during a tough time in the girl group.

But putting on a brave face, Leigh-Anne pulled out all the stops at the London premiere of Charli XCX’s movie, The Moment.

The mum-of-two looked incredible in the daring crochet maxi dress.

The outfit showed off her incredible figure, and she completed her sexy look with a striking neon green bandeau top.

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Leigh-Anne also cheekily flashed her thong in the see-through outfit.

The star’s striking look made sure to turn heads on the red carpet, and she looked incredible as she posed for the waiting cameras.

Little Mix was the first group to win The X Factor back in 2011, before going on to break UK singles chart history with five No. 1s and selling more than 75million records worldwide.

Jesy quit the band after nine years, blaming battles with her mental health and struggles with the pressures of fame as her reasons for leaving.

The band then went on a hiatus in 2021.

Last week, Little Mixers everywhere had been hopeful the girlband would regroup after Jesy hinted that their six-year feud was over after the girls had privately reached out.

In her recent documentary Jesy revealed her secret suicide attempt days before quitting the group – suggesting her cry for help was ignored by bandmates.

Fighting back tears in the doc, she said: “That made me feel really alone. I felt like there was no point. That no one cared.”

But while Jesy gave fresh hope about the possibility of reconciling with the girls, Leigh-Anne, Jade and Perrie’s reactions over the last week, suggest maybe not.

A source told The Sun: “Jesy’s confession has obviously opened up a can of worms for the girls.

“The documentary itself and the backlash that has followed, has brought up a lot of bad feeling from the past.

“It’s been upsetting for the girls, but they are focused on their solo careers and the future now.”

It comes after Jade broke down in tears on stage as she sang Natural At Disaster, whilst on her current solo tour.

The track is said to have been written about her struggling friendship with Jesy, with lyrics including: “It’s hard to love you when you hate yourself. Can’t be there for you without negatively impacting my mental health.”

Seemingly in another swipe at Jesy, she then chose to play Natural At Disaster over her latest Instagram post.

Sharing video footage from behind the scenes at her show in Chicago, JADE wrote: “And all that jazz.”

One fan commented: “The song choice… I hope you’re not shading Jesy. I love you all.”

Perrie meanwhile has kept off social media, last posting a week ago to promote her new song Woman In Love.

She brought forward the release by four days after originally announcing it would be available on the same day as Jesy’s doc.

While Leigh-Anne has been more active than usual on social media.

She has been busy posting about her new album My Ego Told Me To as she goes on tour.

She told fans: “I can’t tell you how excited I am to perform this album live for you!

“Get me back to my happy place nowww! This one’s going to be so special!”

Silent Witness fans should watch another crime drama set in Scotland.

The alternative forensic drama for Silent Witness fans is the perfect binge.

Devotees of Silent Witness are being encouraged to discover another forensic drama that debuted on the BBC in 2021, following recent scheduling adjustments to the latest instalments.

The crime thriller centres on three female forensic experts – Emma Hedges (portrayed by Molly Windsor), Sarah Gordon (Laura Fraser) and Kathy Torrance (Jennifer Spence) as they piece together evidence in a murder investigation and secure a conviction.

Traces unfolds in and around Dundee, though viewers might find it intriguing that most of the BBC production was actually shot in Bolton, Manchester.

Created by Val McDermid and Amelia Bullmore, the drama tracks Emma Hedges, a laboratory technician returning to her native Dundee for a fresh position.

Beyond her professional duties, she harbours a personal quest to uncover the truth surrounding her mother’s killing.

Initially broadcast on Alibi, both series subsequently transferred to BBC One, with the final episode of the 12-part run transmitted in 2024.

Fraser portrays Sarah Gordon, a Chemistry professor at the University of Tayside who becomes Emma’s superior at SIFA.

Spence takes on the role of Kathy Torrence, a forensic anthropology professor at the University of Tayside and fellow SIFA colleague.

Viewers flocked to IMDb to express their opinions on the programme, with craigpetterson noting: “Set in Dundee, Scotland, great performances by the cast. Keeps the viewer hooked until the end.”

They added: “Congratulations to Alibi for commissioning and producing such a high quality production in Scotland.”

Barryrd enthused: “I was glued to Britbox watching the first season of this highly enjoyable show. This great drama consisted of several episodes and showed how a young woman, who lost her mother as a child, struggled valiantly to find out the truth of her mother’s death.

“The story had me transfixed to my screen and highlighted the science of forensics which is such a fascinating part of solving crimes in the 21st century.”

Bella-10103 praised the series as “addictive”, adding: “Binged watched this over a couple of days, absolutely loved Traces.”

Lyninbyron summed up: “I binge watched in one day. I had to! Riveting story, great cast but missed quite a bit of the dialogue due to fast, garbled lines.

“That said, I rate it a 10 for being excellently written. Series two please, can’t wait. Congratulations to all involved.”

Traces is currently airing on NOW.

**For the latest showbiz, TV, movie and streaming news, go to the new Everything Gossip website**

This BBC Three drama based on Sally Rooney’s bestselling novel is coming to Netflix soon

A beloved BBC drama adapted from a bestselling novel that readers have described as “perfect” is arriving on Netflix by the end of this week.

Boasting a stellar cast of familiar faces from the UK, Ireland and the USA, the eight-part series originally debuted in 2022.

Adapted from Sally Rooney’s debut novel, Conversations With Friends didn’t quite achieve the cultural phenomenon status of its BBC predecessor, Normal People, which captivated audiences during the Covid-19 lockdown of 2020.

Nevertheless, despite garnering mixed reviews upon release, there are numerous fans who believe the drama about two young best friends who become entangled with an older, successful couple has aged remarkably well and merits viewing.

Alison Oliver (Wuthering Heights) and Sasha Lane (Loki) portray Frances and Bobbi, alongside Sex Education’s Jemima Kirke and Hamnet’s Joe Alwyn as Melissa and Nick, whose lives grow increasingly intertwined, reports the Express.

One five-star review on Goodreads praised the novel as “stupidly good” and “perfect from start to finish”.

Another user concurred, describing the novel as a “perfect representation of life: it’s messy and unpredictable, and we are all just trying to find our footing”.

The live-action adaptation for BBC Three and Hulu is praised as a faithful portrayal of the novel’s events and themes, meaning Normal People fans are certainly in for a treat if they choose to dive in or revisit the series several years after its release. It will be landing on Netflix in its entirety this Sunday, 22nd February.

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This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Bridgerton.

One viewer remarked upon its release: “Conversations With Friends the TV adaptation is a phenomenal success and I loved every moment of it. I may even re-watch.”

Meanwhile, an IMDb user described the series as “perfect”, hinting the television adaptation might even eclipse the original novel: “These are the kind of shows I love that don’t come around often. The actors were so interesting, different, and artistic. The backdrop of Dublin with its slightly melancholic and gritty feel captured me straight away.

**For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website**

“I read the book some while ago, which I really enjoyed but the storyline didn’t overly stay with me. The show brought the story to life with its intelligent conversation, character flaws and nuances.

“I found the filming to be sparing and gorgeous- it created this nostalgic feeling. Such a simple storyline with no in-your-face twist or shocking reveal. It’s more human, subtle and visceral. I haven’t watched Normal People yet but this has made me look forward to watching it.”

Conversations With Friends is available to stream on Netflix from Sunday, 22nd February.

The BBC has released new images from upcoming Jane Austen period drama The Other Bennet Sister.

Next month, BBC is set to release a new ten-part series titled The Other Bennet Sister, which shines the spotlight on the often overlooked Mary Bennet from Jane Austen’s renowned novel Pride and Prejudice.

