drama

A crime drama on BBC iPlayer has been branded a “masterpiece” and a “must-watch” by fans

Fans of crime dramas have been devouring a “masterpiece” series that’s currently available on BBC iPlayer.

Television viewers are being encouraged to tune into a gripping drama centred on a respectable businessman, who attempts to outrun his family’s sinister past.

McMafia is a series created by Hossein Amini and James Watkins, who also took on directorial duties. It draws inspiration from the non-fiction book McMafia: A Journey Through the Global Criminal Underworld by journalist Misha Glenny – which has been hailed as “riveting” and “chilling”.

The drama features James Norton as Alex Godman, the British-raised son of a Russian mafia boss residing in London, whose father is desperately attempting to break free from the world of organised crime.

The official synopsis reads: “Alex Godman, the English-raised son of Russian mafia exiles, has spent his life trying to escape the shadow of their past, building his own legitimate business and forging a life with his girlfriend, Rebecca,” reports Wales Online.

“But when a murder unearths his family’s past, Alex is drawn into the criminal underworld where he must confront his values to protect those he loves.”

Alongside James Norton, the ensemble cast also includes David Strathairn, Juliet Rylance, Merab Ninidze, Aleksey Serebryakov, Maria Shukshina, David Dencik, Oshri Cohen, Sofia Lebedeva, Caio Blat, Kirill Pirogov, Nawazuddin Siddiqui, and Karel Roden.

McMafia was shot across numerous international locations, with key scenes unfolding in London, Zagreb, Split, Opatija, Mumbai, Prague, Cairo, Belgrade, Istanbul, Moscow, and Tel Aviv.

The drama debuted on BBC One in 2018, running for a single series. Crime drama enthusiasts can now delve into Alex’s perilous world, as all eight compelling episodes are available to stream free on BBC iPlayer.

McMafia currently maintains a 71% critic score on review aggregator Rotten Tomatoes, based on 38 reviews. Audiences have likewise expressed widespread acclaim for the programme on social media, with numerous viewers declaring it superior to James Norton’s other popular crime series Happy Valley.

One IMDb user penned: “One of the best series I have ever seen. Binged in one night. 100 stars.”

Another contributed: “Best show since The Night Manager. A 10+ for intrigue and suspense,” while a third stated: “Thriller of the year! An outstanding and engrossing series that grabs your attention from the start and ramps up the suspense as each episode progresses.”

Someone else remarked: “I loved McMafia. The best TV series yet. Great acting. On par with Breaking Bad,” with another individual posting: “Chilling, thrilling and re-watchable.”

A sixth audience member reinforced the sentiment, declaring: “This series is a masterpiece, and a must-watch for thriller lovers. The plot is obviously complex, but absolutely intriguing and well developed, with a large number of themes connected to the most topical reality. For me, McMafia is one of the most interesting shows I have seen in the last few years.”

McMafia is available to stream on BBC iPlayer

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

It seems odd that the biggest news of the week was the fact that tickets for a movie went on sale, but apparently Christopher Nolan’s upcoming “The Odyssey” is no typical movie. Having already made tickets available for some shows a full year in advance, Universal put more of them on sale for the July 17 opening weekend of the Oscar-winning filmmaker’s ancient epic. There were reports of long online wait times, crashing ticketing systems and the kind of problems more often associated with pop stars than movie nerds.

“The Odyssey” will be playing in a variety of formats, with the Imax 70mm screenings among the most coveted. More venues than usual have also been announced as playing the film in 70mm, including the Village Theatre in Westwood. (A handy visual guide to the different fomats is on the film’s website.) While there is a hint of the ridiculous to some of this mania — popcorn buckets in the shape of Imax cameras and movie tickets going on the resale market for hundreds of dollars — there is no denying how exciting it is to see this kind of anticipation building around any movie.

Back to a ’90s phenomenon

Ewen Bremner, left, Ewan McGregor, Johnny Lee Miller and Robert Carlyle in the movie “Trainspotting.”

(Liam Longman / Sony Pictures Classics)

When it first came out in 1996, “Trainspotting” was an instant cultural phenomenon, capturing the vibes of the “Cool Britannia” moment with its sparkling soundtrack, inventive, high-energy style and cast that included up-and-coming talents such as Ewan McGregor and Kelly Macdonald. It was only the second feature directed by Danny Boyle, who would go on to be an Oscar winner, mount an Olympics opening ceremony and remain a reliably exciting filmmaker all the way to his recent “28 Years Later.”

“Trainspotting” is now back in theaters in a 4K restoration for its 30th anniversary, having lost none of its brash vigor. In his original review, Kenneth Turan said of the film, “Exuberant and pitiless, profane yet eloquent, flush with the ability to create laughter out of unspeakable situations, ‘Trainspotting’ is a drop-dead look at a dead-end lifestyle that has all the strength of its considerable contradictions.”

Appearing like magic

Kathy Najimy, left, Bette Midler and Sarah Jessica Parker in the 1993 comedy “Hocus Pocus.”

(Disney)

Directed by Kenny Ortega, “Hocus Pocus” is one of those movies that has seen its fanbase grow steadily over the years — it is now much more beloved than it ever was on initial release. (It even inspired a 2022 sequel.) Bette Midler, Sarah Jessica Parker and Kathy Najimi play the Sanderson sisters, 17th century witches who find themselves inadvertently brought to modern day by a group of teenagers messing around with casting spells.

The film will play Saturday at the Gardena Cinema, featuring a live commentary from cast members Omri Katz, Thora Birch, Larry Bagby, Tobias Jelinek and Vinessa Shaw followed by a Q&A. This is a rare appearance by Katz in particular, who has retired from acting. Fans of the movie should make the effort to attend.

The Gardena, the last family-owned single-screen theater in Los Angeles, suffered a blow last weekend when a burst pipe flooded the venue. Though they are operational, a campaign has been started to help them recoup repair costs.

Examining the life of the mind

John Turturro in the 1991 movie “Barton Fink.”

(20th Century Fox)

Ranking the films of Joel and Ethan Coen has become a cottage industry of its own. Personally, I go back-and-forth on where to place 1991’s “Barton Fink,” which won the Palme d’Or at Cannes, as well as prizes for director and actor. The movie is by turns funny, disturbing and inscrutable (all good things), with John Turturro in the title role as an intellectual New York playwright who goes to Hollywood to write screenplays — and slowly goes insane.

The movie will play Friday in 35mm at Vidiots with an introduction from Noah Segan, who directed Turturro in one of the breakout titles from this year’s Sundance, “The Only Living Pickpocket in New York.” Hopefully, this will turn into a year in which Turturro gets some long-deserved accolades.

Christmas in June

Elliott Gould on the set of 1978’s “The Silent Partner.”

(Anwar Hussein / Getty Images)

There is something particularly charged about watching a Christmas movie at other times of year — an odd sense of dislocation and maybe even something a little naughty, a circuit-scrambling frisson. So it is particularly notable that as part of their salute to the independent studio Carolco Pictures (behind such films as “Basic Instinct,” “Terminator 2: Judgment Day” and “Reservoir Dogs”), the Vista will be showing 1978’s “The Silent Partner.”

Just the kind of tight and gripping thriller that people pine for all year round, “The Silent Partner” has a screenplay by Curtis Hanson, who would go on to make “L.A. Confidential.” Elliott Gould plays a Toronto bank teller who tries to rip off the thief (Christopher Plummer) who robs his branch wearing a Santa costume as a disguise. Soon they are both scheming against each other.

In his original review of the film, Kevin Thomas called it “tense and ingenious.” In a reconsideration of the film some months later, Charles Champlin called it “a stylish crime-suspense story, a cat-and-mouse game between Christopher Plummer as a clever, sadistic bank robber and Elliott Gould as a bored bank teller who sees a way out of his boredom and into riches.”

So much beauty

Brooke Adams and Sam Shepard in the 1978 movie “Days of Heaven.”

(Criterion Collection)

Terrence Malick’s 1978 “Days of Heaven” is still strikingly singular: a love story told with a stirring visual style. The film’s beauty — aside from its impossibly good-looking lead actors, Richard Gere and Brooke Adams — in part comes from gifted Spanish cinematographer Néstor Almendros, who made his American debut after a career in Europe that saw him working with filmmakers such as Eric Rohmer and François Truffaut. Almendros would win an Academy Award for the film.

The New Beverly will show “Days of Heaven” in 35mm Tuesday through Thursday as a double bill with Truffaut’s 1970 “The Wild Child,” shot by Almendros in black-and-white. Writing about “Days” in 1978, The Times’ Charles Champlin called it “an extraordinary and original visual experience and a movie which is thrilling in its uncompromised purity.”

Perverse fun

Ha Jung-woo, left, and Kim Min-hee in the 2016 movie “The Handmaiden.”

(TIFF)

Korean filmmaker Park Chan-wook was just president of the Cannes jury and has become a much-beloved figure on the international circuit for his wicked sense of humor and sharp sense of style. Nowhere is that on better display than his 2016 film “The Handmaiden,” which is somehow at once a period drama, a con-man thriller and an erotic lesbian romance. Vidiots will be showing the movie Sunday.

As Justin Chang wrote when the film was released, “Without sacrificing his taste for psychosexual perversity or his flair for violent grace notes, Park has given us a teasingly witty and elegant puzzle-box of a thriller whose pleasures are rooted not in visceral shock but in narrative surprise, and which wisely opts to seduce rather than pulverize its audience.”

In an interview at the time, Park said the film’s unpredictability was part of the project’s appeal. “That’s the exact kind of fun to be had with this film and the reason why I chose to make this film. Everything becomes a game of perception. Rather than to say it’s a difficult thing to navigate, it is fun to deal with. Not only for me as a filmmaker but for the audience to see that and engage in that game.”

