Benedict Hardie, Alex Dimitriades and Darren Gilshenan are joining Marta Dusseldorp for season two of Bay Of Fires
Megan Nisbet Content Editor
05:15, 30 Nov 2025
Stella [Marta Dusseldorp] and Jerimiah [Toby Leonard Moore] on Bay Of Fires series one(Image: ITV)
Bay Of Fires is returning to ITVX with series two. The Australian drama will see Marta Dusseldorp reprise her role as Stella alongside Toby Leonard Moore, Nicholas Bell, and Bob Franklin.
However, the new series, which will continue to showcase Tasmania’s rugged west coast will also introduce some new cast members, including Benedict Hardie, Alex Dimitriades and Darren Gilshenan.
The second season opens with Stella now the leader of the Mystery Bay residents while also juggling solo parenting and keeping her criminal bosses at bay. As synopsis for series two reads: “Mystery Bay is prospering under Stella’s guidance – albeit in a somewhat chaotic fiscal manner.
“But such joys are short-lived when she and her kids find themselves sandwiched between an unhinged apiarist drug lord, a maniacal millenarian doomsday cult, the resurrection of her nemesis, Russia, and a growing civil war in the town.
“Slowly it dawns on Stella that she may be the cause of much of this nightmare. Perhaps the only way out is to go back to the source and blow it sky high.” Here’s what you need to know about the cast list.
Bay Of Fires returning cast
Marta is reprising her role as Stella Heikkinen. Viewers will recognise Marta from A Place to Call Home, Jack Irish, Janet King and The Twelve.
Also reprising their roles are Toby Leonard Moore (Billions), Nicholas Bell (Scrublands), Bob Franklin (Please Like Me), Kim Ko (Utopia), Matt Nable (Plum), Roz Hammond (Irreverent), Pamela Rabe (Wentworth), Kerry Fox (The Dressmaker) Andre de Vanny (Miss Fisher’s Murder Mysteries), Ilai Swindells (Retrograde).
As well as Imi Mbedla (Australia ’s Got Talent), Ava Caryofyllis (The Twelve), Emily Milledge (Fires), Elle Mandalis (The Twelve) and Ben Knight (White Fever).
Bay Of Fires new cast members
Benedict Hardie as Neil Roebuck
Benedict is known for his roles in Total Control, The Survivors, NCIS: Sydney, as well as films Upgrade and Hacksaw Ridge.
Alex Dimitriades as Allesandro
Alex has starred in Strife, The Tourist, Total Control, Amazing Grace and The End.
Darren Gilshenan as Joel
Darren Gilshenan is known for Dark City (1998), A Moody Christmas (2012) and No Activity (2015). He has also starred in Colin from Accounts, Harrow and No Activity.
The brand new second season will be available on ITVX from Sunday, November 30, with the first series available on the streaming site now.
Daisy, 27, got her big break in TV series Cold Feet as Olivia the daughter of David and Rachel played by Robert Bathurst and Helen Baxendale.
She was recently seen in the 2024 storm chase movie Twsiters and starred opposite Gladiator II hunk Paul Mescal in romantic drama Normal People,
The new film takes inspiration from best selling historical book Bad Bridget: Crime, Mayhem, and the Lives of Irish Emigrant Women by Irish professors Elaine Farrell & Leanne McCormick.
Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.
This week I spoke to James L. Brooks, whose legendary career includes “The Mary Tyler Moore Show,” “Terms of Endearment,” “Broadcast News” and “The Simpsons,” about his new film “Ella McCay,” which opens in theaters Dec. 12.
The film stars Emma Mackey as a classic Brooksian heroine: a lieutenant governor of a small, unnamed state with a genuine desire to make other people’s lives better who unexpectedly finds herself thrust into the job of governor.
Albert Brooks and Emma Mackey in the movie “Ella McCay.”
(Claire Folger / 20th Century Studios)
Warm and affectionate toward its characters while also clear-eyed about their all-too-human imperfections, the film is the kind of made-for-adults dramedy that is currently out-of-favor with Hollywood.
“I don’t believe people don’t want comedy,” Brooks said. “Obviously, I hope that you have meat on the bone and that doesn’t mean you can’t do a real scene about real difficulty, especially with this picture.”
Matt Brennan spoke to Renate Reinsve, star of Joachim Trier’s “Sentimental Value,” while the two of them toured Frank Lloyd Wright’s Hollyhock House. Carlos Aguilar spent time with Amy Madigan, the veteran actor enjoying renewed career energy thanks to her role as Aunt Gladys in “Weapons.”
Among the movies’ new releases, Amy Nicholson reviewed Rian Johnson’s latest Benoit Blanc story, “Wake Up Dead Man: A Knives Out Mystery,” calling it the “darkest, funniest and best installment yet.”
Mila Kunis, Daniel Craig and Josh O’Connor in the movie “Wake Up Dead Man: A Knives Out Mystery.”
(Netflix)
Amy also reviewed Chloé Zhao’s “Hamnet,” an adaptation of Maggie O’Farrell’s novel about William Shakespeare (Paul Mescal) and his wife Agnes (Jessie Buckley) as they grapple with the death of their young son Hamnet, a grief that results in the play “Hamlet.”
If you are really looking to get away from family this week, consider Julia Loktev’s five-and-a-half-hour documentary “My Undesirable Friends: Part I — Last Air in Moscow,” which chronicles the fall of one of the last independent news channels in Russia, largely run by women, during the country’s invasion of Ukraine. Loktev and one of the film’s subjects, Ksenia Mironova, will be at the Laemmle Royal for Q&As after certain shows on the 28th and 29th.
As Tim Grierson put it in his review, “During a year in which the worst-case scenarios of a second Trump presidency have come to fruition, ‘My Undesirable Friends’ contains plenty of echoes with our national news. The canceling of comedy shows, the baseless imprisonment of innocent people, the rampant transphobia: The Putin playbook is now this country’s day-to-day. Some may wish to avoid Loktev’s film because of those despairing parallels. But that’s only more reason to embrace ‘My Undesirable Friends.’ Loktev didn’t set out to be a witness to history, but what she’s emerged with is an indispensable record and a rallying cry.”
Also opening this week is another of the year’s most boldly unconventional films, Kahlil Joseph’s “BLKNWS: Terms and Conditions,” a dense, collage-like exploration of Black identity and history, playing at the Lumiere Music Hall. Anyone who saw the recent blockbuster exhibition of artworks by Joseph’s brother, the late Noah Davis, at the Hammer Museum will also find “BLKNWS” a worthwhile experience.
Cinematographer Roger Deakins on the future of the Coen brothers
Cinematographer Roger Deakins photographed at the Toronto International Film Festival in 2019.
(Jay L. Clendenin / Los Angeles Times)
Roger Deakins is among the most celebrated and best-known cinematographers of his era. A two-time Oscar winner, he has worked with filmmakers such as Joel and Ethan Coen, Sam Mandes, Denis Villeneuve and many more, on films including “No Country for Old Men,” “The Big Lebowski,” “Skyfall,” “Sicario,” “Blade Runner 2049” and “1917.”
Deakins, 76, who often works in collaboration with his wife James Ellis Deakins, has for the past few years been hosting a podcast, “Team Deakins,” interviewing filmmakers. He has recently published “Reflections: On Cinematography,” which is part memoir and part how-to, drawing from his personal archives to explore his work on so many contemporary classics.
They recently got on a video call from their home in Santa Monica to talk about the book, their relationship and whether to expect another movie from the Coen brothers.
Javier Bardem in Joel and Ethan Coen’s 2007 movie “No Country for Old Men.”
(Miramax Films)
One of the things that’s so striking about the book is that it is very much a memoir, the story of your life, but it is told through these movies and an exploration of your artistic practice.
Roger Deakins: Well, that was the balance. We didn’t want it to be a technical manual and we didn’t want it to be a sort of tell-all or just recounting old stories.
James Deakins: When you work in the film business, it’s so intense. Your work is your life.
Roger Deakins: Especially when I started out, shooting in documentaries for a few years, that was the life experience that opened the world to me. I didn’t see the world other than my experiences shooting films, whether it was documentaries or later fiction films, like going together to Morocco to shoot “Kundun.” The life experience actually has always been as important to me as the actual work.