The period drama, adapted from Janice Hadlow’s novel bearing the same title, delves into the life of the ‘unremarkable and overlooked’ sibling.

This week, the BBC unveiled a fresh batch of images from the forthcoming drama, featuring Call the Midwife star Ella Bruccoleri as Mary Bennet, along with a host of other pivotal characters and potential love interests.

Joining Ella in the anticipated series are Ryan Sampson as Mr Collins, Dónal Finn as Mr Hayward, Laurie Davidson as Mr Ryder and Aaron Gill as John Sparrow.

Night Manager actress Indira Varma also joins the ensemble as Mrs Gardiner, alongside her on-screen spouse, portrayed by Richard Coyle, reports Wales Online.

An official synopsis for The Other Bennet Sister hints: “The series takes as its premise that – when it comes to the Bennet sisters – while we dream of being Lizzy, in reality most of us are more like Mary..

“The series follows Mary as she steps out of her sisters’ shadows in search of her own identity and purpose – finding herself in the middle of an epic love story along the way.

“Her journey will see her leave her family home in Meryton for the soirees of Regency London and the peaks and vales of the Lake District, all in search of independence, self-love and reinvention.”

The newly released images from the upcoming drama have sparked a flurry of excitement among fans.

One eager viewer expressed: “Very much looking forward to seeing this!” Another added: “I’m really looking forward to this. The book is brilliant! I’ve read it twice.”

Others praised the casting, with one person commenting: “Brilliant casting” whilst another fan exclaimed: “CANNOT WAIT!!!!” Further comments included: “Looking forward to this” and “Can’t wait for this. Loved the book and the cast is [fire].”

Actress Ella Bruccoleri shared her excitement about joining the cast in an interview with the BBC, saying: “As someone who has always related more to Mary than Lizzy – something that was confirmed even more by reading Janice Hadlow’s brilliant novel.”

She continued: “I feel incredibly lucky to be spending these next few months exploring her world in depth, as envisioned by these incredible women.”

Bruccoleri also praised the script, stating: “Sarah Quintrell’s scripts are packed full of beautiful idiosyncratic detail, empathy, humour and such warmth… revealing that beneath Mary’s awkwardness and formality, lies a woman longing for purpose and connection.”

The Other Bennet Sister is set to air on BBC One and BBC iPlayer in March.

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The Lady is a four-part limited series delving into the rise and fall of the former Duchess of York’s royal aide.

The Lady is set to grip ITV viewers with the royal true crime drama brought to life by the same producers of Netflix’s award-winning The Crown.

For weeks now, ITV has been teasing the release of The Lady, a true rags to riches tale that ends in convicted murder.

Sarah Ferguson’s former dresser Jane Andrews worked for the royal for nine years. Three years after she was let go, she murdered her boyfriend Thomas Cressman.

But how did she go from rubbing shoulders with those at Buckingham Palace to spending her days behind bars as a killer?

Here’s everything there is to know about The Lady on ITV as fans don’t have long before the drama drops.

ITV The Lady release date

The wait is almost over for the grand debut of The Lady with the limited series premiering on Sunday, February 22, on ITV and ITVX.

The Lady will consist of four episodes with instalments one and two airing on Sunday, February 22, and Monday, February 23, and episodes three and four the following Sunday and Monday.

Alternatively, fans can binge-watch the entire series on the day of its initial release via the free streamer ITVX.

ITV The Lady cast

At the heart of ITV’s The Lady is Jane Andrews, the working-class woman from Grimsby who got a chance of a lifetime when she was hired to work as Sarah Ferguson’s royal dresser before her life spiralled out of control.

She is brought to life by actress Mia McKenna-Bruce who has starred in How To Have Sex, The Fence, Get Even and Agatha Christie’s Seven Dials on Netflix.

McKenna-Bruce is joined by actor Ed Speleers – famed for his roles as Stephen Bonnet in Outlander, Jimmy Kent in Downton Abbey and Rhys Montrose in You on Netflix – who plays Jane’s boyfriend and victim Thomas Cressman.

Meanwhile, Sarah Ferguson is portrayed by actress Natalie Dormer, remembered for playing Margaery Tyrell in HBO’s Game of Thrones and Anne Boleyn in The Tudors on Channel 4.

What to expect from The Lady on ITV

Described as a “working-class girl from Grimsby”, Jane Andrews’ life changed forever when she answered an advertisement in the magazine The Lady.

Much to her surprise, she was hired to become the former Duchess of York’s official dresser at Buckingham Palace.

However, no one expected that following her time working for the royals that Jane would go on to murder her boyfriend Thomas Cressman, hitting him with a cricket bat before stabbing him in the chest.

Writer and executive producer Debbie O’Malley commented: “There’s a saying that ‘truth is stranger than fiction.’

“I’m not sure I’d always agree but when I first heard about the case of Jane Andrews, it was immediately clear that her true story was every bit as intriguing, compelling and tragically heartbreaking as any fabricated thriller.

“The fascinating tale of a working-class girl who became the dresser to a duchess, with a dramatic twist that ultimately sees her on trial for murder.

“This story looks beyond the headlines while remaining high stakes and uniquely British.

“It also poses thought-provoking questions about class and entitlement whilst exploring issues around mental health that have never been more relevant than they are today.”

The Lady premieres on Sunday, February 22, at 9pm on ITV.

EastEnders legend Danny Dyer, best known for his role as Mick Carter on the soap, has landed a role in a “heart-stopping” new drama based on one of the most memorable events in UK history

EastEnders legend Danny Dyer has landed a role in a “heart-stopping” new drama. The actor, 48, is best known for playing Mick Carter on the long-running BBC soap, but more than three years after he left Albert Square, he has been cast in the leading role of the heroic PC Trevor Lock in a new programme about the 1980 embassy siege, all based on the book by Ben Macintyre, with a script by Will Smith.

The Siege, which begins filming this week, will cover the events that unfolded in South Kensington, London, more than 45 years ago, and the soap icon will take on the part of the police officer who was on guard when he was taken hostage alongside 25 others.

It all came to a head when the SAS stormed the building during a live television broadcast following a six-day standoff. A total of five of the six terrorists were killed in the operation

READ MORE: Channel 4’s ‘warm and authentic’ Secret Genius sparks surge of applications to MensaREAD MORE: Rivals Series 2 first look as Emily Atack teases ‘welcome to the naughtiest show on TV’

Dyer will be joined in the series by Downton Abbey actor Lewis Doyle and The Crown’s Alex Jennings, amongst a host of others. BAFTA winner Lewis Arnold will direct the six-part series, and Patrick Spencer, who also worked on it ,Mr Bates vs The Post Office, will serve as executive producer for AC Chapter One.

Ian Katz, Chief Content Officer, Channel 4 said: “The Iranian embassy siege and the daring raid which ended it was an iconic moment that forged the ferocious reputation of the modern SAS.

“The show is a heart-stopping, emotional thriller that reveals the little-known motivations of the hapless hostage-takers and the very human reality of what went on inside the embassy as the world looked on and Britain’s most lethal soldiers practised their high-stakes assault.

“It will change the way people understand the siege and reveal how close the famous SAS operation came to disaster. We’re thrilled to be working with Will Smith, Ben Macintyre, Lewis Arnold, Patrick Spence and the remarkable cast. This major commission underlines Channel 4’s commitment to dialling up exceptional drama in its slate of original British programming.”

Alexandre Piel, Deputy Head of Drama, ARTE France, said: “The Siege is our first co-production with the UK, and we are truly honoured to be associated with Channel 4 on this fantastic project. Will Smith is a brilliant author; his adaptation of Ben Macintyre’s novel masterfully blends a gripping thriller with the emotional depth of this tragic event.

