James

In the latest episode of The Envelope video podcast, Janelle James discusses her character’s arc on “Abbott Elementary,” and Aaron Pierre details the training required to master the “seamless” action of “Rebel Ridge.”

Kelvin Washington: Hey, everybody, and welcome to The Envelope. I’m Kelvin Washington alongside Yvonne Villarreal, also Mark Olsen. Great to have you two here this week, as usual.

Let’s get to it. Yvonne, someone I’ve never met, but I’m gonna be saddened if she’s not as pleasant or just as fun and hip as she seems: Janelle James. It just feels like I know her, even though I don’t. Tell me about your experience.

Villarreal: I have to tell you, I was super nervous that she was going to hit me with some one-liners about my appearance or something.

Washington: She’s got zingers.

Villarreal: No, but she was super lovely. She plays the blunt and hilarious principal, Ava Coleman, in “Abbott Elementary.” And she’s done an amazing job in that role, because she’s already been nominated three times for an Emmy. But Season 4 brought a lot of depth to this seemingly incompetent and uncaring character. We really see how she [goes] to bat for the students at the school, maybe in some unorthodox ways, but in ways that really help them. We also see a little bit of her relationship with her father. She also develops a relationship of her own, a romantic relationship. And — spoiler alert, I’m giving you guys time to dial down the volume —

Washington: Just hit the little 15-second thing or something.

Villarreal: Her character was fired this season. And I’ll just leave it at that. But we talked a little bit about all of that, all the development that we saw from her character this season.

Washington: Spoiler alert.

Villarreal: Sorry, I’m telling you, you gotta keep up, Kelvin.

Washington: Why is it me? I’m just saying it could be someone listening. Mark, I swing over to you and …

Olsen: I didn’t know she got fired.

Washington: Aaron Pierre. Let’s just say the three Washington girls in my household, my daughters, including my 3-year-old, “Aaron Pierre!” I mean, they had to do the whole, “That’s Mu-fa-sa!” for about a good month and a half.

Villarreal: Is that how you started the interview?

Olsen: I mean, we did talk about Mufasa, but I didn’t say it quite like that.

Washington: You didn’t do it? Oh, come on!

Olsen: Well, you know, the TV movie category in the streaming era has just really exploded. And it’s become a much more dynamic category than it had been in a few years previous. And “Rebel Ridge,” which stars Aaron Pierre, is really a great example of that. Written and directed by Jeremy Saulnier, the film stars Aaron as a man who comes to a small town. He wants to bail his cousin out of jail and he runs afoul of the crooked local sheriff. It just becomes this really muscular and exciting action thriller. Aaron brings a real gravitas and power to his role and has some very exciting fight scenes. And also it’s just such a great time for Aaron Pierre. As you said, he just was the voice of Mufasa in Barry Jenkins’ “Mufasa: The Lion King,” and then he also is gonna be seen in the next [season] of “The Morning Show,” and then is currently filming “Lanterns,” which is a DC Green Lantern property.

Washington: You can always kinda see certain folks have that moment where the boom happens, right? And then they just take off, and then someone’s gonna go, “Where’d this person come from?” Not knowing the whole, it takes 10 years to become an overnight success. He’s been putting in the work for years.

All right, well let’s get into Yvonne and Janelle James. Let’s start it now.

Janelle James in “Abbott Elementary.”

(Gilles Mingasson / Disney)

Villarreal: You’re in this big career moment. In what ways did you feel ready for it and in what ways has it just thrown you for a loop?

James: Ooh, I mean, I feel ready for this career moment — not only moment but this career from performing for 15 years prior to getting this role. I’ve been performing for a long time. What has thrown me for a loop is fame. I had no concept of what that meant. I had no concept of what being on a show that immediately takes off entails and what that feels like. That’s definitely been a surprise.

Villarreal: Can you break it down, what it does mean to be on a hit broadcast sitcom? How have you had to reconfigure your life?

James: Can’t go to Target — not that we are — can’t go to Target. I remember the first season, I was in Target and I was looking at doormats, as you do, and this guy comes up to me — I didn’t see him, I heard him say, “I got to hug you.” And I was like, “He’s not talking to me, because I don’t know this man.” And he picked me up. This huge guy picked me up off the ground and gave me a hug, which I’m sure was in love. But that had me shook. I remember I went to work the next day and it was on my face that I was shook, like, what just happened? And Tyler [James Williams], my co-star, was like, “What’s going on with you?” And I was like, “A stranger picked me up in Target to compliment the show.” He was like, ‘What are you doing in Target? You can’t go to Target anymore.” And that used to be my happy place. That was an adjustment, people knowing who I am when I’m in my jammies, trying to get some gummy bears.

Villarreal: I was with Chris Perfetti at a museum [for a story], and kids were on their field trips, coming up to him and ready to share what they’re learning in school.

James: And I’m way more famous than him. (That was a joke.)

Villarreal: What do you hear most often, and do you feel the need to be on as Ava because this is what people are expecting from you?

James: What do I hear most often? “I’m a principal.” “I know a principal like you.” “I also went to school.” I feel like that’s part of the reason why the show is a hit. Who hasn’t gone to school? It resonates with a lot of people because they’ve had the experience. And do I feel the need to [be like Ava]? Yes. You don’t want to disappoint people. I’ve learned to take people approaching me as Ava as a compliment, like, “Oh, I’m doing this character so well they think that it is me that they’re talking to.” They’re [thinking] I just stepped off the screen and now I’m in Ralphs for some reason — although she [Ava] would never be shopping for herself. I want to give them what they want and sometimes I don’t, so I just stay in the house.

Villarreal: Well, Ava Coleman, the character you play, has had so much character development this season and it was very earned too. She started out the series as this very polarizing character. She can be rude. She’s not politically correct. She really won over the audience over the run of the show. I’m curious what it felt like for you to really get in depth with her this season. We get more of her background. We see her open herself up to a relationship, and we see just how far she’s willing to go for the students.

James: I was really proud and honored that Quinta [Brunson, the show’s creator and star] and the writers trusted me with the material that they’re giving me. And, like you said, it’s earned. I feel like it was time. There’s been [a] little dribbling out of her character over the seasons, but this, to me, was an Ava season, basically. [I’m] happy that they trusted that I can bring these different flavors to her. And [it’s] just a testament to, like, the writing that this is a sitcom, it’s 22 minutes, and we’re doing so much story in such a short time; to be able to, for instance, reveal about her dad or have a dramatic moment and go right back into comedy [when] I’ve only been onscreen for maybe four minutes and you’ve already found out so much about her is amazing, and it makes me feel very talented.

Villarreal: What were your conversations like with Quinta?

James: I mind my business. I’ve been in a writers’ room before, and I know nobody cares what the actors think. I know we certainly didn’t when I was in one. I just try to let them do their gig, and because they have been doing such a good job, that’s why we’re a hit. They’ve been doing a great job with the show and developing the characters. I feel like each one of us gets a year. I feel first season was a Barbara [played by Sheryl Lee Ralph] year; second was Tyler [who plays Gregory]; then this one. I’m never worried or trying to involve myself. I’m so lucky that Quinta is like the coolest boss and that she gives me a heads-up for big stories, but I’m never like, “Whaaat?” or “Oh, I feel this …”

I know I have said things to her on the side that ended up happening. And then I’m just psyched that they decided to go with my idea. But I’m never like, “I have a pitch.” I would be annoyed with that. If it’s my show and I feel like I’m killing it, I don’t really want to hear a pitch from the actor. My job is to make those words feel real and convincing. And that’s it.