Can you tell me a little bit more about just the relationship between the two of you, traveling together, working on all these different movies? What has that meant to you?
Roger Deakins: It’s all very weird. That is so not me.
James Deakins: The reason why we work so well together is Roger’s very intent on what he is doing and doesn’t particularly want to talk to other people during that time period. And I do — I love to talk to people. I love to solve problems. I love to do all that. So together we kind of make this whole. But we also have a lot of people come up to us and ask us for relationship advice.
Roger Deakins: When we met, I think I was 41 or something. We were both fairly kind of, not lonely, but we were loners, both of us. And we connected on a film. We met on a film together. James was script supervisor on a film that I was shooting. And after that film, it just seemed obvious to me that we should be together. And it’s been wonderful. We’ve just shared these life experiences together. I couldn’t really understand other relationships, which seemed to work well, where one person goes away and works on a movie for like six months and then comes back home and tries to step back into a relationship like nothing had happened. I don’t see that. So we’ve always shared things together. Doing the podcast was very much James’ idea, but I’ve kind of warmed to it.
James Ellis Deakins, left, and Roger Deakins at the 95th Academy Awards at the Dolby Theatre in 2023.
(Robert Gauthier / Los Angeles Times)
When people ask for relationship advice, what do they want to know?
James Deakins: They’re saying, “I’ve got to travel so much. How do I keep it together?” Or: How do we work together? Just, will this work? Is it possible? It’s very strange, because we’ve just done a very technical Q&A and my head’s there, and then someone comes up to me — and I can always kind of tell because they’re bearing down on me — and they go, “I just want to ask you…”
Roger, in the book you talk about how, when you were starting out and in film school, you thought of yourself as a director. As you started shooting more for other people, did that create a sense of a path not taken?
Roger Deakins: I would be lying if I was saying there wasn’t a little bit way down deep inside of me that was saying: What if I had tried to become a director instead? But on the other hand, I’ve been part of so many movies with so many really nice, intelligent people. And I really do have a confidence problem. We did try and get together a couple of projects a number of years ago and I just don’t have the confidence. I’m terrible going into a studio and pitching a project.
I’m just not that political person. I love nothing more than being on a set with a whole group of people. I love just working with the camera crew and electricians and the grips and the painters and everybody else. I love that collaboration. And often a director is in a much more lonely place.
Do you feel like you have a signature? What is it that you bring to a project?
Roger Deakins: I hope I don’t have a signature. I hope I just have a way of relating to a story and something in front of me. Maybe there’s some sort of personal perspective.
James Deakins: Well, I think you bring a commitment to the project. And you also are so committed to creating the director’s vision as opposed to you coming in and saying, “Well, let’s make it the way that I always do it.” And so I think you allow what the director has in his head to come out.
Roger Deakins: It’s also really important that you’re not just there to create pretty pictures. Oh, that’s a great sunset, but what the hell does it have to do with this story? Or: Let’s put up five cameras and get a lot of material and we’ll cut something out of it later. That’s the extreme version of something that’s anathema to me.
You say that people confuse pretty cinematography with good cinematography. How do you define good cinematography?
Roger Deakins: Cinematography that’s not noticed. Not noticed because people are too absorbed in the story. When you go to a premiere or any screening and you come out and somebody comes out and says, “Oh, I love that shot where such and such” — that was a mistake because not one shot should stand out. Somebody said, “Oh, wasn’t that a lovely sunset?” Then you’ve taken the audience out of the film. You’ve just drawn attention to the image.
Ryan Gosling in the movie “Blade Runner 2049.”
(Stephen Vaughan / Warner Bros. Pictures)
So even for all the astonishing images you’ve created, you still think that they shouldn’t be noticed?
Roger Deakins: In a way. I mean, obviously on some films you’ve got more license than others. Obviously I could have more fun on “Skyfall” in certain instances, or “Blade Runner,” more than I could on “No Country for Old Men.” “Blade Runner,” I could do these kind of lighting things in the Wallace building because that was part of the character, that was part of his creation, not mine. So it kind of felt integral to the character. But in another situation, I’m never going to do that kind of lighting.
You haven’t shot anything for a few years now. Are you hoping to find something?
Roger Deakins: Kind of. It depends which day you ask me, really.
James Deakins: Really depends on the project. And we haven’t seen anything, really.
A lot of people are very eager for Joel and Ethan Coen to work together again. Have you had any conversations with them?
Roger Deakins: Well, Joel’s just been directing a film in Scotland, his own film. I’ve talked to Joel on and off lately and, well, actually Ethan not that long ago, but I’m not sure what their plans are now. So that’s all talk. That’s like talking about my football team, Manchester United. What’s the next player they’re going to buy? Who knows?
Points of interest
‘Coming Home’
Jane Fonda and Jon Voight in the movie “Coming Home.”
(Herbert Dorfman / Corbis via Getty Images)
On Monday, the Frida Cinema will show Hal Ashby’s 1978 “Coming Home,” starring Jane Fonda, Jon Voight and Bruce Dern. Fonda and Voight both won Academy Awards for their performances and the film was named best picture by the Los Angeles Film Critics Assn.
“Coming Home” is an exploration of the costs of war at home and also about learning to live with disability. Voight plays a Vietnam veteran who returns a paraplegic, struggling to adjust to his new life. Fonda is a woman whose husband (Dern) is deployed to Vietnam. When she begins to volunteer at the local VA hospital, she reconnects with Voight’s Luke, a friend from high school. As the two begin an affair, all three of their lives are upended.
Critic Kristen Lopez will be there to introduce the screening, as well as sign copies of her new book, “Popcorn Disabilities: The Highs and Lows of Disabled Representation in the Movies.”
Via email, Lopez explained her selection of “Coming Home,” saying “it’s one of the few movies that, I think, even though it’s not cast authentically, does illustrate the disabled experience in an authentic way. Director Hal Ashby, producer Jane Fonda and star Jon Voight did deep research into disabled veterans, specifically wheelchair users, and it’s the first movie I remember seeing that got the little bits of disabled business correct. It’s also a movie that, even today, is remarkably progressive in how it portrays disability. Luke Martin has a home and a car, he’s self-sufficient, and too often we don’t see how disabled people live.”
‘Putney Swope’
An image from “Putney Swope,” directed by Robert Downey Sr.
(Cinema 5 / Photofest)
Opening the series “Present Past 2025: A Celebration of Film Preservation” at the Academy Museum will be the world premiere of a new 35mm print of Robert Downey Sr.’s 1969 “Putney Swope.” A biting satire of how corporate culture handles race, the film stars Arnold Johnson as the title character, who is unexpectedly made president of a major advertising firm and proceeds to upend all of its messaging. Paul Thomas Anderson has often spoken of Downey as an influence — an influence that can be clearly seen in the anti-authoritarian “One Battle After Another.”
In his original January 1970 review, Charles Champlin wrote, “‘Putney Swope’ is not so much a movie as a cartoon with real people. … ‘Putney Swope’ is not for anyone who demands good taste in movies, or restraint, or a presumption of dignity in the human character. But in its youthful, irreverent and uninhibited but medicinal way, ‘Putney Swope’ is shocking good fun.”
Also playing as part of the Academy’s preservation series, which runs through Dec. 22, will be world premiere restorations of William Wyler’s 1934 “Glamour,” John M. Stahl’s 1933 “Only Yesterday,” Lloyd Corrigan’s 1931 “Daughter of the Dragon” and George Marshall’s 1945 “Incendiary Blonde.” Other titles in the series include North American restoration premieres of Konrad Wolf’s 1980 “Solo Sunny” and Mikio Naruse’s 1955 “Floating Clouds,” plus the U.S. restoration premieres of Howard Hughes’ 1930 “Hell’s Angels” and Pedro Almodóvar’s 1986 “Matador.”
‘While You Were Sleeping’
Peter Gallagher and Sandra Bullock in the romantic comedy “While You Were Sleeping.”
(Michael P. Weinstein / Hollywood Pictures)
On Dec. 5, the New Beverly will screen a matinee of John Turteltaub’s 1995 “While You Were Sleeping.” (Take that extra long lunch or just knock off work early. It’s the holidays.) This winsome, utterly charming romantic comedy really helped cement Sandra Bullock’s screen persona and stardom, and deservedly so. A lonely woman (Bullock) who works in a ticket booth for the Chicago Transit Authority quietly pines for a handsome man (Peter Gallagher) she sees every day. After she helps save him from an accident, a misunderstanding at the hospital leads his family to believe she is his fiancée while he is in a coma. Then she meets his brother (Bill Pullman) and the complications really ensue.