“He made it an intense, moving, and funny story all at once. It has been wonderful to stand at Patrick Spence’s side in his adventure. It’s a unique opportunity, the one that allows you to witness the unfolding of a historical moment turning into a disaster in front of the whole world.

“And we are also more than happy that this project enables us to have worked for the first time with the esteemed Channel 4 team.”

It all comes less than a year after PC Lock passed away at the age of 85. At the time, a Polce Federation spokesperson said: “PC Lock is remembered for calming his fellow hostages during the siege, acting as an intermediary between the terrorists and the security forces that ringed the building and – as the embassy was stormed – tackling the leading gunman.

“PC Lock was awarded the George Medal for his ‘outstanding courage, sustained bravery, calmness and devotion to duty. We could not have said it any better.”

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Crime drama fans are being urged to watch the show if they haven’t already

Crime drama fans have highly recommended a “disturbing series” that made them feel physically sick, and it is available to stream.

Spanning across four seasons, True Detective has become a firm favourite amongst fans of police drama, with many branding it the “best show ever” and a binge worthy instalment.

Season 4 was released back in 2024, first premiering in the US on HBO and Sky Atlantic in the UK, with the series bringing in its highest viewing since it first debuted.

And it is streaming on Now TV and Sky as fans of crime drama are being urged to add it to their watch list if they haven’t already. Each season follows new detectives as they get to grips with a disturbing investigation.

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This delivers live and on-demand TV without a satellite dish or aerial and includes hit shows like The Last of Us and Squid Game.

Now TV teased: “The lives of police detectives as they chase criminals, using unconventional methods. The officers struggle to gain control of their own personal demons as they attack different cases.”

Despite news of a fifth season being given the green light by HBO, some viewers are only just tuning in to the show for the first time.

In a TikTok video, one fan had not realised a previous season had been released as they said Night Country was worth a watch, adding: “Honestly you need to watch it.”

They continued: “They are all really good, and i mean they are good.”

Admitting they were now “glued” to their televisions screen, the TV fan added: “I’m glued now that’s me for the day, I’ll be on this all day now.

“If you’ve not seen it and you’re looking for something good to watch, I’d highly recommend this because it really is good..”

One person replied: “The first ever true detective is the best by far.” Another wrote: “It’s brilliant but disturbing, it takes a lot to churn my stomach but this did.”

A third added: “First series totally unbelievably good.” A fourth commented: “The first series is unbelievable, one of my most favourite shows ever.”

With an impressive score on 93% on Rotten Tomatoes, audiences praised the “masterpiece” anthology series. One person wrote: “Outstanding. Really love Jodi and hope she keeps coming back to give us more. Rare talent!£

Another said: “I thought this season was possibly the best one yet, very spooky but also plenty of mystery and suspense and big coverups and murders to uncover.”

A third echoed: “It’s crime-horror-supernatural, but grounded in the realities and particular social circumstances of this small Alaskan mining town. Probably my favourite crime drama I’ve seen in a long time.”

A fourth penned: “One of the few things shows hooked me to the point where I “binge watched” the whole thing.”

The True Detective is available to stream on Now TV in the UK.

For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website.

Bridgerton star Claudia Jessie has landed a leading role in an upcoming Channel 4 drama.

Bridgerton’s Claudia Jessie has secured a leading role in an upcoming Channel 4 drama, where she’ll star alongside Glenn Close.

Known for her portrayal of Eloise, the sharp-tongued and defiant fifth child in Netflix’s popular period drama Bridgerton, Jessie is set to take on a contrasting role in Up To No Good. The six-part series marks the television writing debut for playwrights Nina Raine and Moses Raine, who have adapted Helen Tursten’s short story collections An Elderly Lady Is Up to No Good and An Elderly Lady Must Not Be Crossed.

A press release teasing the forthcoming series reveals that Fatal Attraction star Glenn Close will portray Maud Oldcastle, described as “a hilariously brusque, cantankerous, ruthless older woman-and those are her nice qualities”.

The synopsis continues: “She is also a killer. Determined to break from a lifetime spent caring for her sister, Maud sets out to claim a long-overdue second act, but when a suspicious young detective investigating a death in Maud’s building starts to believe there is more to her than meets the eye, Maud is forced to reckon with her crimes, present and past.”

Toxic Town’s Jessie will be stepping into the shoes of young detective Hannah, with Andor’s Gloria Obianyo portraying Astrid, EastEnders‘ Anita Dobson as Elsa, Game of Thrones’ Ben Crompton playing Barry, and The Wheel of Time’s Meera Syal taking on the role of Margaret. Rounding off the star-studded cast announcement, Downton Abbey’s Penelope Wilton will be seen as Charlotte, reports the Manchester Evening News.

Rebecca Holdsworth, Commissioning Editor for Drama at Channel 4, expressed her excitement in a statement: “Nina and Moses Raine’s deliciously dark and witty world has drawn together a truly fantastic line-up, and we’re excited for audiences to be introduced to Maud Oldcastle and the unforgettable characters surrounding her. UP TO NO GOOD promises a bold, razor sharp and wickedly entertaining series that feels undoubtedly Channel 4.”

Scott Huff, Joint Managing Director, Playground, also shared his enthusiasm, saying: “We are thrilled to have brought together this extraordinary group of artists for UP TO NO GOOD. A cast of this calibre is a testament to Nina and Moses’s brilliant scripts, our casting director Robert Sterne’s exceptional taste and Glenn Close’s legendary talent. We can’t wait for audiences to see this group of actors together on screen.”

Andrew Plotkin, EVP of Drama Development at Sony Pictures Television, commented: “We are thrilled to have Lee Haven Jones directing the series, not only setting the tone, but immersing himself on the ground throughout production. With a standout cast joining Glenn to bring Nina and Moses’ brilliantly crafted scripts to life, their collaboration further elevates the storytelling at the heart of UP TO NO GOOD. What’s coming together is remarkable, and audiences are in for something truly special.”

The new series will see Claudia in a character completely different from her present role as an outspoken and curious Bridgerton daughter, who desperately resists societal pressures and would rather immerse herself in books than attend balls, showing minimal interest in marriage or potential suitors.

The current season follows Benedict Bridgerton (Luke Thompson) as he searches for a mysterious woman, Sophie Baek (Yerin Ha), whom he met at a masquerade ball. It’s also building towards Eloise’s storyline, with Claudia having previously hinted at what lies ahead for her character when her moment in the spotlight eventually arrives.

The Shonda Rhimes production, based on Julia Quinn’s novels, first graced our screens in 2020, tracing the romantic journey of Daphne Bridgerton (Phoebe Dynevor) and Simon Basset (Regé-Jean Page). The following two series then saw the eldest Bridgerton sibling Anthony (Jonathan Bailer) tie the knot with Kate Sharma (Simone Ashley), and third Bridgerton son Colin’s (Luke Newton) passionate affair with the true author of Lady Whistledown, Penelope Featherington (Nicola Coughlan).

Discussing how the current series is paving the way for her own season, Claudia shared with RadioTimes.com: “Eloise is desperately trying to find her way of doing it, right? That’s what I’ve always been excited to be able to one day do, is to show love or romance or whatever her journey is in the most Eloise way possible. I think she’s just trying to find out her way of doing it.”

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She further added: “That’s what I think the set-up is until ultimately we see what her way of doing it is, her version of it. I’m buzzing to one day do it. I love this show with my whole heart.”

