drama

Period dramas are more popular than ever thanks to the likes of Bridgerton and Emerald Fennell’s Wuthering Heights.

Jane Austen’s Pride and Prejudice universe is far from just Elizabeth Bennet and Mr Darcy as a new BBC adaptation is ready to air.

Netflix fans are curious to see how the iconic novel written by author Dolly Alderton will take shape this year but there’s an alternative with a twist on BBC One in the meantime.

Based on the best-selling 2020 novel of the same name, The Other Bennet Sister by Janice Hadlow is finally being brought to life in the shape of a 10-episode period drama.

But rather than telling the love story of Elizabeth and Mr Darcy, the BBC series will be told from the perspective of Mary Bennet, the “seemingly unremarkable” middle sister of the Bennet family.

She may be considered the “overlooked middle sister” of Pride and Prejudice but, in this series, Mary Bennet will stand in the spotlight for the first time.

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

Debuting with a double bill tonight, Sunday, March 15, at 8pm on BBC One, The Other Bennet Sister “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 soirées of Regency London and the peaks and vales of the Lake District, all in search of independence, self-love, and reinvention.”

Bringing the 19th Century Regency drama to life are an abundance of familiar faces, led by none other than Call the Midwife actress Ella Bruccoleri as Mary Bennet.

She is joined by stars including Gavin and Stacey’s Ruth Jones as Mrs Bennet, The Capture actress Indira Varma as Mrs Gardiner and Saltburn actor Richard E Grant as Mr Bennet, just to name a few.

Despite not yet airing on BBC One and BBC iPlayer, The Other Bennet has already won itself a legion of fans thanks to Hadlow’s hit book.

Taking to Goodreads, a fan described it as “Beautifully written, moving and plausible, and very much in the spirit of Austen.”

Another echoed: “I would think that Austen herself wrote this book if I didn’t know better.

“Hadlow completely nails Austen’s witty, sharp sense of humor and elegant turns of phrase.”

“I absolutely love this – it’s a lovely, powerful and sweet book and I just adored it”, a third said.

While fourth added: “This is a fantastic re-telling of a classic novel and its characters, reforming our view of Mary Bennet, and elevating her into a heroine in her own right.”

The Other Bennet Sister premieres tonight, Sunday, March 15, at 8pm on BBC One.

Gary Wilmot reprised his role as journalist Anton Busette in the latest episode of Death in Paradise

Popular series Death in Paradise has announced the return of a familiar face, much to viewers’ delight.

The 15th series of the enduring detective drama is currently broadcasting on BBC One, with DI Mervin Wilson (Don Gilet) and his colleagues solving more puzzling deaths on Saint Marie.

After following Mervin, Naomi (portrayed by Shantol Jackson) and Selwyn’s (Don Warrington) escapades in Antigua, the penultimate episode shifted back to Saint Marie, with the protagonist grappling with his abduction and revelations about his brother.

Mervin swiftly resumed his duties following the murder of the island newspaper’s agony aunt, Hortense LeRoux (Anna Savva). At the start of the episode, the Commissioner and Mayor Bordey (Elizabeth Bourgine) attended Hortense’s leaving celebration. Tragically, the occasion ended in disaster when Hortense was poisoned the next day, whilst reading her final advice column, reports the Express.

Audiences also recognised a returning character at the gathering, with journalist Anton Busette (Gary Wilmot) making a notable appearance. This marks Anton’s second stint on the programme.

Fans will recall that he created considerable controversy earlier in the series through his attempts to undermine the police force and damage the Commissioner’s reputation. The character swiftly emerged as a suspect during Friday’s (March 13) instalment, given he was the former spouse of the murdered agony aunt.

Expressing her views on Anton, Mayor Bordey remarked: “Men like him [are] hungry lions, looking at you like you’re a tasty steak at a buffet.”

Despite his character’s shortcomings, Death in Paradise enthusiasts were thrilled to witness British legend Gary Wilmot reprising his role, with numerous viewers expressing their delight on social media. “Ooh! Gary Wilmot back on #DeathinParadise!” one viewer posted on X (formerly Twitter), whilst another contributed a string of celebratory emojis.

A third commented: “Keep thinking about how my dad has played football with Gary Wilmot and seeing him as Anton is so weird,” whilst another fan voiced apprehension about Gary’s character, stating: “I’m sensing bad vibes from Gary Wilmot’s character.”

Later in the episode, Mervin and Naomi persuaded Mayor Bordey to operate covertly and extract information from Anton, with the journalist promptly divulging some of his secrets.

Disclosing that Hortense’s daughter, Esme (Emma McDonald), wasn’t her biological offspring, Anton revealed: “She took her from Paris when she was a baby. Her mother wasn’t able to take care of her, a drug addict I believe… Hortense couldn’t have children.”

Anton went on to reveal that Hortense relocated to Saint Marie and falsified Esme’s birth certificate to make it appear as though she was her biological daughter. However, the atmosphere quickly changed when Anton discovered he was being recorded, with the journalist cautioning Mervin: “This won’t be the last you hear of me, I’ll be calling your Commissioner.” Was Anton responsible for his ex-wife’s death?

Death in Paradise is available to stream on BBC iPlayer

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

ITV has shared images from its upcoming true crime series about convicted sex offender John Worboys

Broadcaster ITV has released a first look at its new true crime drama Believe Me.

Filmed in Cardiff, the four-part series tells the story of John Worboys – who was dubbed the ‘black cab rapist’ after preying on women under the cover of being a licensed taxi-cab driver.

He was convicted in 2009 for crimes including sexual assault and drugging with intent against 12 women.

His modus operandi was to claim that he’d had a win at a casino or on the lottery, then offer women he’d picked up in his cab after a night out a glass of champagne, which he’d laced with drugs, and which rendered his victims unconscious.

ITV said the drama “tells the story of how the victims of one of the most prolific sex attackers in British history were failed by the system”.

The series focuses on the ordeal of Sarah (played by Peaky Blinders‘ Aimée-Ffion Edwards) and Laila (played by Raised By Wolves’ Aasiya Shah), who reported sexual assaults by Worboys (Daniel Mays), and how their allegations were not thoroughly investigated.

Sarah and Laila – both pseudonyms – joined forces with solicitor Harriet Wistrich, played by Philippa Dunne and barrister Phillippa Kaufmann QC, played by Rachael Stirling, to sue the Metropolitan Police under the Human Rights Act for their failure to properly conduct investigations into their allegations of sexual assault, leading to their being subjected to degrading treatment and contributing to their distress.

They won, and when the Met appealed that judgment to the Supreme Court, they won again.

As these women fought to have their cases heard, looming in the background was Worboys’ first parole hearing. Eight years after he was convicted for his crimes, his victims had to fight again to keep him behind bars.

Sarah, Laila, Harriet and Phillippa were joined by Carrie Symonds (played by Industry’s Miriam Petche), a senior figure in the Conservative Party press team. She put her career on the line to spearhead a huge media and political campaign pushing for an unprecedented judicial review of the Parole Board’s decision. The campaign, with Sarah, Laila and Carrie at the forefront, was successful, and Worboys’ parole was quashed.

Sarah, whose identity has been protected, said: “Believe Me is about the courage of every woman who came forward to help put John Worboys behind bars.

“What happened to me changed my life, but in many ways the hardest part was not being believed for so many years. Without the people who stood by me, Worboys would have been freed and continued to pose a huge risk to women. Seeking justice shouldn’t mean more trauma. We shouldn’t have to fight to be believed or feel like we’re the ones on trial. The shame never belongs to the survivor.”

Believe Me will air on ITV

If you or somebody you know has been affected by this story, contact Victim Support for free, confidential advice on 08 08 16 89 111 or visit their website, http://www.victimsupport.org.uk.

Ella Bruccoleri looks unrecognisable from her days at Nonnatus House as she takes on the leading role in new BBC period drama

Call the Midwife star Ella Bruccoleri has landed the leading role in new BBC period drama The Other Bennet Sister.

The 10-episode series, which is based on Janice Hadlow’s novel of the same name, follows the “overlooked” character of Mary Bennet, played by Ella, who looks unrecognisable from her days at Nonnatus House, where she featured as Sister Frances until 2022.

The series begins at Longbourn, where the Bennet family’s five unmarried daughters navigate the rigid expectations of Regency society.

“Her journey sees her leave her family home for the soirées of Regency London and the peaks and vales of the Lake District, all in search of independence, self-love, and reinvention,” the synopsis says.

“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,” it goes on.