In his original review of the film, Peter Rainer wrote, “Bullock is a genuinely engaging performer, which at least gives the treacle some minty freshness. Her scenes with Pullman are amiable approach-avoidance duets that really convince you something is going on between them. Like Marisa Tomei, Bullock has a sky-high likability factor with audiences. She can draw us into her spunky loneliness — you want to see her smile.”
Last year, ITV viewers were on the edge of their seats as they watched Richard Armitage take on the role of Dr Matthew Nolan, who was being escorted back to Beijing by DC Hana Li (Jing Lusi) for a crime he didn’t commit.
However, their journey wasn’t smooth sailing as Hana found herself embroiled in an escalating conspiracy, along with a growing number of murders.
As the show came to a dramatic end, fans were eager to see the series return, which ITV announced back in May this year.
Although Richard Armitage won’t be back in action, Red Eye is welcoming another well-known face to the explosive thriller, Line of Duty star Martin Compston.
Martin said of joining the show: “I had a blast making it! I had big shoes to fill, literally with the size of Richard! He did such a wonderful job, leading with Jing in the first series.
“It’s great to come onto a job when you know there’s nice pressure on it because the first season was such a success, so well done, so well received.
“Your job is to help take it to the next level. It was a lovely pressure to have and a lovely returning team; the crew were all brilliant. It was great, we had a lot of fun.
Speaking about the series, Martin teased that it gets ‘more outlandish’ and ‘more wild’ as the episodes progress, although he was tight-lipped on what people can expect to see.
Praising his co-stars, the actor added: “People want to be entertained, it was great fun and getting to work with Jing, she’s so proud of the show and so committed to it.
“She’s really protective of it and she’s surrounded by a wonderful cast, Jem (Jemma Moore) and all these actors.
“She won’t thank me for saying it but Lesley (Sharp) is British acting royalty. So getting to share some screen time with her was really appealing.”
Also joining Martin on the second series of Red Eye will be Isaura Barbe-Brown, Nicholas Rowe, Danusia Samal, Trevor White and Guy Williams.
Speaking about the show’s return, Jing commented: “I’m incredibly excited to return to the world of Red Eye, and thrilled to be sharing this rollercoaster with the brilliant Martin Compston.”
It’s not yet known when the second series will air on ITV.
RUFUS WAINWRIGHT has never been an artist to repeat himself.
With a diverse back catalogue, the Canadian singer’s latest project sees him dive into the world of Kurt Weill with the Pacific Jazz Orchestra, releasing an album following a string of concerts.
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I’m A Stranger Here Myself: Wainwright Does Weill is a richly dramatic and stylish collection that breathes new life into the German composer’s timeless songs from the 1920s-40s.
Rufus tells Jacqui Swift about finding new meaning in the music and why now felt like the right moment to record it . . .
WHEN did you first hear Kurt Weill songs, and which means the most? I first heard his songs after buying an album I saw in a record store when I was about 13 that looked super cool.
It was a funky lady, smoking a cigarette with a big smile. That was Kurt Weill’s wife Lotte Lenya [the album was called Lotte Lenya Sings American Theatre Songs Of Kurt Weill].
So it was really Lotte’s picture that got me going first.
Surabaya Johnny is my favourite Kurt Weill song. It’s a song I wish I’d written.
How did his songs influence your own writing and performance? He was a fan of drama and atmosphere – two elements which I definitely incorporate in my own work.
And I love how he’s willing to tackle the troubling subjects of the day, something I’ve never shied away from.
How do you approach a song like Mack The Knife and make it your own? My strategy was to combine the German version and the Bobby Darin version to have a kind of mid-Atlantic version.
I don’t usually have trouble with that, because my voice is so bizarre that everything I sing always ends up sounding like a Rufus Wainwright song.
Did any song surprise you once you started working on its arrangement? It Never Was You was a song I always overlooked and felt it just didn’t touch me.
But certainly, after my mother passed away I looked at it in a whole new light.
How are you balancing staying true to Weill while bringing your own personality and style? The thing about this whole project is that it’s great, but it’s also incredibly tragic.
Kurt Weill died at 50. I started doing these songs and performing them professionally when I was 50.
In a lot of ways, I feel like I’m transferring a lot of his spirit into his latter days, an age that he wasn’t able to really experience.
So I feel responsible for giving him a little bit more time on the earth.
When did you realise your live performance of these songs should be an album? Really, when we got there, after we heard the recordings.
None of this was ever intended to be a record.
We all just did it off the cuff and decided to record it last minute.
But once we listened to the tracks, we realised that there was something really special there, especially considering that the songs were written during a very troubling time politically.
This is a good moment to put that type of material out, since we are also in deep water at the moment.
How did the Pacific Jazz Orchestra come on board? They made the initial offer. I had sung some Kurt Weill songs at the Carlyle Hotel in New York for a small residency.
Then they came to me and said, ‘You know, we’d love to do something with you. Anything’.
And I put two and two together.
I’m A Stranger Here Myself: Wainwright Does Weill is a richly dramatic and stylish collection that breathes new life into the German composer’s timeless songsCredit: Miranda Penn Turin
Your back catalogue is diverse and varied. Where does this work fit in? I consider my catalogue, my career and my life, in many ways, to be a tree that has many, many branches.
I would say this is connected to it.
Let’s say this is a sprouting flower from a twig.
Was this one of your most challenging projects? It was, but mainly because I was doing so much around it.
I was producing a musical in the West End called Opening Night and also putting the finishing touches on my Dream Requiem, which was to be premiered in Paris after this concert.
So yeah, I was spread super, super thin, and it was incredibly challenging, but that adds a manic energy to the performance, which works well with his material.
You can’t be too rested when you sing Kurt Weill.
What’s next? I’m shutting down the shop. I’m 100 per cent working on a new pop record.
I need to go back to my bread and butter and see what the kids are up to and take one more swipe at it.
You played Want One and Want Two for BBC Proms, was that night as special for you as it was for the audience? Yeah, it’s always special doing those records.
They represent such a pivotal moment in my life and they really made me who I am today.
Any more special performances of these albums in the future? I’ll do one periodically, here and there, for sure.
The film now streaming has been celebrated as one of the best of the year
A film has just been added to Netflix’s extensive library which has already been dubbed a ‘phenomenal’ period drama featuring an actor’s ‘performance of a lifetime’.
Train Dreams is streaming from November 20 on the service and looks to be the latest high profile, must watch title. Like most new releases, subscribers can expect it to be available from 8am on the release day.
Like a number of big releases from the streamer that have come out this year, such as Frankenstein and Ballad of a Small Player, it has enjoyed a limited release in cinemas. Now, it is easier than ever for film fans to watch as it can be streamed from home.
The film is an adaptation of the bestselling novella of the same name written by Denis Johnson. According to the synopsis, the story follows Robert Grainier, whose life unfolds during an era of unprecedented change in early 20th century America.
Orphaned at a young age, Robert grows into adulthood among the towering forests of the Pacific Northwest, where he helps expand the nation’s railroad empire alongside men as unforgettable as the landscapes they inhabit. After a tender courtship, he marries Gladys and they build a home together.
However, his work often takes him far from her and their young daughter. When his life takes an unexpected turn, Robert finds beauty, brutality and newfound meaning for the forests and trees he has felled.
The cast includes Star Wars and Black Mass star Joel Edgerton, William H Macy, Academy Award nominee Felicity Jones and Irish actress Kerry Condon.
Following its run in theatres, Train Dreams has managed to earn an impressive 98% rating on Rotten Tomatoes. Critics have lavished it with praise with many suggesting that it is one of the must watch titles of the year and earning it plenty of awards buzz.
One reviewer claimed: “Train Dreams is the most hauntingly beautiful film of the year.” Another added: “Train Dreams is without a doubt one of the most extraordinary films of this year, the type that will stick with you, deep in your mind and heart, long after the credits roll.”
