drama

A new trailer has been released for an upcoming crime drama on Sky that fans won’t want to miss

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.

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.”

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.”

The Split is available to watch on BBC iPlayer.

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

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.

Victoria is available to stream on ITVX.

The five-part series, penned by a Booker Prize-winning author, has been praised by critics and viewers alike and boasts a smashing 100% rating.

A five-part British crime noir series is earning high praise and, fortunately, it’s available to stream for free on Channel 4.

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.

BELOVED actor Tchéky Karyo has died of cancer at the age of 72.

Karyo was best known for his starring role in the film Nikita, James Bond hit GoldenEye and in the popular BBC series The Missing.

His passing was announced by his wife, actress Valérie Keruzoré, and their two children.

They released a heartbreaking statement saying the French film star had “succumbed to cancer this Friday, October 31”.

Kayro was best known in Britain for his role as TV detective Julien Baptiste in The Missing.

He played Baptise in the eight-part BBC series in 2014 before reprising his role in another eight episodes in 2016.

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Then the BBC launched a spin-off called Baptiste in 2019 centred around Karyo’s character.

At the time, the beloved actor said about the reprisal of the role: “I didn’t expect it, but it’s flattering. This has made me feel young again.”

The creators of Baptise had even teased another season of the mystery thriller earlier this summer.

Earlier on his career Karyo found global success on several top projects.

He played the handler Bob in Luc Besson’s assassin film Nikita in 1990.

Other major roles included Ridley Scott’s historical epic 1492: Conquest of Paradise and the James Bond film GoldenEye.

Born in Istanbul, Turkey, Kayro started out in French cinema in the 1980s.

His first major film role came in crime thriller La Balance in 1982.

His stellar performance even earned him a nomination for the César Award for Best Male Revelation.

One of his most recent roles came in 2023 when he joined forces with the BBC once again for the comedy thriller, Boat Story.

Kayro had 140 roles across his decorated career in both film and TV.

He was also a singer songwriter with two albums being released in 2006 and 2013.

An underrated period drama based on one of the most influential books of all time is available to watch for free

Viewers shouldn’t miss out on this incredible four-part drama based on a classic novel, as it’s available to watch without spending a penny.

This breathtaking adaptation was originally aired in 2023 on ITV and PBS Masterpiece in the US and has developed a passionate cult following despite not receiving critical fanfare at the time.

Based on the novel by Henry Fielding, Tom Jones brings the seminal 1749 novel to life like never before with an ensemble cast of British legends.

William Tell’s Solly McLeod portrays the titular downtrodden hero, a young man with mysterious parentage who falls in love with his spirited neighbour Sophia Western (played by Sophie Wilde).

Sophie decides to flee her arranged marriage to be with Tom, but the pair are kept apart by a series of increasingly fraught misadventures.

They’re accompanied by some of the most recognisable names from the British screen, including Coronation Street’s Lucy Fallon, Harry Potter’s Shirley Henderson, New Tricks’ Alun Armstrong and Ted Lasso star Hannah Waddingham.

Many viewers consider the drama an essential watch and it’s still currently available to stream for free on ITVX.

One 10/10 review from an IMDb user declared it “Gorgeous viewing with a top notch cast”.

They continued: “The cast list is like a who’s who of the cream of British talent, topped by two lovely and good looking leads.

“The episodes fair gallops on its way, cutting through the boring exposition and getting quickly to the important stuff, the love story between Tom and Sophia.”

The review continued to particularly praise Waddingham’s performance as Lady Bellaston, declaring “Seriously, put this woman in EVERYTHING”.

“If you get a chance, watch it in one go, it’s perfect lazy weekend viewing,” the reviewer concluded.

Another warned that fans of the book should expect some changes to the narrative, but admitted: “Even though the story is not like really really the one from the book is one pretty entertaining and very fun to watch. The choice of actors was really good and they did a great job.

“I really recommend for you to watch it if you want some light series combined with romance, a bit of jealousy and of course some British scenery.”

And a 9/10 review said: “This is what you want from English costume drama – and more. I really liked it.

“Fans of historical dramas and literary adaptations will find Tom Jones a must-watch, as it stays true to the spirit of the novel while making it accessible and enjoyable for modern audiences.”

In the mood for a cosy period romance with plenty of laughs and scenery-chewing performances from British greats? Look no further.

Tom Jones is available to stream on ITVX.

State Sen. Scott Wiener is a strategic and effective legislator who rarely lets emotion make his decisions — much like Nancy Pelosi, whose congressional seat he would like to take.

It has been a wide-open secret for years that Wiener wanted to make a run for federal office when or if Pelosi retired, but he’s also been deferential to the elder stateswoman of California politics and has made it equally clear that he would wait his turn in the brutal and parochial machine of San Francisco politics.

Until now.

The San Francisco Standard broke the news Thursday that Wiener is running on the 2026 ballot, though he has yet to formally announce.

It is news that shocked even those deep in the dog-eat-dog world of S.F. politics and ignited the inevitable news cycle about whether Pelosi (who was instrumental in removing President Biden from the 2024 race for age-related issues) is being Bidened herself. It also ensures a contentious race that will be nationally watched by both MAGA and the progressive left, both of which take issue with Wiener.

Oh, the drama.

Take it for what you will, but a few months after having hip replacement surgery, Pelosi is (literally) back in her stiletto heels and raising beaucoup dollars for Proposition 50, the ballot initiative meant to gerrymander California voting maps to counteract a GOP cheat-fest in Texas.

Yes, she’s 85, but she’s no Joe. She is also, however, no spring chicken. So the national debate on whether Democrats need not just fresh but younger candidates has officially landed in the City by the Bay, though Wiener remains both practical and polite enough to not frame it that way.

He’ll leave that to the journalists, who have hounded Pelosi for months to announce whether she will seek another term, a question she has declined to directly answer. Instead, her team has focused on the looming election for Proposition 50 and said any announcement on her future has to wait after the ballots are counted.