Fans don’t have long to wait for the show to drop as it had since been confirmed that it will premiere on BBC One at 8pm on Sunday ( March 15) and all episodes will be available to stream on iPlayer.

Speaking to the BBC about her new role, Ella explained: “Mary’s not your typical period drama heroine.

“She lives in a world where, particularly for women, appearance is everything, and she doesn’t understand that value system at all.

“Instead, she turns to literature that offers a different viewpoint. Her favourite book is Fordyce’s Sermons to Young Women, because it argues that women shouldn’t have to be beautiful — they should be intelligent and pious.”

Giving fans further insight on her character, she added: “Mary Bennet has been written off by many members of her family, and as a result she’s written herself off too. When we meet her at the beginning of the series, she’s living with her family in a small village and has never really left that world.

“These are the only people she knows, and she understands herself through the values they impose on her. We know these characters from Pride and Prejudice, but it’s fascinating to see the impact they have on someone like Mary.”

Giving her thoughts on the new adaptation, the star said: “When I read Jane Austen, I’m always struck by how witty it is so witty, with humour in every line.

“Sarah Quintrell really brings that into the scripts, and Janice Hadlow’s book does the same. The novel is very different in style from Austen, but it feels like a genuine extension of Pride and Prejudice.

“Sarah’s scripts tread the line between comedy and drama better than anything I’ve ever read. It feels like a tragicomedy – it doesn’t take itself too seriously, but it’s also not afraid to delve into emotionally weighty material. That feels very true to Jane Austen.”

The Other Bennet Sister debuts on BBC One and iPlayer on Sunday (March 15) at 8pm

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

A Woman of Substance is premiering tonight on Channel 4 starring Vera legend Brenda Blethyn and Outlander star Jessica Reynolds.

A Woman of Substance draws from author Barbara Taylor Bradford’s novel, widely regarded as amongst the best-selling books ever published.

Channel 4 unveils its fresh adaptation of A Woman of Substance tonight, Wednesday, March 11, featuring actress Brenda Blethyn in her debut role following the conclusion of ITV drama Vera.

Adapted from the identically titled novel, A Woman of Substance follows housemaid Emma Harte as she challenges societal conventions to establish a worldwide business empire.

Spanning dual timelines, the eight-episode series chronicles Emma’s (portrayed by Jessica Reynolds) ascent from her formative hardships through to the present day, where she (Brenda Blethyn) confronts fresh, unforeseen challenges.

Where was A Woman of Substance filmed?

Captured during spring 2025, sequences depicting young Emma in the early 1900s were shot throughout Yorkshire, with the Grade I-listed Georgian residence Broughton Hall serving as Fairley Hall.

Broughton Hall previously featured as a filming venue in Channel 4’s original 1984 adaptation of A Woman of Substance.

Broughton Hall is the 16th Century manor house situated at the centre of the 3,000 acre Broughton Sanctuary estate.

Whilst the property remains unchanged, it’s now encompassed by the sanctuary, housing the Avalon Wellbeing Centre and offering holiday accommodation available for guest bookings.

Production teams were additionally observed at Ilkley Moor, Barnsley Town Hall and at Brodsworth Hall and Gardens in Doncaster.

Speaking about the use of Brodsworth Hall in the series, a representative from English Heritage said: “Last year we were pleased to welcome a production company, filming scenes for an adaption of Barbara Taylor Bradford’s A Woman of Substance.

“Filming took place within our Servants’ Wing, Laburnam Arch and Target House/Range and we are extremely excited and proud to see Brodsworth on the small screen!”.

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

Reynolds, who portrays the younger version of Emma Harte, shared her experiences of filming in Yorkshire with Country and Town House.

She said: ‘I know the crew worry about wind and rain, but I just love being able to have nature around me and working off the elements.

“I feel much less self-conscious, and freer.

“Some of the locations were just breathtaking and those are the images that stick in my mind today when I think back to filming; Yorkshire is just stunning.

“Those are some of Emma’s happiest moments too, when she’s so connected to the land – it’s a beautiful thing.”

Meanwhile, the contemporary scenes featuring Vera legend Blethyn, which are supposed to be set in New York, were actually filmed in Liverpool.

This isn’t the first time Liverpool has served as a stand-in for New York in film production, with major films including Fantastic Beasts and Where to Find Them and 2022’s The Batman also shot in the UK city.

A Woman of Substance premieres on Wednesday, March 11, at 9pm on Channel 4.

EXCLUSIVE: A beloved crime drama is set to return for a third season next week, with a host of “incredible” guest stars

Fans of Death in Paradise are being urged to watch a “cosy” crime drama with a distinctive premise.

Death in Paradise creator Robert Thorogood’s English-set mystery series, The Marlow Murder Club, follows three amateur detectives as they solve crimes in the tranquil riverside town of Marlow.

Judith Potts (Samantha Bond), a retired archaeologist, establishes a club alongside professional dog walker Suzie Harris (Jo Martin) and vicar’s wife Becks Starling (Cara Horgan). Their discoveries eventually earn them positions as civilian advisers under Detective Sergeant Tanika Malik (Natalie Dew).

The trio are poised to return for a third series next week (March 18), which will be presented in a three-story structure, featuring an adaptation of Thorogood’s third Marlow novel, The Queen of Poisons.

Now firmly embedded within newly promoted DI Malik’s crime-solving operation, Judith, Suzie and Becks are back, applying their unorthodox techniques to a series of high-profile murders. However, it quickly becomes apparent to the amateur investigators that their enquiries may strike closer to home than ever before, reports the Express.

The synopsis reveals: “From the sudden death of the kindest man in Marlow, the town’s beloved Mayor, to a celebrity chef found dead at the launch of his cookbook with half the town in attendance, the team will be working under the watchful eye of the Marlow community.”

“They’ll also be called to an eerie manor house in the middle of nowhere, where they’ll face a case intrinsically linked to Becks’ past that could threaten the future of their roles as civilian advisors. Judith, Suzie and Becks will have to pull closer together than ever to catch these killers.”

Since launching in 2024, The Marlow Murder Club has established itself as a beloved staple amongst mystery fans. Speaking exclusively to the Mirror, leading actress Jo Martin, who portrays Suzie, has shared her thoughts on why the programme connects with audiences so profoundly.

“People love murder, don’t ask me why. And the fact that this isn’t this gruesome, you know, dead women everywhere, mutilated. It’s a cosy crime drama, and it’s beautifully shot as well,” she explained.

“You can sit back and feel like [you’re having] a cup of drinking chocolate, you know? It’s like that. It’s like toasting some marshmallows and watching this. You’re in safe hands. It’s a great formula and it works.

“I think people have bought into the characters as well. And the fact that there aren’t many shows where you’ve got, you know, three, four women leading the show. We’re not the wife of, or the friend of, or the dead body – we are leading the show, and we’re all women of a particular age.”

Jo continued: “It’s intergenerational, which is always very interesting, you know… I think it’s wonderful.”

Alongside the returning main cast, series three will welcome an impressive array of guest stars throughout its six episodes. The stellar line-up includes Nigel Harman, Peter Davison, Jacqueline Boatswain, Sarah Alexander, Tony Gardner, Jason Merrells, Harry Enfield, Cherie Lunghi, Adrian Lukis, and Alastair Mackenzie.

Additionally, Hugh Quarshie reprises his role as Professor Darius Gifford, a prospective romantic interest for Judith.

Discussing the significance of embracing their guest performers, Jo explained: “If you’re coming on as a guest, it’s really hard to enter this family… [We want] to make [them feel] a part of it, so they can do their best work. So, yeah, we love it, welcoming new people.”

The actress also described her excitement upon meeting comedy icon Harry Enfield. She recalled: “We’ve had some great artists this season. It’s been amazing. I’m a huge fan of Harry Enfield… When he was on set, we’re all like, ‘Oh God, when can I ask for a selfie? When’s it going to be cool to get a selfie with Harry Enfield?’ Yeah, it’s incredible.”

With only two episodes remaining in the current series of Death in Paradise, audiences may be seeking a new series to satisfy their appetite. This “intriguing” programme that fans “watch on repeat every day” could prove the ideal escape into the realm of murder mysteries, minus the blood and violence.

The Marlow Murder Club returns to U and U&DRAMA on Wednesday, March 18 at 8pm

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

The BBC war drama depicts a fictional nuclear attack on Britain by Russia and its devastating aftermath – and was so disturbing it was banned from broadcast for two decades

In the face of escalating conflicts worldwide – from the intensifying US-Israel joint operation against Iran in the Middle East, Israel’s ongoing war on Gaza following Hamas’ October 2023 attack, to the four-year-long Russia-Ukraine war still in progress – it’s no exaggeration to say we’re witnessing a catastrophic level of global unrest.