Discussing the future of her character, she previously shared with Netflix Tudum: “I like the idea of her becoming political. Obviously, romance is a very important part of the show, but out of all of the characters, Eloise is the one you’d like to see go a slightly different route. Because we see it in Season 2 where she’s meeting different people in different parts of society and reading new things, so I’d like to see that continue. Right now, she’s young and she’s just taking everything in. But I’d like her to have a really clear purpose, something that she really desires.”

Bridgerton is available to watch on Netflix.

“Frankenstein” star Jacob Elordi, at 6 feet 5 easy to spot from across the ballroom, leaned down to hug Teyana Taylor, a supporting actress Oscar nominee for “One Battle After Another.” Nearby, her co-star Leonardo DiCaprio caught up with Steven Spielberg, who directed him 24 years ago in “Catch Me If You Can,” while “Sentimental Value” filmmaker Joachim Trier huddled with “One Battle’s” Paul Thomas Anderson, a fellow directing nominee. In the middle of it all, songwriter Diane Warren paused to take a selfie, still evidently enjoying the giddy thrill of being in a room full of fellow hopefuls even after 17 times.

In all, 203 of this year’s 230 Academy Award nominees gathered Tuesday at the Beverly Hilton Hotel for the annual nominees luncheon, a brief moment of campaign-free conviviality amid the churn of awards season. As flashbulbs followed the most famous faces, major stars like Timothée Chalamet, Emma Stone and Kate Hudson rubbed elbows and shared champagne toasts with lesser-known nominees from categories like animation, sound and live-action short before lining up for the annual class photo.

With the Oscars just weeks away on March 15, the long-running gathering — a ritual dating to 1982 and returning this year after being canceled in 2025 because of the Los Angeles County wildfires — offered the nominees a welcome stretch of easygoing mingling, largely free of competition. The reprieve is short-lived: Voting begins on Feb. 26, when the brutal math of awards season will reassert itself, meaning roughly 80% of them will head home on Oscar night empty-handed.

Kate Hudson, a lead actress nominee for “Song Sung Blue,” at the 2026 Oscar nominees luncheon at the Beverly Hilton Hotel.

(Kayla Bartkowski / Los Angeles Times)

For first-time contenders, the luncheon carried a particular rush. Christalyn Hampton, a co-director of the documentary short “The Devil Is Busy,” which follows a day at an abortion clinic in Atlanta, said she was excited to meet “Sinners” director Ryan Coogler, whose period vampire thriller leads the field with a record 16 nominations.

“We’re two African American directors nominated this year — I think that’s pretty historic,” said Hampton, a former professional dancer whose first directing credit has landed her an Oscar nod. “Flying back and forth from Atlanta has been a bit exhausting, but to be in this moment with all these incredible filmmakers — you can’t complain.”

Jacob Elordi, left, and “Sirāt” film director Oliver Laxe — two extremely tall nominees — at the 2026 Oscar nominees luncheon at the Beverly Hilton Hotel.

(Kayla Bartkowski / Los Angeles Times)

Still, even inside the awards-season bubble, the turmoil surrounding the movie business, the country and the world beyond it was hard to ignore. As attendees tucked into their chicken, more than a few discussions drifted to whether Netflix or Paramount would prevail in their attempts to acquire Warner Bros. and what either scenario might portend for the future of movies.

In her remarks, academy President Lynette Howell Taylor acknowledged the questions many nominees have been asking themselves amid industry contraction, political volatility and global conflict. “The art you create is vital,” Howell Taylor told the crowd. “I know many of us ask ourselves, ‘Should we be doing something else? Should we be doing something differently? Should we be doing more?’ The answer to that is personal. But what I do know is this: What you are doing is not easy and it is so needed.”

Teyana Taylor, nominated for supporting actress for “One Battle After Another,” at the 2026 Oscar nominees luncheon at the Beverly Hilton Hotel.

(Kayla Bartkowski / Los Angeles Times)

She praised the resilience of filmmakers who have endured strikes, dangerous political environments and even war zones. “To not make your films, to not tell your stories, is to give in,” she said. “And there is not one of you in this room who has been willing to do that.”

That tension was felt especially sharply by Sara Khaki, co-director (with Mohammadreza Eyni) of the documentary feature nominee “Cutting Through Rocks,” which follows the first Iranian woman elected as a councilwoman in a rural village. The weeks since the nomination, Khaki said, have been both “terrible and wonderful,” as her home country has been rocked by protests against the Iranian government.

Elle Fanning, nominated for “Sentimental Value,” at the 2026 Oscar nominees luncheon at the Beverly Hilton Hotel.

(Kayla Bartkowski / Los Angeles Times)

“What’s terrible is what we’re experiencing back home — the internet shut down, worrying about our loved ones,” she said. “What’s wonderful is what’s happening here. So it’s a mix of emotions, really.”

Another Iranian nominee was absent altogether. Mehdi Mahmoudian, nominated as a co-writer of director Jafar Panahi’s drama “It Was Just an Accident,” was arrested this month in Iran after signing a statement condemning the government’s deadly crackdown on protesters.

Actor Wagner Moura, nominated for “The Secret Agent,” and former AMPAS President Janet Yang at the 2026 Oscar nominees luncheon at the Beverly Hilton Hotel.

(Kayla Bartkowski / Los Angeles Times)

At each table, nominees were asked to fill out a card with a simple question: “What movie made you want to be part of this world?” After pondering for a moment, “Nomadland” Oscar winner Chloé Zhao, nominated in the directing category for the second time for the wrenching drama “Hamnet,” wrote down Hirokazu Kore-eda’s 1998 film, “After Life,” a quietly humane meditation on memory and meaning that felt closely aligned with her own filmmaking sensibility. The answers, Howell Taylor explained, would be used for “a special moment” during the Oscar telecast.

As in years past, the luncheon also came with a bit of gentle coaching about what to do — and not to do — should one’s name be called on Oscar night, including moving briskly to the stage, keeping remarks to no more than 45 seconds and not leaning into the microphone.

Directors Steven Spielberg, left, and Paul Thomas Anderson at the 2026 Oscar nominees luncheon at the Beverly Hilton Hotel.

(Kayla Bartkowski / Los Angeles Times)

Above all, Howell Taylor urged nominees to resist the temptation to thank everyone they’ve ever worked with. “You’ll forget someone and you’ll feel terrible,” she said.

Better, she suggested, to focus on what the moment actually means. “You are the show,” Howell Taylor reminded them. “It’s your speeches. This is an entertainment show millions of people will be watching, so let’s make the most of it.”

This coming of age film set in 1950s Mexico City and Ecuador starring a famous Hollywood star has had fans praising it as ‘fascinating’ and ‘leaving a lasting impression’

A period drama set in the 1950s and starring a Hollywood actor was ‘robbed of an Oscar’ fans have declared – and it’s being shown on BBC2 tonight.

Queer is set in 1950s Mexico City and Ecuador and the film follows an outcast American expatriate (played by James Bond star Daniel Craig) who becomes infatuated with a much younger man called Eugene Allerton (Drew Starkey), leading them on a surreal, trippy journey to South America.

The movie premiered at the 81st Venice International Film Festival in 2024, and is based on the 1985 novella by William S. Burroughs.

The film might have almost been overshadowed by Craig’s more prominent roles as James Bond, but fans have had nothing but praise for the star in this film.

Reviews have praised the drama as one person posted on ratings website Rotten Tomatoes, where it has a decent score of 77 percent: “Daniel Craig was robbed a nomination for this role. He’s outstanding in this. A surprisingly funny movie too. Very sad ending that will sit with me for a while.”