To be fair to Pelosi, she’s gone all-in to both fundraise and campaign for the redistricting effort, and its passage is essential to Democrats having even a shot at winning back any power in the midterms.

If Prop. 50 fails, there is no non-miracle path, except perhaps an unexpected blue wave, through which Democrats can retake a chamber. So Nov. 4 isn’t an arbitrary date. It will determine if there is any possibility of checking Trump’s power grab, and preserving democracy. Personally, I don’t fault Pelosi for being engaged in that fight.

To also be fair to Wiener, his decision to announce now was probably driven more by money and political momentum than by Pelosi’s age.

That’s because Pelosi already has a challenger — the ultra-wealthy progressive Saikat Chakrabarti, a startup millionaire who served as Alexandria Ocasio-Cortez’s campaign manager during her first upset win for Congress in 2018. Chakrabarti has long been an antagonist to Pelosi, and recently announced his candidacy, positioning himself as a disrupter.

In 2019, before the House impeached Trump over his questionable actions involving Ukraine, Chakrabarti tweeted, “Pelosi claims we can’t focus on impeachment because it’s a distraction from kitchen table issues. But I’d challenge you to find voters that can name a single thing House Democrats have done for their kitchen table this year. What is this legislative mastermind doing?”

Chakrabarti, who was born the year before Pelosi was first elected to Congress in 1987, has self-funded his campaign with $700,000 and has the financial ability to spend much more. Wiener, in his on-the-down-low shadow campaign, has raised a bit over $1 million, not nearly enough. The primary will be in June and it will be expensive.

Though we have yet to reach Halloween, a stroll down the aisles of any big box store can tell you that Christmas is neigh, a season when fundraising becomes harder — putting pressure on Wiener to raise money as quickly as possible before the winter freeze.

Add to that pressure the fact that Chakrabarti has political skills and growing popularity. He was the tech architect behind a successful push to activate volunteers for both AOC and Bernie Sanders.

An internal poll released a few months ago (and any internal poll must be viewed skeptically) showed Chakrabarti drawing 34% of voters to Pelosi’s 47%. His numbers increased as voters learned more about him — a few have even compared him to New York’s socialist wonder-kid Zohran Mamdani, currently running for mayor against Andrew Cuomo.

The problem with that is that Wiener is not Cuomo. He’s a progressive himself, and one with an established track record of getting stuff done, often progressive stuff.

I’ve watched him for years push ambitious agendas through the statehouse, including bills where I would have bet against him.

Most recently, he wrote the state’s ban on cops, including ICE, wearing masks. Although the feds have said they will ignore the new law, recently signed by Newsom, and it will almost certainly end up in court, it is a worthy message to send about secret police in America.

Wiener also this term passed a controversial housing bill that will increase density around transit hubs, and spearheaded a bill to regulate artificial intelligence.

In past terms, he has successfully forced insurance companies to cover mental health the same way they cover physical health; pushed large companies to disclose their climate impact; and been one of the major proponents of “YIMBY” policies that make it easier to build housing.

He has also passed numerous laws protecting immigrant and LGBTQ+ rights, which has made him a favorite target of the far right. He has received death threats on a regular basis for years, including one from an anti-vaxxer who was convicted on seven counts in 2022 after threatening Wiener and being found in possession of weapons. Wiener doesn’t have Pelosi’s charisma, but he has receipts for getting the job done and handling the vicious vitriol of modern politics.

Unlike Chakrabarti, Wiener has also been a part of San Francisco’s insular community for decades, and has his own base of support — though he is considered a moderate to Chakrabarti’s progressiveness. This is where San Francisco gets wonderfully weird. In nearly any other place, Wiener would be solidly left. But some of his constituents view him as too developer-friendly for his housing policies and have criticized his past policies around expanding conservatorships for mentally ill people.

But still, a recent poll done by EMC research but not released publicly found that 61% of likely primary voters have a favorable opinion of Wiener. That vastly outpaces the 21% that said the same about Chakrabarti or even the 21% who liked Pelosi’s daughter, Christine Pelosi, who has also been mentioned as a possible successor.

Which is all to say that Wiener is in a now-or-never moment. He has popularity but needs momentum and cash. The Democratic Party is in a mess, and the old rules are out the window, even in San Francisco.

So waiting for Pelosi had become a little bit like waiting for Godot, a self-imposed limbo that was more likely to lead to frustration than victory.

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

When news broke last weekend that Diane Keaton had died at age 79, it came as an extraordinary shock because so much of Keaton’s screen presence and persona was rooted in a vitality, a sense of of being very much alive and open to everything.

Revisiting Keaton’s Oscar-winning performance in “Annie Hall” this week, I was struck by how much humor she mined from a hyperawareness of self, often commenting on her own dialogue and behavior as she was still in the act of doing it. She brought a tremendous charge to everything she did.

Jessica Gelt took on winnowing Keaton’s career down to just 10 films, including “Reds,” “Looking for Mr. Goodbar” and the first two parts of “The Godfather.”

Diane Keaton and Jack Nicholson in the movie “Something’s Gotta Give.”

(Bob Marshak / Columbia Pictures)

In her appreciation of Keaton, Amy Nicholson called her “the icon who feels like a friend,” adding, “The contradiction of her career is that the things we in the audience loved about her — the breezy humor, the self-deprecating charm, the iconic threads — were Keaton’s attempts to mask her own insecurities. She struggled to love herself. Even after success, Keaton remained iffy about her looks, her talent and her achievements. In interviews, she openly admitted to feeling inadequate in her signature halting, circular stammers.”

There was a very genuine wave of emotion and affection after the news of Keaton’s death. One of the most heartfelt and moving tributes came from screenwriter and director Nancy Meyers, who worked with Keaton on four films, from “Baby Boom” to “Something’s Gotta Give.”

As Meyers said, “She made everything better. Every set up, every day, in every movie, I watched her give it her all.”