New this week

• Amy Nicholson reviews the latest attempt to make a movie out of a popular Mattel toy with the lightly-tongue-in-cheek “Masters of the Universe.”
• Amy also reviewed the revival of the satirical “Scary Movie” franchise, with original stars Anna Faris and Regina Hall returning to make fun of such recent hits as “Sinners,” “Weapons” and “The Substance.”
• The documentary “Time and Water” looks at climate change through the life and work of Icelandic writer Andri Snaer Magnason as directed by Sara Dosa, who had a hit with her last film “Fire of Love.” Robert Abele reviews.

One last thing…

This week, our colleagues at De Los launched a podcast hosted by Fidel Martínez and Suzy Exposito. The interview-style video podcast will feature conversations with the people shaping Latino culture in the United States.

The first episode features singer and actor Leslie Grace, who talks about her experiences working on the film “In the Heights” as well as being the star of the canceled “Batgirl.”

Eleanor Tomlinson, Matthew Lewis and Callum Woodhouse star in Channel 5 series The Fortune

Viewers of The Fortune were left disappointed as the new psychological drama made its debut on Channel 5.

The series centres on waitress Amanda Blakefield, portrayed by Poldark’s Eleanor Tomlinson, whose world is thrown into chaos when a solicitor arrives at her workplace to inform her she stands to inherit a vast estate from a complete stranger.

She continues to dodge the solicitor yet pays a visit to the deceased man’s widow Fiona (Rebecca Front) and son Anthony, played by All Creatures Great and Small’s Callum Woodhouse, who are outraged and make abundantly clear their intention to contest it.

Meanwhile, Amanda’s husband Jimmy (Harry Potter star Matthew Lewis) appears to be embroiled in a mystery of his own, repeatedly receiving suspicious phone calls.

As the opening episode aired on Tuesday night (June 2), numerous viewers took to X to voice their scepticism, with some calling the storyline into question, reports Wales Online.

“Wouldn’t they phone her and ask her into their office instead of just barging into her workplace?” wondered one viewer.

Another posted on the platform, formerly known as Twitter: “How to sort out an unexpected inheritance: (a) consult a solicitor, and get it sorted out; or: (b) throw away the solicitor’s letter and barge in uninvited to a grieving family.”

One viewer branded the show “a dud” while another confessed: “Oh I really want to like this but so far I’m struggling.”

“This is absolute s***e,” insisted another viewer, as one posted: “Mrs Poldark the only thing saving this so far…”

“Channel 5 either do b****y brilliant dramas or shockingly bad am/dram… #thefortune is tipping ever so slowly to the latter… ludicrous,” remarked another viewer, while one complained about the “exaggerated sighs” and “pauses”.

Meanwhile, The Telegraph awarded it merely one star out of five in its review, branding it “rubbish”.

Yet others felt the series – shot on location across Hartlepool, Northumberland, Newcastle and north Yorkshire last year – showed potential.

“So far looking good,” observed one viewer. Another highlighted the impressive ensemble, which also features Denis Lawson, Stephen Tompkinson, Paula Wilcox, Danielle Walters and Nina Wadia.

“It’s got a really good cast too,” they wrote. “Well known faves.”

The Fortune is airing on Channel 5.

The Fortune sees a woman mysteriously inherit £2 million and a country estate from a stranger.

The Fortune has landed on Channel 5, with audiences eager to discover everything about the drama.

Following the unexpected inheritance of a substantial fortune from a stranger, mother and wife Amanda (portrayed by Eleanor Tomlinson) finds herself in conflict with the deceased man’s relatives.

She simultaneously starts uncovering the truth regarding her own family’s sinister history, which may shed light on why she’s been selected as the beneficiary of the enigmatic man’s estate.

Where was The Fortune on Channel 5 filmed?

Filming for Channel 5’s The Fortune occurred during autumn 2025 across Hartlepool, Northumberland, Newcastle and North Yorkshire.

The bulk of shooting took place in Hartlepool, with the historic Headland district serving as a crucial location.

Another significant filming venue was Hartlepool Marina, where the exterior alongside local establishments and eateries were utilised to depict Amanda’s everyday existence.

The programme’s principal production headquarters was also situated in Hartlepool at The Northern Studios on Lynn Street.

Certain scenes were additionally captured in Newcastle, with the drama produced by Newcastle-based Lonesome Pine Productions.

The cast and crew travelled to Great Ayton, North Yorkshire, where the mid-Victorian country residence Cleveland Lodge served as the Worrall family estate in the Channel 5 series.

The Grade II listed building was constructed between 1848 and 1851 and sits within approximately 35 acres of private parkland, featuring paddocks and a tennis court. Meanwhile, the more rural and coastal scenes were shot in and around the Northumberland region.

All Creatures Great and Small star Callum Woodhouse, who plays vengeful son Anthony Worrall in the series, hails originally from Stockton in the North East.

The Hartlepool Mail reported Woodhouse describing the experience of filming The Fortune as something of “a homecoming”.

He said: “Obviously, staying with my parents and filming in places I grew up visiting was a huge draw, but also being able to do something set in the modern day was really exciting.

“We were filming just over the road from where my mum works, so we’d meet up for lunch sometimes.”

The Fortune is available to watch on Channel 5.

Sit at a table with a bunch of actors and it inevitably becomes an impromptu acting class, one in which even the Michelle Pfeiffer is leaning over to observe. At least that’s what happened on a recent afternoon when The Envelope gathered six actors from some of this season’s most talked about television series for its 2026 Emmy Drama Roundtable.

It all began when Pfeiffer (“The Madison”) shared that, while studying acting, she couldn’t grasp the technique created by Sanford Meisner, which trains actors to stop overthinking and encourages them to listen and respond actively to their scene partners. The revelation immediately activated Katherine LaNasa (“The Pitt”), who beckoned Tom Pelphrey (“Task”) to join her in a spontaneous application. (Both had studied the method.)

“I like your jacket,” LaNasa said, locking eyes with Pelphrey.

“You like my jacket?” he replied playfully.

“I do like your jacket … You’re smiling at me.”

The exchange, which had a flirtatious energy, continued for a minute, before Pelphrey and LaNasa emphasized that it’s essentially looking at and listening to what the other person is doing.

“Somehow I was doing it wrong and I didn’t understand why I was doing it wrong,” Pfeiffer said.

This openness and encouragement carried the entire conversation, which brought together Pfeiffer, who plays Stacy Clyburn, a wealthy New York City matriarch whose life is upended by the tragic death of her husband, which compels her to move to Montana; LaNasa, who brings depth to the burnout plaguing steadfast, straight-talking charge nurse Dana Evans; Pelphrey, in his turn as Robbie Prendergast, a sanitation worker who robs drug houses at night to provide for his family; Zahn McClarnon, who stars as Det. Joe Leaphorn, a stoic man battling his past and the loss of his son in “Dark Winds”; Billy Magnussen, who portrays Duncan Park, the eccentric and profit-hungry CEO of a tech company in “The Audacity”; and Karolina Wydra, who plays Zosia, the eternally cheerful liaison to a utopian, hive-minded collective in “Pluribus.” Read on for excerpts from our discussion.

I know all your characters are going through some personal things, but if you were to transform into them for 24 hours, what would you do with that day?

Magnussen: I live with Duncan daily because I think your job as an actor is to check the morality of the character you’re playing. And at the same time, you have to question your own morality, see where you stand, to then deal with that character. Duncan’s a really messed-up guy, and doing it for five months … I was on set 16 hours a day every day. I was with him nonstop. And his temperament and pace was just out of this world. It’s exhausting. So what would I do? I would try to go to a spa, personally, because it’s exhausting.

Wydra: Do you find that it gets blurry after a little while?

Magnussen: I still know who Billy is.

McClarnon: But there’s times where you can’t see that line between [fiction and] reality, just moments. I’ve found myself in those moments where I know the difference, obviously, but I’m so emotionally attached to Deanna Allison, who plays my wife on the show, where I can’t separate them anymore. It’s not like 24 hours, but just moments where I’m like, “Wait a second, where am I? Am I in the show? Is this Joe Leaphorn or is this Zahn?” Usually in the middle of the season, it starts to get a little blurry for me.

Magnussen: Do you think it’s the job, though, to keep it separated? Or do you guys believe in Method acting?

Wydra: Rhea Seehorn, who is on “Pluribus,” who’s incredible, who’s my partner in crime, she gave me a book about Method [acting] — the Method and what really Method was. And it’s not what we think it is. We all do Method acting, but it’s not staying in the character and living in the character forever. … And that’s what people think Method is, is that you never break the character, you take the character home, but it’s not. It’s building a world. Building it, personalizing it.

Pfeiffer: Isn’t that what we all do? Some actors will go live on the ranch. They won’t take a bath for six months. They really take it to another level, which I’m not willing to do … From the minute I commit to something, it’s right there [in my head], I’m thinking about it. It can be a year away, and it’s right here torturing me, which is I think why I’m a bit of a commitment-phobe. My agents always call me “Dr. No” because I know no matter what, even if I’m not consciously aware of it, it’s there just badgering me.

LaNasa: I have found that people want Dana, want my character, in real life. And it’s cool because she’s very comforting to people. But I had an experience recently in New York where this table of girls, they were having some party, and someone said, “Oh, you mean a lot to us.” And I said, “Oh, are they nurses?” Well, some of them are. And then they asked at the end of their dinner would I take a picture. And then one girl told the other people to leave and then she told me her illness journey. And I had breast cancer. She was going through breast cancer. And it was really interesting. And it was the most meaningful that I’d ever felt about taking a character home where it’s like … I think I spoke about my wellness journey because I was playing the role. It ended up coming up through the press. … And for some reason, because I was Dana in someone’s mind, it meant something. And I thought, “Well, this was actually useful. This breaking of that wall between character and person was actually useful.”

Tom, you get the call that you’re cast as Robbie in “Task.” What’s the first thing you do to figure him out?