Other reviews have suggested that the film might be considered as one of lead star’s Joel Edgerton’s finest performances of his career. One verdict claimed: “In an age of spectacle and noise, Train Dreams dares to whisper. It invites you to slow down, breathe and notice the spaces between moments. A simply stunning film from start to finish.”
Another review went so far as to declare: “This is one of the great films of the year. In time, it will become one of the best in a decade, then one of the movies that people speak of when asked what inspired them in their life. It is a masterpiece.”
Fans who have gone along to the cinema to see the film on the biggest screen possible before it streams, have shared similar views. Sharing their thoughts online, one person posted: “Phenomenal character study. Simple, yet compelling story. Gorgeously shot.”
Another added: “Beautifully melancholic tale that highlighted so many paradoxical aspects of life in a magnificent way. 10/10 would recommend.”
While a third commented: “An incredibly poignant and artful masterpiece. Joel Edgerton quietly pulls off a performance of a lifetime. Clint Bentley adds another notch in his belt for delivering a moving film that feels like an intimate journey.”
Someone else listed plenty of reasons to watch it as soon as possible. They said: “Such a beautiful film. Absolutely loved the scenery and what a soundtrack, timeless. Joel Edgerton, with his amazing performance and screen presence, really took the audience on a trip with him through each phase of this extraordinary story. Be sure and not to miss this, this is definitely one to remember!”
Remember the brave, talented theater students at Eliot Arts magnet school who lost their school, homes and theater to January’s Eaton fire and went on to perform their spring musical, “Shrek Jr.,” to a sold-out crowd at the Ahmanson Theatre?
Those kids are still displaced from their school, but not from the tenacious community spirit that guided them through the aftermath of that trauma. Their next chapter: a four-day, three-night class trip to New York City to see the sights and attend Broadway shows and workshops.
“After ‘Shrek’ last spring, I sat down with a group of my advanced theater students, and I said, ‘Dream big. What else would you want in your fantasy world?’ Big things have happened for us this semester after the fires,” their drama teacher, Mollie Lief, said in a phone interview. “And they said, ‘We want to go to New York City.’ And I just thought, ‘OK, we’re gonna make this happen.’”
The class has now met its initial $75,000 fundraising goal toward “Broadway Bound: A drama and dance trip to NYC,” which Lief will lead along with dance teacher Billy Rugh, who choreographed “Shrek Jr.” The funds, which will help cover the partial or full cost of taking 61 seventh and eighth graders to the Big Apple from April 7-10, were raised in about 28 days through a school fundraising campaign app called SnapRaise.
Lief credited actor Gillian Jacobs — who Lief calls “our fairy godmother” — with spreading the word to friends in film and TV, which is why the initial goal was met so quickly. Fundraising remains ongoing for the trip, as well as the school’s spring musical, but the class can now rest easy that everyone will be able to go.
“I think everybody was skeptical that we were going to be able to raise that much money and make it happen. But if Eliot’s good at anything, we are good at making big things happen,” said Lief.
Speaking of which: The other really big thing that Lief wants for the kids is a meeting with Broadway superstar and “Hamilton” creator Lin-Manuel Miranda. Miranda sent a personal message of support to the students via video when they performed at the Ahmanson, so he’s aware of them and their extraordinary story.
“They just love him,” Lief said of Miranda. “We had a Lin-Manuel Miranda day for Hispanic Heritage Month, and everybody dressed up as him or a character from one of his shows. They are all obviously obsessed with ‘Hamilton,’ which is a show we’re trying to see when we’re in New York.”
Three Broadway shows are part of the trip’s itinerary, as well as a theater and dance workshop or two. Also on the agenda: plenty of New York pizza, a jaunt through Central Park, a sightseeing cruise and a Big Bus tour.
“They’re super pumped,” Lief said of the kids who are currently rehearsing for their newest show, “The Somewhat True Tale of Robin Hood.”
On our radar
Grant Gershon will conduct the Los Angeles Master Chorale in David Lang’s “before and after nature” Sunday at Walt Disney Concert Hall.
(Jamie Phan / Los Angeles Master Chorale)
before and after nature The fall’s third and largest major environment-themed work is David Lang’s “before and after nature,” an evening-length score that was commissioned by the Los Angeles Master Chorale and had its premiere in the spring at Stanford University in conjunction with the Doerr School of Sustainability. Here, Lang explores, in his almost Hildegard-like glowing vocal writing, the human relationship with a nature that doesn’t need us, or want us, yet we insist on being the center of everything and making an inevitable mess of it. The instrumental ensemble is Bang on a Can All-Stars (Lang having been a founder of the New York music institution). The performance includes a video component by Tal Rosner, and Grant Gershon conducts. — Mark Swed 7:30 p.m. Sunday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. lamasterchorale.org
A 1989 billboard poster about museum representation by the Guerrilla Girls.
(Getty Research Institute)
How to Be a Guerrilla Girl The Guerrilla Girls famously shield their identity by wearing gorilla masks in public, but this show will unveil “how-to” information on their effective techniques of data research, distribution and culture jamming. Drawing on the witty protest group’s early archives, acquired in 2008 by the Getty Research Institute, their 40th anniversary will be celebrated by an exhibition of materials outlining the collaborative process that goes into their ongoing demands for art world equity for women and artists of color. A selection from their dozens of posters and ads will be displayed. — Christopher Knight Tuesday through April 12, 2026. Getty Center, Research Institute Galleries, 1200 Getty Center Drive, Los Angeles. getty.edu
The Broadway production of the musical “Suffs.”
(Joan Marcus)
Suffs This musical by Shaina Taub, which won Tony Awards for book and original score, turns the history of the 20th century American women’s suffrage movement into a show that rallies the spirit of democracy. The plot follows Alice Paul and a new generation of radical activists who are testing new tactics in the fight to secure women the right to vote. During the Broadway run, Hillary Clinton, one of the show’s high-profile producers, went on the stump for “Suffs,” endorsing its much-needed lesson that progress is possible, if never guaranteed. — Charles McNulty Wednesday through Dec. 7. Hollywood Pantages Theatre, 6233 Hollywood Blvd., Hollywood. broadwayinhollywood.com
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The week ahead: A curated calendar
FRIDAY
Olga de Amaral, “Gran Muro, Panel 7B,” 1976. Cotton, wool, horsehair, sisal and/or jute, rayon, nylon, raffia. 130 x 175 in.
(Mark Waldhauser / Photo from Lisson Gallery)
Olga de Amaral This solo exhibition of work from the Colombian artist’s six-decade career emphasizes her use of weaving, painting and sculpture, with variable scale, form and materials, including linen, wool, horsehair, Japanese paper, acrylic and precious metals. Opening, 6-8 p.m. Friday; 10 a.m.-6 p.m. Tuesday-Saturday. Lisson Gallery, 1037 N. Sycamore Ave. Los Angeles. lissongallery.com
60 Miles East: Riverside’s Underground Punk Rock, Hardcore & Ska Scene, from the late 1980s to early 2000s An exhibit of photography devoted to a distinctive music scene that made the most of its outsider existence in exploding exurbia. Riverside Museum of Art, Art Alliance Gallery, 3425 Mission Inn Ave. riversideartmuseum.org
SATURDAY
Yaphet Kotto, Sigourney Weaver and Ian Holm in the 1979 film “Alien.”
(Robert Penn / 20th Century Fox)
Alien Ridley Scott’s 1979 sci-fi classic screens in 35 mm to capture all of its oozing, Xenomorphic chest-bursting glory. Sigourney Weaver, Ian Holm, Yaphet Kotto and Tom Skerritt star. 7:30 p.m. Academy Museum, 6067 Wilshire Blvd. academymuseum.org
Creative Continuities: Family, Pride and Community in Native Art Three contemporary Plains Indian artists, John Pepion (Blackfeet), Brocade Stops Black Eagle (Crow) and Jessa Rae Growing Thunder (Dakota/Nakoda), each curated a section of this exhibition exploring aspects of Native culture through the lens of works created by their ancestors. Saturday-June 2027. Autry Museum of the American West, 4700 Western Heritage Way, Griffith Park. theautry.org
Jlin A 2023 Pulitzer Prize finalist, the electronic music composer a.k.a. Jerrilynn Patton’s latest album featured collaborations with Philip Glass, Björk and Kronos Quartet. 8 p.m. Saturday. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu
Baratunde Thurston will perform Saturday at Carpenter Center.