Amidst this turmoil, the looming threat of nuclear warfare is ever-present. The aftermath of such a conflict would bring about unimaginable destruction and devastation – the fallout is too horrific to contemplate.

This chilling scenario was portrayed in a BBC documentary from 1965, a film so disturbing it was banned from television broadcast for two decades by the British Broadcasting Corporation itself.

At the time, the corporation justified its decision to prohibit the documentary, stating: “The effect of the film has been judged by the BBC to be too horrifying for the medium of broadcasting. It will, however, be shown to invited audiences..”

The controversial pseudo-documentary finally aired in Great Britain on 31 July 1985, twenty years after its initial scheduled screening date of 6 October 1965. This broadcast coincided with the week leading up to the 40th anniversary of the Hiroshima bombing, reports the Express.

The War Game is currently available for free streaming on BBC iPlayer or can be bought for £5.99 on Amazon Prime Video.

Written, directed and produced by Peter Watkins for the BBC, The War Game depicted a fictional nuclear strike on Britain by the Soviets and its devastating consequences.

The docu-film’s official synopsis states: “In this British documentary, a hypothetical Chinese invasion of South Vietnam triggers a new world war between East and West. In the town of Rochester, Kent, the anticipation of a nuclear attack leads to mass evacuations.

When a stray missile actually explodes, the ensuing firestorm blinds all those who see it. It’s not long before the fabric of society is ripped apart owing to radiation poisoning, a lack of infrastructure and rioting for food and other necessities.”

On 13 April 1966, The War Game had its premiere at the National Film Theatre in London, where it screened until 3 May. Barred from broadcast, the 47-minute docu-drama subsequently appeared at numerous international film festivals, including Venice, where it secured the Special Prize.

The recognition continued – the prohibited BBC production went on to claim the Academy Award for Best Documentary Feature in 1967, alongside two BAFTAs for Best Short Film and the UN Award.

Boasting a near-flawless 93% approval rating on review aggregator site Rotten Tomatoes, The War Game has earned widespread acclaim from critics and viewers.

One reviewer commented on the docu-drama: “Nothing that you have heard or read can fully prepare you for Peter Watkins’ 1965 faux documentary on the aftermath of a nuclear attack on Great Britain.”

Another reviewer added: “One of the most disturbing, overwhelming, and downright important films ever produced.”

A third critic described it as essential viewing, noting: “It was produced by the British Broadcasting Corp. but never televised because it was felt its showing would be both horrifying and depressing. It is. It also is realistic, informative and shattering. It is a movie that everyone should see.”

Whilst one critic said: “Still packs a whallop. Will stick with you for life. Don’t say I didn’t warn you,” another commented on the nuclear war drama, “One of the most skillful documentary films ever made.”

Viewer reactions mirror this sentiment, with one audience member writing in an extensive review: “The War Game, although created as a TV movie for the BBC for the 20th anniversary of the bombing of Hiroshima and Nagasaki, is easily the one of the most disturbing movies I have ever seen, on par only with Gus van Sant’s “Elephant. ” It accurately portrays the effects and aftermath of a nuclear attack and uses a handheld documentary style that makes everything chillingly real.

“There were several times during the film when I had to remind myself that Britain had never suffered a nuclear attack and the footage I was looking at was not real. There are very few films that have left me in the state that this one did when it was over. Much like “Schindler’s List” or “American History X,” this is the kind of movie I think everyone should watch because it is so incredibly informative and brings the viewer so much closer to understanding the pain and monstrosity of a nuclear attack.”

Another viewer described it as: “A harrowing punch in the gut that nothing prepared me for. Unforgettable.”

Meanwhile, one audience member remarked about Watkins’ drama: “Really shook me up and left me reeling for a while after seeing it. Peter Watkins ruined my 3 day weekend with this masterfully done piece of film. Needs to be required viewing for every being capable of understanding images and sound.”

The War Game can be streamed free of charge on BBC iPlayer until July 2026, or purchased for £5.99 through Amazon Prime Video.

It is based on a true story but some find it difficult to watch

An award winning and 100% rated drama that ended up causing controversy at the BAFTA ceremony has just been added to Netflix.

I Swear has just been included on the streamer’s extensive library as of today (March 10). Originally released in cinemas for a limited run just last year, the title tells the true life story of John Davidson, who grew up with Tourette syndrome in 1980s Scotland.

According to the synopsis, he was diagnosed at just 15 and was targeted as ‘insane’ by his peers. The film shows how he struggled with a condition few had witnessed.

He eventually becomes a campaigner to increase public awareness and fighting for acceptance of the condition of Tourette’s as an adult. He finds his life’s purpose and accepted his MBE from the Queen in 2019.

While the film is a dramatised version of John’s life, he has appeared in documentaries before. He starred in a BBC film back in 1988 and a documentary released in 2009 called I Swear I Can’t Help It.

The biopic was welcomed with overwhelmingly positive reviews by critics upon its release. So much so that it boasts a perfect 100% rating on website Rotten Tomatoes.

However, more recently the film’s subject was attached with some controversy. While leading man Robert Aramayo picked up the BAFTA for Best Actor thanks to his performance, it was not the most talked about event of the night.

The subject of the film John Davidson was also in attendance on the night. His presence became apparent by those watching along from home at first as they heard some shouting during the show.

Actor and host of The Traitors US Alan Cumming was presenting and he asked for patience from the audience at the time. He told them during the show: “You may have noticed some strong language in the background. This can be part of how Tourette’s syndrome shows up for some people as the film explores that experience. Thanks for your understanding and helping create a respectful space for everyone.”

However, in one instance, while actors Michael B Jordan and Delroy Lindo were on the stage, a racial slur was shouted out by John and included on the BBC’s broadcast. It eventually lead to the stream of the awards ceremony being removed from the iPlayer.

In an interview after the Baftas, Davidson has said the BBC should have “worked harder to prevent anything that I said” being broadcast. He added that he shouted about 10 different offensive words during Sunday’s ceremony as a result of his tics.

Some have argued that the incident only highlights the importance of the film itself. As one person posted online: “I Swear is an audacious biopic that has no issues tackling the roots of a serious topic, and its dedication to that task does lead to some scenes that will certainly be upsetting to some viewers.”

Another added: “Robert Aramayo delivers a fearless, deeply human performance in this compassionate biopic. I Swear balances humour and heartbreak while shedding light on Tourette syndrome, reminding us how much empathy society still owes.”

While a third commented: “Honestly I left the cinema seriously thinking if I’d ever seen a better movie! It’s so perfect from the casting to the time jumps. It’s a beautiful written story that really captures the essence of what it is to be different and how hard it must be to live with Tourette’s. Several goosebumps moments with a lot of humour!”

Someone else said: “This is a fabulous film which made me laugh and cry in equal measure. It captured the difficulties and complexities of living with Tourette’s syndrome with a startling level of authenticity. The acting was superb and I came out realising that I’d seen something very special. I’ll be thinking about it for weeks.”

I Swear is streaming on Netflix.

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

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

If you are anything like me, you felt pretty out of sorts this week, not sure how to process the news that we are suddenly, apparently, a nation again at war. It can make the movies seem frivolous — a glorious, privileged sandbox to stick your head in — but it is also times like these that make them seem most vital and necessary: a place to focus energy and anxiety and maybe figure things out.

I was particularly struck by something New York Times critic Wesley Morris said in an appearance on the podcast “The Big Picture.” He was ostensibly talking about the downside of the Paramount-Warner Bros. merger news (“These people are f— with our dreams here” is how he began) but he landed on why movies matter in their moment, crucial to “how we develop as a culture, how we come to understand ourselves as a people, what this country ought to or should look like 40 years from now.”

The week’s big new release is Maggie Gyllenhaal’s “The Bride!” a sort-of adaptation of 1935’s “Bride of Frankenstein” starring Jessie Buckley and Christian Bale that is also very much its own thing, purpose-built to drive some people up a tree and already sharply dividing critics.

Christian Bale and Jessie Buckley in the movie “The Bride!”

(Niko Tavernise / Warner Bros. Pictures)

In her largely positive review, Amy Nicholson calls the movie “an unhinged scream,” adding, “‘Every wacky second, you’re well aware how perilously close it is to falling apart at the seams. This spiritual sequel to ‘Frankenstein’ is a romantic tale of obsession, possession and fantasy — adjectives that also apply to its filmmaker, Maggie Gyllenhaal, who expends massive quantities of energy jolting it to life. She succeeds by the skin of her teeth.”