Pelphrey: When I read the first two episodes, I felt like I understood Robbie’s soul perfectly, but I knew that I would have to break my ass to get that accent right. So that was where I focused most of my conscious energy and discipline and time, was just [on the] technical, just on the accent. The fun part was, because he would be my age, thinking about growing up in Philly at that time and who his heroes would be, having ideas for tattoos, stuff like that. We had more time than you get sometimes before we had to start filming because we knew and then the writers’ strike happened. I had a lot of months to sit with him and emotionally and spiritually. And I’d just become a father. Obviously [with] Robbie, everything he does is for his kids.

Pfeiffer: It changes everything. It opens your heart.

Pelphrey: I was a new person. And I understood him in that regard perfectly and I couldn’t have before. I could have imagined it and now I knew for sure.

For “The Audacity,” Billy, you spoke with some tech folks. What did you come to understand about what they’re after as innovators versus what you’re after as a creative?

Magnussen: Listen, no one’s a villain in their own story. I believe that from Day 1, these people probably came to the Valley with genuine ideas. The genesis of their idea was to connect and really bring something powerful and important to society and people. And, “Oh wait, we’re making a lot of f— money.” And through that lens, you start being blinded by this humanity that’s around you or caring for people around you rather than a bottom line. When you’re in an incestuous pool or in a small bubble, culture is created. And like Facebook, their slogan was “Move fast and break things.” Being a bull in a china shop is not a good idea anywhere, but for some reason that was the culture. People just started doing that more and more and breaking things and breaking things and breaking things. I don’t think they started off that way, but the culture just bred them to become this way. I personally relate that to, I don’t want to say Hollywood or the entertainment world, but we’ve seen the toxicity. And we’ve been slowly trying to filter that out, I think, of Hollywood. But when you have a microclimate kind of culture feeding in toxic behavior and rewarding toxic behavior over and over again, it breeds it. So you start to have to scrape away that cancer. But again, the genesis of all these ideas were pure. We were 6 years old just dreaming to be something or being like, “I could do this.”

Pfeiffer: Pretending to be something else, other than what we were.

Magnussen: I empathize with that. I don’t think people are bad. I just think they’re lost sometimes.

Karolina, your character in “Pluribus,” Zosia, is carrying the weight of almost every person in the world. What do you remember about those discussions with [creator] Vince Gilligan and how he helped you unpack this character and the relationship with Carol, Rhea [Seehorn]’s character?

Wydra: I took a break for five years from acting before Zosia came into my life. I walked away at 39 to have kids and my agent and my manager dropped me and it was really terrifying to also be a woman and turning 40, to have children at that time. When Lou [her second son] was maybe a year-and-a-half [old], I got the itch of like, “God, I miss acting so much. How am I ever going to come back? How am I going to get an opportunity?” And I was 43 at the time and out of nowhere I got an email being like, “Hey, there’s this thing …” from a commercial agent that I was on their roster, but I did not work with them. And they said, “There’s this audition.” And I go, “OK.” I read it and I said, “Who wrote it?” And she said, “Vince Gilligan for Apple TV.” I went, “What? OK.” And I didn’t know anything about the project and it was always my dream to work with Vince from when I saw “Breaking Bad.”

Long story short, I’m here and the whole journey has been so wild, so insane. When I first would talk to him about Zosia, I was like, “God, how am I going to tackle the world and someone that has the highest emotional intelligence, someone that does all these different things? And how do you see the Others? How do you want them to move about the world and the complexities of who they are?” Vince is such a beautiful human being. He’s like, “They’re just happy and content.” You go, “OK, yeah, but … what else?” For me, Zosia is extremely spiritual. Meditation was my key, my go-to to get into that zone of connection to humanity, not in the physical but very spiritual way where, [if] you meditate enough, the ego gets lifted and you truly feel connected, and you feel one with everyone. And the wild thing, I think the greatest gift, was becoming a mother; I understood what it means, unconditional love. Because my heart lives outside my body all the time. And so becoming a mother was a gift to play Zosia, because I unconditionally love Carol. And now, no matter what she throws at me, I just love her, and take care of her, and I want to nurture her.

Michelle, you get the call from Taylor Sheridan, who also created “Landman” and “Yellowstone.” He says he wants to meet with you and he wants to do it on his turf in Texas, not yours. There’s no script. What does someone like Taylor Sheridan say to someone like Michelle Pfeiffer that will get her to agree to the show?

Pfeiffer: Well, he gave me a lot of tequila.

LaNasa: Writing this down: Tequila, check.

Pfeiffer: I got a call that he wanted to meet with me, that he had an idea for something, “But you have to come to Texas.” And I said, “Is there anything? Is there an outline? Is there a paragraph?” “No, no. He wants to explain it to you in person.” I had to stay the night in Fort Worth and then met with him and he gave me tequila, and then after a while I had to stop drinking. He gave me a very rough outline of the show, of the character … She’s been with the love of her life for 50 years. It’s the marriage that we all dream of having. And he dies suddenly, tragically, and … all of a sudden the rug is really just emotionally and psychologically pulled out from underneath them. And it’s how do you rebuild a life and it’s the study of grief. He said that I had committed that night, which I did not. I’d had a few cocktails. We went back and forth a little bit about [the fact] that I really would like to read something. And he said, “Well, I would really like to cast this before I write anything.” Then I realized I wasn’t going to win this battle and I reached out to Helen Mirren [who starred in Sheridan’s “1923”], who I don’t know, but I figured she doesn’t suffer fools and she would give me the truth about what it’s like to do this. She couldn’t have spoken [more] highly of everything. She said the scripts are wonderful. The production is wonderful. And loves Montana. And so I took a leap of faith. I never do that.

What stands out to you about his process versus then working with your husband, David E. Kelley, also a prolific writer, who adapted “Margo’s Got Money Troubles”?

Pfeiffer: I couldn’t be luckier working for two of the most talented and prolific writers in the history of television. [They’re] not that much different. I purposefully didn’t want to bug David because it’s not like we had any hard-and-fast rules about not working together, but we weren’t really actively seeking it out because that can get a little dicey, just looking at it from afar. I really cherish my marriage, and our family, and I just didn’t want to mess it up. I really mostly went to the director and every now and then I might throw a little something his way. And [with] Taylor … I would go through Christina [Alexandra Voros], our director, because he’s just not honestly that accessible because he’s got a bit going on. I personally don’t like to spend my time trying to rewrite things. It’s more interesting to me to try to make something work and then I end up finding something I never would’ve decided. It just takes you to a new place and it’s so much more interesting than anything I would have conjured up.

Zahn, you’re not only the lead in “Dark Winds,” but also an executive producer and directing episodes. I know there was a moment where your character was supposed to shoot someone in the face early on. And you felt strongly, “My character’s not someone that would do this.” Talk to me about leaning into speaking your mind.

McClarnon: There’s not a lot of Native characters on television. The foundation of that character obviously comes from Tony Hillerman’s books. So the foundation was set for that character. And when I got to a point in the season where I’m supposed to kill a man, shoot him in the head in the middle of the desert — first off, I didn’t see that in the books. And I know it’s television and we want drama and all that stuff, but also, to be honest with you, I want Native kids — see, I’m going to cry now — to have something to look up to. We grew up with these stereotypes and we grew up with these tropes of Native Americans. The only one I can really remember that I really looked up to was Will Sampson in “One Flew Over the Cuckoo’s Nest” because he was playing a trope, but he becomes the hero at the end of the story. It’s one of my favorite films. So when it came to that point where the writer said, “He’s going to kill this rich white man in the desert and shoot him in the head,” morally, I think Joe Leaphorn is more than that.

And it was simple. I sat down with the showrunner [John Wirth] and we talked about it, and we went back and forth for about a week. And I’m so glad that I have access to somebody like that. I have access where they’re not telling me, “No, this is the way it’s written. This is what you’re going to do.” So yeah, we decided not to shoot the guy in the head, where I’d just leave him out in the desert to fend for himself.

Katherine, you’ve talked to nurses and medical professionals in the making of “The Pitt,” but you were also a patient during your breast cancer journey, interacting with them a lot from the other side. What is something that they’ve told you or even something you observed in that time that really spoke to you about what they’re going through on the day to day in these jobs?

LaNasa: It’s funny, I’d always wanted to work with John Wells. I go through this period of all this unemployment, and then I get this job for John Wells. I had had cancer a year before and then had complications up to like six months before. It wasn’t until I got to the emergency room set that I was like, “Oh, this whole period … ” — the spirituality of that. I really believe that we need to be grateful for our life while we’re living it, no matter what’s going on. Because I still have my children, and I have nature, and I have my husband, and cooking, and my dog, and so many wonderful things. And I was really trying to hold onto that. It’s always this idea that maybe something is for a reason or whatever — now I’m going to cry. The fact that that was so purposeful, that I understood so deeply what it was to be a patient, what it was to be terrified going into the emergency department. I also understood how much it mattered when a nurse took a little extra time and was a little bit kind.

Pfeiffer: You’re going to make me cry.

LaNasa: And there was one particular nurse — I had my cancer, went through my radiation and then [went] back and forth, back and forth [to the ER]. And there was a week, the second trip to the ER [they thought I might have multiple sclerosis]. “Now do I have MS on top of having had cancer?” And I had a breakdown in the ER. And she’s like, “Listen, first six months after cancer are really bumpy, and it’s not going to stay like this. Do you need an Ativan?”

Magnussen: Did not see that turn.

LaNasa: It was that human touch. Or when they would come and give you a warm blanket or something. There’s a nurse, Kathy Garvin at County, who told me she wouldn’t do the job that she does being the [emergency department] charge nurse if it wasn’t in a county hospital. She wants to do that hard work for people that really need her. For the most underprivileged, for the unhoused. And I try to honor that in the story and to just bring that to life — their generosity and their humility.

The Envelope’s 2026 Emmy Drama Roundtable: From left, Zahn McClarnon, Michelle Pfeiffer, Tom Pelphrey, Katherine LaNasa, Billy Magnussen and Karolina Wydra.