Meyers added, “She was fearless. She was like nobody ever. She was born to be a movie star. Her laugh could make your day and for me, knowing her and working with her changed my life.”

AMC Theaters have already announced limited showings of both “Annie Hall” and “Something’s Gotta Give.” Other screenings will certainly happen shortly.

Crispin Glover, still doing his own thing

Crispin Glover in “No! YOU’RE WRONG. or: Spooky Action at a Distance.”

(Volcanic Eruptions)

Still best known for the eccentric screen presence he brought to movies such as “River’s Edge,” “Wild at Heart,” “Charlie’s Angels,” “Back to the Future” and countless others, Crispin Glover is also extremely dedicated to his own filmmaking practice.

His latest project, the creatively punctuated “No! YOU’RE WRONG. or: Spooky Action at a Distance,” will have its West Coast premiere Saturday and Sunday at the American Cinematheque’s Aero Theatre, with Glover in person and a book signing. Tallulah H. Schwab’s “Mr. K,” a mystery starring Glover, will have its L.A. premiere at the Los Feliz 3 on Tuesday with the actor again appearing in person.

“No! YOU’RE WRONG” is the third feature Glover has made himself. He began developing the screenplay in 2007, started building the sets in 2010, began shooting in 2013 and didn’t commence editing until 2018. He goes at his own pace, though Glover is self-excoriating.

“None of this is acceptable,” he tells me during a recent video call from New York City following the film’s world premiere at the Museum of Modern Art. “I’m not happy that this has taken as long as it’s taken. Every step of this film just took ridiculously long.”

While Glover enjoys talking about the film, he struggles to explain what it’s actually about. Set across five time periods — 1868, 1888, 1918, 1948 and right now — Glover shot for the first time on 35mm and, for some scenes, used a hand-cranked camera that belonged to the Czech animator Karel Zeman. The negative was hand-processed, which can alter how it looks, with some sections then colored by hand to replicate early film techniques.

“It’s almost better for me to talk about the technical aspects because by talking about the the technical aspects, it sort of reveals things about the film itself,” Glover says. “All of my films on some level deal with surrealism in one aspect or another. And part of the way surrealism operates is to have either disparate pieces of information or withholding information so that the audience can make the correlations themselves and become a participant in the art.”

Bruce Glover in the movie “No! YOU’RE WRONG. or: Spooky Action at a Distance,” directed by his son Crispin Glover.

(Volcanic Eruptions)

Aside from Glover himself, the film includes his father, character actor Bruce Glover, who died in March 2025, as well as his mother, dancer Betty Glover, who died in 2016. Following the death of his father, Glover had to make some changes.

“I don’t want to say too much,” says Glover as he catches himself starting to clarify an aspect of the story. “You’d have to see the film. It’s not good for me to talk about it because the way the film is made and layered, it’s something that people will have different interpretations of. And if I say too much, then it will sway the interpretation. They’ll think, ‘Oh, it’s wrong because the filmmaker said this,’ but it isn’t wrong. What they’re thinking is what’s right for them.”

Points of interest

Cronenberg movies at Brain Dead

Léa Seydoux, left, Viggo Mortensen and Kristen Stewart in the movie “Crimes of the Future.”

(Nikos Nikolopoulos)

Brain Dead Studios has been running a program of David Cronenberg films through October and still has a few titles left to go. And while his films may not fit everyone’s strict definition of Halloween-style spooky, they are reliably unsettling in their examinations of the darker aspects of human existence.

Friday will see a screening of 2022’s “Crimes of the Future,” starring Viggo Mortensen, Kristen Stewart and Léa Seydoux, Monday will be Cronenberg’s 1991’s adaptation of William S. Burroughs’ “Naked Lunch,” Thursday brings 1979’s low-budget horror film “The Brood” and Saturday, Oct. 25 will have 1996’s controversial “Crash.”

I spoke to Cronenberg around the release of “Crimes of the Future,” which at the time felt like something of a summation of the director’s ongoing interests in technology and the body, though he claimed it wasn’t intentional.

“It’s not a self-referential film because I’m not thinking that when I’m writing it or directing it,” Cronenberg said. “But the connections are there because my nervous system, such as it is including my brain, is the substrate of everything I’m doing. So I might even say in the Burroughsian way that all of my work and all of my life is one thing. In which case, it now makes perfect sense that there should be these connections.”

David Fincher’s ‘The Game’

Michael Douglas in the movie “The Game.”

(Tony Friedkin / Polygram Films)

David Fincher’s 1997 thriller “The Game” is somewhat easy to overlook in his filmography, landing between the provocations of “Seven” and “Fight Club” and before fully-formed works like “Zodiac” and “The Social Network.” However, the movie, in which a wealthy man (Michael Douglas) finds his life turned upside in what may be a live-action role-playing game, is strange and unpredictable and among Fincher’s most purely pleasurable movies. It plays at the New Beverly on Friday — a rare chance to catch it in a theater on 35mm.

In his review of the film, Jack Matthews wrote, “Douglas is perfectly cast. Who else can blend moneyed arrogance, power and rank narcissism with enough romantic flair, intelligence and self-deflating humor to make you enjoy his defeats and his victories? What other major star is as much fun to watch when he’s cornered?”

Rapper Cardi B is willing to get “nasty” when it comes to defending her kids.

Following the release of her second full-length album “Am I the Drama?” in September, the “I Like It” singer publicly feuded with Nicki Minaj. Both rappers’ children were also pulled into the fracas.

In a recent interview with Paper magazine, Cardi B opened up about the combative exchange.

“This week I showed the world that I will get the most nasty about mine. I never had to get that nasty for my kids. But I did, and I really feel like a lioness,” she said. “This has been one of the moments I got tested the most about being a parent.”

The beef between music’s biggest female rappers has been an ongoing saga dating back to 2017. The most recent spat took place on X in late September, when Minaj belittled Cardi B’s record sales. The two proceeded to tear apart each other’s personal and professional lives.