I interviewed Gyllenhaal about “The Bride!” — including the significance of that exclamation point in the title. There have been numerous reports about a back-and-forth between the filmmaker and execs at Warner Bros. and Gyllenhaal didn’t shy away from talking about it. She had specific praise for Pam Abdy, co-chair and co-chief executive of Warner Bros. Motion Picture Group.

“Something really alive was born, and I think the movie is better for the work that she and I did together,” Gyllenhaal told me. “I know that’s an unusual thing to say. I know that you have lots of people saying like, ‘Ah, the studio f— my movie up.’ That is not my experience. It’s really not.”

Louis Malle’s ‘…and the Pursuit of Happiness’

A scene from Louis Malle’s documentary “…and the Pursuit of Happiness.”

(Janus Films)

On Saturday, in a co-presentation of 7th House at the Philosophical Research Society and El Cine, the will be a 16mm screening of director Louis Malle’s 1986 “…and the Pursuit of Happiness,” a documentary made for television that explores the immigrant experience in America. The French-born filmmaker traveled across the U.S. interviewing recent arrivals from all walks of life.

Writing about the film in 1988, The Times’ Kevin Thomas called it “an often amusing and always insightful survey of the contemporary emigre experience. … an irresistible array of vignettes depicting cultural accommodation and assimilation in all its variety.”

I got on a video call this week with 7th House programmer Alex McDonald and El Cine founder Mariana Da Silva to talk about why this movie matters now.

The movie is streaming on the Criterion Channel right now. Why was it important to also put this movie in front of audiences right now?

Alex McDonald: I think Mariana and I are on the same page with this. I never let streaming or home video availability deter programming. Growing up, the theater was a holy place, a cathedral of congregation. I feel like these films are meant to be seen with an audience. And thankfully, I feel like our audience recognizes that as well, even if the film is out there. Particularly in our current moment, it’s a very prescient film and it’s one that will be all the more powerful within community.

Mariana Da Silva: I agree fully. One of the biggest things within our program is the communal aspects — just seeing the same people come back, that trust that develops with the audience. The best part I love about going to movie theaters is standing outside with people I maybe would never speak to and having a conversation about a film.

A scene from Louis Malle’s documentary “…and the Pursuit of Happiness.”

(Janus Films)

Do you respond to a movie like this as a sort of time capsule of how things were, or is it important to you that it is saying something about what’s happening right now?

McDonald: That’s something I’m very conscious of when I program repertory titles. When I program social, politically minded films, a lot of what I’m trying to do is to show that the issues within these things have not really changed — the ways in which things have progressed, the way in which we have regressed. Malle has such a humane view on all of these people in the film. He narrates but he doesn’t really editorialize. He just sort of observes, and in doing so, he’s making the most compelling argument for the richness of diversity and everything that these people contribute to this country, what they lose in assimilation, what they have to give up and what they bring. There’s a complexity to it. There are certainly dissenting voices in it and those resonate differently now.

It wasn’t perfect then. Obviously, there’s always been conflict, but I think there was an open-heartedness that has really shifted. And this is kind of a poignant reminder of what we need to try to get back to and recognize.

Da Silva: If we were able to have these conversations more openly, it would put us all on an even playing field. Humans are flawed. There’s been a lot of miseducation. In this moment, especially for me as somebody who is an immigrant, I feel like there’s so many people who I know who are so liberal and so aware, but then they don’t really understand the experience of the immigrant. And it’s not their fault in any capacity. They just haven’t been exposed to somebody like me before.

I think we can all come together on the things we celebrate, but we also need to be very open and come together on the things that we differ on too.

Points of interest

‘Good Night, and Good Luck’ in 35mm

George Clooney, left, and David Strathairn in the 2005 movie “Good Night, and Good Luck.”

(Melinda Sue Gordon / Warner Independent Pictures)

On Sunday afternoon at the Los Feliz Theater, as part of the American Cinematheque’s ongoing “Sunday Print Edition” series, there will be a 35mm screening of George Clooney’s “Good Night, and Good Luck,” introduced by The Times’ own Rosanna Xia.

Starring David Strathairn as pioneering television journalist Edward R. Murrow at the height of the McCarthy era, the film was nominated for six Oscars, including picture, director, actor and original screenplay.

As Kenneth Turan wrote in his original review, “‘Good Night, and Good Luck’ couldn’t be more unlikely, more unfashionable — or more compelling. Everything about it — its look, its style, even its sound — stands in stark opposition to the trends of the moment. Yet by sticking to events that are half a century old, it tells a story whose implications for today are inescapable. … The son of a TV anchorman, Clooney had the nerve to believe that a drama of ideas could be as entertaining as ‘Desperate Housewives.’ He insisted that a fight for America’s soul, a clash of values over critical intellectual issues like freedom of the press and the excesses of government, had an inherent intensity that would carry everything before it. And it does.”

‘Days and Nights in the Forest’ 4K restoration

An image from Satyajit Ray’s 1970 drama “Days and Nights in the Forest.”

(Janus Films)

Now playing at the Laemmle Royal in a new 4K restoration undertaken by the Film Foundation is Satyajit Ray’s 1970 “Days and Nights in the Forest.” In this examination of masculinity and class, four male friends drive from the bustling city of Kolkata to a rural village, mixing with the locals with volatile results.

In a special video introduction, Wes Anderson, a longtime admirer of Ray, admits he lifted a scene from “Days and Nights” for one of his own films — 2023’s “Asteroid City” — and says, “Anything by Satyajit Ray must be cherished and preserved, but ‘Days and Nights in the Forest,’ I think you will agree, is one of the special gems among his many treasures.”

‘Grease 2’ returns

Michelle Pfeiffer on the set of “Grease 2” in 1981.

(Vinnie Zuffante / Getty Images)

The Cinematic Void series at the American Cinematheque will show 1982’s pastiche musical “Grease 2” on Monday. Directed by choreographer-turned-filmmaker Patricia Birch, the film is, of course, a sequel to 1978’s megahit “Grease” but it is also very much its own thing. Largely dismissed on initial release, it has found a growing following over the years thanks in large part to its extremely engaging young cast, including an on-the-rise Michelle Pfeiffer.

In his initial review (more complementary than one might expect), Kevin Thomas wrote, “There’s so much youthful talent and vitality in ‘Grease 2’ that it’s depressing to discover it is so unblushing and relentless and paean to ignorance. … This is a pity, because Birch displays an organic sense of how to make dance evolve out of the kids’ everyday activities — converging en mass at Rydell High on the first day of school or having fun at the bowling alley. But Birch has scant opportunity beyond letting us know she cares for these ignoramuses, most of who seem likable enough beneath aggressively crude exteriors.”

Anti-fascist films at UCLA

Ingrid Bergman and Charles Boyer in the 1948 drama “Arch of Triumph.”

(Enterprise-UA / Photofest)

The ongoing series at the UCLA Film and Television Archive titled “From John Doe to Lonesome Rhodes: Anti-fascism from the Archive” hits a real stride this weekend for two nights of restored rarities. On Friday comes a restored 35mm print of 1948’s “Arch of Triumph,” directed by Lewis Milestone and starring Ingrid Bergman, Charles Boyer and Charles Laughton in a romantic drama of refugees in 1938 Paris. Also playing is Arthur Ripley’s rare 1944 emigree drama “Voice in the Wind.”

Much of the press around the film at the time of its release had to do with the challenge of bringing the racier aspects of the novel by Erich Maria Remarque (“All Quiet on the Western Front”) to the screen. As producer David Lewis told The Times’ Philip K. Scheuer, “I promise you that as Joan, Ingrid Bergman will set the town on its ear. They’ll never think of her as anything but sexy again.”

Saturday brings the world premiere of the 35mm restoration of Walter Comes’ 1947 “The Burning Cross,” in which a returning veteran is recruited into the KKK. John Reinhardt’s 1948 “Open Secret,” about antisemitism, will also play in a 35mm restoration.

The series concludes next week with a 35mm screening of Elia Kazan’s 1957 “A Face in the Crowd,” starring Andy Griffith in an examination of the dark side of populist politics and media manipulation.

The beloved period drama has been hailed by audiences online and compared to Downton Abbey and Sherlock Holmes

Fans of period drama have been met with bittersweet news following the recent confirmation that a cherished series will be making a comeback – but for one final outing only.