There’s a lot of discussion in the industry right now about runaway production and can L.A. rebuild and what’s lost. I’m curious how you feel about this topic.

Magnussen: I live in Georgia and … one of our biggest exports as Americans is our culture. And if we just keep it isolated to Hollywood, I think we lose out at expressing everything we are as Americans.

McClarnon: We shoot on the Tesuque Pueblo. There’s 19 pueblos in New Mexico. We have taken over their old casino and we’ve converted it into a soundstage. We use their back lot. We obviously help out the tribe with renting the place out. And so I like shooting in New Mexico and supporting the local community, especially local Natives.

Pfeiffer: I think there’s room for all of it. We shot [a movie] in London that took place in Los Angeles. And it’s ridiculous that our entire industry has left. Los Angeles is really hurting. And a lot of people are hurting. All those jobs, all of those restaurants where people used to eat, people used to shop. And I think to not give the same sort of tax incentives that other states are doing — look, if it takes place in Georgia, you should go to Georgia. But I think Los Angeles was really built on the movie [industry].

LaNasa: I have a 34-year-old and a 12-year-old. I remember with my 34-year-old, even just being a young, starting-out mother, I would be like, “Well, I’m not going out of town. I have a child.” I would never go do a TV show out of town. I had a kid and the kid was in school and I needed to provide consistency for that child. And then with my second one, that was impossible. We would just not have been able to work. But it’s really hard on families. We are actors and we’ve come here to pursue the industry. We’ve moved here and we’ve risked something … L.A., for all of its problems, is a city of dreamers. It’s a city of people that came to pursue their art. And I am one of those people. And so in a way, I wasn’t really a citizen like the other citizens of Atlanta. I was outside. I didn’t have my community.

Magnussen: I know, but that’s the thing I have an issue with is this idea that, “It’s only there.”

Pelphrey: I’ll say this. Love that we get to film all over our beautiful country. Would love to keep the jobs in this country. That would be the nice part. Because when everybody’s like, “Oh great, we can go to Belarus or London.” Guess what? All of us get to go. Our crew doesn’t get to go — the people that we know that we need, that we work with, that we make these things with. We get to go wherever the f— we want, actors, directors, but the crew doesn’t.

I come from a family of priests and devoted Catholics. Catholicism is the blood in my veins. My father was not a disciplinarian, but if you lived under his roof you went to church. Saturday evening or Sunday morning, didn’t matter, you went. My four siblings and I were not miscreants, but we drank beer and sneaked out, and I was once cited for stealing liquor. I can’t recall my father ever yelling at me for anything other than missing Mass.

My great-uncle Dan was a diocesan priest at St. Charles Borromeo in Drexel Hill, Pa. Dan was a fire-and-brimstone hard-liner. Every Thursday we’d gather as a family for a roast beef dinner at my grandmother’s house. Dan would drink Manhattans — plenty — and if someone expressed a view of God contrary to his own, he’d say, “It’s awfully hot down there.” “There” meant hell. My uncle Ed, my mother’s eldest brother, was an Augustinian. Patient, compassionate, inclusive, Ed’s God was very different from Dan’s. While discussing God, Ed would quote Michael Himes, “There is nothing we can do to make God not love us,” and the Trappist monk Thomas Merton, “Mercy, within Mercy, within Mercy.”

Sports was in my family too — basketball, specifically — and I came to view Dan and Ed as head and assistant coach, respectively. The head coach shouting harsh critiques from the sideline, the assistant coach there to put his arm around you when you made it, crestfallen and ashamed, back to the bench. I loved them both, but I aligned with Ed’s view of God. Dan passed away a decade ago. Ed has since left the priesthood and married a kind and patient woman named Kathy. Over the years, Ed’s views on God have changed drastically. We meet for dinner once a month to talk about life and faith, and it was during one of our conversations that “Task” was born.

Mark Ruffalo in “Task.”

(Peter Kramer / HBO)

Tom Brandis, played by the singular Mark Ruffalo, is a former priest-turned-FBI agent who has lost his faith. Everything he held as truth in his life has come crashing down in the wake of a family tragedy. Tom believes he was called by God to adopt two children, Emily and Ethan. Adopting these children has resulted in the death of his wife, Susan. Matricide. What kind of God allows that? I have struggled with my Catholic faith over the years, but nothing has perplexed me more than the idea of suffering. The poet Archibald MacLeish wrote, “If God is God, He is not good / If God is good, He is not God.” The message is clear: If God is God, the author of everything, then He created evil and suffering and therefore cannot be good.

In “Task,” I wanted to explore a crisis of faith with honesty and without easy answers, because that is exactly how I have found my own faith journey — arduous and circuitous. I believe in God, but I find that belief tested daily. Faith and religion are separable. Tom’s journey in “Task” is a journey of faith. In the fifth episode, Tom is kidnapped by the criminal Robbie Prendergast, played by the brilliant Tom Pelphrey. During a long and tense car ride to the Poconos, Robbie tells Tom that he doesn’t believe in God. Never has. God is an idea conjured to make life bearable. “There’s nothing after this life,” Robbie says. Tom doesn’t argue. His own beliefs have veered in that direction. The car pulls into a secluded, wooded area. Facing death, Tom suddenly wants to call his son, Ethan, and forgive him. Robbie doesn’t allow it. Instead, he walks Tom to the edge of the woods, tells him he’s a decent man, and sets him free. Because Robbie has his own plan: to sacrifice his life in the hopes of providing a better one for his family. It’s through Robbie’s act of mercy that Tom regains faith. He believes in goodness again.

Brad Ingelsby.

(Ian Spanier / For The Times)

In the final episode, Tom finds himself taking care of a young and suddenly parentless boy, Sam. Sam reminds him of his own son, Ethan. Sam wants to live with Tom. And Tom desperately wants Sam to stay with him. But Tom also recognizes that Sam would be better served in the care of a young family capable of meeting his needs. Sam shouldn’t be stuck with an old man like him. Tom lets Sam go; he believes the boy will be taken care of. That is Tom’s act of faith.

When Ed and I met for dinner last month, we talked about how his idea of God has changed over the years. He no longer sees God as a bearded white man tallying our sins and waiting to judge us in heaven. He thought God was everywhere, all the time. The love that exists between people. He thought he could feel God right then, among us at the table as we laughed. We talked about Camp Mystic. The young girls swept away. Why, God? They were there to serve You. We didn’t have any answers. We never do. But the food and wine were good, and we talked about great-uncle Dan, about how he was so different from us but how much we loved him anyway, and how, when he drank Manhattans — plenty — he could turn harsh and opinionated, but it didn’t matter because he loved God. He loved Him with his whole heart, and we thought about the unimpeachable dignity of that and what an amazing gift it would be — to believe and never doubt.

A Death in Paradise icon hasn’t strayed too far from the world of crime and mystery.

Death in Paradise fans need to watch this “incredible” drama, especially after this important update.

Death in Paradise legend DS Florence Cassell (played by Josephine Jobert) originally debuted in the BBC cosy crime back in season four before leaving in series eight.

She thankfully returned to Saint Marie and her story ended in season 13 when she happily sailed away with former boss DI Neville Parker (Ralf Little).

For those who are missing watching Jobert on their screens, Death in Paradise fans can now catch her in the Canadian detective drama Saint-Pierre.

The first season has only recently become available on U&Alibi, as well as Sky and NOW, in the UK, after first airing in Canada in January 2025, followed by series two in January 2026.

Now it’s been confirmed that Saint-Pierre will be back for a season three with UK fans expecting the latest two series to soon be made available to them.

Filming for this 12-episode third season will reportedly begin in Saint-Pierre-et-Miquelon and Newfoundland, Canada, in July.

As of yet though, there has been no confirmation as to when UK fans will be treated to the second season.

Jobert portrays mysterious Parisian Deputy Chief Genevieve “Arch” Archambault who is forced to work alongside disgraced officer Donny “Fitz” Fitzpatrick (Allan Hawco) after he’s exiled to the small French collectivity.

While the pair initially clash because of their different styles of investigation, they soon realise that they make a great team, delving into a new case every episode.

Scoring an impressive 80% on Rotten Tomatoes, it’s no wonder fans have been praising Saint-Pierre on IMdB.

“Obsessed! Seriously, I’m hooked. Every week, they leave you hanging with a cliffhanger, and I’m just dying!”, a fan commented.

Another described it as a “must watch”, while a third echoed: “The cast are excellent – they have great chemistry.

“Also Saint-Pierre is STUNNING! It’s a character all on its own and the scenery makes me want to visit someday – I didn’t even know it existed!”

Someone else said it was an “incredible series” as another added: “Just love this show! It’s so much more than a police procedural. The chemistry between Fitz and Arch has me hooked!”

Saint-Pierre is available to watch on U&Alibi, Sky and NOW.

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

Both made by 20-something directors who emerged from the world of YouTube, the horror movies “Obsession” and “Backrooms” are dominating the conversation. They could come to represent a pivotal moment for how Hollywood engages with young talent and audiences alike.

I saw Curry Barker’s “Obsession” this week at a packed holiday matinee and Kane Parsons’ “Backrooms” is on track for a huge opening weekend — maybe the largest in A24’s history. The fact that audiences are responding to these films is exciting and one has to hope that Hollywood takes the right message from their successes: to give young filmmakers the space to create the projects they want to make, rather than shoehorn them into preconceived notions of what people want. Audiences right now seem to be proving themselves to be adventuresome when given the opportunity to try something new.

Marilyn at 100

Marilyn Monroe in the 1953 classic “Gentlemen Prefer Blondes.”

(Academy Museum)

When Marilyn Monroe’s death was first reported in The Times on Aug. 6, 1962, the news read, “Marilyn Monroe, a troubled beauty who failed to find happiness as Hollywood’s brightest star, was discovered dead in her Brentwood home of an apparent overdose of sleeping pills.”