Villarreal: The father element [to Ava’s] story was a really a revelation for me. I’m curious what that unlocked for you. Ava’s father is played by Keith David. You were able to capture so much about the daddy issues that she has and where the maybe hardness or prickliness comes from.

James: Exactly what you said. It’s just more about her ethos and why she is like she is, why she’s so untrusting, why she’s short with people, doesn’t want to get close with anyone. Because she’s already been disappointed by somebody — as we find out in the date episode — that’s very important to her, and then abruptly went away to start another family. I thought that was a really great way to show that and to show her strength. He comes in, they have that moment, but then she’s back to Ava right away. I feel like Ava just like keeps it moving, to her detriment sometimes — like [she] doesn’t process. But it makes sense. That’s what I like about the writing for the characters on this show. Everything we do makes sense, it seems very real, it’s relatable. So many people wrote me and said, “I have this situation with a parent, and it struck me as real.” It also illuminated for me what I think is the most important relationship on the show is Janine and Ava and how we have similar backgrounds and parental issues, but we’re coming at it from different ways. She’s coming at it with endless optimism and nonpessimism. So we’re opposites sides of the personality spectrum, but I think as the show goes on, we’re moving closer and closer together. I think that’s so smart and [makes for] good story development.

Villarreal: We see that Ava gets fired at near the end of the season. Did Quinta or the writers prepare you that this was coming, or did you read it in the script?

James: So Quinta told me maybe a couple of days before, like, “You’re gonna get fired.” I was like, “OK.” I think I did say, like, “Oh, do I still get paid?” Which I meant. Do I still get paid? Because I thought that meant I wasn’t gonna be in the show at all. So I’m like, “Can I just pop in and get paid or…? Just let me know.” I wasn’t concerned about being off the show [permanently], because that didn’t make sense story-wise to me. I don’t know why they would have done that, and I don’t think she would have pitched it to me so casual if I was out of a job. But again, just trusting them, I was like, “Oh, if I’m getting fired, that means we about to shake something up, and I would love to see the reaction to it,” which was fabulous. That was one of the best days of my life.

Villarreal: It goes back to earning it. You’ve reached a point where the audience wants you back, wants to see Ava back. How do you think your background in stand-up and playing to either packed crowds or nearly empty venues and having to win over an audience, how did that prepare you for a character like Ava?

James: Exactly what you said! Exactly what you said. Even when it’s a packed house of people that love me, my stand-up is also very antagonistic, and that’s for my own pleasure because I do like that. I’m gonna say something that you might not agree with or you don’t find funny or touches you in a certain way, and you’re gonna love me by the end. Then I’m going to make you laugh. There’s a power in that. Stand-up has definitely prepared me for this whole Ava arc of people being like, “I don’t like her.” And I’m like, “Yeah, really? You don’t? OK, we’ll see Season 4.”

Villarreal: Can you tell me about a time where you just felt like you bombed [onstage] and how you turned it?

James: I thought you meant just bombed, because I have bombed and just went home and had this one tear. [But] bombed and came back … I feel like that’s every set, truly. I like to craft a set, especially if I’m doing an hour, where it has different levels. Of course, you want to crush the whole time, and I am, but I like my jokes to have downbeats and then ba-da-ba. I’m not really a one-liner, which is what Ava was for a long time, so that’s been a new muscle for me to do, where I’m just saying a line and have to hit those beats. But I like to do a joke that has different peaks and valleys to it and where people are like — you see them physically going back, then they’re like, “Ah, I love that.” That’s what I like about stand-up, that instant reaction and the feeling of winning.

Villarreal: Do you get the nerves doing “Abbott” the way you get the nerves of stand-up?

James: Yes. I feel like if you don’t get nerves, that means you don’t care. Did I say 15 years? Jesus. 15 years doing stand-up, I still get nervous beforehand. Four seasons doing “Abbott,” I still get nervous. It just means that I care about my performance.

Villarreal: “Abbott” is a single-camera show. You’re not filming in front of an audience. And you’re used to doing your stand-up in front of people. What is a signal to you that you’re delivering Ava the way you want? Is it hearing a cameraman, his laughter come through or breaking one of your scene mates?

James: All of that, but also I’m just confident in my comedic timing at this point. I don’t need a response. I love it. [But] I don’t need a response anymore to know that I’ve hit the beats. Comedic timing is a skill just like anything else.

Villarreal: I lack it, so I have no idea what that’s like.

James: Thank you for admitting, because everybody thinks they can do it. I’d like to hear a man say it — never will happen. I always say my confidence in myself and in what I’m doing is earned. I think that’s part of what some people don’t like in Ava. Some people don’t like confident people because it makes them think about themselves. I feel like it’s OK to be confident. There’s confidence and narcissism. My confidence comes from putting in the work. I have the respect of my peers, in comedy and now in acting. I know what I’m doing. And, so, I don’t really need the instant feedback, but it’s lovely to have it, which is why I’m back onstage.

Villarreal: Do you think she always had it?

James: Ava? Yeah. Especially like I said, the first season, I’m the joke machine. One-liners wasn’t my thing, but I know what the beats are. I know the jokes are supposed to sound like and how it’s supposed to hit and how we’re supposed to parry off of another statement. Can you say parry? Is that a word? I don’t know. Is that tennis? I might have made it up, but hey, confidence. It’s a word.

Villarreal: One of the great things about the show is how the writers build the characters with these seemingly small details that say so much about the characters. For Ava, she owns a party bus, or she dated Allen Iverson, or she hasn’t used capital letters in years. What are some of the details that you’ve loved learning about her?

James: One of my favorites is that her “Hello” sign [on her desk] is facing her and that was totally a mistake when we did that. I had turned it and props turned it back, and both me and Quinta was like, “No, that’s funny if it’s facing you,” and now that’s become a thing because that’s totally something she would do, like, “Don’t come in here.” Anybody that comes in, she’s like, “Don’t come in my office, I’m doing my side hustles; I’m not really trying to talk to you, so no hello. Hello to me. You’re doing a great job, Ava.” I love just the continuity of our props department is hilarious in that I think Season 1 we took the picture with Gritty and she says, “Oh, this is cute picture I’m gonna have to Photoshop Janine out.” Then behind me for the whole season [is the framed photo], not Photoshopped, [but what] I think is is is even more cutting: She literally cut her [Janine] out [of] the picture with scissors. That’s some real hate. I love that. And the fact that she does know all these people that she’s talking about. She’s popular outside the school. She has all these hookups. Just recently, she had her list of high-net-worth drug dealers that came in. But also, that rings true. That’s who she would know. And those are the high earners in a neighborhood like that. It’s just, again, excellent storytelling to remind people where we are. We’re in the inner city in Philly. That’s what she knows. She grew up in that neighborhood, she knows them. She know they got money. That’s her friends. But she just happens to be a principal.