This announcement follows previous excitement surrounding a WWII film due for release later this year and a Netflix period drama series drawing comparisons to HBO’s Chernobyl, reports the Express.

The costume drama has previously earned acclaim from one IMDb reviewer who described it as “One of the best”. They highlighted how the lead performer was an “absolute master at facial expressions”.

They continued: “IMHO this series continues to get stronger and is one of the best things produced for network TV. I am hoping this will be as long lived as some of the classic British shows like Vera and Silent Witness [sic].”

Another viewer wrote in their 10/10 assessment: “A wonderful TV detective story that bridges 21 century sensibilities with the horrible conditions of Victorian England, with its pollution, gender and class inequalities, poverty, etc.”

They further commended the programme: “What truly makes this show exceptional are the costumes, the sets, the great chemistry between the two protagonist, and the relationships amongst the other characters that slowly develops throughout the six episodes [sic].”

A third 10/10 review declared: “Fresh look, captivating plot, beautifully portrayed characters, real feel of old atmosphere, close attention to detail.”

The admirer revealed they were “totally hooked” by the production.

A third glowing review, titled “Amazing period piece”, saw the reviewer enthuse: “I joined PBS for this great masterpiece.

“The tension between the lead actors keeps me coming back for more. In this Downton Abbey meets Sherlock Holmes drama, each episode brings a more compelling reason to keep coming back for more.”

Miss Scarlet is set to wrap up after its upcoming seventh season, having first graced our screens in 2020.

The series features Peaky Blinders actress Kate Phillips in the starring role of Eliza Scarlet, the first female detective in Victorian London.

Not only has Miss Scarlet been solving mysteries, but she’s also been shattering the glass ceiling with her work throughout the city.

In a statement obtained by Deadline, the show’s creator Rachael New expressed: “Making Miss Scarlet has been the greatest joy of my professional career.

“Every stage of this beautiful show – from the writing, filming, editing and finally it reaching the screen – it has taken a whole village. A village of exceptionally talented people.

“From the wonderful exec team who first saw the potential in this story, to my brilliant writing partner Ben Edwards, the Belgrade production team, the Dublin post team and not least to our remarkable cast led by the magnificent Kate Philips, it has been a collaborative and beautiful experience.

“I’m very proud of how the final season plays out and the story we tell for Eliza.”

She added: “It’s a wrench to say goodbye to a character that I have lived and breathed for all these years, but Eliza will forever be with me whether on screen or off.”

Meanwhile, leading actress Phillips remarked: “What a journey this has been. Miss Scarlet has been one of the greatest joys of my career, and I will forever be grateful to Rachael New for creating such a witty, sharp, and delightful character in Eliza.

“It’s been a privilege to work on a show crafted with so much love and dedication and as we prepare to say goodbye, I’m so proud of what we’ve achieved and the memories we’ve made.

“Thank you to everyone who has supported us – I can’t wait to share the farewell Miss Scarlet deserves.”

Alongside Phillips, Miss Scarlet – formerly known as Miss Scarlet and the Duke – also features Tom Durant-Pritchard, Paul Bazely, Tim Chipping, Evan McCabe, Felix Scott, Cordelia Bugeja, and Ansu Kabia.

Production is currently underway in Serbia on series seven’s final six episodes of the drama.

Miss Scarlet is available to stream on UKTV’s U.

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A Pilates instructor stranded in Dubai after Iran missile attacks has sparked backlash for saying there’s ‘no drama or fear’ while flights remain cancelled and the FCDO warns against travel

A Pilates instructor travelled to Dubai feeling “no drama or fear” but has now been confronted with a harsh reality check. Restrictions and increased security measures are currently in place throughout the United Arab Emirates following a wave of drone and missile strikes by Iran.

Numerous flights have been grounded after the decision to shut UAE airspace, leaving lots of travellers stranded. One influencer and writer has opted to focus on the positives but has faced criticism for seemingly downplaying the seriousness of the unfolding crisis.

Jade Marrey, 31, turned to Threads to provide an update on her situation. Several days ago, she wrote: “Very grateful to be in a hotel safe however the fact I was meant to fly home on Tuesday but ended up in hospital and missing my flight makes this so sucky.”

However, a more recent update has sparked controversy. The writer posted: “Everyone is panicking about Dubai… I’m currently sitting at Dubai Creek, kids running around with families, people enjoying coffee in the sunshine or strolling along the water. No drama or fear.”

The Foreign, Commonwealth and Development Office “advises against all but essential travel to United Arab Emirates”.

In the comments section, people were quick to voice their opinions, with many highlighting how rapidly her circumstances could deteriorate.

One said: “For now? What about tomorrow or the following day? Don’t feel too comfortable. Be alert. You don’t know what’s coming. Pray.”

Another said: “Day-to-day life often looks normal until it doesn’t. Hopefully it stays peaceful – but contingency planning isn’t the same as hysteria.”

A third commented: “At the same time my friend gets warnings to seek shelter… they are by the airport. Stuck. Just waiting to go home.”

While a fourth said: “War doesn’t knock on your door and give you a pamphlet stating the price of your new iPhone, it happens all of sudden, that’s why it changes your reality, that’s how it shatters your life. Displaces people and till then, everything seems fine.”

Someone else said: “I was just there. What you state is accurate. It is also accurate that missiles and drones are passing you in the air and some [are] being intercepted right above you. You are normalising war.”

Jade replied: “I am not normalising war, I am stating a fact that people are out and about with their kids and living their lives… mentioned nothing about war.”

In a follow-up comment, Jade shared a photograph of the beach and said: “Everyone calling me all sorts of names yet Kite beach is HEAVING with people living their lives.”

However, another Threads user understood Jade’s viewpoint and said: “Life goes on, even in a war zone. Days after the 7/7 [bomb attacks] in London were normal, we got the bus or tube just because we had to.”

Adrian Dunbar, who has played Superintendent Ted Hastings in Line of Duty for years, has starred in the lead role of Alex Ridley in the ITV detective series since 2022

Popular crime drama Ridley — which stars Adrian Dunbar — has been scrapped despite top ratings, it is reported.

The ITV series sees Dunbar play the title role, a retired Detective Inspector turned police consultant and regular jazz club singer, and has drawn in viewers since 2022. Bronagh Waugh and Georgie Glen have also had regular roles across the two seasons.

But there will be no more, according to reports today. ITV has reportedly decided to shelve the programme, filmed across Lancashire and the Yorkshire Dales.

An ITV spokesman said: “There are currently no plans to return to Ridley. We’d like to extend our thanks to creator and writer Paul Matthew Thompson, executive producer Jonathan Fisher and the team at West Road Pictures for producing two successful series.”

READ MORE: Loose Women star Kaye Adams ‘axed by BBC over behaviour’ as pal claims ‘stitch-up’READ MORE: Martin Compston’s wife puts him on drastic diet ahead of Line Of Duty comeback

It is a fresh blow for Dunbar, 67, following years of uncertainty around the future of Line of Duty. The actor, born in Enniskillen, County Fermanagh, had hinted he hoped Ridley would return. Speaking in an interview in August last year, Dunbar said: “The programme did very good numbers when it was shown in America and I know that PBS [the US’s Public Broadcasting Service], who part-financed Ridley, would like us to film another series.

“There’s definitely more to be said about Alex Ridley, his troubled life and the team of detectives with whom he works, and I would love to film more.”

But The Sun says this unlikely. The publication reports the programme had received top reviews and, since the last series ended in the autumn of last year, there had been hints it would come back.

Dunbar’s uncertainty around Line of Duty finally vanished late last year though when it was confirmed the popular police drama would return for a seventh season. In November last year, a source said: “Although this has been discussed at length since the unsatisfactory ending of series six in 2021, it’s still going to create huge excitement when the Beeb makes the announcement.

“It’s one they’ve been preparing to make for weeks, but they’ve been trying to pick the right moment, since The Celebrity Traitors has been hogging quite a lot of limelight recently.” They added: “And the BBC very much view Line Of Duty as one of the jewels in its crown that they want to deliver with some fanfare.”

Martin Compston played DS Steve Arnott in the show, which came to an end when his character and his team discovered the identity of “H”. He last year also shared details on whether viewers can expect more from the series.

HOLLYWOOD star Nicole Kidman hits  the spot in a leopard-print coat — as she  prepares to hunt baddies in a crime drama. 

The Aussie-American actress, 58, was in New York to promote her upcoming Amazon Prime Video series Scarpetta, in which she plays a forensic pathologist. 