That intertwining of the glamour and sex appeal of her public persona with an air of doomed tragedy would permanently attach itself to her image, making her one of the most unforgettable stars Hollywood has ever created.

Monday marks the 100th anniversary of Monroe’s birth in L.A.’s Boyle Heights, where she was born Norma Jeane Mortenson. In celebration of Monroe’s centennial, the Academy Museum will open a new exhibition on Sunday, “Marilyn Monroe: Hollywood Icon,” featuring hundreds of objects including personal materials never before displayed and a number of her most memorable costumes.

The museum will also launch a 17-film series spotlighting Monroe’s remarkable career, including her versatile talent as both a comedian and a more dramatic performer. Highlights include the 1953 thriller “Niagara,” 1950’s backstage drama “All About Eve” in a new 35mm print with an introduction from journalist Lorraine Nicholson and 1955’s “The Seven Year Itch” with writer Kim Morgan introducing. Elsewhere, “Some Like It Hot” from 1959 and Monroe’s final completed film, “The Misfits,” will both show in 4K.

On Sunday, “Gentlemen Prefer Blondes” will play in the Academy’s David Geffen Theater in 4K. There are also other Monroe screenings and events around the city, including multiple shows of “Gentlemen” at the Gardena Cinema on Saturday.

Marilyn Monroe and photographer Bruno Bernard backstage at the Hollywood Bowl in 1953.

(Bernard of Hollywood Foundation Archive)

Authors Mark A. Fortin and Joshua John Miller have collaborated on a new book, “The Marilyn Monroe Century: From Norma Jeane to Icon — A Story in Photographs.” The culmination of a seven-year-long research process, the book unearths original negatives of pictures of Monroe taken by Miller’s grandfather, acclaimed photographer Bruno Bernard. Bernard, who died in 1987, shot with her before she had even adopted the name Marilyn Monroe and took the best-known images of her, standing on a subway grate with her white dress billowing up while in production on “The Seven Year Itch.”

“One of the stories I’m trying to tell with a lot of these pictures is to counter the narrative that Marilyn didn’t have agency in the creation of her persona,” says Miller in a recent Zoom call from a room at the Chateau Marmont. “The truth is she was very much instrumental in constructing her image. And Bruno was a big part of that. Photographers at that time were not only the photographer — they were the best friend, the therapist, the agent, the stylist. I think it’s really important to have context for these pictures because this kind of history gets lost.”

The book does a remarkable job of providing additional atmosphere around images that might already be familiar, giving a fuller sense of what was going on both inside and outside of the frame. The notorious subway-grate scene was actually shot twice, first in New York and again in Los Angeles.

“I think what I’ve been trying to do is not rewrite the narrative, but thread [Bruno] correctly back into the stitching of Marilyn’s mythology,” Miller says. “He is one of the only photographers who deeply knew both Norma Jeane and Marilyn. I know everyone says they know the ‘real Marilyn,’ but he was part of the construction with her to create that.”

The joy of sadness with ‘Bleak Week’

Joseph Gordon-Levitt and Brady Corbet in the movie “Mysterious Skin.”

(Tartan Films)

“Bleak Week: Cinema of Despair” has become the signature program of the American Cinematheque, expanding beyond its L.A. footprint for editions at other theaters not just around the country but around the world. Turning sadness, depression and defeat into group activities to be enjoyed together has been an ingenious masterstroke of programming.

Now in its fifth edition, this year’s highlight will be a series with Isabelle Huppert, who will be present for screenings of such downbeat fare as “The Piano Teacher,” “Le Cérémonie,” Violètte Noziere,” “Elle,” “Time of the Wolf” and “Heaven’s Gate.”

Filmmaker Ari Aster will also be present for a complete retrospective of his four features. Other guests include Denis Villeneuve with “Incendies,” Allen Hughes with “Dead Presidents,” Al Pacino with “The Godfather Part II,” Gregg Araki with “Mysterious Skin,” Robert Englund with “Buster and Billie,” Werner Herzog with “Heart of Glass” and Theresa Russell with “Bad Timing.”

I will be introducing the U.S. theatrical premiere of a 4K restoration of Carlos Saura’s 1966 “The Hunt” and moderating Q&As with filmmaker Richard Kelly for the 20th anniversary of the Cannes cut of “Southland Tales” and actor Haley Joel Osment for a 25th anniversary 35mm screening of “A.I. Artificial Intelligence.” And The Times’ Joshua Rothkopf will moderate a Q&A with Aster for “Eddington,” while Amy Nicholson will talk to Aster for “Midsommar.”

UCLA’s Festival of Preservation

Leslie Uggams in 1972’s “Black Girl.”

(UCLA Film & Television Archive)

The UCLA Festival of Preservation is one of the city’s most-longstanding and venerated events for film lovers, celebrating revered classics and rediscovered obscurities alike. This year’s edition, the 22nd, opens with the West Coast premiere of a new restoration of Ossie Davis’ 1972 “Black Girl,” an adaptation of J.E. Franklin’s successful play about thee generations of Black women.

Jose Luis Ruiz’s groundbreaking 1975 documentary on Latino immigrants, “The Unwanted,” will have a restoration world premiere. The restoration of Budd Boetticher’s 1955 melodrama “The Magnificent Matador,” starring Anthony Quinn and Maureen O’Hara, brings back the film’s stunning look in Cinemascope and Eastmancolor.

Andre de Toth’s 1948 thriller “Pitfall,” starring Dick Powell and Lisbeth Scott, will have a world premiere restoration. The series concludes with De Toth’s stylish romantic drama “The Other Love” from 1947 starring Barbara Stanwyck. The restoration reinstitutes the original ending of the film unseen by audiences since the 1940s.

Former Times critic Keneth Turan has made his own picks for what not to miss.

A tender coming-of-age romance

Vincent Spano and Rosanna Arquette in the movie “Baby, It’s You.”

(Paramount Pictures)

Produced by Amy Robinson and Griffin Dunne between their work on Joan Micklin Silver’s “Chilly Scenes of Winter” and Martin Scorsese’s “After Hours,” the 1983 movie “Baby It’s You” captures a number of rising talents at just the right moment. Only the third feature written and directed by John Sayles (and still his only movie made at a Hollywood studio), the film is a particularly smart take on the coming-of-age romance, with a sharp sense of time and place. It’s even shot by cinematographer Michael Ballhaus, fresh off his collaborations with Rainer Werner Fassbinder but before his long collaboration with Scorsese.

Set in late-1960s New Jersey, the story involves a good-girl high schooler preparing for college (Rosanna Arquette, who lights up the screen) who falls for a bad boy with few future prospects (Vincent Spano). The film will show on Wednesday in a 4K restoration at the Academy Museum with Arquette and Spano both scheduled to attend.

In a 1983 Times review, Shelia Benson said the film “explores questions of class and unequal opportunity with humor and tender insight,” adding that Spano and Arquette “together conjure up every improbable, love-struck couple who ever dazzled us ordinary mortals in the halls or at the senior prom.”

New this week

• Kane Parson’s horror film “Backrooms” stars Renate Reinsve and Chiwetel Ejiofor in an adaptation of Parson’s own popular YouTube videos. As Amy Nicholson wrote, “Given that backdrop, ‘Backrooms’ would be one of the year’s most significant releases even if the movie itself was merely fine. But it’s better than fine — it’s a work of honest-to-goodness art.”
• Katie Walsh reviews the crime thriller “Tuner,” starring Leo Woodall as a piano tuner who gets in over his head with the wrong people. The film is the fiction feature debut from Oscar-winning documentary filmmaker Daniel Roher.
• The latest music-themed film from Irish writer-director John Carney, “Power Ballad” is about a failed-to-launch songwriter (Paul Rudd) trying to get credit for the tune he co-wrote with a boy band star (Nick Jonas). Amy Nicholson reviews.

As fans anticipate the Call the Midwife prequel, they can enjoy four seasons of another heartwarming drama set in the 1930s.

Call the Midwife fans are urging period drama lovers to watch a show that features an All Creatures Great and Small star.

Earlier this year, season 15 of Call the Midwife left viewers in tears when Sister Monica Joan (Judy Parfitt) passed away peacefully at Nonnatus House from chronic kidney disease.

The much-loved, who had been a part of the BBC show since its launch in 2012, declined medical intervention for her health condition, allowing the illness to take its natural course, leaving her friends devastated.

The future of Nonnatus House also remains unknown due to advances in the National Health Service. However, the drama will return with a prequel, a movie, and season 16.

While fans wait for new episodes, they can watch another popular period drama featuring some well-known actors.

The Durrells, which originally aired on ITV back in 2016, is based on the best-selling book trilogy by author Gerald Durrell, chronicling his childhood on the Greek island of Corfu in the 1930s.

Keeley Hawes plays matriarch Louisa Durrell, who relocates her family from Bournemouth to the island of Corfu after struggling financially following the untimely death of her husband a few years earlier.

Making up the Durrells are Louisa’s four children, including sons Lawrence (Josh O’Connor), Gerald (Milo Parker), Leslie (Callum Woodhouse), and her only daughter, Margo (Daisy Waterstone).

All Creatures Great and Small fans will recognise Callum Woodhouse as rule-breaking veterinarian Tristan Farnon in the period drama.

The Durrells consists of four seasons and proved a hit with critics and viewers alike, earning a BAFTA and a TV Choice Award for Best Drama Series in 2017.

Seasons two and three also still have a perfect 100% Rotten Tomatoes rating, with one fan describing it as: “Full of sibling squabbles, an exasperated mother and gorgeous beach scenery. Despite the family drama, Durrells always maintains a sweet, loving tone.”

Taking to Reddit, one Call the Midwife asked: “Almost done with Call the Midwife on Netflix and it has become my newest comfort show. What else can I watch that will scratch my cosy historical itch?”

One person replied: “The Durrells or All Creatures Great and Small!”, while another echoed the sentiment and commented: “Yes! The Durells of Corfu was the first thing I thought of!”