Cardi B called out Minaj for feuding with her on X instead of celebrating her son’s birthday. Minaj called Cardi B’s 7-year-old daughter “ugly,” among other mean-spirited names, and started to question her son’s brain development. The spat ended with Cardi B asking to meet up with Minaj — they have not posted about each other since.

Cardi described her behavior as that of a “mother warrior” and explained the lengths she would go to protect her kin. The 33-year-old performer is currently pregnant with her fourth child, her first with New England Patriots wide receiver Stefon Diggs. The “WAP” performer shares three children — Kulture, Wave and Blossom — with rapper Offset.

“Am I the Drama?” is Cardi B’s first full-length project in seven years. The 23-track album debuted at No. 1 on Billboard 200 and hit platinum 10 days after its initial release. Her debut, “Invasion of Privacy,” earned her a Grammy for rap album in 2019 and made her the first solo female artist to win in that category.

While doing press for her newest LP, Cardi B hasn’t strayed away from talking about parenthood. She told Paper that she aims to instill a hardworking mentality in her children.

“You have to hope that your kids have that work ethic in them, and I just pray that they do,” she said. “I don’t want one of them to feel they’re behind their siblings. You just got to work and not think too much. … Procrastination is what kills you. It’s what slows you. Don’t ask too much questions. Just go and f— do it.”

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

This has turned into one of those weeks when there are just way too many movies opening. From titles that premiered earlier in the year, to films that popped up only recently, distributors have decided that today is the time to drop them in theaters. It can make for some tough calls as a moviegoer but hopefully ones with pleasant returns. Here’s some intel.

Mary Bronstein’s “If I Had Legs I’d Kick You” was a standout at Sundance in January and remains one of the most powerful films of the year. Rose Byrne gives a knockout performance as Linda, a mother struggling to hold onto her own unraveling sense of self as she cares for her ill daughter.

Rose Byrne in the movie “If I Had Legs I’d Kick You.”

(Logan White / A24)

In his review Glenn Whipp said, “Linda makes dozens of bad decisions in ‘If I Had Legs I’d Kick You,’ many of them seemingly indefensible until you realize that just how utterly isolated she feels. … Bronstein demands you pay attention to her, and with Byrne diving headfirst into the character’s harrowing panic, you will find you have no other choice.”

Speaking to Esther Zuckerman for a wide-ranging feature, Byrne said of the part: “Anything dealing with motherhood and shame around motherhood, whether it’s disappointment, failure — she’s got this line in the movie, ‘I wasn’t meant to do this’ — these are pretty radical things to say. People aren’t comfortable with that. So performance-wise, that was the hardest part because it was like a tightrope, the tightrope of this woman.”

Another Sundance premiere hitting theaters this week is director Bill Condon’s adaptation of “Kiss of the Spider Woman,” starring Diego Luna, Tonatiuh and Jennifer Lopez. Already a novel, a movie and a Broadway show, the story involves two men imprisoned in an Argentine jail for political crimes during the 1980s, with Lopez playing a fantasy film star who exists in their imaginations — a reverie to which they can escape.

Tonatiuh in the movie “Kiss of the Spider Woman.”

(Roadside Attractions)

For our fall preview, Carlos Aguilar spoke to Tonatiuh, a native of L.A.’s Boyle Heights, whose performance is a true breakout.

“When I first met Jennifer, I was like, ‘Oh, my God — that’s Jennifer Lopez. What the hell?’ ” he recalled, with the enthusiasm of a true fan. “I must have turned left on the wrong street because now I’m standing in front of her. How did this happen? What life am I living?”

After praising both Lopez and Tonatiuh in her review of the film, Amy Nicholson wrote, “Still, my favorite performance has to be Luna’s, whose Valentin is at once strong and vulnerable, like a mutt attempting to fend off a bear. He’s the only one who doesn’t need to prove he’s a great actor, yet he feels like a revelation. Watching him gradually turn tender sends tingles through your heartstrings.”

Among the other new releases this week is “Urchin,” the directing debut from Harris Dickinson, and the documentary “Orwell: 2+2=5,” directed by Raoul Peck. There’s also Derek Cianfrance’s true-crime comedy “Roofman,” Kathryn Bigelow’s nuclear-war thriller “A House of Dynamite” and Luca Guadagnino’s campus-set cancel culture drama “After the Hunt.”

Rebecca Miller retro and ‘Mr. Scorsese’

Robert De Niro, left, and Martin Scorsese in an undated photo from Rebecca Miller’s documentary series “Mr. Scorsese.”

(Apple TV+)

The American Cinematheque is celebrating filmmaker Rebecca Miller this weekend with a four-title retrospective plus a preview of her documentary series “Mr. Scorsese,” a five-part portrait of the life and career of Martin Scorsese.

Miller will introduce a Saturday screening of her 2023 rom-com “She Came to Me,” starring Anne Hathaway and Peter Dinklage, then do a Q&A for the first two episodes of the Scorsese project on Sunday. Also screening in the series will be 2016’s “Maggie’s Plan,” starring Julianne Moore, Ethan Hawke and Greta Gerwig; Miller’s 2002 Sundance grand jury prize winner “Personal Velocity”; and 2005’s “The Ballad of Jack and Rose,” starring Miller’s husband Daniel Day-Lewis, screening with an introduction from co-star Camilla Belle.

Ethan Hawke and Greta Gerwig in “Maggie’s Plan,” written and directed by Rebecca Miller.

(Sony Pictures Classics)

I spoke to Miller this week about the retrospective and her new Scorsese project, which premieres Oct. 17 on Apple TV+. Along with extensive interviews with Scorsese himself, the series includes insights from collaborators such as Robert De Niro, Paul Schrader and longtime editor Thelma Schoonmaker as well as childhood friends, Scorsese’s children, ex-wives and fellow filmmakers such as Steven Spielberg, Brian De Palma, Ari Aster, Benny Safdie and Spike Lee.