Villarreal: As you mentioned earlier, you’ve been in writers’ rooms before — “The Rundown With Robin Thede,” “Black Monday.” How does being behind the scenes and knowing what goes into making the show inform you as a performer?

James: Well, like I mentioned earlier, I leave them alone. I know it’s a different process than what we’re doing. I know it’s difficult to craft out a whole season. I’ve never been on a show that’s done 22 episodes and we just [deliver] back-to-back bangers — that’s amazing [and] even more reason to leave them alone. They know what they’re doing; Quinta knows what she’s doing. I feel like Quinta has a vision, not only for each season but from the start of the show to when we eventually end it. And I know for me, as the seasons go on, I’ve become more comfortable with suggesting things and maybe improv-ing. But only when asked, and I always ask first. I always try to say what’s on the paper. I never try to be like, “Oh, what I think might be funnier…” or whatever, even though that’s what I believe. I always do what’s the paper first. And then I say, “Hey, I have a suggestion,” and then I get to find out if they chose mine or not, and they frequently did.

Villarreal: How were you in writers’ rooms?

James: How was I? I feel like you got inside information.

Villarreal: No, no, I don’t. I don’t. Please share with me that experience because it feels intimidating.

James: Nah — I mean, it depends. I guess for some people. I ain’t intimidated by much. I’m a joke machine. I’ve only written for comedies so far, so that’s my bag. Pitch, pitch. If you want a joke, I’m all day with it. I have a story. I thought you had inside information with “Black Monday.” When I first started — it’s usually men. Was I the only woman? No, there was two women in that writers’ room. One of my favorite jobs, by the way. Let me just say that before they think I’m talking s—. All the men are pitching, and I said, “Ugh, ugh.” And I had just gotten there because I came in, like, late to the season. And my boss, David Caspe, was like, “What’s going on with you?” And I was like, “None of this is funny. I’m just waiting to hear some funny s—” or something like that. He wrote it on the window, and it stayed there for the whole season. Seeing it written, I was like, “That’s outta line.” But I meant it.

Villarreal: How did your fellow writers feel about that?

James: They loved me. I just saw one just recently, hugged me and everything.

Villarreal: Would you ever want to write an episode of “Abbott”?

James: Yeah, I was just talking about that with someone. I don’t know if we’re allowed. I also don’t how it would work because I wouldn’t be in the room to build with them. They start way before we do, and I know each episode is assigned to a writer. But it’s already pretty formulated by then. I don’t know if I would write, like, a one-off type of situation, but however it would work out, I would love that.

Villarreal: I would love to see that. Which character would you be interested in writing for?

James: Ooh, I think Tyler’s character is so interesting and funny. Tyler’s comedic timing is so funny and underrated. Quinta too. I love the Janine character. And then myself, duh. Everybody. I feel like I know the least about Barb’s. I feel I would maybe write her too much as a caricature.

Villarreal: I can only imagine the lines.

James: Easter Sunday every line. Chris too. Just some real — ooh, I almost cursed. Some real high jinks for him.

Villarreal: Do what you want.

James: Some real f— high jinks. That was in me the whole time. I was like, “Oh, God, can I say one curse word?”

Villarreal: Let it out.

James: One of my favorite things to do as the cast is when we’re in a group in the kitchen, and we have like we’re all bouncing off of each other — those are my favorite scenes. So, yeah, anything.

Villarreal: What’s it like filming with the kids? You don’t do it as often as some of the other actors on the show.

James: It’s great. I’m just always constantly surprised and impressed with how chill they are. I know me, we do [a scene] three times, I’m like, “All right, I am done with that.” But they are engaged, and they’re doing it, and they’re good. And it’s so amazing because I know, especially first season, we had a lot of kids who had never acted before, who aren’t even professional actors. A lot of Black kids, which we want to represent where we are, it’s very hard to be a child actor. A lot of times, if you’re a professional child actor, your parent has quit their job because they’ve got to drive you around auditions, they’ve got to be on set with you. And a lot of Black kids don’t have that privilege. So to have all these Black kids there and it’s their first acting job, and they’re so good. And now they’ve grown with the show.

Villarreal: Do they call you Miss James?

James: No, they call me Ava. Which is fine. The kids are the least annoying as far as approaching me as a character. They can call me whatever. Of course, they think that’s who I am. And I don’t mind performing for them. You want me to do the TikTok dances with you and all that? I don’t want them to feel like they have a job. I think that’s lame. You’re a child, let’s have fun and reward them for being so chill.

Villarreal: When the show was entering its second season, you made the decision to move out here. I know Tyler had to persuade you not to buy a Mazda —

James: Oh, that story. I have regrets, actually. I love a Mazda.

Villarreal: I’m more curious what that transition was like, moving out here, that period of settling in.

James: I had lived in L.A. for short periods just for a job, and I would go back to New York. That’s what happened with the first season. I remember we did the pilot and I was like, “That was cool.” I went right back home. Then we got picked up. I truly didn’t even know what that meant. Then we like did 13 [episodes] in the middle of the pandemic, by the way — I feel like a lot of people, of course, have wiped that from their brain, but we did all of that with the masks and [personal protective equipment]. So that was just a whirlwind of things happening. Then all of a sudden it’s, “Oh, it’s a hit, 22 episodes next season.” So that’s nine months out of the year. I’m like, “Well, I guess I live in L.A. now.” It was a big transition. I’ve been in New York for a long time, and I am a New Yorker — you hear it? I’m a New Yorker. And my family is still on the East Coast and my friends and my nightlife and my community. So, yeah, it’s been a big transition and I’ve left all my comedians, and I hang with actors.

Villarreal: On the subject of the growth with Ava, is there a limit to the growth you would like to see with her? Is there something that you don’t want to see from Ava as the series progresses?

James: I’m not afraid that this is going to happen, because if it would have, it would’ve happened already, [but] one thing I’m very pleased with is, although we’re revealing more about her, her core personality stays the same. She’s still that b— I liked, especially when she got fired, it wasn’t this big [moment] — on her part — of like, “Woe is me! What am I going to do now?” She was instantly like, “Next.” Find out that wasn’t even her main job. I loved that. And the next time you see her, she’s rising from the audience for her speaking engagements. She had people picking up her checks. But that’s who she is. She’s a hustler. That’s what I really relate to with her. I get that, “Next. Let’s move.” And anyone who dares to let me go, that’s your loss because I’m killing it and doing multiple things, which is not only relating to being a hustler, at the core of that is relating to being poor. That’s what you got to do. You got to have multiple streams. That’s what all those lame guys are talking about. Multiple streams. I saw a couple people [say], “I hope that we find out she’s been like lying this whole time.” She’s too fab for that. It is very true that this person exists who is a hustler, who is as fly as she says she is and who has not only book smarts but street smarts, which I think is very underrated, or what’s the word I’m looking for, not valued as much as a book learning. She has both.

Villarreal: Before we wrap, what is it like to have your performance captured in meme form and live on in that way? Do you find yourself actively thinking about that now?