(Roy Rochlin / Getty Images for Unfinished Live)
An Evening with Baratunde Thurston The comedian and futurist ponders interrelationships between people, nature and technologies through stories. 8 p.m. Carpenter Center, 6200 E. Atherton St., Long Beach. carpenterarts.org
SUNDAY Radical Histories: Chicano Prints from the Smithsonian American Art Museum Six decades of art featuring 60 works by 40 or so artists and collectives that reflects an era of rebellion and cultural solidarity. Through March 2, 2026. The Huntington, 1151 Oxford Road, San Marino. huntington.org
Something’s Gotta Give The American Cinematheque’s tribute to Diane Keaton continues with director Nancy Meyers’ 2003 romantic comedy co-starring Jack Nicholson, Amanda Peet and Keanu Reeves. Meyers joins film critic Katie Walsh for a Q&A. 7 p.m. Aero Theatre, 1328 Montana Ave., Santa Monica. americancinematheque.com
Takács Quartet The chamber music ensemble performs a program featuring works by Joseph Haydn, Clarice Assad and Claude Debussy. 4 p.m. Broad Stage at Santa Monica College Performing Arts Center, 1310 11th St. broadstage.org
TUESDAY Brahms Strings Members of the L.A. Phil perform contemporary American composer Jessie Montgomery’s “Strum” as well as19th century masterworks by Johannes Brahms. 8 p.m. Tuesday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
THURSDAY Lonnie Holley and Moor Mother The two artists collaborate for an evening of free jazz and spoken word rooted in Afrofuturism. 7:30 p.m. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. thewallis.org
Prieto The L.A. premiere of poet and performance artist Yosimar Reyes dives into his experience growing up queer in East San Jose. 8 p.m. Thursday; 8 p.m. Nov. 21-22; 2 p.m. Nov. 23. The Rosenthal Theater at Inner-City Arts, 720 Kohler St., Los Angeles. brownpapertickets.com
New Original Works (NOW) The third weekend of REDCAT’s annual festival of experimental performance features a program of works by Lu Coy, jeremy de’jon guyton and Luna Izpisua Rodriguez. 8 p.m Thursday-Saturday. REDCAT, 631 W. 2nd St., downtown L.A.redcat.org
Shelley Conducts Carmen and Daphnis and Chloe Artistic and music director designate Alexander Shelley conducts the Pacific Symphony in a program of Bizet and Ravel, as well composer/pianist Gabriel Montero’s “Latin Concerto.” 8 p.m Thursday; 8 p.m. Nov. 21-22. Segerstrom Center for the Arts, 600 Town Center Drive, Costa Mesa. pacificsymphony.org
Culture news and the SoCal scene
The Lucas Museum of Narrative Art has officially set its opening date for Sept. 22, 2026. The Times got an exclusive peek at a few interiors, including the research library and the entrance lobby. We also took some great photos of the building as it currently looks and made a short video. Take a peek.
Times classical music critic Mark Swed weighs in on opera’s “long and curious fetish for the convent” in his review of Sarah Kirkland Snider’s “sincere and compelling ‘Hildegard.’” L.A. Opera’s collaboration with Beth Morrison Projects is based on “a real-life 12th century abbess and present-day cult figure, St. Hildegard von Bingen.” The show, which premiered at the Wallis last week, “operates as much as a passion play as an opera,” Swed writes.
Swed also took in a show featuring Zubin Mehta, the 89-year-old Los Angeles Philharmonic’s conductor emeritus, as he led the orchestra in Bruckner’s Eighth Symphony. Swed calls Mehta “a living L.A. icon.”
Times theater critic Charles McNulty touched down in New York City to review “The Queen of Versailles,” an adaptation of Lauren Greenfield’s 2012 documentary about a family building a supersized American home. McNulty found the musical unwieldy despite Michael Arden’s superb direction, but he reserved special praise for its star, Kristin Chenoweth, “who is bearing the weight of a McMansion musical on her diminutive frame and making it seem like she’s hoisting nothing heavier than a few overstuffed Hermes, Prada and Chanel shopping bags.”
Sculptures by the entrance of the Norton Simon Museum in Pasadena.
(Etienne Laurent / For The Times)
I enjoyed writing about the $15-million renovation of the Norton Simon Museum, which has been unveiled in tandem with the organization’s 50th anniversary. In addition to new signage, improved curb appeal and a more accessible pedestrian entryway, the museum restored the 115,000 Heath tiles that clad the building’s exterior.
Times art critic Christopher Knight has the scoop on trouble at the Palm Springs Art Museum, which is facing a trustee revolt after hiring its new director, Christine Vendredi — the fourth such leader in just seven years. A week after the hire, “the chair of the search committee tasked with filling that position, trustee Patsy Marino, resigned from the museum’s board citing ‘inappropriate interference and attempts to influence the process’ on the part of the museum’s executive committee, individual trustees and other unidentified museum staff and donors,” Knight writes. To date, 22 trustees have exited, and it has been revealed that no other candidates were interviewed for the role.
Wallis Annenberg Center for the Performing Arts announced a major departure: Robert van Leer is stepping down as executive director and chief executive of the Wallis to take on the role of the new performing arts program director of the William and Flora Hewlett Foundation. Van Leer has been at the Wallis since April 2023, and was instrumental in inviting a host of prominent performing arts organizations to make the Wallis their home, including Los Angeles Chamber Orchestra, L.A. Dance Project, Los Angeles Ballet, BODYTRAFFIC, and Tonality.
“Specter,” a sculptural installation for Desert X by L.A. artist Sterling Ruby, just outside Palm Springs in 2019.
(Carolina A. Miranda / Los Angeles Times)
Big changes are coming to Desert X as it plans its sixth exhibition in the Coachella Valley, and its 10th worldwide. Over the past decade, the organization has commissioned more than 100 artists to create site-specific work in the desert. For its 10th anniversary exhibition, Desert X has announced new dates and an extended timeline. The next show is scheduled to open on Oct. 30, 2027, and will run through May 7, 2028, to coincide with other important area cultural events including the Palm Springs International Film Festival, Modernism Week, Frieze Los Angeles and the Coachella Valley Music and Arts Festival.
Carol Burnett has endowed a new scholarship at the UCLA School of Theater, Film and Television. The annual award will support undergraduate students in the school’s Ray Bolger Musical Theater Program. The inaugural scholarship has been awarded to first-year theater major Alexa Cruz.
— Jessica Gelt
And last but not least
Looking for a decadent holiday gift for an art lover? How about a $295 chocolate bar made by andSons Chocolatiers in collaboration with Ed Ruscha? The 73% Peruvian dark chocolate bar is an edition of 300 and comes in a cloth-bound box, which, according to the Beverly Hills-based chocolate company’s website, features “a reproduction of Ruscha’s 1971 lithograph ‘Made in California’” and “bears the relief of the West Coast’s rugged topography from the Pacific Ocean eastward to the Santa Lucia Mountains.”
It’s election night in Robert Icke’s “Oedipus,” a modern retelling of Sophocles’ “Oedipus the King” that must be the buzziest, if not the chicest, Broadway offering of the fall season.
The production, a prestigious London import that opened at Studio 54 on Thursday under Icke’s smart and sleek direction, stars a charismatic Mark Strong in the title role. His elegant and urbane Oedipus, a politician on the cusp of a momentous victory, prides himself on not playing by the old rules. A straight talker who has made transparency his calling card, he frequently veers off script in paroxysms of candor, to the chagrin of Creon (John Carroll Lynch), his brother-in-law who has been steering the campaign to what looks like a landslide victory.
But “count no mortal happy till / he has passed the final limit of his life secure from pain,” as the chorus intones at the end of Sophocles’ tragedy. There is no chorus in Icke’s version, but the sentiment holds, as Oedipus unravels the puzzle of his identity with the same relentlessness that has brought him to the brink of electoral triumph.
Anne Reid, left, and Olivia Reis in “Oedipus.”
(Julieta Cervantes)
A birther conspiracy has been raised by his political opponent, and Oedipus, speaking impromptu to reporters on-screen at the start of the play, promises to release his birth certificate and put an end to the controversy. What’s more, he vows to reopen an investigation into the death of Laius, the former leader who died 34 years ago under circumstances that have allowed rumor and innuendo to fester.