Another person shared: “Stars Daniel Craig and Lesley Manville in an A24 Production. Atmospheric period 50s and well-wrought of production design. The lighting and set decoration are a joy to behold, and score is beautiful, moody and modern.

“Perhaps the daring subject keeps it in the media periphery, but I thought this was a well-intentioned, well-crafted period picture about the bold life of a bold man.

“Craig’s performance is as pained as it is exacting, revealing a depth of the actor that i hadn’t seen in his formulaic action pictures.”

“Daniel Craig delivers a performance that’s both sharp and searching, proof that his craft is never on autopilot. Paired with a taut, enigmatic narrative, this film refuses to sit quietly in the corner of cinema—it’s something stranger, bolder, and far more magnetic,” said a third.

A fourth posted: “Really likes this film great acting and directing, I read the book like years ago and it fascinated me as a young fella, putting on screen was well done by the director.”

Another shared: “Very realistic yet conceptual. It was interesting to see how each chapter was narrated in their own way, slowly turning conceptual and almost abstract.”

A fifth wrote: “It leaves a lasting impression. It’s strange, not so much because of the relationship between the two protagonists — which is actually quite common, with one refusing to acknowledge his homosexuality and ending up torturing the other to exhaustion, remaining cold and emotionally indifferent — but because of certain scenes that strongly recall the world of David Lynch.

“Knowing what William S. Burroughs’ life was like, it’s clear that the film is very much inspired by his own life experience. Daniel Craig is impeccable. And the music is magnificent.”

Queer airs on Tuesday 10 February on BBC2 at 11pm.

The Nordic noir thriller has been praised for its ‘excellent’ action and gorgeous visuals

The fourth series of a very popular thriller has just dropped on Channel 4.

Arctic Circle is the latest box set to dop on the broadcaster’s streaming platform and has been described as a “gripping Finnish crime drama” that follows detective Nina Kautsalo as she investigates a string of dangerous cases that straddle the border between Russia and Finland.

The series first aired back in Finland in 2018 for four seasons, and now all of them are available to binge on Channel 4. Arctic Circle stars Iina Kuustonen in the lead role, alongside fellow cast members Pihla Viitala, Mikko Leppilampi, Venla Ronkainen, and Taneli Mäkelä.

The fourth season sees Nina, now chief of police in Ivalo, investigate a possible threat to an astrophysicists’ conference occurring during the rare Eiscat comet.

As her former boss Jaakko Stenius joins the inquiry, a carbon‑monoxide incident killing 24 care‑home residents, initially ruled accidental, reveals evidence of mass murder.

The synopsis reads: “When the rare Eiscat comet blazes across the endless night sky in its first appearance in two thousand years, it draws scientists from around the world to Ivalo for an international conference.

“After the FBI warns of a potential threat, Nina’s former boss, Jaakko Stenius (Kari Ketonen), arrives to lead a covert investigation with her. As they dig deeper, chilling links emerge between the comet and a fanatical sect determined to fulfill an ancient prophecy before the comet disappears again.”

Set in Lapland, the show has been praised by viewers for its “sublime” casting and gorgeous visuals.

One viewer wrote: “This series has it all: interesting story with multiple plot lines, nice balance between drama and thriller, good acting by everyone involved (Finnish actress Iina Kuustonen is a marvel to watch), and beautiful shots of vast snowy landscapes in Lapland.”

While another said: “Outstanding. This is a top quality show with fine performances and a terrific plot. Good production values with characters that are fully explored.”

Adding: “All good shows there must be an array of engaging characters. Artic Circle has that in spades. The countryside is both haunting beautiful and bleak. It’s an unforgiving environment and has been captured to perfection.”

And a third commented: “The show itself has a brilliant storyline and the location for filming sets the scene nicely. The acting is superb, especially the young girl who plays Venla.”

It come after Channel 4 announced its “most watched show” of 2026, Patience, would be returning to screens for a third season. You can read more on this here.

Series 1 to 4 of Arctic Circle are available to stream on Channel 4 now.

With Alisson marooned upfield for a set-piece as Liverpool searched for a late equaliser, Rayan Cherki kicked the ball towards an empty net.

Haaland gave chase and was clearly going to outpace Dominik Szoboszlai.

The City striker had overtaken Szoboszlai 25 yards from goal and looked certain to win the race – but he was pulled back.

It was a clear foul which referee Craig Pawson identified, but he played an advantage.

As the ball rolled towards the goal with the same two players still jostling to reach it, Liverpool‘s Hungary international was about to slide in and clear it off the line.

Before Szoboszlai could do so, however, Haaland pulled him back, and that stopped the home player from keeping the ball out of the net.

The first pull on Haaland muddies the waters. After all, it seemed Haaland was definitely going to score.

But they are two distinct situations. You have to separate the first foul by Szoboszlai and the subsequent offence from Haaland.

Would Szoboszlai have prevented the goal had he not been fouled? There is a high chance.

On that basis it is impossible for the goal to stand.

Remember that Pawson played advantage. Had Szoboszlai been allowed to successfully keep the ball out, the play would have been brought back and he would have been sent off.

The end result would be the same as the outcome of the VAR intervention: no goal and Szoboszlai sent off for denying an obvious goalscoring opportunity.

If you take out the first pull on Haaland, it is hard to see how anyone could have a problem with the goal being disallowed.

This is not the first time, or the last, that the VAR has correctly disallowed a goal and people really struggle to stomach it.

Yes, the goal could be important for Manchester City at the end of the season. But the goal conceded could also turn out to be vital for Liverpool.

The gorgeous, quirky and melancholy “The Love That Remains,” from Icelandic filmmaker Hylnur Pálmason (“Godland”), opens with an exhilarating shot from inside a long, empty seaside building, from where we can see the roof suddenly wrenched off by some exterior force. As it hovers in the air above, we get to consider the two parts of this one-time whole and how the light changes inside this deconstructed space.

In one respect, that’s the whole of the movie encapsulated, as we encounter a family of five living in the wake of a separation. Visual artist Anna (Saga Garðarsdóttir) looks to assert herself while still living in the rural home she shared with her teenage sweetheart. The increasing alienation leaves fisherman Magnús (Sverrir Guðnason) living offshore on a big trawler as his hold on domestic security slips. Their kids, meanwhile — teenage Ída and twin boys Grímur and Þorgils (the trio played by director Pálmason’s own children) — exhibit a healthy absorption of the circumstances, meeting moments of togetherness with plenty of humor and spirit.

What we glean of the past comes from the fragmented present, as if we’re leafing through a stranger’s exquisitely curated album (there’s only Harry Hunt’s piano score for sad commentary). Elsewhere we see that home-cooked meals, chores and foraging excursions occasionally bring this fractured family back together. But when Magnus pushes to stay for a while, Anna firmly claims her independence.

While apart, their working lives — his at sea, hers on land — speak to a confluence of the elemental and the man-made. Pálmason, who serves as his own cinematographer (and a great one with the 4:3 framing), revels in the sweep and heft of deep-sea fishing, a seasonal trade that gives purpose to Magnus’ days and nights but also fosters an increasingly unwanted solitude. Anna, meanwhile, devotes herself to earth art, turning machine-lasered iron cutouts laid on white sheets in the open air into large-scale, rust-patterned pieces. Getting her work appreciated, however, is another matter. In one painfully funny sequence, a visiting gallerist (and gasbag) barely seems to care about her art, showing more interest in a goose’s nest that has materialized in an enclosure.