“The Durrells is great”, added one fan as another suggested: “Agree and would add Grantchester.”

On IMDb, one fan referred to The Durrells as a “Lovely, quirky show”, while another commented: “Heart-warming but in a good way”.

“I see this as a charming, sun-baked, Mediterranean-blue inspired bit of froth. The family is suitably wacky, the scenery is stunning and the script is full of good fun. Opa!”, added another.

The Durrells is available to stream on Disney+ and all seasons of Call the Midwife are available to watch on BBC iPlayer

New football drama Dear England premiered on BBC One on Sunday night, with viewers sharing their verdict

The BBC’s new football drama, Dear England, premiered on Sunday night.

Starring Joseph Fiennes as former England manager Gareth Southgate, the series is a fictionalised account that follows the success and struggles of the England men’s football team from 2016 to 2024.

The drama is based on James Graham’s play of the same name, and also stars Jodie Whittaker as psychologist Pippa Grange, Daniel Ryan as England football coach Steve Holland, and Will Antenbring as Harry Kane.

That’s not all, as John Hodgkinson plays football executive Greg Clarke, while Jason Watkins brings football administrator Greg Dyke to life.

Other footballing stars are also played by talented actors, including Harry Maguire, Jordan Pickford, Dele Alli, Marcus Rashford, Raheem Sterling, Wayne Rooney, Jordan Henderson, and Eric Dier.

The official synopsis reads: “With the worst team track record for penalties in the world when he takes over as manager, Gareth knows he needs to open his mind and face up to the years of hurt to take England back to the promised land.

“The country that gave the world football has delivered a painful pattern of loss. Why can’t the England team win at their own game?”

The first episode of Dear England premiered on BBC One and iPlayer on Sunday night (May 24), with viewers quickly praising Joseph Fiennes’ portrayal of Southgate.

“Joseph Fiennes as – no, IS! – Gareth Southgate. Playing a blinder!!” one person wrote on X (formerly Twitter), with another adding: “Got the Southgate casting spot on.”

A third said: “Joseph Fiennes is actually incredible as Gareth Southgate. The mannerisms, the voice, the look – it’s uncanny. Superb performance,” with another similarly sharing: “That Southgate voice is uncanny.”

A fifth viewer echoed the sentiment, saying: “I watched Dear England in the theatre and it was really b***** good. This might be even better. Fiennes is impeccable.”

Other fans commended the drama, with one person saying: “#DearEngland is great. I saw this at the theatre and it was a gem.”

Another added: “Eight minutes in, and I’m liking this already,” while a third said: “#DearEngland Watched the stage show at Birmingham Hippodrome it was brilliant, very funny and poignant. This has started well.”

The first episode saw Gareth Southgate take on a team at an all-time low, as well as a jaded fanbase after an embarrassing defeat to Iceland.

Haunted by his own disastrous penalty miss as a player, he enlists the help of a psychologist to change the team’s mindset and tackle their biggest fear.

Dear England is set to continue tomorrow (May 25) night, before the final two episodes air next Sunday (May 31) and Monday (June 1).

Dear England is available to stream on BBC iPlayer

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

There are, it goes without saying, a lot of movies out there. And so even for someone like myself, whose job is just to stay on top of them, sometime a title slips by. I had not taken much notice of “Is God Is” before it opened last week without playing any festivals in advance, but the reviews and conversation around it grabbed my interest. Once I realized that Tessa Thompson and Janicza Bravo were involved as producers, I made sure to carve out time to see the movie this week. And am I ever glad I did.

The debut as writer-director for Aleshea Harris (adapting her own play), “Is God Is” is among the most exciting movies released so far this year. Kara Young and Mallori Johnson are absolutely electric as twin sisters who set out to find the estranged, abusive father who abandoned them after leaving them and their mother horribly scarred in a fire. There is a volatile unpredictability to the storytelling that gives it a fresh energy. I saw it at a more-or-less empty matinee, but I’m glad I did. Catch this in theaters while you can.

35 years of ‘T2’

Linda Hamilton in the movie “Terminator 2: Judgment Day.”

(Rialto Pictures)

As far as I’m concerned, James Cameron’s 1991 “Terminator 2: Judgment Day” is the quintessential summer movie. You can pay close attention or not, the special effects and action are amazing, the villains are sentient machines (shades of our AI-addled present) and it has a song by freaking Guns N’ Roses.

The main cast of Arnold Schwarzenegger, Linda Hamilton, Robert Patrick, Edward Furlong and Joe Morton are all perfectly tuned into the movie they are making, full of chaos, mayhem and just the right amount of thoughtfulness. (Morton and Hamilton in particular give the film an unexpected soulfulness.)

To celebrate the film’s 35th anniversary, the American Cinematheque is screening the film in 70mm, 35mm, 3D and DCP at different venues on different days. (Check carefully, as there have already been some schedule changes.) The Academy Museum will show the film on Wednesday in 4K with visual effects supervisor Dennis Muren and special effects creator Shane Mahan present. The film is also playing the Vista in 70mm June 6 and 7.

In his original 1991 review, Kenneth Turan wrote, “Most of all, what makes ‘Terminator 2’ come alive in a major way is Cameron’s intuitive understanding of the mechanics and psychology of action films. Unlike many of the wanna-bes who find themselves in charge of pictures these days, this is one director who really knows how to direct. … Cameron flamboyantly underlines, for those who may have forgotten, why the pure adrenaline rush of motion is something motion pictures can’t live for very long without.”

Lena Dunham before ‘Girls’

David Call and Lena Dunham in the movie “Tiny Furniture.”

(Joe Anderson / IFC Films)

Lena Dunham recently published her second memoir, “Famesick,” a portrait of her rise to cultural prominence and media ubiquity and subsequent retreat from it, which makes this a perfect moment to revisit a key component of her initial ascent, the micro-budget 2010 feature “Tiny Furniture.” Made when Dunham was in her early 20s, the film is a deadly accurate portrait of post-collegiate ennui, shot partly in her parents’ NYC apartment, and remains fresh and startlingly insightful.

The Eastwood Performing Arts Center will be screening the film Friday and Saturday. The film is showing along with the “Welcome to Bushwick a.k.a The Crackcident” episode of Dunham’s series “Girls.”

I profiled Dunham at the time, having first encountered her at SXSW the year before when she was there with her film “Creative Nonfiction.”

“That movie is so personal,” Dunham said of “Tiny Furniture” during an interview from the New York production office of the pilot for what would become “Girls.” “It’s like I wrote it, I directed it, I star in it — if you don’t like the movie you don’t like me.”

With the lacerating self-awareness that made her a star, she added, “And I also understand there is something essentially unappealing about ‘girl makes movies about being a loser and then gets un-loserly things to happen to her.’ It’s a little absurd.”

More onscreen Bob Dylan

Rupert Everett, Fiona Flanagan and Bob Dylan in a production still for 1987’s “Hearts of Fire.”

(Skinner / Mirrorpix / Getty Images)

It was just a few weeks ago that we wrote about a program of Bob Dylan live concert footage. In honor of his 85th birthday, the American Cinematheque will be putting on another program of two oddball rarities from his long career.

Rarely screened in theaters, the 2021 film “Shadow Kingdom,” directed by Alma Har’el, was originally released to a pay-per-view streaming site. Though it purports to be a performance at the Bon Bon Club in Marseille, France, the film was actually shot on a soundstage in Santa Monica. The musicians on screen are not playing live and are not even the same musicians who played on the prerecorded tracks.

The whole thing is very confusing in a very Bob Dylan way, but also kind of incredible. With its Dust Bowl “Twin Peaks,” last-nightclub-on-Earth vibes and spare, haunting arrangements of many Dylan classics that he rarely plays at his own concerts anymore, it is a truly one-of-a-kind document.

The same could be said of the 1987 film “Hearts of Fire,” directed by Richard Marquand (who also helmed “Return of the Jedi!”) and screening in 35mm. In a rare acting turn, Dylan plays a reclusive musician who takes a young singer (Fiona) under his wing, only to have her fall for a pop star played by Rupert Everett. Let’s charitably call Dylan’s performance singular as he delivers every line as if he isn’t sure why he is in the movie. It’s still fascinating.

Kurosawa’s late masterpiece

Mieko Harada in Akira Kurosawa’s 1985 epic “Ran.”

(Rialto Pictures)

One of the highlights of the Academy Museum’s ongoing series on Japanese filmmaker Akira Kurosawa will be this weekend’s 35mm showing of 1985’s “Ran,” a retelling of Shakespeare’s “King Lear” shifted to 16th century Japan. Playing in 35mm in the big David Geffen Theater, it’s a chance to see a truly epic-scaled film under ideal conditions.

Reviewing the movie on its initial release, Kevin Thomas wrote, “‘Ran’ is a heroic saga of human destiny, a war movie with some of the greatest battle scenes in the history of the cinema, a costume drama of the utmost magnificence — and a crackling good samurai movie chock full of swordplay and palace intrigue.”

David Fincher’s secret soft heart

Gary Oldman and Amanda Seyfried in the movie “Mank.”

(Netflix)

The last couple months have been a real feast for Fincher-heads out there, with high-profile screenings of “Seven,” “Fight Club” and “Zodiac.” Now, David Fincher’s 2020 film “Mank” will be playing this weekend at the Vista. Because it came out during the pandemic (and was launched by Netflix), the film has only ever played a limited number of theaters, let alone in 35mm, which should do wonders for its black-and-white photography.

From a screenplay by Fincher’s father Jack, the film stars Gary Oldman as writer Herman J. Mankiewicz, working on the script for “Citizen Kane” with Orson Welles. Amanda Seyfried gives a vibrant performance as actor Marion Davies, who attempts to save Mankiewicz from his own worst instincts when it comes to her own paramour, mogul William Randolph Hearst.

