hayley atwell

Hayley Atwell and Rupert Everett join the cast as Emily Atack says she loved playing sexy Sarah Stratton: ‘I am her. I’m a flawed woman’

When the adaptation of Jilly Cooper’s bonkbuster Rivals hit screens last year, it quickly became Disney’s best performing TV drama. Now Rupert Everett and Hayley Attwell are to join the cast for the much-anticipated second series, playing lead character Rupert Campbell Black’s former showjumping boss and his bitter ex-wife – who are now married to each other.

Atwell, best known for her roles in the Marvel and Mission Impossible films, will be playing Helen Gordon, mother of Rupert’s two children, Marcus and Tabitha – who will also appear this time around.

Everett, who starred alongside Julia Roberts in My Best Friend’s Wedding, takes on the role of her husband Malise Gordon, Campbell Black’s former show-jumping coach and mentor.

READ MORE: Expert for The Jury: Murder Trial believes second series reaches ‘wrong verdict’ next week

In Cooper’s original story Helen was treated badly by her ex-husband and remains very bitter towards him after their divorce. She is now married to the former chef d’équipe of the British showjumping team, Malise.

Speaking in a session at the Edinburgh TV Festival yesterday where the castings were announced, Emily Atack joked that her character Sarah Stratton, the regularly unfaithful wife of an MP, had not been much of a stretch. “I had to dig real deep,” she quipped.

But the actress, who found fame with hit series The Inbetweeners, said she had no qualms about playing a flawed temptress.. “I’ve been typecast my whole life and I’ve loved every minute,” she declared. ” I’ll carry on playing these sexy women for as long as I can.”

Emily said that shooting the infamous naked tennis scene alongside Alex Hassell as Rupert had been great fun. Alex said that many discussions had taken place over whether or not he should wear a prosthetic over his privates for the scene, but in the end he’d decided to go without.

Emily declared that she had had a bit of help for that particular scene. “I had a stick on muff,” she laughed. “A murkin, it’s called. A proper 80s bush – I felt like I had furry knickers on. It’s so jarring seeing yourself like that.”

But the actress said she’d soon got used to it. “I didn’t want to put my clothes back on! I did a couple of cartwheels.”

Emily, 35, said part of the appeal of playing Sarah, was that while she is flawed, she also also has vulnerabilities that were recognised. “These types of women are never written with nuance,” she said. “I am her, I am a flawed woman, I’ve made terrible decisions in my love life – so I wasn’t scared to identify with her. Her bad behaviour isn’t being celebrated, but it’s being understood.”

Bella McClean, whose character Taggie O’Hara found love with Rupert in the final episode of series one, revealed she was so pleased with her audition as Taggie – and chemistry with Alex – that she walked straight into a wall afterwards.

The actress she had enjoyed playing a character who was so wholesome and good, it had made her take a look at her own life and decisions. She loved the long, simmering build-up to the romance between Taggie and Rupert, saying: “They see though all the crap and just adore each other for who they are,” she explained. “It’s about their love.”

The show’s creator Dominic Treadwell-Collins said that Jilly Cooper had told him early on how she expected the male heroes of her 1980s books to behave. He said: “She told me ‘my men don’t cry’. My men are macho.”

Dominic added: “We are utterly thrilled to have Hayley and Rupert join us to play Jilly Cooper’s legendary characters Helen and Malise Gordon. Alongside our other new wonderful actors and truly brilliant returning cast, Rivals series two absolutely showcases the best of British and Irish talent. We can’t wait for everyone to see what’s next for the residents of Rutshire.”

Disney boss Lee Mason said he was also thrilled that Everett and Atwell were joining the cast. “They are a perfect match for the world of Rutshire, so lovingly created by Dame Jilly and the team at Happy Prince.”

Rivals is filming in the UK until February and is expected to return, for an extended season of twelve episodes, later in 2026.

Set against the backdrop of the Cotswolds countryside and the glamorous, high-stakes world of 1980s British television, the second run will see the return of the all-star cast including Danny Dyer, Katherine Parkinson, Aidan Turner and David Tennant.