Oedipus calls himself Laius’ “successor, the inheritor of his legacy,” and in true Sophoclean fashion he speaks more than he knows. Jocasta (Lesley Manville in top form), Oedipus’ wife, was married to Laius, and so Oedipus is occupying his predecessor’s place in more ways than one.
In Sophocles’ play, Oedipus confronts a plague that has been laying waste to Thebes. In Icke’s drama, which had its premiere in Amsterdam in 2018, the pathogen is political. The civic body has fallen ill. Oedipus sees himself as an answer to the demagogic manipulation that has wrought havoc. The water is poisoned, economic inequality is out of control and immigrants have become an easy target. Sound familiar?
Icke’s Oedipus has an Obama-level of confidence in reason and reasonableness. His direct, pragmatic approach has seduced voters, but has it deluded him into thinking that he has all the answers? Oedipus is an ingenious problem solver. Puzzles entice his keen intellect, but he will have to learn the difference between a paradox and a riddle.
Mark Strong, left, and Samuel Brewer in “Oedipus.”
(Julieta Cervantes)
His daughter, Antigone (Olivia Reis), a scholar who has returned for her father’s big night, ventures to make the distinction: “One’s got a solution — one’s just something you have to live with?” But Oedipus is in no mood for academic hairsplitting.
A countdown clock marks the time until the election results will be announced. That hour, as audiences familiar with the original tragedy already know, is when Oedipus will discover his true identity.
Merope (Anne Reid), Oedipus’ mother, has unexpectedly turned up at campaign headquarters needing to speak to her son. Oedipus fears it has something to do with his dying father, but she tells him she just needs a few minutes alone with him. Thinking he has everything under control, he keeps putting her off, not knowing that she has come to warn him about revealing his birth certificate to the public.
The handling of this plot device, with the canny veteran Reid wandering in and out of the drama like an informational time bomb, is a little clumsy. There’s a prattling aspect to Icke’s delaying tactics. His “Oedipus” is more prose than poetry. The family dynamics are well drawn, though a tad overdone.
Mark Strong and the cast of “Oedipus.”
(Julieta Cervantes)
Reid’s Merope and Reis’ Antigone, ferocious in their different ways, refuse to play second fiddle to Manville’s Jocasta when it comes to Oedipus’ affections. Manville, who won an Olivier Award for her performance in “Oedipus,” delivers a performance as sublimely seething as her Oscar-nominated turn in “Phantom Thread.” Endowed with a formidable hauteur, her Jocasta acts graciously, but with an unmistakable note of condescension. As Oedipus’ wife, she assumes sexual pride of place, which only exacerbates tensions with Merope and Antigone.
Oedipus’ sons, Polyneices (James Wilbraham) and Eteocles (Jordan Scowen) are given personal backstories, but there is only so much domestic conflict that can be encompassed in a production that runs just under two hours without interruption. And Polyneices being gay and Eteocles being something of a philander would be of more interest in an “Oedipus” limited series.
When Sophocles’ tragedy is done right, it should resemble a mass more than a morality tale. Oedipus’ story has a ceremonial quality. The limits of human understanding are probed as a sacrificial figure challenges the inscrutable order of the universe. Icke, who views classics through a modern lens (“Hamlet,”“1984”), is perhaps more alert to the sociology than the metaphysics of the tragedy.
Oedipus’ flaws are writ large in his rash, heated dealings with anyone who stands in his way. Icke transforms Creon into a middle-of-the-road political strategist (embodied by Lynch with a combination of arrogance and long-suffering patience) and blind Teiresias (a stark Samuel Brewer) into a mendicant psychic too pathetic to be a pariah.
Mark Strong and Lesley Manville in “Oedipus.”
(Julieta Cervantes)
But Oedipus’ strengths — the keenness of his mind, his heroic commitment to truth and transparency — mustn’t be overlooked. Strong, who won an Olivier Award for his performance in Ivo van Hove’s revival of Arthur Miller’s “A View From the Bridge,” exposes the boyish vulnerability within the sophisticated politician in his sympathetically beguiling portrayal.
Wojciech Dziedzic’s costumes remake the protagonist into a modern European man. Yet true to his Ancient Greek lineage, this Oedipus is nothing if not paradoxical, suavely enjoying his privilege while brandishing his egalitarian views.
The production takes place on a fishbowl office set, designed by Hildegard Bechtler with a clinical and wholly contemporary austerity. The furnishings are removed as the election night draws to its conclusion, leaving no place for the characters to hide from the unwelcome knowledge that will upend their lives.
What do they discover? That everything they thought they understood about themselves was built on a lie. For all his brilliance, Oedipus was unable to outrun his fate, which in Icke’s version has less to do with the gods and more to do with animal instincts and social forces.
When Oedipus and Jocasta learn who they are to each other, passion rushes in before shame calls them to account. Freud wouldn’t be shocked. But it’s not the psychosexual dimension of Icke’s drama that is most memorable.
The ending, impeded by a retrospective coda, diminishes the full cathartic impact. But what we’re left with is the astute understanding of a special kind of hubris that afflicts the more talented politicians — those who believe they have the answers to society’s problems without recognizing the ignorance that is our common lot.
A new trailer has been released for an upcoming crime drama on Sky that fans won’t want to miss
08:58, 07 Nov 2025Updated 09:12, 07 Nov 2025
Rising star Luca Lubrano takes on the leading role(Image: SKY)
Sky has unveiled the thrilling first trailer for an upcoming prequel series to one of their best shows.
Gomorrah – The Origins will be released in early 2026 and revealing the startling story of how Pietro Savastano, originally portrayed by Fortunato Cerlino, became one of the most notorious crime bosses in Naples.
The original Italian crime drama aired between 2014-2021 and was one of Sky’s biggest international shows, becoming a worldwide hit after airing in 190 countries.
Now, rising star Luca Lubrano steps into Pietro’s shoes in a six-part origin story kicking off in 1977.
Sky says the gripping new drama will tell “the story of how it all began — how a very young Pietro Savastano will enter a criminal world set against the backdrop of a city in transformation: poor, rough-edged, hooked on cigarette smuggling and about to enter a new era of heroin use.”
Also joining the cast are Francesco Pellegrino as reluctant gangster Angelo ‘A Sirena’, Flavio Furno as charismatic convict ‘O Paisano’, Tullia Venezia as musician Imma, who goes on to become Pietro’s wife, and Fabiola Balestriere as young mother Annalisa Magliocca before she became the notorious female drug lord Scianel.
Supporting cast includes Antonio Buono, Ciro Burzo, Luigi Cardone, Antonio Del Duca, Mattia Francesco Cozzolino, Junior Rancel Rodriguez Arcia, and Antonio Incalza.
The first trailer revealed a fun and fast-paced thriller that will nevertheless delve into Naples’ darker underbelly as fans follow the rise of one of the most iconic characters in international drama.
Based on the bestselling novel by Roberto Saviano, it’s a must-watch for fans of the original series and is also bound to attract newcomers to the franchise who will immediately want to binge all five seasons of the flagship hit.
An official synopsis for Gomorrah – The Origins from Sky reads: “Pietro is a tough city kid who grew up in the poorest parts of Secondigliano.
“He and his friends survive any way they can, riding their mopeds around town and committing petty theft.
“But he has a big dream: to become like Angelo ‘A Sirena, the neighbourhood’s ‘king’. When he manages to get in the graces of the young boss, he finds himself caught in a power game far beyond him.
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“He ends up wondering whether this dark, violent criminal life is really what he wants or if his love for Imma can save him from such a fate.”
The original series overwhelmingly received five-star reviews from fans and, with writers Leonardo Fasoli, Maddalena Ravagli and author Saviano back on board for the prequel, it’s expected to reach similar soaring heights.
One fan raved about the original Gomorrah: “I absolutely adore this show. It’s raw, realistic, and unflinchingly brutal.
“As someone hailing from the North of Italy, I was already familiar with the Camorra, but this series opened my eyes to just how merciless it can be.
“The actors deliver outstanding performances, the script is flawlessly executed, and the storyline is gripping.”
Gomorrah – The Origins premiere in early 2026 on Sky and streaming service NOW.