In his review Justin Chang called the movie “very much a story about class divides and clashing egos, outsiders and insiders, striving and ambition, creation and authorship, and the thrill and loneliness of being the smartest guy in the room. … The off-kilter rhythms feel both immersive and agitated, as if Fincher were trying to both hypnotize you and jolt you awake with his lustrous Old Hollywood homage.”

New this week

Director Boots Riley, photographed in Los Angeles in May.

(Ian Spanier / For The Times)

• Amy Nicholson and Joshua Rothkopf finished out their time at this year’s Cannes Film Festival. (The awards will be announced over the weekend.) Amy took a look at what many have felt to be a weak program this year, while Josh spoke to Korean filmmaker Na Hong-jin, whose sci-fi action film “Hope” has a cast that includes Michael Fassbender and Alicia Vikander as space aliens.
• I spoke to Boots Riley, a musician and political activist turned filmmaker whose new movie is “I Love Boosters.” Riley maintains a deep sense of political commitment in his work, one which he does not feel he has to betray by also making things that are entertaining and enjoyable.
• The first new “Star Wars” movie in theaters since 2019, Jon Favreau’s “The Mandalorian and Grogu” is now playing. As Robert Abele put it in his review, “The brand is back together for ‘The Mandalorian and Grogu,’ which is a movie, a hoped-for franchise revival, a fourth season of sorts and an affable throwback. But it’s never quite riveting enough as canon or fodder to supplant anyone’s memories of [insert favorite “Star Wars” film here].”

The hit period drama has been hailed by fans as ‘even better than Downton Abbey’ – and both were created by the same person.

A period drama branded “superior” to Downton Abbey has totally captivated audiences.

The star-studded series, which fans are describing as “pure binge-worthy escapism”, has already secured renewal for an additional season.

Historical drama enthusiasts will be thrilled to discover the acclaimed new programme was crafted by Julian Fellowes, the creative force behind international hit show Downton Abbey.

Taking place several decades prior to the ITV drama, this series unfolds in the USA, with an IMDb synopsis stating: “The conflicts surrounding the new money Russell family and their old money neighbors, the van Rhijn family, in 1880s New York City high society.”

The Gilded Age debuted its inaugural season in 22, with season 3 landing just last year in 2025, reports the Express.

Fans are already clamouring for additional episodes, as the most recent instalment delivered more “nail-biting drama” than previously seen.

The impressive ensemble also boasts numerous recognisable talents, including The White Lotus’ Carrie Coon, Poldark’s Harry Richardson, Sex and the City’s Cynthia Nixon and Mamma Mia! star Christine Baranski.

Numerous devotees have championed the period drama, with one posting to The Gilded Age Fan Page on Facebook: “The Gilded Age is even better than Downton Abbey.”

In the comments section, multiple viewers expressed their views, with one agreeing: “Listen up! I just wrapped up the first season of Downton Abbey to carry me over until tonight, and let me tell you, it’s a solid show. However, The Gilded Age is on a whole different level.”

“The Gilded Age is indeed superior!” a second declared, as another contributed: “I actually agree but only because I’m American and this history is more close to home personally. Very interesting!”

Nevertheless, others disagreed, with one person stating: “I love The Gilded Age BUT Downton Abbey stands alone no comparison.”

Another added: “Sorry but Downton Abbey is better in my eyes but I do love the Gilded Age too.”

Others couldn’t decide, with another viewer explaining: “They are equally wonderful. A pair of timeless masterpieces.”

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Sky is giving away free subscriptions to Netflix, Disney+, HBO Max, Hayu and discovery+ to customers on the Ultimate TV bundle. This also includes 135 channels such as Sky Atlantic and Sky One.

Meanwhile, some enthusiasts recalled one of Britain’s most celebrated period dramas, observing: “But not as good as the original Upstairs, Downstairs, on which it was based.”

Another concurred: “Oh guys, Upstairs Downstairs from the 70’s was deeply wonderful.”

The Gilded Age boasts an impressive 89% fresh rating on Rotten Tomatoes, with season 3 in 2025 achieving its highest score yet of 96%.

Taking to the comments section on the review aggregator platform, one enthusiast remarked: “Amazing series! Can’t wait for season 4.

“The show keeps getting better!” another gushed, as a third penned: “One of the best series on TV.. I and my daughter absolutely loved it. All 3 seasons. The nail biting drama at the end of each episode, kept us on the edge of our seats. Nicely done. The acting was superb.”

“I have been watching this show since the 1st season and it just gets better and better,” another concurred, as another contributed: “Love it!!! the Gilded Age is pure binge worthy escapism!!”

One enthusiastic viewer wrote: “Best show on TV right now! I am from India and I freaking low this show. Been a fan of Downton Abbey and this show just gives more drama, power issues and love lessons. Beautiful to the core! Love it.”

The Gilded Age is currently available to watch on Sky, while Downton Abbey can be streamed on ITVX.

A British historical fantasy drama series has left viewers on the edge of their seats

Fans of period dramas have been eagerly binge-watching a beloved series.

Britannia is a British historical fantasy drama created by Jez Butterworth and Tom Butterworth. The series is set in 43 AD, when the Romans invaded Britain – 90 years after Julius Caesar failed to conquer the nation.

General Aulus Plautius and his second-in-command, Lucius, are hell-bent on succeeding where Julius Caesar fell short, by whatever means necessary.

The series chronicles Rome’s conquest of the Celts across the British Isles – “a mysterious land ruled by wild warrior women and powerful druids who can channel the powerful forces of the underworld,” according to the official synopsis.

Celtic rivals Kerra and Antedia eventually join forces to repel the Roman invasion spearheaded by Aulus. But are they successful? You’ll need to tune in to find out, reports Wales Online.

Britannia originally aired on Sky Atlantic in the UK in 2018, with two further series following in 2019 and 2021. For those wishing to immerse themselves in the mystical era of the Roman Empire, all 27 episodes are now available to stream on NOW and Sky Go.

The programme boasts an impressive ensemble cast, featuring David Morrissey as Aulus Plautius, Hugo Speer as Lucius, and Yellowstone’s Kelly Reilly as Kerra. Further stars include Aaron Pierre, Zoë Wanamaker, Mackenzie Crook, Nikolaj Lie Kaas, Barry Ward, Stanley Weber, Joe Armstrong, Eleanor Worthington Cox, and Ian McDiarmid.

The production was largely shot across Wales and the Czech Republic. In Wales, the dramatic coastline and untamed landscapes were captured in rural settings, including the nation’s “most beautiful” beach Rhossili Bay, along with Henrhyd Falls and Nash Point.

Britannia garnered a broadly favourable response following its launch, with numerous critics labelling it “the new Game of Thrones”.

Viewers have similarly praised the series, with one IMDb user commenting: “What an epic series! You’ll definitely not regret watching this show. It’s perfect.”

Another wrote: “Excellent production, breathtaking locations, amazing cast. One of the best series I have watched in a while,” while a third remarked: “A magical retelling of British history. Game of Thrones fans will love this.”

A further viewer posted: “One of the best series ever! Captivating story telling with superb locations. A wild tale brought to life. Couldn’t stop watching. I’m hooked!”

A fifth enthusiast concurred, stating: “The show is brilliant, the actors are phenomenal. Crazy, funny, and steamy. Total masterpiece.”

Yet another viewer noted: “Britannia is a mesmerising historical fantasy series that masterfully blends myth, mysticism, and warfare. The series stands out for its bold storytelling, rich character development and immersive soundtrack. If you’re a fan of historical dramas with a touch of the mystical, Britannia is a must-watch.”

Britannia is available to stream on NOW and Sky Go

The BBC has shared cast details of an upcoming drama about a celebrity legal battle

The BBC has shared a major update on its upcoming drama about a celebrity legal battle that spirals out of control.

Described as “high-stakes, intoxicating and hugely entertaining”, Reputation was announced earlier this year.

But the broadcaster has now confirmed that filming is underway and that some huge stars have been added to the cast, including Rivals’ Emily Atack, Mad Men star Christina Hendricks and Naomie Harris from Skyfall.

The six-part series centres on Lena (Naomie), a formidable lawyer who gets pulled into the celebrity case of the decade representing global pop star Davina Knight (Christina).

A synopsis reads: “Reputation is an audacious and glossy new drama that shows what happens when a celebrity legal battle spirals out of control. After Davina releases a provocative new song accusing her ex-husband, Billy (Kyle Soller), of abusive behaviour and he retaliates in kind, their private breakdown erupts into a very public libel battle.

“The case is fought far beyond the courtroom, as PR machines are deployed, laws are bent and social media platforms become judge, jury and battleground – driving outrage for clicks and warping the truth.”

It goes on: “For Lena, the case puts her own personal life in the line of fire. How far will she go to win and at what cost? And for Davina, how far will she go to protect her reputation?”

Naomie said she was “hooked” from page one of Reputation, adding: “It’s so rare to read scripts with the wit and flair of Anya’s (creator and writer Anya Reiss) writing and I knew straight away that I wanted to play Lena.”

Christina added that Davina was “a fantastic, fierce character”.

Other cast members include The Crown’s Alex Jennings, David Gyasi from The Diplomat and Prime Target’s Alex Heath.

Lindsay Salt, director of BBC Drama, said when the series was announced: “Reputation is high-stakes, intoxicating and hugely entertaining, with a lot to say about the world.”

She added that in Elaine and Davina, Reiss “has created two lead characters for the ages”.

Reputation is set to air on BBC iPlayer and BBC One.

Noah Wyle is a consensus pick, with a sizable lead over Mark Ruffalo. Glenn Whipp sums up the Buzz: “There’s little chance that Noah Wyle doesn’t repeat.”

The panel, though, says it would like to see the academy sidestep its usual voting habits and honor some genre work as well. Walton Goggins of the video game-spawned “Fallout,” Antony Starr of the super-powered satire “The Boys” and Peter Claffey of “A Knight of the Seven Kingdoms” all get votes, while Alfred Molina and Karl Urban get shout-outs.