It is based on a book series by Patricia Cornwell and launches next Wednesday. 

Meanwhile, Nicole and Keith Urban face the tough task of dividing their staggering £210million property portfolio as part of their divorce settlement. 

The former couple’s marriage is now officially over after the superstar pair finalised their split, and they’ve come to an agreement on how their collection of multi-million pound homes will be divvied up. 

According to documents, both Nicole and Keith will retain ownership of the properties already in their possession and the rest will be split to their mutual satisfaction. 

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It is believed the majority of the exes’ properties were all jointly purchased following their wedding in 2006. 

The most recent purchase came in 2023 in the form of a £5.7m three-bed apartment in Sydney‘s exclusive Landmark Latitude complex – their sixth property in the same high rise. 

They have another £13.3m wrapped up in the complex. 

Nicole and Keith first bought into the apartment block in 2009, picking up a sizeable 420-square-metre pad overlooking Sydney’s famous harbour for a cool £4.45m. 

A further £5.2m was splashed on a larger neighbouring apartment when that became available in 2012. 

The couple bought into the 19th floor in 2011, paying £2m on a smaller space that Nicole used as a home office. 

The critically acclaimed war drama is currently streaming on Amazon Prime and stars an Oscar-winning Hollywood A-lister in a completely unrecognisable avatar.

A compelling wartime period drama has been branded essential viewing by audiences and critics, featuring an exceptionally gifted actor whose portrayal earned him an Academy Award.

Helmed by Joe Wright from a script by Anthony McCarten, this 2017 historical drama chronicles Winston Churchill’s tenure as Prime Minister during the Second World War, specifically focusing on the critical May 1940 war cabinet crisis.

The film takes its name, Darkest Hour, from the phrase used to describe those perilous early war days, when British forces were stranded at Dunkirk, France teetered on the brink of collapse, and impossible odds faced Britain and the Allied Forces. Churchill himself had used the term ‘Darkest Hour’ in his public addresses during that period.

The official synopsis reads: “The fate of Western Europe hangs on Winston Churchill in the early days of World War II. The newly appointed British prime minister must decide whether to negotiate with Hitler or fight on against incredible odds. During the next four weeks in 1940, Churchill cements his legacy as his courageous decisions and leadership help change the course of world history.”

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Gary Oldman takes on the leading role of Winston Churchill, becoming utterly unrecognisable as the British PM through a transformation requiring over three hours daily to achieve, using intricate makeup and delicate prosthetics.

Speaking to ABC News, Oldman revealed of his dramatically transformed look in the film: “It took three hours, 15 minutes and then getting into the costume and everything, it was just under four hours, 48 days consecutively.”

He added: “And then I would be dressed as Winston by the time the director arrived and the other actors for rehearsal. So it was very odd. They did not see me as Gary for three months for the entire shooting because I was always in my makeup.”

Shedding the character at the end of each gruelling day proved equally challenging. The acclaimed actor explained to the publication it was a “very slow process” whereby a special solution was required to dissolve his appearance, resulting in approximately 18-hour working days.

Oldman confessed he genuinely feared he “would not have the stamina” to endure the entire shoot, yet somehow pushed through and “loved every minute of it”.

Raking in $150 million at the global box office against a production budget of $30 million, Darkest Hour proved an undeniable commercial triumph, reports the Express.

Oldman was joined by Kristin Scott Thomas, Lily James, Stephen Dillane, Ronald Pickup, and Ben Mendelsohn who rounded off a stellar supporting cast.

Beyond its box office success, Darkest Hour earned widespread critical acclaim, securing six Academy Award nominations including Best Picture, Best Cinematography, Best Makeup and Hairstyling, and Best Actor – the latter of which Oldman triumphantly claimed, along with the Oscar for makeup and hairstyling.

Boasting an impressive 84% critics’ approval rating on Rotten Tomatoes, Darkest Hour received widespread acclaim from reviewers, with one writing: “As a portrait of leadership at its most brilliant, thoughtful and morally courageous, “Darkest Hour” is the movie we need right now.”

Unsurprisingly, Oldman’s portrayal garnered particular praise, with one critic saying: “Oldman brings a wicked wit and compassionate heart to the role, one for which he seems almost superhumanly suited for – and that’s really saying something, consider how many great actors have played Churchill.”

Another impressed reviewer wrote: “It’s an amazing performance: the only star turn I’ve seen in which a famous actor visible in nearly every scene would be unrecognisable if we didn’t know his name already.”

Whilst a fourth critic succinctly said: “Darkest Hour is a one man show for Oldman. And what a show it is.”

Audience responses echoed similar sentiments, with one admirer writing: “A deeply gripping and entertaining vignette of leadership from one of history’s greatest. Superbly well cast and designed. I wasn’t expecting to enjoy it as much as I did. Highly recommended.”

Another viewer said about the film: “One of those films that gives you goosebumps as Churchill bumbles his way into history (again). Oldman is superb as Churchill and the filing is so atmospheric you almost feel as if you’re in the House of Commons or his house with him. Kirsten Scott-Thomas and Lily James along with Ronald Pickup are perfect in their roles. If you’ve ever been in the War Rooms in London you can sense the claustrophobic hive of activity that unbelievably held the British war effort together. A film that I could watch more than once.”

A third admirer added: “Gary Oldman was indeed phenomenal on this one. And even without Gary’s performance, this would still be a worthy watch.”

Darkest Hour is currently available to stream on Amazon Prime Video.

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A Netflix drama that’s been deemed “the best show ever produced” is said to be so good, viewers keep rewatching it again and again. It seems fans are totally hooked

Occasionally we’re all on the hunt for a compelling series to immerse ourselves in, and Netflix currently boasts an impressive selection. However, if you’re after something genuinely gripping that’ll leave you craving the next episode, you might want to consider a television drama that’s been hailed as the “best ever” on Netflix.

The programme recently surfaced in discussions on Reddit, when a viewer was eager to gauge people’s opinions on the drama. It rapidly sparked considerable debate, with many unable to contain their enthusiasm for how exceptional they believe the show to be, whilst others confessed to binge-watching it multiple times.

It’s not the sole series to have captivated audiences on the streaming service lately either. Previously, subscribers also enthused about another programme that’s rooted in real events.

The Reddit user enquired: “Is Mindhunter worth a watch? I’m gearing up for the Fincher series and realised that I’ve completely overlooked this show.”

The query prompted substantial discussion, with respondents rushing to share their views. The consensus appears overwhelmingly positive.

One responded, stating: “Very good. Probably the best show Netflix ever produced.” Another contributed: “The most disturbing crime of the show is that it only got two seasons.”

A third commented: “It’s really good. I rewatched it recently and still think it was very well done.” In separate discussions, viewers also voiced their disappointment that only two seasons were produced.

One viewer expressed: “I’m still mad about this. On my third rewatch.” Another chimed in with: “This is the only show that’s been cancelled that makes me angry. I miss other shows, but this one burns me.”

One more fan noted: “I’m not a crime or true crime show fan at all. Mindhunter is amazing. Watch it for sure. Holt McCallany is so good in it.”

Many labelled it as “fantastic”, with several pleading for its return someday. It appears fans are holding onto the dream of their hope becoming reality at some point, but for now, they can only continue to rewatch previous episodes.

What’s it about?

For those unfamiliar, Mindhunter is an American psychological crime thriller television series created by Joe Penhall, inspired by the 1995 true-crime book Mindhunter: Inside the FBI’s Elite Serial Crime Unit by John E. Douglas and Mark Olshaker. The series first graced screens back in 2017, and ran for just two seasons.

It boasts a cast including Jonathan Groff, Holt McCallany and Anna Torv, and delves into the establishment of the Behavioural Science Unit in the Federal Bureau of Investigation (FBI) during the late 1970s and early 1980s. This era also marked the advent of criminal profiling.

The series revolves around FBI agents Holden Ford and Bill Tench, along with psychologist Wendy Carr. They operate the FBI’s Behavioural Science Unit within the Training Division at the FBI Academy in Quantico, Virginia.

In addition to this, they collaborate to initiate a research initiative interviewing incarcerated serial killers. Their aim is to gain insight into the criminals’ psychological makeup.

Essentially, they hope the information they gather will assist in cracking active investigations. It’s regarded as essential viewing for crime drama enthusiasts, although reports suggest no additional episodes are planned.

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A highly anticipated new Western drama in the hit Yellowstone franchise is about to start on Paramount+

Yellowstone’s new spin-off that puts Kayce Dutton (played by Luke Grimes) at the forefront is finally here, and it’s a must-watch for fans of the gripping Western drama.