Is love another natural element susceptible to age and wear? Across a running time tied to the shifting seasons, pocked by images of breathtaking beauty, Pálmason is after a feeling that only patient observance yields: a lasting reality about the passing of relationships. One of the director’s frequent visual cutaways is to a knight-outfitted dummy the children build on a picturesque spot, lashed to a stake. It’s an indelibly amusing and heartbreaking totem, suggesting play and suffering, and eventually manifesting wounds both real and internalized. (The director’s 2022 short “Nest,” which captures the building of a tree house over a year, is a precursor to his temporal approach to this feature.)

On the heels of Pálmason’s masterful “Godland,” a 19th century colonizer epic of faith and conquest that couldn’t be more different, “The Love That Remains” nevertheless positions this filmmaker as a gifted craftsman of adult storybooks, no matter the era or scope. This is a delicate, confidently imagined fiction made with the eyes of a naturalist, the heart of a believer in family, and a sensibility with room for both the Pythonesque and the Lynchian.

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

Movies that had limited awards releases last year are seeing their full-fledged openings this week. Top among them is “Pillion,” the debut from British writer-director Harry Lighton, starring Alexander Skarsgård and Harry Melling as two men who become engaged in a dominant-submissive relationship.

Alexander Skarsgård, left, and Harry Melling in the movie “Pillion.”

(A24)

In her review, Amy Nicholson writes of the film, “This fetishy adventure is a minimalist romantic comedy in which submissive meets dominant, and submissive explores his physical and emotional vulnerabilities. Marriage and a baby carriage are off the table; the journey matters, not the destination. … Lighton’s biker BDSM rom-com might sound niche, but free yourself to see it and you’ll discover it’s a universal romance.”

Emily Zemler asked Skarsgård about what has been guiding his decisions lately when choosing roles. As he said, “People think there’s this invisible ladder and you have to get to the next rung of the ladder. It’s easy to forget to check in with yourself and ask, ‘Well, what do I want to do?’ You can get swept away. I’m trying to get down the ladder to the ground.”

Some other notable openings this week are “Dracula,” “Scarlet,” “The President’s Cake,” “Natchez” and “The Love That Remains.”

Points of interest

‘Porn Chic’ revival at the New Beverly

Sylvia Kristel in the movie “Emmanuelle.”

(Severin Films)

For most of the month of February, the New Beverly will refashion itself into the Eros, the adult movie theater it was called throughout much of the 1970s. (There’s even a commemorative T-shirt.) Married film dudes throughout the city are presumably coming up with inventive rationales and/or excuses as to why they simply must attend some of these screenings.

The programming leans into what was referred to in The Times as “porn chic” — movies that were meant to work as cinema, even appealing to couples, while also fulfilling the needs of the raincoat crowd. This Friday and Saturday will be a double bill of Just Jaeckin’s 1974 “Emmanuelle,” starring Sylvia Kristel, and Bitto Albertini’s 1975 “Black Emmanuelle,” starring Laura Gemser.

When The Times’ Charles Champlin reviewed “Emmanuelle” after it opened in 1975 at the Fine Arts in Beverly Hills, he noted, “It may be the first porno film designed for people who don’t really want to see one.”

Other notable titles during the New Bev’s Eros month include “The Opening of Misty Beethoven,” directed by Radley Metzger under the pseudonym Henry Paris, Russ Meyer’s “Vixen” (with star Erica Gavin in-person), Ingmar Bergman’s “Summer With Monica,” Roger Vadim’s “Pretty Maids All in a Row,” “The Fireworks Woman,” directed by Wes Craven (credited as Abe Snake), Nagisa Oshima’s “In the Realm of the Senses” and Gerard Damiano’s “Deep Throat.”

Quentin Tarantino’s “Once Upon a Time … in Hollywood” will be playing on Fridays at midnight, which includes a knowing line about the Eros when Margot Robbie asks, “What’s happening at the dirty movie place?”

A 1976 article in The Times by Barry Siegel states that there were then 47 adult theaters operating within the city limits of Los Angeles, even while charting the rapid rise and quick decline of porn-chic movies in the wake of the success of “Deep Throat” in 1972.

‘sex, lies and videotape’ with star Laura San Giacomo

Laura San Giacomo in the movie “sex, lies and videotape.”

(Criterion Collection)

The Los Angeles Film Critics Assn. continues its 50th anniversary series at the Egyptian Theatre on Tuesday with a screening of Steven Soderbergh’s 1989 debut feature “sex, lies and videotape,” a key title in kicking off the independent filmmaking scene of the 1990s. Actor Laura San Giacomo, who won LAFCA’s New Generation Award for her performance, will be there for a Q&A moderated by Lael Loewenstein.

Soderbergh was all of 26 years old when the film premiered at what was then called the U.S. Film Festival (the precursor to Sundance), where it won the audience award before heading to Cannes, where it won the Palme d’Or. (James Spader picked up an acting prize there too.) Among the film’s many other accolades, Soderbergh would also be nominated for an Academy Award for original screenplay.

Spader plays Graham, an enigmatic wanderer who inserts himself into the lives of his old friend John (Peter Gallagher), his wife Ann (Andie MacDowell) and her sister Cynthia (San Giacomo), drawing out all manner of confessions and revelations.

In her original review of the film, Sheila Benson called the film an “electrifying psycho-sexual comedy … the funniest and saddest American movie since Jim Jarmusch landed straight in the middle of our consciousness, and it’s possibly the most compelling.”

Benson added, “What is not apparent from a thumbnail description is the film’s lacerating wit, its beautiful look and sound, and the bravura quality to each performance. Or the terrible vein of melancholy that Soderbergh touches.”

‘In the Soup’ in 35mm

Steve Buscemi and Seymour Cassel in the movie “In the Soup.”

(Factory 25)

Winner of the Grand Jury prize at 1992’s Sundance — the same year “Reservoir Dogs” premiered there — is “In the Soup.” Directed and co-written by Alexandre Rockwell, the film follows an aspiring filmmaker (Steve Buscemi) who falls in with an irresistibly charming gangster (Seymour Cassel, who won Sundance’s first acting award) as his erstwhile producer. A recently restored 35mm print of the film will be playing in L.A. for the first time Sunday at Brain Dead Studios.

The cast of the film also features Carol Kane, Jim Jarmusch and Jennifer Beals, the last married to director Rockwell at the time. Reviewing the film in November 1992, Kenneth Turan called it “a charming pipsqueak of a movie, a playful film of ragged and shaggy appeal.”

Director Michael Almereyda on the ’90s vampires of ‘Nadja’

Elina Löwensohn in the movie “Nadja.”

(Arbelos Films)

As much a survey of late-night diners, bars and 3 a.m. conversations, Michael Almereyda’s “Nadja” is very much a vampire film. It is also a wonderful example of the creative freedom of the ’90s indie boom — everything from its cast to its look to its deadpan humor.

Executive produced by David Lynch (who paid for the film out of his own pocket and appears in a small role), “Nadja” combines the 1936 horror film “Dracula‘s Daughter” with Andre Breton’s 1928 surrealist novel “Nadja.” In the movie, a New York City vampire (Elina Löwensohn) looks to avenge the death of her father at the hands of Dr. Van Helsing (Peter Fonda) while also dealing with a complicated swirl of relationships involving her brother (Jared Harris), his nurse (Suzy Amis), Van Helsing’s nephew (Martin Donovan) and his wife (Galaxy Craze).

Re-released by Grasshopper Film and Arbelos Films with a streaming and home video release to follow, the new 4K restoration of the film’s original version that premiered at the 1994 Toronto International Film Festival is a few minutes longer than what played at Sundance just a few months later. (It was there that Almereyda also made the documentary “At Sundance,” interviewing filmmakers for their thoughts on the future of movies.) This new “Nadja” is playing on Feb. 6 and 8 at the Philosophical Research Society, then at Vidiots on Feb. 21 and 22 and Frida Cinema on Feb. 25 and 26.