Matt Roush says, “While fantasy seems a long shot, ‘Fallout’s’ Walton Goggins and ‘The Boys’ adversaries Antony Starr and Karl Urban are all worthy.”

“You can’t help but root for ‘A Knight of the Seven Kingdoms’ ’ Ser Duncan the Tall — a naive underdog chasing his dreams while trying to do the right thing,” says Tracy Brown of Claffey.

Even No. 3 pick Sterling K. Brown is in a sci-fi/postapocalyptic entry, “Paradise.” If he can survive the end of civilization, surely he can withstand a stressed-out ER doc? “It may seem inevitable for Noah Wyle to take the trophy again,” writes Trey Mangum. “But I wouldn’t count Brown out just yet.”

More predictions: drama series | drama actress | drama supp. actor | drama supp. actress

1. Noah Wyle, “The Pitt”
2. Mark Ruffalo, “Task”
3. Sterling K. Brown, “Paradise”
4. Gary Oldman, “Slow Horses”
5. Rufus Sewell, “The Diplomat”
6. Walton Goggins, “Fallout”
7. Billy Bob Thornton, “Landman”
8. Antony Starr, “The Boys”

Los Angeles Times

Lorraine Ali

1. Noah Wyle, “The Pitt”
2. Mark Ruffalo, “Task”
T3. Walton Goggins, “Fallout”
T3. Antony Starr, “The Boys”
T5. Sterling K. Brown, “Paradise”
T5. Gary Oldman, “Slow Horses”
T5. Rufus Sewell, “The Diplomat”

“It’s hard to look at Walter Goggins’ noseless ‘Fallout’ character, the Ghoul, without retching, but his compelling performance also makes it hard to turn away. Antony Starr brings to life another type of monster: an egomaniacal, king-of-the-world superhero in ‘The Boys.’ Then there’s Noah Wyle. He plays a doctor.”

Freelance Critic

Kristen Baldwin

1. Noah Wyle, “The Pitt”
2. Mark Ruffalo, “Task”
3. Gary Oldman, “Slow Horses”
4. Sterling K. Brown, “Paradise”
5. Rufus Sewell, “The Diplomat”
6. Walton Goggins, “Fallout”

“There’s not a lot of wiggle room in this category, but don’t count out Alfred Molina, who stars in Netflix’s ‘The Boroughs,’ a sort of ‘senior citizens battle stranger things’ drama from the Duffer Brothers. (Of course, Molina will have to get through Jon Hamm, Peter Claffey and Billy Bob Thornton first.)”

Los Angeles Times

Tracy Brown

1. Noah Wyle, “The Pitt”
2. Sterling K. Brown, “Paradise”
3. Mark Ruffalo, “Task”
4. Gary Oldman, “Slow Horses”
5. Walton Goggins, “Fallout”
6. Peter Claffey, “A Knight of the Seven Kingdoms”

“This might be a long shot for Peter Claffey, but you can’t help but root for ‘A Knight of the Seven Kingdoms’’ Ser Duncan the Tall — a naive underdog chasing his dreams while trying to do the right thing. Last year’s winner Noah Wyle is the strong front–runner, though.”

Blavity

Trey Mangum

1. Noah Wyle, “The Pitt”
2. Sterling K. Brown, “Paradise”
3. Mark Ruffalo, “Task”
4. Billy Bob Thornton, “Landman”
5. Gary Oldman, “Slow Horses”
6. Rufus Sewell, “The Diplomat”

“If ‘Paradise’s’ drama series buzz is big enough, I think Sterling K. Brown could really be a force here, though it seems as if it may seem inevitable for Noah Wyle to take the trophy again. But I wouldn’t count Brown out just yet.”

TV Insider

Matt Roush

1. Noah Wyle, “The Pitt”
2. Sterling K. Brown, “Paradise”
3. Mark Ruffalo, “Task”
4. Gary Oldman, “Slow Horses”
5. Rufus Sewell, “The Diplomat”
6. Billy Bob Thornton, “Landman”

“Noah Wyle and Sterling K. Brown are locks to repeat, and Mark Ruffalo’s mournful ‘Task’ hero is another potential winner. Billy Bob Thornton carries ‘Landman’ on his weary shoulders. While fantasy seems a long shot, ‘Fallout’s’ Walton Goggins and ‘The Boys’ adversaries Antony Starr and Karl Urban are all worthy.”

Los Angeles Times

Glenn Whipp

1. Noah Wyle, “The Pitt”
2. Gary Oldman, “Slow Horses”
3. Sterling K. Brown, “Paradise”
4. Mark Ruffalo, “Task”
5. Rufus Sewell, “The Diplomat”
6. Jon Hamm, “Your Friends & Neighbors”

“ ‘Slow Horses’ has been breaking through at the Emmys the last couple of years, winning for writing and direction. Might it be Gary Oldman’s time? It’s a nice thought … but there’s little chance that Noah Wyle doesn’t repeat for ‘The Pitt.’ ”

Two of the stars of All Creatures Great and Small are among the cast of a new Channel 5 psychological drama

Channel 5 has confirmed the release date of a “gripping” new drama with two stars from All Creatures Great and Small.

The Fortune – which stars Callum Woodhouse and Matthew Lewis alongside Poldark‘s Eleanor Tomlinson – will be released on June 2.

The broadcaster shared a snap on Instagram showing cast members around a coffin with the tagline: “When there’s a will, there’s a war.” The caption said: “An inheritance from a stranger… sounds like a dream come true. But luck like this? Always comes at a cost.”

When The Fortune was announced, Channel 5 described it as “a gripping, psychological drama that asks: what if your past isn’t what you think it is?”

Eleanor stars as Amanda Blakefield, whose life is a happy one with her husband Jimmy, played by Matthew (who is best known as Hugh Hulton in All Creatures), and their son Luke (James Younger).

A synopsis said: “Amanda has her world shattered after she is left an enormous inheritance by a man she has neither met nor heard of before.

“Her life starts to disintegrate as she becomes embroiled in the world of The Worrall Family.

“The patriarch Martin Worrall (Denis Lawson), is head of a family which is bound in past secrets. As Amanda’s story leads her further and further into the Northumbrian countryside, she begins to unravel the past. And all of their lives are turned upside down.”

Rebecca Front will play Martin’s wife Fiona, and Callum Woodhouse, who stars as Tristan Farnon in All Creatures Great and Small, will play his son Anthony. Other cast members include Stephen Tompkinson, Paula Wilcox, Danielle Walters and Nina Wadia.

When the series was announced last year, Paul Testar, commissioning editor at 5, said the series “explores the fragility of family and the ripple effects of long-buried truths, all anchored by a brilliant cast led by Eleanor Tomlinson”.

He added that it was a drama “that promises to keep audiences hooked from the very first minute”.

Viewers have said they “can’t wait” for the drama, with one posting on Instagram: “I love this cast!”

“Will be amazing,” said someone else, as another commented: “Can’t wait for this. Looks brilliant from the trailers. And what a stellar cast.”

“ACGAS legends reunite,” another person remarked.

The Fortune airs at 9pm on June 2 on 5.

Laura Bayston plays the emotional role of Kate McCann in a new Channel 5 drama looking at how the mum of Madeleine McCann was interrogated by Portuguese police

The latest drama portrayal of the interrogation of Madeleine McCann’s mum by Portuguese police is sure to divide viewers, but there was one detail that really stuck with me. Under Suspicion: Kate McCann follows the efforts of police to claim Kate McCann had something to do with the disappearance of her daughter in 2007.

The heartbreaking case remains unsolved 19 years later and now 5 has released a factual drama looking at the treatment of Kate in Portugal. The story begins three months into the search to find Madeleine, who vanished from her family’s holiday apartment in Praia da Luz in the Algarve, Portugal in May 2007.

Kate and husband Gerry McCann were cleared of any wrongdoing in 2008 after they found themselves wrongly accused of a cover up. And now, as 5’s drama looks at official statements and recorded testimony, there is one brief moment in the drama that really hit me.

READ MORE: Channel 5 Kate McCann actress Laura Bayston’s real life from mystery husband to soap roleREAD MORE: Kate McCann star Laura Bayston reveals Under Suspicion scene that was ‘punch in the guts’

And it’s not just me that was taken by a simple but effective and moving scene. When I spoke with actress Laura Bayston, who played the part of Kate in the production, she told me she had the same thought process.

The scene saw Kate snap back at her daughter being referred to as Maddie, insisting she is called by her correct full name, Madeleine.

Laura told me before the drama aired: “It’s something that I took away from it as well. I’ll give you that. Yeah. If they can’t respect that simplicity of a name, then that’s it.”

Laura brilliantly played the part of Kate – a decision she admitted she didn’t take lightly. And viewers will watch as brash Portuguese police interrogate the mother of a missing child.

In a shocking moment, she is even told to take a deal. “Just admit you killed Madeleine,” Kate is told, insisting if she does, her sentence won’t be too bad. And her lawyer tells her that it may only make things worse if she attempts to properly answer the police’s queries.

This leads to her reluctantly answering “no comment” to every question.

Throughout the 90-minute drama, I was reminded of particular lines of questioning and events from the hugely publicised case that gripped myself and many others at the time and still does to this day. But it also threw up a lot of surprising incidents which brings with it more questions.

Sadly, it’s perhaps likely that this drama, which Laura says is clearly made for the right reasons, will bring out conspiracy theorists who plague the case once again. With the focus on the police’s handling of Kate, a number of accusations and allegations are seen to be thrown at Kate in the production – including her actions and moves on the tragic night in question.

While Kate and husband Gerry were cleared of any wrongdoing, the intense scrutiny on their actions continues to lead to false allegations that continue to rear their head.

Despite this, the drama comes with a very important message for all to take away rather than criticise or scrutinise. At the heart of this whole thing, a girl remains still missing almost two decades on. And a family is seeking answers.

Under Suspicion: Kate McCann, airs Wednesday 20th May, 9pm on 5.