Airing today (Sunday, 1st March) on CBS in the US and later available on Paramount+, Marshals: A Yellowstone Story follows the rancher and former Navy SEAL as he enlists with an elite squad of US Marshals to deliver justice across Montana.

As he wages war against violence and learns to adapt to working with a team, he must also strive to become the best father possible to his teenage son, Tate (Brecken Merrill).

The latest of several spin-offs from the popular neo-Western saga created by Taylor Sheridan, Marshals promises action-packed cases and gripping drama each week that is sure to keep viewers satisfied.

Although reviews have been mixed so far, garnering a 50 percent score on Rotten Tomatoes, critics agree the show has huge potential and is bound to keep die-hard fans enthralled.

Collider has praised Grimes’ central performance as Kayce, writing that he comes into his own as the Yellowstone franchise’s newest lead.

“Grimes carries the series with ease,” they went on, “graduating from being a supporting cast member roaming alongside Kevin Costner’s shadow to the leading man of his own cowboy-flavoured crime drama.”

Their review also assured fans that the shift to CBS hasn’t sanitised the gritty Yellowstone brand too much, adding: “Marshals is a neo-Western that is chock-full of potential.

“It’s action-packed, thrilling, and full of everything you could ask for in a Kayce Dutton-led series that fights hard to divorce itself from the “Y” that still lingers in the background. It’s not perfect, nor does it claim to be, but once it gets through the initial growing pains, it will be able to stand firmly on its own.”

Men’s Journal described the series as “kick-a**”, promising it still has the “Yellowstone magic”.

The review went on: “Marshals may not be as twisty or unpredictable as 1923 or the recent season of Landman, but it has that same sparkle and magic of the other Sheridan westerns.

“It’s the sort of show that doesn’t ask much to get invested, and rewards you with the simple pleasure of feeling good after you’ve watched an episode. In a world of morally grey anti-heroes, Kayce Dutton is here to be the perennial good guy on horseback. And frankly, it’s good to have him back.”

TVLine was also impressed with the Yellowstone universe’s latest offering, urging potential viewers not to be put off by Marshals’ broadcast on CBS, home to crime procedurals such as NCIS and FBI.

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“Marshals actually manages to serve both of its masters quite well,” they wrote.

“With its swelling score, sweeping cinematography, and gorgeous opening credits sequence (a dying art!), you’ll often find yourself wondering, ‘Wait, am I really watching a network procedural right now?’

“Marshals fires on all cylinders, sending the team on explosive missions that guarantee your Sunday nights will end with a bang.”

They concluded: “A visual treat with genuine heart, Marshals is enough of a crime procedural to appeal to viewers who enjoy a complete story told in 60 minutes, while also remaining prestigious enough to satisfy Yellowstone fans who might not typically watch a show like, say, S.W.A.T. or NCIS.”

Marshals: A Yellowstone Story premieres Sunday, 1st March on CBS and the following Monday on Paramount+.

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Suranne Jones returns in a beloved BBC psychological drama’s third and final series, nine years after the show gripped the nation in 2017.

If you were amongst the millions of viewers who tuned into the finale of Doctor Foster’s second series back in 2017, you’d be forgiven for thinking that was the end. Yet, following an extended nine-year break, the much-loved BBC psychological drama that kept audiences gripped is returning with a thrilling third chapter.

The forthcoming five-part television series will see Suranne Jones reprising her role as Gemma Foster, alongside Bertie Carvel, who returns as Simon, and Tom Taylor portraying their son Tom. Penned by Mike Bartlett, the synopsis for the new season states: “10 years ago, on discovering her husband Simon was having an affair, Gemma Foster enacted a masterful revenge.

“But the fallout was devastating when her 15-year-old son Tom disappeared. Now, in series three, Gemma is still a GP, still in the same house, but on the brink of a fresh start: she has met someone new and is getting married. But as the wedding day draws closer, and friends and family gather, shadows from the past begin to re-emerge, threatening both her happiness and her reputation.

“As Gemma fights to protect those she loves and expose whoever’s intent on hurting her, will she be able to put the past to bed, dispense justice, and claim the future she deserves, before it is too late?”

Lindsay Salt, Director of BBC Drama, described it as “a privilege to welcome Doctor Foster back to the BBC after almost a decade away”.

She continued: “The extent to which the first two series gripped the nation is a credit to Mike’s writing, the talented team at Drama Republic and our magnificent cast – and now we’re ready do it one more time in this epic final chapter. Bring it on!”

Based on IMDb reviews, audiences of the programme have expressed their views on the opening two seasons. One viewer branded the show a “BBC winner” and a “treasure”.

They commented: “Have found myself watching the BBC less over the years, there are, though, a fair share of treasures like Doctor Foster. It is very well made visually, stylish and audaciously with a fluid way of how it’s shot.”

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Another remarked: “One of the greatest BBC shows with strong Shakespearean drama elements of personas and duplicity, betrayal, obsession, jealousy, revenge, conniving and plotting, and distrust.

“An amazing and gripping show that makes an intense and horrific portrayal of something as domestic as marriage and its complications (an understatement). Carrying strong tones of paranoia, calculated revenge, depiction of ‘natural’ misogyny, and with undertones of misanthropy, this show will give you knots and chills and keep you hooked.”

Another viewer remarked: “I don’t normally write reviews, but if you like nail-biting drama, watch this. Block out five hours of your life and get comfy. You won’t want to leave the telly!”.

A third person observed: “This program is engrossing, well-written and well-acted. It walks a fine line between being utterly disgusting and completely relatable, making me hate it and love it all at once. You definitely have to be patient to watch all the incendiary acrimony!”.

“The Gray House,” a limited series now streaming on Prime Video, purports to tell the fact-based story of Elizabeth Van Lew, who spied for the Union in the Civil War while living in the midst of Southern society in Richmond, Va. And in very broad terms it does, though it fills up the space within those outlines with an army of imagined details and melodramatic plots and subplots.

It is not the first work for the screen that betrays history by attempting to make it more exciting than it already is, and if you go in ready not to wonder or care what did or did not actually happen, and which characters are real or invented, you may make out alright. (If you do care, there is Gerri Willis’ 2025 volume “Lincoln’s Lady Spymaster: The Untold Story of the Abolitionist Southern Belle Who Helped Win the Civil War.”)

So I will not ring a bell every time the miniseries, which admittedly bills itself as “inspired by a true story,” diverts from the record, even though in my head it may be clanging.

It’s July 4, 1860, nine months before the beginning of the Civil War. Elizabeth (Daisy Head) lives in a mansion in Richmond with her mother Eliza (Mary-Louise Parker), and the two are throwing a party. Guests, including the historical Swedish novelist and social reformer Fredrika Bremer (Oxana Moravec), congressman Sherrard Clemens (Ionut Grama), Virginia Gov. Henry Wise (Mark Perry) and his awful son Obie (Blake Patrick Anderson), unload expository dialogue and provide a primer for anyone not acquainted with the roots of the Civil War. Meanwhile, a runaway slave shows up out back, pursued by hounds, having heard that the Van Lew house is the place to run for help. The women, who are against secession and for abolition but are practiced in the art of deceiving their neighbors, are involved with the Underground Railroad in some way that’s not exactly clear.

Among their servants — the Van Lew slaves were (secretly) freed upon the death of Elizabeth’s father — are head porter Isham, played by Ben Vereen, who it is a pure pleasure to see back on screen, and Mary Jane (Amethyst Davis). A well-educated, determined young woman who is just back from Liberia, which did not suit her — she calls it a “tricky little way of ridding America of free Blacks” — the series gives her a lot of agency and makes her a virtual partner in the spy ring. White and Black, they live as much like a family as is possible when some people are labor and others are management and it’s the antebellum, then the wartime South.

Also involved in Elizabeth’s tradecraft are Scottish baker Thomas McNiven (Christopher McDonald) and Clara Parish (Hannah James), a beautiful prostitute who dreams “of Bronte’s moors” and gets, of all things, a big musical number in an out-of-place Western saloon, like Marlene Dietrich in “Destry Rides Again.” (The saloon is a standing set at Castel Film Studios in Romania, where the production was based; their backlot Western street, too, makes an implausible appearance.)

Ben Vereen as Isham Worthy, a porter in the Van Lew home.