Next time around viewers will find that many careers, marriages and reputations hang in the balance as personal and professional lives collide in a world where secrets can’t stay hidden for long.

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CANNES, France — Tom Cruise’s Ethan Hunt arrived in France in 1996’s “Mission: Impossible” clinging to a high speed train through the Chunnel, pursued and nearly skewered by a helicopter. It was, as the French might say, une entrée dramatique. In 2018’s “Mission: Impossible — Fallout,” he leapt from an airplane to plummet four-and-a-half miles down to the glass roof of Paris’ Grand Palais and now, for the big finale of his franchise, “Mission: Impossible — The Final Reckoning,” he’s come to conquer the Cannes Film Festival.

One boisterous fan outside the premiere shoved her Chihuahua at Cruise so he could see it was wearing a pink sweatshirt with his face. Another brandished a DVD of 2000’s “Mission: Impossible 2,” arguably the worst entry in the series. Cruise took a photo with her anyway. “Le selfie!” the red-carpet announcer cried.

The series hasn’t been kind to its French actors: Emmanuelle Béart was shot, Jean Reno blown up by exploding chewing gum, Léa Seydoux kicked out of a window at the Burj Khalifa. (Pom Klementieff, whose character’s name is Paris, has survived to co-star in this eighth entry.) Yet, you didn’t have to parler français to glean the excitement on the ground.

This is only Cruise’s third trip to Cannes and it took him nearly half an hour to walk the 60 yards of red carpet, an exhausting amount of waving, even for someone lauded for his cardio. He took care to acknowledge everyone who’d come to cheer, even trotting back down a few steps to make eye contact and thump on his heart for the fans in the corner flank.

In 2022, as part of the lead-up to “Top Gun: Maverick,” the blockbuster that would defibrillate the pandemic box office, Cruise received an honorary Palme d’Or and a salute from eight zipping French jets. During his first visit, for 1992’s “Far and Away,” times were different and he felt free to be outspoken, telling the press that the then-recent Rodney King verdict “sickened me.” Today, he seems to feel the weight of championing the theatrical experience, just as Ethan Hunt is repeatedly forced to shoulder the burden of saving the world. Neither of them truly has the freedom to “choose to accept it.” More than any of his movie star peers, Cruise seems aware that someone has to symbolize an increasingly bygone era of filmmaking, to be this century’s Charlie Chaplin.

The vibe before the screening of “Final Reckoning” was a bit bar mitzvah. The DJ alternated between dance-floor classics — Kool & the Gang, Joan Jett — and remixes of Lalo Schifrin’s pulsating “Mission: Impossible” theme, one by four beatboxers who mimicked police sirens, another classed-up by a live saxophone and violins. This year’s big Cannes fashion headline is that women are no longer allowed to wear “voluminous” frocks on the steps. Nevertheless, Hayley Atwell, who plays Grace, a pickpocket-turned-secret-agent, wore a gown on the daring end of puffy. Red with large flares at her hips and ankles, she resembled the vintage biplane Cruise dangles from in the film. He could have clung onto her elbow for a teaser.

But when the movie started, the mood turned funereal. This farewell to Ethan Hunt begins with a three-decade-spanning montage of Cruise that could double as the intro to his inevitable honorary Oscar. “I want to thank you for a lifetime of unrelenting and devoted service,” Angela Bassett’s President Erika Sloane tells Ethan in the opening minute. Later, she slips him a code with an important date — May 22, 1996 — which also happens be the day the “Mission: Impossible” franchise launched. The whole film is a panegyric: big speeches and weighty moments with very little sense of play. Tonally, it starts with an ending and keeps on ending for the next 2 hours and 49 minutes.

The eight “Mission” films can be cleaved into two groups. The first four made a point of swapping directors and moods and even Ethan’s core identity: Brian De Palma made him a jaundiced naif; John Woo, a hot-blooded flirt; J.J. Abrams, a devoted husband; Brad Bird, a near-mute human cartoon. The last four are all helmed by Christopher McQuarrie (who’s co-written this script with Erik Jendresen) but neither has added much to his personality. We’re told, over and over, that Ethan is a gambler and a rule-breaker — and paradoxically, that he’s the only human worthy of our trust, an odd thing to say about a spy who wears masks of other people’s faces like party hats.