Renate Reinsve is the new face of Scandinavia: depression with a smile. Standing 5 feet 10 with open, friendly features, the Norwegian talent has a grin that makes her appear at once like an endearing everywoman and a large, unpredictable child. Reinsve zoomed to international acclaim with her Cannes-winning performance in Joachim Trier’s 2021 “The Worst Person in the World,” a dramedy tailor-made to her lanky, likable style of self-loathing. Now, Trier has written his muse another showcase, “Sentimental Value,” where Reinsve plays an emotionally avoidant theater actor who bounces along in pretty much the same bittersweet key.
“Sentimental Value” gets misty about a few things — families, filmmaking, real estate — all while circling a handsome Oslo house where the Borg clan has lived for four generations. It’s a dream home with red trim on the window frames and pink roses in the yard. Yet, sisters Nora (Reinsve) and Agnes (Inga Ibsdotter Lilleaas) aren’t fighting to keep it, perhaps due to memories of their parents’ hostile divorce or maybe because they don’t want to deal with their estranged father, Gustav (Stellan Skarsgård, wonderful), who grew up there himself and still owns the place, even though he’s moved to Sweden.
Trier opens the film with a symbolically laden camera pan across Oslo that ends on a cemetery. He wants to make sure we understand that while Norway looks idyllic to outsiders jealous that all four Scandinavian countries rank among the globe’s happiest, it can still be as gloomy as during the era of Henrik Ibsen.
More impressively, Trier shifts to a fabulous, time-bending historical montage of the house itself over the century-plus it’s belonged to the Borgs. There’s a crack in it that seems to represent the fissures in the family, the flaws in their facade. Over these images, Reinsve’s Nora recites a 6th-grade school essay she wrote about her deep identification with her childhood home. Having grown up to become terrified of intimacy, today she’s more like a detached garage.
Nora and Agnes were young when their father, a modestly well-regarded art-house filmmaker, decamped to a different country. At a retrospective of his work, Gustav refers to his crew as his “family,” which would irritate his kids if they’d bothered to attend. Agnes, a former child actor, might note that she, too, deserves some credit. Played in her youth by the compelling Ida Atlanta Kyllingmark Giertsen, Agnes was fantastic in the final shot of Gustav’s masterpiece and Trier takes a teasingly long time to suggest why she retired from the business decades ago, while her older sister keeps hammering at it.
Gustav hasn’t made a picture in 15 years. He’s in that liminal state of renown that I’m guessing Trier has encountered many times: a faded director who’s burned through his money and clout, but still keeps a tuxedo just in case he makes it back to Cannes. Like Reinsve’s Nora, Gustav acts younger than his age and is at his most charming in small doses, particularly with strangers. Trier and his longtime co-writer Eskil Vogt have made him a tad delusional, someone who wouldn’t instantly recognize his graying reflection in a mirror. Sitting down at a cafe with Nora, Gustav jokes that the waitress thinks that they’re a couple on a date. (She almost certainly doesn’t.)
But the tension between Gustav and Nora is real, if blurry. He’s invited her to coffee not as father and daughter, but as a has-been angling to cast Nora as the lead of his next film, which he claims he’s written for her. His script climaxes with a nod to the day his own mother, Karin (Vilde Søyland), died by suicide in their house back when he was just a towheaded boy of 7. Furthering the sickly mojo, Gustav wants to stage his version of the hanging in the very room where it happened.
His awkward pitch is a terrific scene. Gustav and Nora are stiff with each other, both anxious to prove they don’t need the other’s help. But Trier suggests, somewhat mystically, that Gustav has an insight into his daughter’s gloom that making the movie will help them understand. Both would rather express themselves through art than confess how they feel.
When Gustav offers his daughter career advice, it comes off like an insult. She’s miffed when her dad claims his small indie would be her big break. Doesn’t he know she’d be doing him the favor? She’s the lead of Oslo’s National Theatre with enough of a social media following to get the film financed. (With 10 production companies listed in the credits of this very film, Trier himself could probably calculate Nora’s worth to the krone.)
But Gustav also has a lucky encounter with a dewy Hollywood starlet named Rachel (Elle Fanning) who sees him as an old-world bulldog who can give her resume some class. Frustrated by her coterie of assistants glued to their cellphones, Rachel gazes at him with the glowy admiration he can’t get from his own girls. Their dynamic proves to be just as complex as if they were blood-related. If Rachel makes his film, she’ll become a combo platter of his mother, his daughter, his protégée and his cash cow. Nora merely merits the financing for a low-budget Euro drama; Rachel can make it a major Netflix production (something “Sentimental Value” most adamantly is not).
It takes money to make a movie. Trier’s itchiness to get into that unsentimental fact isn’t fully scratched. He seems very aware that the audience for his kind of niche hit wants to sniffle at delicate emotions. When Gustav’s longtime producer Michael (Jesper Christensen) advises him to keep making films “his way” — as in antiquated — or when Gustav takes a swipe at Nora’s career as “old plays for old people,” the frustration in those lines, those doubts whether to stay the course or chase modernity, makes you curious if Trier himself is feeling a bit hemmed in.
There’s a crack running through “Sentimental Value” too. A third of it wants to be a feisty industry satire, but the rest believes there’s prestige value in tugging on the heartstrings. The title seems to be as much about that as anything.
I’ve got no evidence for Trier’s restlessness other than an observation that “Sentimental Value” is most vibrant when the dialogue is snide and the visuals are snappy. There’s a stunning image of Gustav, Nora and Agnes’ faces melting together that doesn’t match a single other frame of the movie, but I’m awful glad cinematographer Kasper Tuxen Andersen got it in there.
The film never quite settles on a theme, shifting from the relationship between Nora and Agnes, Nora and Gustav, and Gustav and Rachel like a gambler spreading their bets, hoping one of those moments will earn a tear. Nora herself gets lost in the shuffle. Is she jealous of her father’s attention to Rachel? Does she care about her married lover who pops up to expose her issues? Does she even like acting?
Reinsve’s skyrocketing career is Trier’s most successful wager and he gives her enough crying scenes to earn an Oscar nomination. Skarsgård is certainly getting one too. But Fanning delivers the best performance in the film. She’s not only hiding depression under a smile, she’s layering Rachel’s megawatt charisma under her eagerness to please, allowing her insecurity at being Gustav’s second pick to poke through in rehearsals where she’s almost — but not quite — up to the task.
Rachel could have been some Hollywood cliché, but Fanning keeps us rooting for this golden girl who hopes she’ll be taken seriously by playing a Nordic depressive. Eventually, she slaps on a silly Norwegian accent in desperation and wills herself to cry in character. And when she does, Fanning has calibrated her sobs to have a hint of hamminess. It’s a marvelous detail that makes this whole type of movie look a little forced.
‘Sentimental Value’
In Norwegian and English, with subtitles
Rated: R, for some language including a sexual reference, and brief nudity
The Split Up is a spin-off from the hit BBC drama The Split and will follow another family’s law firm.
A spin-off from the hit BBC drama The Split has received a significant update.
Fans were gutted when the legal series starring Nicola Walker and Stephen Mangan wrapped up after three seasons in 2022, followed by a two-part special last year. Now, fresh information about the upcoming show The Split Up has emerged, including casting announcements.
The original programme featured Annika star Nicola as Hannah, grappling with the breakdown of her marriage to Nathan (Stephen) whilst juggling affairs, romance and complicated relationships, all while managing her family’s law practice alongside the chaos created by her two sisters and mother.
The Split Up will now centre on a different family law practice, this time based in Manchester and focusing on the British-Asian elite Kishan family.
The six-episode series will explore “the high-stakes world of Manchester’s divorce law circuit, where one family of lawyers, the Kishans, reigns supreme,” according to the previous announcement, reports Wales Online.
It adds: “Kishan Law is a British-Asian high net worth family law firm in Manchester, noted for its clientele and its reputation.
“They are the ‘go to firm’ for Manchester’s elite who come to them for their excellence, integrity, and discretion.
“But the future and legacy of Kishan Law hangs in the balance when a family secret from the past comes to light, throwing their professional and personal lives into turmoil.”
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The line-up for the series has already been unveiled, and it’s now been confirmed that The Good Place star Jameela Jamil is coming on board.
When the announcement was posted on social media featuring a photo of Jameela with leading lady Ritu Arya, the She-Hulk actress responded: “I love her.”