“It feels like such an honor and so weird in a way,” said Miller of the notion of having a retrospective. “You feel like you’re just in the middle of making everything, but then you realize, no, I’ve been making these films for 30 years. And it’ll be really interesting to see how the films play now for people. It’s exciting to have them still be sort of alive.”

When you look back on your own movies, what comes to mind for you?

Funnily enough, there is a connection between “Personal Velocity” and Martin Scorsese, which is that when I was about to shoot personal “Velocity,” I was in Rome, on the set of “Gangs of New York,” and I was watching the snack trolley go by and thinking my entire budget is probably the same as their snack budget. And thinking: What am I doing? What was I thinking? How am I going to do this? But talking to [“Gangs” cinematographer] Michael Ballhaus, I told him how long we had to shoot everything, and he said, “Oh, I envy you. We shot ‘The Bitter Tears of Petra von Kant’ in 10 days.” He was looking back on his days with Fassbinder as the good old days.

Then Marty gave me some advice on films with voiceovers to watch, and he ended up watching “Personal Velocity.” It was the first of my films that he saw, which then led probably to this [doc series] because he knew my films quite well. He watched them as time went on.

What interested you in Scorsese as a subject?

I knew that he was Catholic, that there was a strong spiritual element to his films. But I was interested in how that Catholicism kind of jogged with his fascination, or apparent fascination, with violence. Who is that person? How do those two things go together? And I thought that could be part of my exploration. I had a sense that all his work has a spiritual undercurrent in it, which I think it does. And I think that’s one of the things that I try to explore in the documentary. I felt I had something a little bit different to offer, for that reason.

The big questions that he’s asking: Are we essentially good? Are we essentially evil? And his immense honesty with himself about who he really is, the darkness of his own soul. I don’t think that people are usually that honest with themselves. And you realize that part of his greatness has to do with his willingness to look at himself.

Martin Scorsese in an undated photo from Rebecca Miller’s documentary series “Mr. Scorsese.”

(Apple TV+)

As much as we think we know about Scorsese, he seemed so candid about some of the darkest moments of his life, especially when he talks about his drug overdose and hospitalization in the late 1970s or about some of his issues with Hollywood, especially around “The Last Temptation of Christ.” Were you ever surprised that he was so willing to go there with you?

Oh, yeah, I was. I really didn’t know what to expect. I didn’t have an agenda. I had the scaffolding of the films themselves and a strong sense that this was a man that you can’t separate from the films. So the thing is like a dance, it’s like a permanent tango between those two things. You’re not going to pry them apart. I didn’t know about the addiction. I didn’t know a lot of these things. My questions are totally genuine, there’s no manipulation. It’s all me. I was very prepared in terms of the films. But in terms of the chronology and the connective tissue of his life, I was really right there discovering it.

Martin Scorsese at work on his film “Killers of the Flower Moon,” as seen in Rebecca Miller’s documenary series “Mr. Scorsese.”

(Apple TV+)

You’re catching him such a remarkable point in his life and career. He seems very happy and settled in his personal life and yet he still makes something like “Killers of the Flower Moon,” full of passion and fire. What do you make of that?

[Screenwriter] Jay [Cocks] says he’s learned that he can be selfish in his art, but he doesn’t have to be selfish in his life. Even if your outside is regular, your inside can be boiling. And I think Marty’s inside is always going to be boiling. The seas are not calm in there and never will be.

‘They Live’ and ‘Josie and the Pussycats,’ together at last

Roddy Piper in John Carpenter’s 1988 thriller “They Live.”

(Sunset Boulevard / Corbis )

There’s a real art to putting together a double bill. Sure, you can just program movies that have the same director or share the same on-screen talent. But what about deep, thematic links that might not otherwise be noticed?

The New Beverly has put together an inspired double bill playing on Friday, Saturday and Sunday of John Carpenter’s 1988 “They Live” and Deborah Kaplan and Harry Elfont’s 2001 “Josie and the Pussycats.” Though one is a rough-and-tumble sci-fi action picture and the other a satirical teen-pop fantasia, they both use the idea of subliminal messages to explore how consumer culture can be a means of control.

In “They Live,” wrestler-turned-actor “Rowdy” Roddy Piper plays a drifter who lands in Los Angeles and discovers a secret network fighting against an invasion of aliens living among us.

In Michael Wilmington’s original review, after joking the movie could be called “Invasion of the Space Yuppies,” he adds, “You can forgive the movie everything because of the sheer nasty pizzazz of its central concept. … The movie daffily mixes up the paranoia of the Red Scare monster movies of the ’50’s with a different kind of nightmare: the radical’s belief that everything is tightly controlled by a small, malicious ruling elite. Everything — the flat lighting, the crazily protracted action scenes, the monolithic beat and vamp of the score — reinforces a mood of murderous persecution mania.”

Rosario Dawson, from left, Rachael Leigh Cook and Tara Reid in the movie “Josie and the Pussycats.”

(Joseph Lederer / Universal Studios)

In “Josie and the Pussycats,” a small-town rock ‘n’ roll band (Rachael Leigh Cook, Tara Reid and Rosario Dawson) are plucked from obscurity when they are signed to a major record label and all their dreams of stardom seem to come true. But they come to realize the company’s executives (a brilliant pairing of Parker Posey and Allan Cumming) are using them for their own nefarious purposes.

Aside from some very hummable songs, the film has a truly epic amount of corporate logos and branding that appears throughout. Many reviewers at the time brought this up, including the L.A. Times’ own Kenneth Turan, who noted, “It’s a potent reminder that no matter how innocent a film may seem, there’s a Hollywood cash register behind almost every frame.” In subsequent interviews, Kaplan and Elfont confirmed these were not instances of paid product placement and, in fact, the production had to fight to get them all on-screen.