(Bogdan Merlusca/Prime Video)

Out of the loop are Elizabeth’s brother, John (Ewan Miller), whose heart is in the right place, but who’s married to Laurette (Catherine Hannay), whose heart is not. An avaricious, envious flirt on the undisguised lookout for something better, she is angry that John wouldn’t use slave labor to build their house. She’s Scarlett O’Hara, minus the intelligence and charm.

Calling roll on the enemy, we find present Confederate President Jefferson Davis (Sam Trammell), in whose house — the eponymous Gray House — Mary Jane will be embedded, with a cocked ear and a photographic memory, to gather intel; Secretary of War (and then State) Judah P. Benjamin (Rob Morrow), who has a thing for Clara, to whom he opines on property rights while they share a bathtub; and a pip-squeak John Wilkes Booth (Charles Craddock), popping in and out no reason, unless it’s to foreshadow the death of Lincoln (who makes a rearview cameo), or just because everybody’s heard of him. Below them, but more in the action, are the nasty, thuggish Sheriff Stokely Reeves (Paul Anderson) and slave hunter Bully Lumpkin (Robert Knepper); and while thuggery and violence were endemic in a racist South, caricature and cliche do your history lesson no favors, however valuable it is.

Because Hollywood hates, let’s call it a love vacuum when it comes to screen heroines, Elizabeth will find herself the object of not one, not two, but (at least) three admirers, who prize her brains and spirit and talent for conversation. (She is no frilly, fizzy, fuzzy Southern belle, like the mean girls around her sister-in-law.) There is Hamton Arsenault (Colin Morgan), a sort of Rhett Butler lite, visiting from New Orleans with a huge live alligator, because I guess that’s something you could manage in 1860 just to make a splash at a party a thousand miles away. Capt. William Lounsbury (Colin O’Donoghue) is a dashing Union officer, escaping a Confederate prison, who passes through the Van Lew house on the way to freedom; they click together like Legos. Finally, there’s shy puppy dog Erasmus Ross (Joshua McGuire), who works at the Van Lew’s hardware store and will later have a post at a prison for captured Union soldiers, which the Van Lews will turn to their advantage.

“The Gray House” isn’t all bad, and its intentions are good, but it’s dramatically predictable and at eight episodes, some over an hour, goes on much, much longer than it needs to, letting scenes play out past profitability and wasting time on extraneous subplots involving minor characters — and minor minor characters — that do nothing to enrich the fabric of the show. A duel between two characters with no significant connection to the rest of the story exists here seemingly just because their historical counterparts did fight one, and gives the filmmakers the chance to add a duel — on horseback, like jousting with guns — to the show.

Parker is always fine, though the part requires a bit too much Southern breathiness. Davis and Head make strong impressions, masking the pedestrian, sometimes cornball dialogue. (The miniseries was written by Leslie Greif and Darrell Fetty, who collaborated on “Hatfields & McCoys”, with an undiscernable assist from John Sayles.) Keith David, who plays real-life activist minister Henry H. Garnet, gives a seven-minute speech on education as if he’s performing a Shakespearean monologue, after which he faces down a murderous sheriff like he’s Shaft. It’s a high point of the series, and the one scene I was happy to see go long.

Directed by Roland Joffé, who four decades ago was Oscar-nominated for “The Killing Fields” and “The Mission,” the production is a mixed bag; much care has been lavished on the costumes; the crowd scenes are well populated; printed material is done really well. (It matters.) Battle scenes — including Bull Run, where picnicking tourists are accurately shown in attendance — are convincingly rendered. But Romania, whether on or off the studio lot, only occasionally musters a decent impression of 19th century Virginia, reminding you, as “The Gray House” often does, that this is only a movie.

Some would argue that Downton failed to steal the crown of this classic.

Some things are simply unbeatable. A classic period drama, one as critically acclaimed as it was popular, remains regarded as amongst the finest ever produced — Upstairs, Downstairs.

The family saga charted the lives of the aristocratic Bellamy family and their staff in the early 1900s. Spanning three decades, the programme’s narrative stretched both World Wars and the jazz age through to the Great Depression.

As the quintessential period drama of its era, comparisons between Upstairs, Downstairs and Downton Abbey are inevitable. The BAFTA-winning ITV series established the benchmark for costume dramas with storylines that mirror its successor.

Upstairs, Downstairs came before Downton Abbey by 50 years. Both programmes portray the lives of an aristocratic family and their servants against a backdrop of social and political upheaval in the early 20th century.

They diverge in some major ways though, with the most obvious being Downton Abbey’s production values. The 1970s show looks more understated, a quality that strikes viewers as either nostalgic of off-putting.

Downton’s location is fundamentally more grand. The Bellamy family inhabit a London townhouse, worlds apart from the Crawley family’s lavish country manor which became a character in its own right.

Whilst Downton was famed for its visual spectacle, a share of the audience felt the series occasionally strayed into the melodramatic. In contrast, Upstairs, Downstairs has been likened to theatre due to its more grounded visuals and plot lines.

Fans of both period dramas have invariably come together online to compare the shows and name their favourite.

One person sparked a debate on a Downton Abbey forum by asking: “If you have seen both shows, which show do you think is better?” to which one person simply responded: “Upstairs Downstairs without question.”

“The original Upstairs Downstairs is one of the finest TV programmes ever made,” argued another. “Downton Abbey is a jumped up soap opera.”

Of course it would be remiss not to mention the BBC’s reboot of Upstairs, Downstairs in the 2010s, but that’s a whole ‘nother debate.

Upstairs, Downstairs can be streamed on ITVX.

Netflix has confirmed it’s making a brand-new historical series that will focus on a family ripped apart by betrayal

Netflix has announced plans to produce a period drama focused on one of the most harrowing periods in history.

The upcoming Netflix series comes from the same creative team behind another major period drama for the streaming giant, reports the Express.

IMDb users have been effusive in their praise for the programme, drawing parallels with acclaimed shows such as The Crown and Downton Abbey.

One viewer headed their 10/10 review: “A Masterpiece of Emotion and Visual Beauty.”

They elaborated: “I’m absolutely in love with this series. After waiting two whole years for the next six episodes, I couldn’t help but binge them all in one go. And wow, it was worth the wait! The actors are phenomenal-so much emotion in their performances that they pulled me into every moment. I cried, laughed, and felt everything in between.”

A second reviewer wrote in their 9/10 assessment: “Like the Crown but much more captivating.”

A third critic awarded 10/10, describing it as “an utterly gorgeous series” and noted: “The Crown wasn’t historically 100% accurate either, but did we absolutely adore every second of it and appreciate how beautifully done the series was? Well, I did at least.”

They continued: “This series had me captivated on every level from the first second it began.”

Another viewer commented: “If you like The Crown, you’ll like this” and explained: “Romantic would be something like Pride and Prejudice or Bridgerton. This was more like Downton Abbey or The Crown, where in the drama is the focus.”

Witches is a fresh series in the works at Netflix, brought to you by the producers of The Empress.

The narrative will unfold in medieval Germany, tracing the lives of three sisters amidst the German witch hunts.

As per Deadline, the drama will delve into a family torn asunder by “suspicion, accusation and betrayal”, their struggle to safeguard loved ones from the “grip of fear and fanaticism”, and the “unyielding resistance” during one of “Europe’s darkest chapters”.

In a statement to the publication, producers Robert and Katharina Eyssen expressed their immense joy at finding a “creative home” at Netflix once again, following their collaboration on The Empress.

The duo affirmed that the streaming giant “truly understood” their artistic vision, having built up “trust” over many years with the platform.

They added: “As with The Empress, we are creating a family story centered on strong, complex, and defiant female characters.

“It is a radically emotional story that explores marginalization and persecution – a series that provokes thought, sweeps you along, and gets under your skin [sic].”

This announcement follows reports that filming has concluded for season three of the International Emmy-winning The Empress in Bavaria, Germany and the Czech Republic.

Production for the third season kicked off in September 2025 and it has been confirmed as the final instalment for the sprawling period drama.

The final series will comprise six episodes, delving into the aftermath of the Sardinian War and Emperor Franz (portrayed by Philip Froissant) returning from the frontlines burdened with trauma and guilt over the loss of thousands of young lives.

Empress Elisabeth von Wittelsbach (Devrim Lingnau) will support him as she battles for her marriage and the empire.

She will also encounter difficulties at court due to her deteriorating health, leading her to depart Vienna and embark on an unforeseen journey.

The Empress season 3 is set to launch on Netflix later this year.

For the freshest showbiz, TV, film and streaming news, head over to the new Everything Gossip website.

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The Empress season 3 will be released on Netflix later this year

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

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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.