“My two favourites together,” one supporter wrote, whilst another added: “OMG can’t wait. Love you both!!!”
“Very excited for this,” a third person commented.
Jameela is joining The Umbrella Academy’s Ritu Arya, Unforgotten’s Sanjeev Bhaskar, alongside Aysha Kala (Virdee), Arian Nik (Film Club), Danny Ashok (Dinosaur), Dimitri Leonidas (Those About To Die), Mawaan Rizwan (Juice), Sindhu Vee (Matilda the Musical), Shalini Peiris (The White Lotus) and Tom Forbes (Queenie).
Celebrity guest appearances will also feature Lenny Henry and Jane Horrocks.
The BBC revealed: “The fast-rising star of Kishan Law is Aria Kishan (Ritu Arya), poised to step up and take the mantle from her father Dhruv (Sanjeev Bhaskar). However, the death of her mother has cast a new light over these plans for Dhruv, who has begun to wonder if his daughter can, or should, take on this responsibility single-handedly.
“Aria’s relationship is placed under scrutiny too with the wedding for long-term partner Neal (Danny Ashok) on the horizon, but with their personal and professional so entwined it’s unclear if their relationship can withstand any more pressure – a problem further compounded when a former secret flame (Dimitri Leonidas) arrives in Manchester unexpectedly.
“Alongside her siblings Maya (Aysha Kala) and Kav (Arian Nik), Aria must navigate the splits that divide family and those we love – and ask herself: who should you live your life for?”
Creator Ursula Rani Sarma expressed: “Having admired The Split and Abi Morgan for years, I was honoured to be asked to bring The Split Up to life. As a writer passionate about representation, it’s a dream come true to place a contemporary British South Asian family centre stage. Diversity deepens our understanding, enriches our stories, and reflects the true fabric of our society.
“It’s thrilling to watch our amazing cast led by Ritu and Sanjeev bring the Kishan family to life. I can’t wait for audiences to meet them and to witness the drama as it unfolds.”
Abi Morgan chimed in: “The chance to take all that was loved about The Split and use it to inspire the next generation of British South Asian talent, to create a new family of dynamic lawyers spilling over with all the messiness of life, both personally and professionally, has been a brilliant challenge, beautifully realised by lead writer Ursula Rani Sama. I hope audiences will take it to their hearts.”
As the nights start to draw in even earlier leading up to Christmas, TV viewers will be looking for sumptuous dramas to get lost in
Doctor Who’s Jenna Coleman portrays the iconic monarch(Image: ITV)
ITVX is presently broadcasting a popular period drama featuring a British ruler that’s ideal for a comfortable binge-watch throughout the lengthy winter nights.
With darkness falling increasingly early in the run-up to Christmas, television enthusiasts will be seeking lavish dramas to lose themselves in.
Viewers need look no further than ITV’s digital streaming platform, which boasts an extensive range of celebrated programmes to select from.
Among the finest choices available this winter is the successful series Victoria, which launched in 2016 and featured Doctor Who’s Jenna Coleman as the youthful sovereign, charting her journey from defiant adolescent years through to responsible adulthood over three captivating seasons.
Whilst critics have targeted the programme’s shortage of historical precision, it’s undeniable that the series crafted by Daisy Goodwin provides tremendous entertainment that’s ready for exploration, or potentially a second viewing, reports the Express.
The Guardian’s favourable critique captured the essence: “As ever, it all hinges on Jenna Coleman’s performance as Victoria and her ability to conjure up a portrait of this queen as understanding, sympathetic, kind and decent, even under unimaginable and possibly imaginary pressures.
“It might not be elegant and it might not survive the strain of putting its plot points to the search engine test, but as diverting drama it gets the job done.”
An enthusiastic review from an IMDb viewer declared: “Rather captivating, I loved it. Every inch a Queen.
“I love [Coleman’s] portrayal of Victoria, she has some presence and a definite strength of character. Rufus Sewell I thought was exceptional as Lord Melbourne too, the complex relationship the pair had in real life was explained very well.
“The settings, costumes, and general production values were first rate, the show felt incredibly plush and lavish, I shudder to think of the budget for this series. Totally engaging, this was first rate viewing 9/10.”
Sadly, the series left many fans feeling let down when it was cancelled after just three seasons, leaving Queen Victoria’s story incomplete.
However, ITV gave a glimmer of hope in 2021, stating “there are no plans presently to film Victoria, but that’s not to say we won’t revisit the series with the production team at a later date”, hinting that a fourth season featuring an older Victoria might eventually be on the cards.
One hopeful fan penned: “This has been the most amazing series since Downton Abbey I have watched. I laughed, I cried, I got angry. I felt every emotion humanly possible through watching it.
“My mother and I binge watched it together and couldn’t believe how much it draws you in from beginning to end. I am so heartbroken that it has not yet come out with a 4th season. My mother and I both are. We pray they decide to release another season.
“I plead to ITV or whoever, to please give the green light for the 4th season and then some. This is an amazing love story that NEEDS to be completed.”
There’s a glimmer of hope for the series to carry on if enough viewers rewatch the series on ITVX, so it’s time to start binge-watching.
The limited series Get Millie Black was crafted for television with a screenplay penned by Booker Prize-winning author Marlon James, who wrote A Brief History of Seven Killings.
This crime thriller marks Marlon’s screenwriting debut and first premiered on HBO in the United States on November 25, 2024. It then made its UK premiere on Channel 4 on March 5, 2025.
Get Millie Black has been steered by Tanya Hamilton – the show’s lead director – while Annetta Laufer directed two episodes and Jean Luc Herbulot directed one. The series was penned by writers Theresa Ikoko and Lydia Adetunji.
The plot revolves around the unparalleled Millie-Jean Black, a Jamaican-born police detective who is forced to leave Scotland Yard and her troubled life in London and return home to Jamaica, where she joins the Jamaican Police Force.
Once back in Kingston, Millie and her partner Curtis start investigating a missing persons case which intersects with another — bringing Scotland Yard detective Luke Holborn to Millie’s doorstep. The show grapples with complex themes and delves into the painful and troubled legacy of slavery, racism, classism, sexuality, and generational cycles of trauma in the post-colonial Jamaican and British landscape.
Get Millie Black features the brilliant Tamara Lawrance in the starring role, alongside Joe Dempsie, Anjli Mohindra, Gershwyn Eustache Jnr, Chyna McQueen, Nestor Aaron Absera, and Peter John Thwaites.
The five-part mini series is available to watch without charge on Channel 4, with episodes running for an hour on average, reports the Express.
Discussing Get Millie Black and how Millie’s character came to life, Marlon revealed: “My mother was one of the first policewomen in Jamaica to make detective. Storytelling has always struck me first and foremost as a mystery to be solved – which I’m sure I got from her. Millie, from the second she appeared in my imagination, was a brilliant, mercurial, hilarious, unpredictable force of nature; someone who was always there, just waiting for her story to be told. I didn’t create her, I found her.”
Boasting a perfect 100% score on review aggregator site Rotten Tomatoes, Get Millie Black has received endless praise from critics, with one penning: “Get Millie Black lives and breathes. This might be a crime thriller, but it isn’t just a crime thriller. In the right hands, a crime thriller can contain multitudes.”
Meanwhile, another reviewer commented: “We got more story in the first 300 seconds than some series manage in an hour-long episode.”
In another glowing review of the series, a third critic remarked: “Crime shows, especially missing girl shows, often feel barren, or at least frozen in their Scandinavian snowscapes. Millie, on the other hand, feels abundant.”
And yet another impressed reviewer said: “Get Millie Black works well as a gory whodunit (with a genuinely unnerving twist at the centre). But the outstanding performances and the crimes in this setting make the show unique.”
Audience reviews follow in a similar vein, with one viewer writing: “All I’m going to say is wow. Watched all episodes in one sitting. Terrific detective series.”
While another audience member commented: “Worth a good watch if you’re interested in crime dramas. Especially if you want something original like this one, which takes place in Jamaica. Matter of fact, you don’t see many Jamaican movies/tv shows nowadays, and I’m glad that I’d checked it out. Great acting, good writing, and pacing that makes the series sort and simple since this is a limited series.”
Get Millie Black is available to stream for free on Channel 4.
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