Points of interest

‘Eight Men Out’ in 35mm

Charlie Sheen, center, in a scene from the film “Eight Men Out.”

(Archive Photos / Getty Images)

Writer-director John Sayles has been so consistently good for so long that it is easy to take his work for granted. Case in point: 1988’s “Eight Men Out,” which tells the story of the infamous “Black Sox” scandal, when players from the Chicago White Sox were accused of intentionally throwing the 1919 World Series in league with underworld gamblers. The movie is playing on Sunday at Vidiots in 35mm.

The film captures much of what makes Sayles so special, particularly his unique grasp of the interplay between social and economic dynamics — a sense of how things work and why. He also fully grasps the deeper implications of the forces of greed and money setting themselves upon such an unassailable symbol of wholesome Americana as baseball. It’s also what makes the movie particularly worth a revisit now. With a phenomenal cast that includes John Cusack, David Straithairn, D.B. Sweeney, Charlie Sheen, John Mahoney, Christopher Lloyd, Michael Lerner and Sayles himself, the film was a relatively early effort from cinematographer Robert Richardson, who would go on to work repeatedly with Martin Scorsese and Quentin Tarantino.

In a review at the time, Sheila Benson wrote, “ ‘Eight Men Out’ is not a bad movie for an election year. Everything that politicians cherish as ‘old-fashioned’ and ‘American’ is here. The Grand Old Game. Idealistic little kids. Straw hats and cat’s-whisker crystal sets. And under the slogans and the platitudes, a terrifying erosion and no one to answer for it. No wonder Sayles, hardly an unpolitical animal, found it such a relevant story nearly 70 years later.”

‘The Sound of Music’ in 70mm

Julie Andrews, center, in the 1965 musical “The Sound of Music.”

(20th Century-Fox)

On Sunday the Academy Museum will screen Robert Wise’s “The Sound of Music” in 70mm, a rare opportunity to see this classic in the premium format on which it was originally released. Based on the stage musical by Rodgers and Hammerstein , the film would eventually win five Oscars, including director and best picture.

Starring Julie Andrews and Christopher Plummer, it’s the story of the singing Von Trapp family, eventually forced to flee their native Austria as the Nazis take power.

In a Times review from March 1965, Philip K. Scheuer wrote of Wise and his collaborators, “They have taken this sweet, sometimes saccharine and structurally slight story of the Von Trapp Family Singers and transformed it into close to three hours of visual and vocal broilliaance, all in the universal terms of cinema. They have invested it with new delights and even a sense of depth in human relationships — not to mention the swooning beauty of Salzburg and the Austrian Alps, which the stage, of course, could only suggest.”

Even notorious gossip columnist Hedda Hopper liked the movie, presciently writing, “The picture is superb — dramatically, musically, cinematically. Julie Andrews and Christopher Plummer were born for their roles. … All children — from 7 to 90 — wil love it. The following morning I woke up singing. Producer-director Bob Wise did a magnificent job and 20th [Century Fox] will hear nothing but the sound of money for years to come.”

MAFS newcomers bring the drama with them as the groom says he’s been “disrespected” by his wife at an explosive dinner party.

Reiss and Leisha walked down the aisle on the E4 show last week but its been a bumpy ride.

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They got off to a bad start at their wedding reception when Leisha pummelled him with questions about his life.

But after a in-depth conversation in tonight’s show the couple seemed to have put their differences aside and appeared happy again.

Reiss explained: “I like the stage I am at with Leisha, she’s got a heart of gold.”

Leisha agreed: “I’m happy. Complete. I’ve fallen for Reiss hard.

“He’s everything I have asked for.”

However, in a preview for tomorrow night’s dinner party things seem to have gone off the boil again.

The couple steal the spotlight as Leisha complains to Reiss: “Everyone else is holding hands.”

“I stopped holding your hand because you said don’t hold my f***ing hand and stormed off.” replies Reiss.

Then things take a turn for the worse when Leisha is asked: “Do you think you should be sat on a plane talking to a boy?”

Leisha replies: “I’ve had past relationships. That’s never been a problem.”

Julia-Ruth chimes in: “Babe, you’ve just had a honeymoon with this man.”

Then Reiss snaps: “I felt disrespected.”

Earlier in last night’s show, Leisha’s questions continued to baffle painter and decorator Reiss.

In an effort to get her husband to open up she asked: “Do you feel like you are falling for me though? Do you like me?”

Married at First Sight’s best moments

Married at First sight has brought eight explosive series of drama to the small screen. These are some of the best moments

• When series 8 couple Rozz Darlington and Thomas Kriaras brought secretly brought a sex toy to the couple’s dinner party. Unbeknownst to their fellow cast members who they were having dinner with, Rozz wore a vibrating egg gadget whilst husband Thomas had the controls.

• Nikita’s exit in series 6. Nikita was removed from the show early on due to her behaviour, which led to her husband Ant re-entering the experiment with Alexis.

• A slightly more heart warming highlight from series 6 was watching Dan and Matt’s relationship unfold. Dan and Matt were the first same-sex couple on the show, and their relationship was both ground-breaking and adorable.

• Emma and James’ wedding in series 1. They were the first couple to ever get married on the UK version of the show. Emma and James, had a beautiful ceremony that set the tone for the series.

• The dinner party showdowns are always a MAFs highlight with explosive arguments and unexpected alliances forming.

The question was met with an awkward silence until Reiss giggled and said: “Easy girl. It’s been two days.”

Then during a boat trip she asked: “”Do you visualise me in your future?”

An annoyed Reiss threw an epic strop and responded: “I can’t cope! You’re too much.

“I don’t need pressure yet, it’s so early.

“I don’t like it. I know you’re saying you want to see the real me you aint going to find that out over night.

“You know I’m a closed book. If you’re constantly pressuring me you’re just going to keep me closed.”

Fans will have to wait until tomorrow night to see if the couple can patch things up after their latest row.