James: A lot of times, I’ll see a meme, and it’s not even me. I don’t see it as myself. Maybe the first season, I was like, “Oh, my God, I can’t open my phone without seeing myself.” I also was living in a place where the billboard was right across from my window. I’m like, “That’s weird.” It’s really been a real — they said I could curse — mindf— sometimes, seeing myself so much and not even just in the context of the show. That’s what a meme is. It’s in a thread about taxes and then it’s me. I’m like, “What does this have to do with it?” But now I’m taking it more like, “Oh, wow, this character is like iconic. Not like, is iconic.” She’s in the lexicon. She’s gonna be around forever. Anytime somebody plays [Juvenile’s] “Back That A— Up,” they think about me.

Villarreal: Talk about that moment.

James: It’s crazy. Everywhere I walk in — I walk into the Ralphs, “Back That A— Up” on there. Everybody like, “Hey, that’s for you.”

Villarreal: The way people like glommed onto it, like it was all over TikTok with captions like, “This is me in my kitchen.”

James: Again, excellent writing, excellent character development. Because that is the song. Nothing is written because we just want it to be. That is the jam that people such as Ava and people in that age group, you hear it, you on the dance floor, and it would make you act out at work. It’s true.

Villarreal: Was that so fun to do?

James: Man, I was so nervous.

Villarreal: Were you worried you were not backing it up right?

James: Not even backing it up right. I had to find a middle ground. Hit show, ABC. I feel like I could have went crazy and they would have cut it up. But I also wanted it to be — I know grandmas and kids are watching, and I wanted it to be funny too. So I was trying to do so much in that little time. We had Randall, he’s circling around. How that was shot, it was like cinematic.

Villarreal: The timing.

James: I had a silk blouse, I was like, “I can’t be sweaty, I still gotta look fly, the hair gotta flow, gotta be a little funny, gotta be little sexy, gotta be believable that I’m letting loose.” It was a lot. Again, we’re doing so much, and I’m doing so much, in a short amount of time. That scene was maybe 30 seconds. I had to convey all of that in a dance. I’m not even saying anything. I’m doing my little giggle because that’s what girls do. I had to make all of that and remember what that feels like to hear that song.

Villarreal: To go from something like that, which again, like the joy and fun of a scene like that to the depth we saw this season from her, like I said, with like the moments of vulnerability, it’s such a testament to you and what you’re delivering. So kudos to you. I can’t wait to see what’s ahead with Season 5.

James: Thank you so much.

Aaron Pierre in “Rebel Ridge.”

(Allyson Riggs / Netflix)

Mark Olsen: You’ve been so busy these past few years, I can imagine there are times when you’re like, “What am I here to talk about?” You have so many projects that you’ve been involved in.

Aaron Pierre: I’ve been very fortunate and very blessed on my journey. I’m just trying to keep it about a commitment to doing the best work I can. A commitment to evolution and growth and just enjoying the moment.

Olsen: When you came to “Rebel Ridge,” there initially was another actor in the project who left. I’m curious, for you did you feel like you were jumping onto a moving train? What was it like to get involved in a project that was already in motion?

Pierre: The first time I heard about this project was from [director] Jeremy [Saulnier] himself. My team had read this script, which we now know to be “Rebel Ridge,” and they were just really thrilled and excited to have something cross their desks that felt original, that felt exciting and that energized them in a way that perhaps they hadn’t been energized in a long time. So more or less immediately, I read the script, got onto a Zoom with Jeremy himself, and we just immediately connected. I think there is something to be said for instincts and something to be said for a gut feeling, and I think in both departments we had a positive experience of that with one another, and we felt as though this collaboration would only be conducive to an enjoyable time. And that’s certainly what was happening.

Olsen: Did you know Saulnier’s work from his other films, “Green Room” or “Hold the Dark,” were you familiar with him before this came to you?

Pierre: Yes, I was familiar. My favorite is “Blue Ruin.” I think that is a masterpiece. And I think that is Jeremy arguably at his happiest as a filmmaker and just getting to flex all of those different muscles and talents that he has. After seeing “Blue Ruin,” I always wanted to work with him. I didn’t know if it would ever come to fruition or if it would even be a possibility. And then “Rebel Ridge” came along, and we got rockin’ and rollin’.

Olsen: You mentioned instinct and how you have to learn to trust your gut working with someone like Jeremy, saying yes to a project. At the end of it, do you ever get some sense of what that instinct was? “That was what I was responding to, that’s why I wanted to do this”?

Pierre: I have this sort of checklist for myself, any project that I do, when I wrap. At the end of it, if I can say that I did my best to give my best, and also if I can say that I earned my own respect — which is a very challenging thing to do because I demand so much from myself and I’m hypercritical of myself — but if I can check those two boxes, then I feel satisfied. I don’t try and control or puppeteer anything beyond that because the space that I’m in, you’re in, we’re in, it is so subjective. But that’s why we love it. It’s art. And if I can have that peace in myself of, “I really gave everything I had,” then beyond that whatever happens is just additional blessings. And to have the response that “Rebel Ridge” received was beyond my wildest dreams, to be honest with you. Speaking candidly, I’m still processing it now. It was really moving. I think in part it was so moving because we poured so much into it. Everybody in every department. I’m not speaking exclusively about the cast. I’m not speaking exclusively about the director and the [producers]. I’m talking about everybody, from crafty to catering to transpo[rtation] to the teamsters to the crew. Everybody poured so much into it. We were all there every day from the beginning to the end. And I think there is something so beautiful about a project which is so physical and demands so much. That sort of brings you all together. So I’m just thrilled for everybody who poured themselves into this, and it really wouldn’t have been possible without everybody’s commitment to it and everybody’s commitment to excellence.

Olsen: When you say that you’re still processing your feelings about it, what’s changed for you? How do you feel your response to the movie has evolved?

Pierre: I think what I’m processing still is just the abundance of joy that it gave people and the reception it received. So many people have reached out to myself, to Jeremy, to others who were part of project and shared what it meant to them. And even requested a sequel. I just feel very grateful, and really the film wouldn’t be what it is today without the audience. And that really ties into why I do what I do — I don’t take myself seriously, but I do take what I do and my craft very seriously. And that is me attempting to honor the time and the energy that an audience gifts you with when they engage with a film, or they engage with a TV series, or they come to the theater and watch a play that you’re in. Life is busy. Life is hard. People have multiple things to juggle. So when people gift you with that time, I feel as though, as an artist, as an actor, whatever I want to describe myself as, I have a commitment to honor that. And that really just ties into the audience response. Just to get that, it feels really special.

Olsen: One of the things that’s so remarkable about your performance in the film is you remain so calm through the whole thing. No matter how wild the story and the action gets, you’re still very cool throughout. How did you come to that choice? Tell me a little bit about that essential nature of your performance.

Pierre: I arrived at the decision that I wanted Terry to feel like — I wanted his energy to be “loudest quietest person in the room.” And what I mean by that is, I wanted his silence to speak tremendous volumes. Somebody who steps into a room and they don’t say anything, but the fact that they don’t say anything is so loud. The fact that they are not demonstrative in their physicality is so loud, and almost their lack of emoting at times, their lack of being physical at times, is what indicates their capacity and is what tells you everything you need to know about them. That’s what I was playing with during the entire filming process. And it was a lot of fun to do so. That’s one of the beautiful things about a character that is so wonderfully written. Terry is written in such a dynamic way, in such a nuanced way and really such a generous way. And I have to credit that to Jeremy as the writer, he was so generous in how he created Terry, so that the individual that portrayed him had so much to work from.