Of all the “Mission: Impossible” films, this is the only one that needs you to remember what happened in the previous entry, 2023’s “Mission: Impossible — Dead Reckoning Part One,” which introduced an all-knowing AI villain called the Entity and its equally unemotional minion Gabriel (Esai Morales) that made a fun foil for Cruise himself, as a sinister duo that values digital trickery over human sweat. Now, the Entity intends to annihilate humanity in four days unless it can be taken offline by a key that accesses a gizmo in the Arctic Sea that connects to a whatsit that Ving Rhames’s weary Luther is attempting to invent from a makeshift hospital bed somewhere in the subway tunnels of London. A grunting Cruise batters a goon while huffing, “You spend! Too much time! On the internet!”

That last film managed to introduce Atwell’s Grace and collect the key while still enjoying a sense of play, like an axle-cracking Fiat chase through Rome and flirtations manifested via close-up magic. Here, the plot weighs everything down. Not just the threat-of-extinction stuff, which includes Bassett’s POTUS debating which American city to blow up as a preemptive gesture, but by its own irritating God’s-eye omniscience that rarely allows the suspense to spool out in the present. The editing is always cutting to the past or the future. There’s flashbacks to things that happened five minutes earlier and flash-forwards to how a stunt could look instead of just getting on with it.

Just as exhausting is how the entire cast trades lines of exposition to explain Ethan’s daredevil feats before he actually does them. There are almost no conversations, only premonitions and plans delivered in bullet-points like a group research project. No one steps on anyone else’s dramatic pauses. They may as well be reciting how to build an IKEA Billy bookcase. I can’t think of anything more thrill-stifling, even with cinematographer Fraser Taggart lighting everybody’s eyeballs to look so shiny that the actors continually appear on the verge of tears. Still, even within those limitations, Simon Pegg is delightful as Hunt’s longtime tech-whiz teammate Benji, as are new and returning ensemble members Tramell Tillman, Lucy Tulugarjuk and Rolf Saxon, the latter of whom plays a throwback character once threatened with manning a radar tower in Alaska — a punishment that did, in fact, come to pass.

But Cruise is reason audiences will, and should, see “Final Reckoning” on a large and loud screen. His Ethan continues to survive things he shouldn’t. (One too-miraculous rescue attempts to distract us from asking questions by inserting an out-of-place close-up of Atwell’s heaving bosom.) Yet, what I’ve most come to appreciate about Ethan is that he doesn’t try to play the unflappable hero. Clinging to the chassis of an airplane with the wind plastering his hair to his forehead and oscillating his gums like bulldog in a convertible, he is, in fact, exceedingly flapped.

The flight chase is fantastic. It’s what Isaac Newton might have made if he’d demonstrated velocity by placing an apple in a bucket and whipping it in circles. But even its exhilaration gets bested by a centerpiece underwater sequence in which Cruise scuba dives alone in silence suffering stunts that you cannot believe. I couldn’t tell you how long he swam — at some point, my heart stopped — but there are images of vertical sheets of water and the star in shivering, fetal isolation that felt like the franchise wasn’t just trying to top itself, but hoping to best “Titanic” and “2001: A Space Odyssey.”

As the sound design rumbled with queasy creaks over shots of a submarine teetering on the edge of a deep-sea cliff, I found myself thinking most of all of that famous sequence of a frozen shack sliding off a cliff in Charlie Chaplin’s 1925 “The Gold Rush,” which celebrates its centennial anniversary this fall. By coincidence or grand design, a gorgeously restored “The Gold Rush” was also the first movie screened at this year’s Cannes. If there’s a Cannes in 2125, maybe it’ll play a 100-year-old Tom Cruise classic. It won’t be this “Mission: Impossible” over the first, third or fourth. Regardless, I bet the fans will still be cheering.