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Upcoming series The Rapture is described as “a high-stakes thriller which crackles with danger”

Bridgerton star India Amarteifio has bagged a role in upcoming BBC drama The Rapture and has said she is looking forward to the “massive challenge”.

The actress, who is best known for playing the starring role in Bridgerton spin-off Queen Charlotte: A Bridgerton Story, joins the likes of Doctor Who‘s Ruth Madeley, Gavin and Stacey star Ruth Jones, Game of Thrones‘ Iwan Rheon and Jack Farthing from Poldark in the series.

The five-episode drama is being adapted from Liz Jensen’s best-selling novel and is said to be “a high-stakes thriller which crackles with danger”.

According to the synopsis, the series – which is being produced by Mammoth Screen, part of ITV studios – follows a forensic psychologist named Gabs Fox (Madeley) who meets teen Bethany Krall (India) at a psychiatric hospital.

Bethany, who is the daughter of the leader of a religious movement (played by Sam Hazeldine), was convicted of killing her mum but she insists she didn’t do it.

Adding another twist is the fact that the 17-year-old claims to be able to predict the future. But can she convince Gabs she is telling the truth?

“I’m over the moon to be getting started on this production and cannot wait to bring Bethany onto tellies,” India, 24, said as her casting was announced.

“It will be a massive challenge for me professionally, which I’m very much welcoming and feel incredibly safe to do so in the hands of Mammoth and Ruth!”

Madeley added that it was “a total joy to lead such a powerful and vibrant series”, which she said was “an incredibly special project” to her.

The series, which is shooting in Wales, will also star Stephen Campbell Moore, Lisa Palfrey, Siena Kelly, Naby Dakhli, Richard Elis, Dean Rehman and Robert Rhodes.

Lindsay Salt, director of BBC Drama, added: “This thriller brings Liz Jensen’s compelling novel to life with a truly talented cast led by the brilliant Ruth Madeley and India Amarteifio.

“The Rapture features two complicated and captivating characters, blended with a story of climate change, to create a gripping narrative and I can’t wait for BBC viewers to see it.”

The Rapture is set to air on BBC One and BBC iPlayer

About 200 people gathered on Paramount’s Melrose Avenue lot for a screening of “Red Alert,” a four-part scripted drama portraying the deadly Oct. 7 Hamas attack on Israel from the perspective of six victims.

The host of the Sept. 30 event was Paramount Chairman and Chief Executive David Ellison, who shared how he had chatted with Academy Award-nominated producer Lawrence Bender a few weeks earlier at a memorial service for legendary Hollywood power broker Skip Brittenham. That’s where Ellison learned that Bender’s Israeli-backed series, “Red Alert,” needed a home in the U.S.

Ellison quickly volunteered. “It was a fast ‘yes,’ ” he told the group.

On Tuesday, “Red Alert” debuted on the company’s streaming service, Paramount+, marking the second anniversary of the Oct. 7 attack on Israel. The initial Hamas assault left about 1,200 Israelis dead and more than 250 kidnapped.

The high-profile project comes two months after Ellison assumed control of Paramount in an $8-billion buyout by his family, led by billionaire and Oracle founder Larry Ellison, and private equity firm RedBird Capital Partners.

Since the deal closed Aug. 7, David Ellison has moved to position the company slightly right of the political center, while also taking on polarizing issues. The scion has been unafraid to challenge those in Hollywood who’ve called for a boycott of Israel.

More than two years after the Oct. 7 attack, a deep divide remains in Hollywood over the subsequent Israel-Hamas war.

Last month, Paramount condemned an open letter in support of Palestinians, which has gained steam in Hollywood. More than 5,000 people have signed the Film Workers for Palestine letter, including such prominent filmmakers as Adam McKay, Ava DuVernay, Alex Gibney and Hannah Einbinder.

The effort called for a boycott of Israeli film festivals, institutions and projects to help spur an end to the war in Gaza. The campaign was designed in the vein of South African boycotts decades ago, which proved to be instrumental in ending apartheid, that country’s racial segregation.

No other major studio followed Paramount.

In its Sept. 12 statement, Paramount said it disagreed with the Film Workers call to avoid film screenings or to work with Israeli film institutions.

“At Paramount, we believe in the power of storytelling to connect and inspire people, promote mutual understanding, and preserve the moments, ideas, and events that shape the world we share,” the company said. “Silencing individual creative artists based on their nationality does not promote better understanding or advance the cause of peace.”

The Film Workers group accused Paramount of misrepresenting the intent of its pledge, saying it did not target individual filmmakers.

But critics counter that filmmakers who engage with Israeli cultural institutions would likely fall under the ban.

More than 1,200 industry players including actors Mayim Bialik and Liev Schreiber and Paramount board member Sherry Lansing signed an opposing open letter released by the nonprofit organization Creative Community For Peace that accuses the Film Workers for Palestine of advocating “arbitrary censorship and the erasure of art.”

The Palestinian supporters dismissed the characterization. “The Film Workers Pledge to End Complicity is an explicitly anti-racist and non-violent campaign that is grounded in international law and the moral clarity of a global majority opposed to genocide,” the group said in a statement this week. “It is the first major refusal of the international film industry at large that targets complicit Israeli film institutions and companies.”

“Red Alert” was co-produced by a prominent Israeli production company, Keshet Media Group, and received funding from the Jewish National Fund-USA and the Israel Entertainment Fund. The series premiered last weekend on Israel’s popular television channel Keshet 12. Keshet produced the Hebrew-language series “Prisoners of War” that Showtime later adapted into the award-winning American drama “Homeland.”

During the late September screening at Paramount, Ellison spoke of the need for such projects as “Red Alert” to remember the atrocities as well as stories of survival and heroism.

“We at Paramount, we are here to tell stories that last forever,” Ellison said. “We are not here to debate politics or platforms or to argue about east or west. And ‘Red Alert’ is the very embodiment of that mission, and I couldn’t be prouder to support this series.”