Olsen: People often talk about Jeremy’s work as being slow-burn thrillers. That’s what they call them because they typically take a while to get to the action and to really pop off. Was pacing something that you talked about with Jeremy, both in how the story was going to be paced, but also how your performance was going to be paced? How do you capture that sense of the slow burn?

Pierre: As an actor, I think doing things in a slow pace is not something I have an issue with. If anything, directors have to say, “Hey, Aaron, let’s [pick it up]” because I like to enjoy moments in the context of portraying a character. So this was exactly the lane that I enjoy operating in, so far as action and thriller. I love enjoying those beats and enjoying those moments and really being unapologetic about it. So it was a lot of fun. The moment where, for example, Terry rides into where the sheriff’s office and he puts his pedal bike down and he just waits there calmly, and then Don Johnson comes out and he has this whole speech about P.A.C.E. and he breaks [the acroynm] down: I could be wrong, but I feel like a number of other action movies might have taken the route of, let’s just get straight to it. But I love that Jeremy had his character break down what was going to happen should this police department not adhere to his request. I love moments like that. I love that Jeremy was so unapologetic about it, and that gave me permission as his collaborator within this film to also be unapologetic.

Olsen: That is one of my favorite scenes in the movie as well, because it’s this very tense dialogue scene between you and Don Johnson, and then it suddenly erupts into a very physical, rough-and-tumble fight, a physical sequence between you, Don and another actor. I have to say, it sure looks like that’s really you in close combat with those two guys. What kind of training did you do for that? And what was it like to sort of go from paced, restrained dialogue to break into the action like that?

Pierre: Oh, it was so much fun. You’ll hear me commend and celebrate the crew a lot because they deserve it, they earned it, and they’re just phenomenal. I had a lot of help with the physicality of Terry, with the intellect of Terry, from the stunt department and from our advisors. [Marine Corps Martial Arts Program] instructors, for example. We really did a lot of physical training prior to production commencing. We did wrestling training, we did boxing training, we sparred. So I was really in my body. I’m already a student of martial arts, and I love it. It’s the most humbling thing in the world, and I just adore it. And I’ll always be a student of it. So that was really fun for me, to be able to do that for my job. By the time we got to choreography, it just felt somewhat fluid and easy because moving in that way was already in my body. That was how we warmed up, that’s how we would sometimes start days, that’s sometimes how we would end days. That’s sometimes how we would spend a day on the weekend. So it was really in me at that time. And again, it goes back to being the loudest quietest person in the room. I like that Terry goes from that speech to, “OK, you’ve now left me no option but to demonstrate everything I just told you I had the capacity to do, but I was hoping not to have to do.” There was sort of a running joke in the crew that Terry is there to teach manners.

Olsen: There also is a scene in the film where Terry, your character, is on a bicycle and he’s racing a bus. And I’ve seen some of the behind-the-scenes footage. You’re on this contraption that’s sort of a motorized cart that has a bicycle sticking off the front of it. But I have to say, I would 100% believe that you were, like, racing that bus.

Pierre: So here’s the thing. As you know, it takes a lot to make a film and it takes a lot to capture a scene like that. And all of these get cut together, and then it all just looks seamlessly like one take, or whatever it might be. But there was a version of that bus scene where I’m pursuing the bus on a pedal bike, just me. There’s a version of it where I’m pursuing the bus on a bike rig that is fueled by a motor, almost like a small go-kart. There’s a version of it where I’m quite literally attached to the bus and I am physically pedaling and exerting myself as hard as I can. And then [key grip] Big Bruce Lawson — who I love, by the way — he’s gently pushing me closer and closer to where the driver is, driving the bus. So all three of these versions require me to pedal, but not all of them am I making movement purely on my own accord. Then you put them all together and it looks seamless and wonderful.

Olsen: How surprised are you when you see the final product? Like, “Whoa, looks pretty good!”

Pierre: I have to be honest, with Jeremy, I wasn’t surprised. Jeremy’s Jeremy, he does wonderful work all the time as far as I’m concerned. I remember well before the film came out, he showed me an early cut, I think it was maybe like the first eighth of the film, and I was just really excited by it. And then to see the final product, I just commend him.

Olsen: There also are a number of scenes in the film where you disassemble a gun, a handgun, in your hands without really looking at it while you’re doing it, like you’re looking at another person while you are taking this gun apart. How hard is that? I don’t think I could ever manage that. Had you had any kind of weapons training from other projects?

Pierre: Not prior to “Rebel Ridge.” But I really had to immerse myself in that in order to achieve what I wanted to achieve, which was authenticity. And which was honoring Marines. That’s very important to me, as it’s very important to me with every role that I play to be authentic and to honor the individual and the history of that individual and their respective communities and units. So I really immersed myself in it, and even reflecting on it now, I’m surprised that I managed to even get to the level where I could do a scene and be looking you in the eye but [be] disassembling a gun or unloading a gun and unloading a magazine and putting that on the side. They really had me in sort of like a boot camp, and luckily I took to it. Because one thing about Jeremy is we will not move on from the scene until it’s seamless, and that’s what I love about him.

Olsen: Were there any other films that you and Jeremy would talk about or maybe that he showed you as a reference as you were working on this part?

Pierre: Actually, no. I mean, of course, he and I were aware of wonderful films that share similar themes. But for the whole maybe three-month shoot, we didn’t actually speak about any other action films. And I even remember Don, Jeremy and I one day, I think we were shooting the scene where Don’s character takes Terry with David Denman’s character to the hospital before they break the news to him. And Don actually doesn’t watch any films when he’s shooting a film. So that was kind of the energy, actually, while we were filming “Rebel Ridge”: Let’s just focus on creating this original film without influence or at least without any conscious influence. Of course, it’s art, so subconsciously you’re always going to be influenced; it’s going to be a version of [something]. And that’s inspiration. But we really just focused on “Rebel Ridge” and how do we want to tell the story of “Rebel Ridge.”

Olsen: Tell me more about working with Don Johnson. He seems like a super cool guy that it would be fun to meet and hang around with. But then it’s funny that he’s so good at playing this like really smug jerk of a crooked sheriff.

Pierre: Don and I get along really wonderfully. It’s so funny, I think actually the fact that we got along so well allowed us to create such tension and friction within the scenes because we were able to, outside of the context of the scenes, discuss what we wanted to achieve and how we wanted to achieve it. And then when the cameras started rolling, we had substance because we had everything we had discussed. And in those moments, it wasn’t Aaron and Don, it was really Terry and the sheriff. Jeremy creates this environment where it really is conducive to, I think, the best work, because he protects with everything the scene and the place where the scene is taking place. So you can have a laugh and a joke outside, because you know as soon as you step into that atmosphere, that arena, you’re in that world now.

Olsen: The story of the film is about a Black man coming into a Southern town. Race is a real undercurrent to the story, and yet it’s something that apart from one scene, where a Black female police officer calms down a group of white men, it’s never really explicit in the film. For you, what was it like to have that sort of bubbling underneath? Did you like the fact that there was never a big conversation about it, that’s not that scene in the movie. How did you feel about the way the story dealt with that?