On the phone from Sao Paulo, Brazil, where he is prepping an adaptation of Don DeLillo’s 2016 novel “Zero K,” the thoughtful and reflective Almereyda shared some of his memories of making the film.

Peter Fonda, left, Jared Harris, Martin Donovan and Galaxy Craze in the movie “Nadja.”

(Arbelos Films)

How did you get the idea of combining “Dracula’s Dracula” with Breton’s “Nadja”?

Michael Almereyda: It was fairly spontaneous. David Lynch had offered to help me make a movie if I could come up with something that was definably genre. And I went to [NYC movie theater] Film Forum at a time when — do you remember [film historian] William K. Everson? He would show up at Film Forum unannounced to start talking before the movie. This was one time when I showed up late and he was talking and they read a raffle ticket and there was silence. And I reached in my pocket: I had won the raffle. And that was to get a book of William K. Everson’s about horror movies. And so it was kind of a gift that I read about “Dracula’s Daughter.” I’d never seen it and I liked the outline of the plot and I chased it down and it felt like I could retrofit a number of ideas I had about New York with that story. It felt like the two things talked to each other.

One thing about vampire movies is that the best ones are always about something else. For you with “Nadja,” what’s the something else?

Almereyda: It’s not really a scary movie and it wasn’t really designed to be. It’s certainly atmospheric but the emotion of it, when I saw it again recently, had to do with both the comic aspects of being in love and the miserable aspects. It’s kind of a side-winding answer, but that’s partly what it’s about. It’s about family ties, obviously. I think I made or wrote enough scripts about tangled families that I began to sort of get over it. But we all come from these families.

David Lynch in the movie “Nadja.”

(Arbelos Films)

Did David Lynch‘s presence impact the tone at all? Do you feel the movie became in any way Lynchian?

Almereyda: Well, David’s impact on me and my whole generation of filmmaking and the generation behind us is vast. And I wouldn’t want to pretend it’s not, but direct influence is kind of minimal. It might be more fair to say that David’s art school background rhymes with mine. And that we had similar influences. People don’t really talk about how much David did or didn’t know about Maya Deren and Cocteau, but it’s kind of hard to miss. And there was just a certain sensibility and attitude. I felt close to David’s Midwestern-ness, and you combine that with some fondness for and knowledge of French culture, including surrealism, and you’re halfway to David Lynch without specifically thinking about it.

I really haven’t addressed this question much, but when he died, I ended up writing a fair bit of my memories and it’s moving to me how much impact he had when he died. There was such a wave of mourning and celebration, too, that it felt more phenomenal than he could have anticipated. It was clear how famous he was — how recognizable he was — within the time I knew him. But the love of David Lynch is really moving to me and it’s still something we’re swimming in, I hope, in a dark time.

For all the difficulties of being an independent filmmaker, what keeps you doing it?

Almereyda: I’m stumped. I was just going through my head and I know you just interviewed Ethan Hawke and he’s a true comrade that I’ve been lucky to work with a few times. And he was in the interview with Rick Linklater when we did our “At Sundance” movie. They had “Before Sunrise” at the festival and Rick started by quoting Truffaut, talking about the future of film is the personal film.

Even if it’s a fantasy, even if it’s a vampire movie, you’re still relating to your experience and your sense of an emotional reality. So that feels like a candle that doesn’t go out for me. And despite all the derailments and dead ends, I don’t question continuing. It just feels like a natural path, even if it’s winding and difficult.

In other news

Timothée Chalamet, tributee

Timothee Chalamet in the movie “Marty Supreme.”

(A24)

I will leave the ins and outs of this year’s awards campaigns to my trusted colleague Glenn Whipp at The Envelope, but one event jumped out as worth noting: Announced this week and immediately selling out is an eight-film American Cinematheque retrospective of Timothée Chalamet‘s movies, with the actor in person for all screenings.

Chalamet is currently an Oscar nominee as both actor and producer for “Marty Supreme.” And he has an impressive roster of collaborators who will be appearing with him to show their support, including Edward Norton with “A Complete Unknown,” Denis Villenueve with “Dune” and “Dune: Part Two,” Christopher Nolan with “Interstellar” and Elle Fanning with “Beautiful Boy.”

If there were some murmurs last year that Chalamet didn’t do enough conventional campaigning to win for his turn as Bob Dylan in “A Complete Unknown,” this year he seems to be pulling out all the stops.

Jacob Elordi and Cailee Spaeny star in the biographical drama which fans have a limited time to watch for free

A period drama viewers have called “absorbing” and “intoxicating” is currently available for free streaming – but fans keen to watch it only have a limited time to do so.

Director Sofia Coppola’s biopic Priscilla was made available on BBC iPlayer nearly a year ago, and there is now just one month left to watch it before it exits the platform.

The film is based on Priscilla Presley’s memoir, Elvis and Me, and charts her life with legendary rock star Elvis Presley behind closed doors, from their initial meeting to their turbulent marriage. Their relationship has long been a hotly-debated topic given Priscilla was just 14 when she met a then-24-year-old Elvis.

It stars Cailee Spaeny as Priscilla, who earned a Best Actress nod at the Golden Globes for the role, while Jacob Elordi portrays Elvis. BBC iPlayer’s synopsis reads: “Fourteen-year-old schoolgirl Priscilla Beaulieu is accustomed to the unsettled life of an army family.

“Invited to a party at Elvis Presley’s house as he carries out his military service in Germany, the shy teenager catches his eye and is gradually drawn into a strange and unhealthy co-dependent life.”

At time of writing, the film – released back in 2023 – enjoys an impressive 84 per cent critics’ score on Rotten Tomatoes. Meanwhile audiences awarded it a lower 64 per cent score on average.

One reviewer gushed: “A tender, poignant drama and an excellent continuation of her muted but no less intoxicating style. It shows [Sofia] Coppola at her most understanding as she presents a complex, multi-faceted love story where two lovers drift apart.”

Another viewer said: “This was probably the most visually stunning movie I’ve seen,” as a third shared: “Great movie! Very engrossing – felt like I was right there with her every step of the way. The chemistry between the lead actors was mesmerizing.”

A fourth added: “A really we done biopic about Priscilla. Truly shows how even in a house full of people she was still lonely. Cailee Spaeny and Jacob Elordi work really we as Elvis and Priscilla, especially with the height difference.”

However one more critical viewer said: “Truth be told, this film is little more than the story of a relationship between child and the childish. A rather tedious, and in parts, even a queasy watch, even for the Elvis fan.”

Priscilla is now streaming for free on BBC iPlayer. For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website.

The Netflix period drama is based on a beloved classic Gothic novel of the same name.

Enthusiasts of period dramas might be missing out on a Netflix treasure that’s adapted from one of literature’s most cherished classics.

This thriller, praised as “gripping from beginning to end”, features a beloved Downton Abbey star alongside a celebrated actress from Slow Horses.

Rebecca, which debuted on Netflix in 2020, draws from Daphne Du Maurier’s renowned thriller bearing the same title.

The 1938 Gothic masterpiece remains a timeless favourite due to its compelling themes and jaw-dropping plot twists, proving the tale continues to mesmerise audiences nearly a century on.

This bestselling novel has seen numerous adaptations throughout the decades, with Alfred Hitchcock’s Rebecca claiming the Academy Award for Best Picture in 1940.