Critics note that Ellison’s father, Larry, the co-founder of Oracle, is a prominent supporter of Israel, contributing millions to the Friends of the Israel Defense Forces.

Others in Hollywood have found fault with Israel’s government and its conduct in the Gaza war, which has killed more than 67,000 Palestinians, according to Gaza’s Health Ministry, which does not distinguish between civilians or combatants.

The United Nations, rights groups, experts and many Western governments accuse Israel of committing genocide. Israel denies the charge.

During a May 2024 Simon Wiesenthal Center gala in his honor, WME Group Executive Chairman Ari Emanuel sharply denounced Israel Prime Minister Benjamin Netanyahu and called for his ouster. Emanuel’s remarks were met with cheers and jeers and some attendees walked out.

In his Oscar acceptance speech last year, Jonathan Glazer, director of the Holocaust drama “The Zone of Interest,” asked “Whether the victims of October 7th in Israel or the ongoing attack on Gaza, all the victims of this dehumanization — how do we resist?”

Weeks later, Steven Spielberg called out the rise of antisemitism as well as the ongoing war.

“We can rage against the heinous acts committed by the terrorists of October 7th and also decry the killing of innocent women and children in Gaza,” Spielberg said during an event celebrating the anniversary of the USC Shoah Foundation.

Paramount’s opposition to the Film Workers’ pledge and other recent moves, including buying the Free Press news site for $150 million and installing its founder, journalist Bari Weiss, as the editor in chief at CBS News, has rattled a small group of Paramount employees.

David Ellison recruited Weiss, who has been public about her support for Israel, for the prominent role.

The division was roiled by Paramount’s efforts to settle President Trump’s lawsuit over edits to a “60 Minutes” interview a year ago with then-Vice President Kamala Harris. Paramount this summer agreed to pay $16 million to end Trump’s suit, which 1st Amendment experts viewed as a spurious shakedown.

Weeks later, Trump appointees on the Federal Communications Commission approved the Ellison family’s takeover of Paramount.

The employee group, which calls itself Paramount Employees of Conscience, said they have sent two letters to Paramount leaders in the last month to voice their concerns but have not received a reply. In a statement, the group noted that while Paramount+ was distributing “Red Alert,” the company had not offered “equivalent programming about Palestinian experiences of the genocide in Gaza.”

“How can a company with this supposed creative mission actively ignore, suppress, and silence internal calls for years to champion stories that shed a light on the reality that marginalized and excluded communities, particularly Palestinians, face every day?” the group asked in a Sept. 17 letter addressed to Paramount’s leadership.

Paramount declined to comment.

The group includes about 30 employees, according to one member who asked not to be identified out of fear of retribution.

Paramount employees separately are bracing for a steep round of layoffs, which is expected next month. Ellison’s firm Skydance Media and RedBird promised Wall Street that they would find more than $2 billion in cost cuts at Paramount.

“We know the Ellisons are formidable, powerful and have a lot of resources,” said the Paramount employee. “But we are here to interrupt a culture of silence…. Silence within the industry becomes complicity.”

Sheridan Smith fans have yet another gripping drama to sink their teeth into in the coming weeks, as an acclaimed Channel 5 show joins Netflix’s ever-growing TV collection

With winter just around the corner, it’s time to cosy up with a hot drink and a bingeable drama – thankfully, Netflix is adding another Sheridan Smith hit to its library for fans to dive into. Netflix subscribers can expect a host of new titles to arrive on the streamer – from Victoria Beckham’s new documentary to the second series of romantic comedy Nobody Wants This.

However, there’s one particular Channel 5 series that’s making a comeback on the platform after three years, starring Sheridan Smith as English teacher charged with having sex with a pupil. The Teacher follows teacher Jenna Garvey, who is accused of having sex with one of her 15-year-old pupils Kyle after a drunken night out.

BAFTA-winning actress Sheridan takes on the titular role, while Coldwater’s Samuel Bottomley plays student Kyle. The wider cast also features The Bill’s Cecilia Noble, My Mad Fat Diary’s Sharon Rooney, Emmerdale’s Kelvin Fletcher and Waterloo Road’s Tillie Amartey.

READ MORE: Stacey Solomon issues statement ahead of NTAs four months after BAFTAs snub rantREAD MORE: Sheridan Smith and Emmerdale star ‘not speaking after abrupt end of friendship’

The drama originally aired on Channel 5 back in 2022 and fans couldn’t get enough of it at the time, with many praising Sheridan’s “incredible” performance. “Just finished watching The Teacher on Netflix and I thoroughly enjoyed it, Sheridan Smith is just incredible,” one wrote on X.

Another said that they were “gripped for all four episodes” and that Sheridan “played a blinder”, while a third wrote: “Just finished watching The Teacher on Netflix and I thoroughly enjoyed it, Sheridan Smith is just incredible.”

A fourth described it as an “addictive bit of telly” with “cracking” Sheridan, while another said: “Just binged the whole of ‘The Teacher’ now that it’s on Netflix. it made me want to buy silk shirts and hoop earrings. Say want you want about Sheridan Smith but she does very good crying.”

Last month, BBC drama Accused was added to Netflix, with many binging the award-winning anthology series. With each episode telling a different story in each episode, Accused features the likes of Christopher Eccleston, Mackenzie Crook, Tina O’Brien, Peter Capaldi and Naomi Harris across six hard-hitting episodes in series one.

Meanwhile, series two stars Sean Bean, Stephen Graham, Olivia Colman, Sheridan Smith and Anna Maxwell Martin among other stars.

In recent years, Sheridan has taken on a number of intense roles, from office cleaner Sam in ITV’s Cleaning Up to the titular character in Sky’s Rosie Molloy Gives Up Everything. Earlier this year, she starred as Ann Ming in true crime drama I Fought the Law – about the real-life mother’s campaign to overturn the double jeopardy law following the murder of her daughter Julie Hogg.

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