Pierre: I think Jeremy did a brilliant job of navigating multiple important and pressing issues, all within one film. And I think he did it in a way that was not didactic. And I might even say that … allowed for it to resonate even deeper with audiences. Because versus the audience is feeling like they were being sat down, it was more of an invitation to come and engage in this conversation with us, within the context of the film.

Olsen: I want to go back to something you said earlier, that you feel on a project you have to earn your own respect. Can you talk a bit more about what means to you? What, in essence, does it take for you to earn your own respect?

Pierre: When an audience engages with your work in any capacity — theater, film, TV, radio, wherever it is — that’s them gifting you with their time. Time is precious. Time is valuable. I need to feel as though I’ve served the character. I need to feel as though I’ve served the story. I need to feel as though I’ve served the creative team. And I need to feel as though I’ve served the audience. Even if an audience walks away from something and they say, “That wasn’t for me,” that’s OK because the work is subjective. Just so long as the result of that wasn’t me not giving my all. If I don’t give my all, I’m not at peace. And I think that really just comes from gratitude for the opportunity. And that ferocity of work ethic that I have is just fueled by gratitude. I’m well aware that this is something that isn’t a given, to be blessed in a position where you can tell stories on this level with such wonderful creatives. I’ve been in a position where this is everything I wanted to do, all I could do, but I was unemployed and I was in a very financially challenging position and telling people I’m an actor, but I had nothing, nothing to show. So I think actually having all of those life experiences of those rough times, and those challenging times, when I am now in this position where I’m fortunate to have an abundance of options and things available for me to engage with, it’s just never missed on me. Ever. And it just would never feel right to take that for granted. What are we doing here? We have an opportunity, let’s give it our all. Maybe it lands flat, maybe it’s a major success, but whatever we’re doing, let’s not hold our punches, let’s give everything we’ve got.

Olsen: Last year, you were also in “Mufasa: The Lion King,” you did the voice of Mufasa. And as I understand it, you had previously worked with Barry Jenkins on “The Underground Railroad” —

Pierre: That’s big bro.

Olsen: And as I understand it, he initially reached out to you. He saw you onstage, and he sent you a DM.

Pierre: He did.

Olsen: As an actor, is that kind of what you’re hoping for? You can’t even really hope for that to happen, in a way.

Pierre: I thought somebody was messing with me, I promise you. We had just finished an evening performance at Shakespeare’s Globe on the South Bank, of “Othello.” Mark Rylance was playing Iago, Andre Holland was playing Othello. Phenomenal actors both. The whole team, phenomenal actors. And I just finished the evening show, and I think I was coming out of the underground at Earl’s Court Station and my phone pinged. And it was a DM from Barry, and I was like, “This has got to be a joke. Somebody has heard me talking about how much I want to collaborate with him, heard me talking extensively about what he achieved with ‘Moonlight.’” And then I opened it and it had the little verified blue tick, and I was like, “This is actually Barry Jenkins.” And he was just saying, “Hey, man, I really enjoyed your work on the stage as Cassio, I have this project upcoming. And I would like to engage in a conversation with you about it.” That was a really special moment for me.

Olsen: With “The Lion King” in particular, what was it like taking on the role of Mufasa, originally voiced by James Earl Jones? Was it a challenge for you to find your own way, essentially your own voice, for that character?

Pierre: First and foremost, James Earl Jones originated Mufasa and is and always will be synonymous with Mufasa, and his portrayal is just so beautiful and timeless. And it’s not only with me for the rest of my life but with all of us for the rest of our lives. And most importantly, it can never be matched. That actually brought me a lot of peace entering that conversation and entering that creative process. Knowing that is in its own stratosphere, and rightly so, it gave me a lot of peace and it gave me permission to find my own version. And I hope that he would be proud of the version that I discovered, and I hope that he would feel as though we did everything we could to uphold the legacy that he established and the legacy that he built. Because that was our intention and that was what we were striving for. And, just on a separate note, James Earl Jones, he’s the top of the mountain for me. I study him. He’s just the top of the mountain for me.

Olsen: As we’re having this conversation, you’re in the midst of production on “Lanterns,” which is a very different production from “The Lion King.” I’ve seen this iteration of the Green Lantern story described as a sci-fi “True Detective.” And I’m curious just how that project is going for you and what the experience so far of shooting that has been like?

Pierre: It’s been great. It’s been a really beautiful process and experience. Everybody is so close. Everybody is so tight and connected. And I think that is because we all love this project.

Olsen: You also are in the upcoming season of “The Morning Show,” again a very different project, and I’m curious, for you as an actor, do you feel like this has kind of become your moment? As an actor you work so long and so hard. What is it like for you when it seems like suddenly so many things are lining up for you?

Pierre: It’s very surreal. It’s very surreal. There was a time when there was nothing available to me, despite me trying to have things available to me. So it’s very surreal. Again, I’m abundantly grateful, and I think it’s about just utilizing these moments to learn, to grow, to evolve. And just to serve this space as best I can. It’s impossible not to have an amazing time on “The Morning Show.” All of those wonderful artists and creatives, we had a really great time.

U and U&Drama’s new historical series Outrageous has scored rave reviews, but will the Mitford sisters’ story continue?

The cast of Outrageous are all keen to return for a second series of the gripping historical drama following its premiere this week.

Releasing this Thursday (19th June) on U, U&Drama and BritBox, the six-part first outing follows Nancy Mitford (played by Bessie Carter) and her five sisters’ ascent to notoriety in the 1930s.

While Nancy was becoming a reputable author and journalist, her sisters were either breaking the rules of society or rubbing shoulders with fascists.

After taking off the rose-tinted glasses for a key era of British history, will Outrageous continue the scandalous narrative in a second outing?

Acclaimed star James Purefoy, who portrays the Mitfords’ father, insists: “They’d be mad not to, I think.”

Reach chatted to Purefoy and the rest of the cast at the show’s London premiere, and enthusiasm to continue was high across the board.

“I think it’s a great show and there’s a lot more meat on these bones,” he continued. “We’re only at 1937, with loads more to come.”

Along with Bridgerton star Carter portraying Nancy, the Mitford family is brought to life by a crop of both established stars and new talent to watch out for.

In addition to Anna Chancellor portraying their dedicated mother, Joanna Vanderham and Shannon Watson portray fascist sympathisers Diana and Unity and Isobel Jesper Jones plays Pamela Mitford, who defied gender norms of the time.

Zoe Brough and Orla Hill portray the youngest sisters, Jessica and Deborah and, finally, Toby Regbo portrays the only brother, Tom Mitford.

Jones teases of a potential second season: “There is so much history to cover. It’s the tip of the iceberg, there’s so much more they go on to do.

“Pamela’s story, in particular, is so interesting beyond the 1930s. I really hope that we’ll get to do that. If anything it gets more chaotic and more outrageous.”

And Hill was equally enthusiastic to return, saying: “I would love to.

“I’m desperate to because Deborah starts to come out to society and then had a crazy, teenage… her sweet 16 was pretty [crazy], hanging out with the Kennedys.

“One of the most interesting things about Outrageous is you have all those really famous historical figures that we know just trickling in,” she added.

“Having some of that for my character’s storyline would be really fun.”