The latest interpretation comes from director Ben Wheatley’s Netflix production, showcasing performances from Call me by Your Name’s Armie Hammer, Lily James and Kristin Scott Thomas.

James gained recognition portraying Rose in Downton Abbey, Young Donna in Mamma Mia! Here We Go Again and Pamela Anderson in Pam and Tommy.

Meanwhile, British theatrical icon Kristin Scott Thomas is renowned for her roles as Diana Taverner in Slow Horses, Fiona in Four Weddings and a Funeral and Sylvia McCordle in Gosford Park.

The IMDb synopsis for Rebecca states: “A young newlywed arrives at her husband’s imposing family estate on a windswept English coast and finds herself battling the shadow of his first wife, Rebecca, whose legacy lives on in the house long after her death.”

Rebecca holds a disappointing 37% rating on Rotten Tomatoes, though based on viewer feedback, many believe the film deserves far greater recognition, reports the Express.

Enthusiasts flocked to the comments section to voice their opinions, with one declaring: “This movie gripped me from beginning to end. I couldn’t look away, and I didn’t see anything coming. You think you know what the movie is about, then there is a twist, and the whole thing takes a left turn you didn’t see coming.”

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Another viewer exclaimed: “ABSOLUTELY LOVED IT! ! !” before adding: “Nothing can touch the original masterpiece however this film, in many ways, is faithful Du Mauriers cunning flip of stereotypes.”

A third fan wrote: “Loved the thrill, love story, period views, so well made I would watch it again,” whilst another concurred: “Loved the book and this version of it in film. Have watched I many times. Great cast and acting.”

Additional supporters praised how the timeless novel had been transformed for Netflix, with one suggesting: “If you’ve read Rebecca and it’s a beloved novel to you, this movie is amazing. A great rendition.”

Another viewer expressed bafflement at the film’s critical mauling, writing: “I don’t understand all the bad reviews for Rebecca. I loved the new adaptation. I especially loved the costumes and filming locations. Lily James does a wonderful job.”

One supporter declared: “Excellent twist on a classic thriller! I am not sure why this doesn’t have better reviews but it is well worth your time,” whilst another concurred: “This movie is a stunningly faithful adaptation of Daphne du Maurier’s classic novel.”

A further enthusiast gushed: “What a ride! ! ! This genre bending thriller will take you on the wildest roller coaster of your life. The next time someone asks me what my favorite movie is, I’m saying Rebecca.”

They added: “This movie surpassed my every expectation. Here I was, sitting on the couch expecting some lame romance but nope! ! I am going to pass this movie down through generations of my family.”

Yet not everyone shared the enthusiasm, with one viewer noting: “Bland to the point of boring.”

Another complained: “What was an interesting, suspenseful book with hints of psychological thriller in it became a vapid, rushed, and bland movie that sapped two hours of my life. If you like your movies to stick to the plot of your books, avoid this.”

A third grumbled: “As much as I love the actors and actresses in this movie, nothing about it really had me enjoying the film. The clichés were handed out like appetizers and the plot of the film was all over the place. Wasn’t a fan.”

Nevertheless, considering all the glowing feedback from fans despite the film’s disappointing Rotten Tomatoes rating, Rebecca might well be regarded as an undervalued gem.

Rebecca is available to stream now on Netflix.

**For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website**

A Love Actually actress looks worlds away from her iconic character in this ‘must watch’ thriller fans couldn’t get enough of

A Love Actually actress is completely unrecognisable in a “extraordinary” thriller that left fans on the edge of their seats.

German actress Heike Makatsch is best remembered for her portrayal of Mia, the flirtatious secretary who tempted her boss Harry (Alan Rickman) in the 2003 festive film.

Though the romcom is hugely iconic, its 65% Rotten Tomatoes score pales in comparison to Heike’s perfectly-rated 2024 show, Where’s Wanda?

Currently streaming on Apple TV+, the dark comedy follows desperate parents Dedo (Axel Stein) and Carlotta Klatt (Heike) as they search for their missing daughter Wanda, months after her disappearance.

Frustrated by the police’s inability to find her, the couple take matters into their own hands and begin spying on their neighbours to find answers.

Love Actually fans may take a minute to recognise Heike in the drama as she ditches her dark bob for long blonde hair.

The Apple TV drama quickly won over critics upon its debut, earning a stellar 100% score from seven reviews. Casual viewers were equally impressed, though they awarded it a less generous 68% rating.

One fan shared a glowing review, penning: “I was overwhelmingly pleased. It was genuinely funny, aesthetically gorgeous, stupendously well acted, and decidedly fresh, making a story that I don’t think has ever been told before. 11/10 well worth a watch.”

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A second agreed, praising: “This show is such a delight! I have never seen such an extraordinary mixture of genres that throws you from one corner of laughter to the other corner of crying and then also exciting puzzle-piecing. A must watch for armchair detectives!”

Someone else described it as a “fantastic,” while a fourth raved: “I really enjoyed the unexpected curveballs, dark humour and loveable characters to us unlike other shows. At times I was giggling my head off while other times I was at the edge of my seat.

For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website

“The end makes me hope that there will be a season 2. Don’t leave us hanging please!!”

Fortunately, the German drama has been renewed for a second season, which is set to feature another eight episodes.

Where’s Wanda? is streaming now on Apple TV+

A noughties dramedy that fans describe as ‘a truly magical experience’ has just landed on Netflix

Netflix has quietly added a cult classic drama that picked up the coveted Best Original Screenplay Oscar in 2004.

The streaming giant has a huge catalogue of Academy Award winners and Lost in Translation is worth adding to your weekend watchlist.

The 2003 dramedy was written and directed by Sofia Coppola, daughter of famed filmmaker Francis Ford Coppola (The Godfather). It follows an unlikely friendship between American strangers Bob (Bill Murray) and Charlotte (Scarlett Johansson).

The pair first meet in Tokyo, where fading movie star Bob is due to film a Japanese whiskey commercial. Meanwhile, Charlotte is a conflicted newlywed visiting alongside her celebrity-photographer husband.

After meeting at their hotel bar, the pair discover they have more in common than they expected. From there, the film dives into important themes such as alienation and the importance of human connection.

The dramedy was an instant hit with critics, earning four Academy Award nominations for Best Picture, Best Director, Best Original Screenplay, and Best Leading Actor (for Murray). Ultimately, Coppola took home the screenplay prize.

It also earned a near-perfect 95% rating on Rotten Tomatoes, where the critics praised: “Effectively balancing humour and subtle pathos, Sofia Coppola crafts a moving, melancholy story that serves as a showcase for both Bill Murray and Scarlett Johansson.”

Viewers were equally impressed, though they awarded the drama a less-impressive 85% score.

One fan raved: “The movie is a masterpiece in every sense. Nothing wanting. If you want to learn about movie making, or just enjoy something purely brilliant, this is it. A work of art.”

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Someone else echoed the praise: “A hypnotically sweet and tender movie that’s quiet, but grows on you and makes you never want to leave its presence.”

While a third said: “One of the most real and raw movies I have ever seen, Coppola tells a beautiful tale of simple human connection, unlikely friends, and loneliness. This movie is wonderful and thoughtful from start to finish. Deciding never to watch it would be a mistake.”

For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website.

Yet another moviegoer gushed: “A truly magical experience. Concise, yet meaningful, dialogues where you have to read between the lines to uncover their true depth.

“Simple, yet touching, story that will make you laugh and cry in equal measure. Breath-taking visuals that complement the story. In fact, the main character IS indeed the city of Tokyo that unites two wandering lonely souls.”

Lost in Translation is streaming now on Netflix