From the first episode’s surprise appearance of Winston Churchill (Robert Daws), it’s clear the Mitfords were one of the most well-connected families in Britain during the early 20th Century.

With plenty more history to cover, a second season could feature cameos galore from famous faces as well as plenty more scandalous revelations about the Mitfords.

Outrageous is available to stream on U, U&Drama and BritBox.

Coronation Street’s Theo Silverton actor James Cartwright has teased ‘gripping’ and ‘thrilling’ storylines ahead on the ITV soap, as he hit back at viewer backlash

One Coronation Street star has defended the ITV soap after claims from viewers it’s “too dark”.

A string of exits and dramatic storylines have left many fans calling out the show, wanting more positive and happy episodes. Storylines have included the murders of PC Craig Tinker and teen Mason Radcliffe, Debbie Webster’s dementia diagnosis, a deadly blaze and two hostage situations, as well as a shooting.

While some fans are hooked on the drama, others have expressed their disapproval of the “dark” and sad storylines, wanting more humour. With a number of big exits having aired too, fans have shared concern online over the future of the soap.

But one star has hit back at claims the show needs to lighten up, teasing some “exciting” moments ahead. He also addressed his view on the show, explaining why the hard-hitting plots were necessary.

Telling viewers why they needed to stay tuned to Corrie, he hinted at some big scenes ahead. Speaking exclusively to The Mirror, he spilled: “There’s lots coming up. It’s gripping, it’s thrilling, it’s exciting. The dynamic is dramatic and so exciting.

“It’s funny, it’s charming, it’s witty. Don’t miss a single minute of any episode cos if you do, you’ll regret it and you’ll go to work and everyone will be like did you watch Corrie, and you didn’t. And they’ll go why did you do that? You should be watching!”

READ MORE: Emmerdale’s Robert ‘works out’ John’s dark secret in identity bombshell

James also shared his thoughts on the edgier side of soaps, and praised the tough storylines amid fan backlash. He told us when asked about the exits and the issues some fans had with the storylines that “this is a soap”, and it’s what people want to see, “drama”.

Commenting that without such elements, surprises and twists and turns it could be “boring”, he said it wouldn’t be very entertaining if everyone was happy all the time, adding that a lot of the issue-led storylines reflect real life. James also spoke of his character Theo Silverton’s romance with Todd Grimshaw.

Amid Theo facing turmoil over his sexuality, finally able to be his true self after decades of hiding who he is, the character is finding things tough. With him and Todd also being targeted by a mystery person trying to split them up, with fans convinced it’s Theo’s daughter Millie behind it, James teased whether there could be happy times ahead for the couple.

Giving very little away, he told us: “I think Todd is great and I think Theo is wonderful, and they make a good couple. They have a fun time but relationships are never easy. There’s bumps but we want it. We want drama, it’s soap. We want chaos.”

Fans have their suspicions over who really set up a fake dating profile for Theo, with the plan being to split the couple up. Luckily for Theo his new flame Todd realised it wasn’t his profile and that someone was targeting them.

While Theo’s wife Danielle came under suspicion, she was believed by Theo when she protested her innocence. So who is targeting them and why? Taking to X, one viewer said: “It’s obviously Theo ’s daughter who set up that profile.”

Another fan agreed: “It’s obviously Theo’s daughter.” A third fan wrote: “I think it’s Theo’s daughter Millie that is sending the messages to try and split Todd and Theo up.”

The theory was shared by others too with one fan writing: “Millie put Theo’s pic on that dating app. Driving a wedge between him and Todd. Bit obvious.” A final theory said: “That defo has to be Theo ’s daughter Millie or ex wife Danielle who probably made that dating profile up to set up Theo.”

Coronation Street airs Mondays, Wednesdays and Fridays at 8pm on ITV1 and ITV X. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

James Gunn has his own theory about why the movie industry is “dying.”

The filmmaker, screenwriter and co-head of DC Studios contends that the reason for bad movies is Hollywood’s tendency to begin productions before screenplays are complete, he told Rolling Stone in a new interview.

“I do believe that the reason why the movie industry is dying is not because of people not wanting to see movies. It’s not because of home screens getting so good,” Gunn said. “The number one reason is because people are making movies without a finished screenplay.”

That’s why one of his main rules at DC Studios is that movies must have finished scripts before they go into production. In fact, Gunn just scrapped a project because the screenplay wasn’t ready, he said. On the other hand, he described the scripts for the upcoming DC films “Supergirl,” “Lanterns” and “Clayface” as “so f—-ing good.”

Before taking the reins of DC Studios in 2022, Gunn co-wrote and directed three “Guardians of the Galaxy” movies for now-competitor Marvel Studios, which he said has been “killed” by Disney’s directive to increase output.

“We don’t have the mandate to have a certain amount of movies and TV shows every year,” Gunn said of DC Studios. “So we’re going to put out everything that we think is of the highest quality.”

During the interview, Gunn also addressed rumors that Matt Reeves’ sequel to “The Batman,” starring Robert Pattinson, has been axed. The film, which Gunn confirmed is still titled “The Brave and the Bold,” has been delayed a year and is now expected in October 2027.

“That’s the other thing I hear all the time — that ‘Batman Part II’ is canceled. It’s not canceled,” Gunn said. “We don’t have a script. Matt’s slow. Let him take his time. Let him do what he’s doing. God, people are mean. Let him do his thing, man.”

Finishing the scripts for the “The Batman” sequel and “Wonder Woman” are among DC Studios’ top priorities, Gunn noted.

Additionally, Gunn reflected on the 2018 scandal that saw him briefly fired from “Guardians of the Galaxy Vol. 3” when tweets resurfaced of him joking about pedophilia and rape. He said without that experience, his script for “Superman” — hitting theaters July 11 — would have been much different.

“That opened the door for me to stop creating so that people would like me. That’s downplaying it — so people would love me,” Gunn said. “I think on some level, everything I had done came from a pleasing place.”

When asked whether he’s worried about ever running out of ideas, Gunn didn’t seem too concerned.

“If I do, then I’ll go raise goats,” he said. “I really am fine. There’s a lot of directors who get worse as they get older, and I don’t wanna do that. Or maybe I do — I don’t know. It’s like, if it runs out — it hasn’t so far. But who knows?”

Two British icons of the screen finally join forces in the new period drama Outrageous, releasing this week on U and U&Drama

Outrageous star James Purefoy has opened up about working with his long-time friend Anna Chancellor for the first time ever in the upcoming period drama.

This scandalous series coming this week on U and U&Drama takes viewers back to the 1930s when the shadow of World War II was beginning to loom.

While Nancy Mitford (played by Bessie Carter) becomes a reputable writer, her sisters follow drastically different career paths.

Under the stern eyes of their parents, David Freeman-Mitford aka ‘Farve’ (Purefoy) and Sydney Bowles aka ‘Muv’ (Chancellor), the family is catapulted into notoriety as the sisters become rebels, socialites and even rub shoulders with fascists.

Speaking to Reach at Outrageous’ London premiere, Purefoy explained his co-star has been a dear friend for years despite never sharing the screen.

“She’s an amazing actress,” he said. “She’s the godmother to my eldest child, I’ve known her 35 years and this is the first time I’ve worked with her.

“It was just a joy working with a really old friend because there’s a lot of shorthand there and it was a very easy fit for us.

“It was just an enormous pleasure every single day.”

Throughout the six-part drama, the Mitford patriarch struggles to keep his foothold in high society following a substantial loss during the Wall Street Crash.

Although he attempts to rule his household with an iron fist, his anarchic daughters have other ideas.

As Britain faced economic turmoil in the years preceding the war, his daughters Diana (Joanna Vanderham) and Unity (Shannon Watson) blindly swear allegiance to the British Union of Fascists.

Meanwhile, Muv is simply desperate for her daughters to find good husbands during an era when family connections meant everything.

“The thing about Anna is she’s so curious about everybody and everything,” Purefoy added.

“She will talk to anybody about anything. And is always interested, and that’s what makes her such a good actress.”

This isn’t the first time Purefoy and Chancellor have been involved in the same project, however.

Chancellor portrayed a fascist herself, the villainous Dr. Frances Gaunt, in the popular Batman prequel series Pennyworth, starring Jack Bannon as the nocturnal hero’s future butler Alfred.

Despite not sharing scenes together, Purefoy also had a major role in the Epix and HBO Max series, playing Captain Gulliver ‘Gully’ Troy, aka Captain Blighty, in the second and third seasons.

As two legendary stars of the British stage and screen, don’t miss the chance to see Purefoy and Chancellor as married aristocrats in this scandalous new drama that truly lives up to its title.

Outrageous premieres Thursday, 19th June on U, U&Drama and BritBox.

JAMES MADDISON and his long-time girlfriend Kennedy Alexa have heartwarmingly revealed they’re expecting a second set of twins.

The couple started dating in 2020 and welcomed their first child, son Leo, into the world the following year.

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England international Maddison and his model other half had twins – Delilah and Rome – just days after the midfielder joined Tottenham in the summer of 2023.

And they’ve remarkably conceived a second set of twins, the odds of which are a massive ONE IN 50,000.

They revealed they’re expecting again in a touching holiday montage video on both their Instagram accounts.

In the video, Alexa, 30, proudly showed off her bump, which her little ones adorably kissed, as she dipped her toes into the sea.

The video ended with Maddison, 28, writing “twins again” and “Maddison twins part 2” in the sand.

Their joint caption read: “Beyond blessed! Bring on the chaos.”

The couple were showered with well-wishes seconds after sharing the video.

One of their followers wrote: “I’M CRYING!!!!! KENNEDY!!! Congratulations!!!!!!! You look like an angel.

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“Ahhhh, omg literal tears so happy for you and your beautiful family.”

Another said: “Maddison X5 LOVE LOVE LOVE, congratulations both!!”

And another said: “OMG INCREDIBLE. Congratulations!!!!! Xxx”

One remarked: “So excited!! The chaos will be worth it.”

Another chimed in: Maddison’s 5-a-side invitational.”

Several of Maddison’s club and international team-mates chimed in, including Jude Bellingham, who wrote: “Congratulations.”

Jordan Henderson commented: “Congrats, sheriff.”

Jack Grealish also commented, writing: “Congrats both. Unbelievable.”

Dominic Solanke chimed in: “Beautiful chaos!”

And Pedro Porro and Micky van de Ven both chimed in with love heart eye emojis.

Brighton have extended the contract of James Milner by another season in a deal which will take the midfielder past his 40th birthday.

Milner has been with the Seagulls since joining them after his contract with Liverpool ran out in summer 2023.

He will turn 40 on 4 January, 2026 and will have to play into the following season if he wants to stand a chance of becoming the Premier League’s oldest outfield player.

That record is held by former England forward Teddy Sheringham, who played in the top flight for West Ham when he was 40 years and 272 days old.

Milner made only four top flight appearances for Brighton last season as they finished eighth in the Premier League.

He began his career at Leeds United and went on to play for Newcastle United, Aston Villa, Manchester City and Liverpool.

He also won 61 caps for England, representing his country at the 2010 and 2014 World Cups.

The City Section held its annual football coaches meeting Monday in the Rams’ locker room at SoFi Stadium, and the newest head coach was introduced. It’s 33-year-old James Boyd, who was a star quarterback and four-sport athlete at L.A. Jordan during his high school days, signed with USC as a defensive end and is returning to take over his alma mater.

His high school coach at Jordan, Elijah Asante, is now head coach at Hamilton and said he expects Boyd to do a good job inspiring Jordan players because of his own success story.

A lot of news came out of the meeting.

View Park Prep dropped its football program for the 2025 season. That might help nearby Crenshaw, which has struggled to fill its football roster.

Terrence Williams has replaced Monty Gilbreath as the football coach at Gardena, which means the Marine League will have new coaches at Gardena, Banning, Carson and Narbonne. The only returning coach is Corey Walsh at San Pedro.

After 13 years of trying, the Los Angeles Unified School District has approved schools to use student body funds to pay for HUDL, which helps coaches handle videos of players and games. Previously, coaches had to write checks, use personal credit cards or seek help from booster clubs.

San Fernando and Sylmar have agreed to play their Valley Mission League game at the Coliseum on Oct. 17. There also will be a girls’ flag football game and JV game.

The City Section has changed its mercy rule. If a team leads by 42 or more points at halftime, a running clock will begin. Also, if a team leads by 35 or more points in the fourth quarter, that leads to a running clock.

Coaches and adults are facing increased penalties if they are ejected from games for unsportsmanlike behavior. Coaches are expected to receive a three-game suspension for being ejected. Parents who are ejected from a game will receive a three-game ban.

The City Section sit-out period for transferring without moving ends on Thursday, Sept. 25. More teams have been playing on Thursdays because of an officials shortage, so this helps teams that would be at a disadvantage if the date was on a Friday.

Official practice begins on July 28.

Schools must exchange rosters before games.

There was a discussion about adding boys’ flag football, but there was no consensus on what part of the school year would be viable and concerns were raised about whether it would further deteriorate 11-man rosters.

Crenshaw coach Robert Garrett will start the season this fall with 290 career victories.

James Martin bid his Saturday Morning viewers a fond farewell as the show is being taken off the air for the summer – and he did not explain exactly when the show will be back

James Martin has revealed he is shunning exotic holidays and choosing to relax in the UK as his Saturday Morning TV show is paused for the summer. The 52-year-old TV chef took to the air for a final time this weekend ahead of an extended break.

The star has been hosting ITV’s James Martin’s Saturday Morning since 2017 – but fans will have to go for several weeks without seeing him on screens. On Saturday, the host explained that his show is being put on ice for the summer.

He did not give an explicit time or date that the long-running series would return – but did shed light on what he would be doing in the interim. After thanking his guests and co-stars, he engaged in some banter with his crew.

When the episode came to an end, James announced: “That is also for the series. Me and the crew are heading off on sunny holidays. Different climates.” Turning to his team, he asked: “Where are you going?”

A crew member could be heard replying that they would be going to Portugal – leading James to reveal he was looking forward to a staycation rather than jetting off to the sun.

He revealed: “Yorkshire for me.” Saturday’s episode brought to a close the current season of the show – which was forced to be shorter than usual due to a conflicting event.

He told fans: “Because of the Derby on ITV1 this afternoon, it is a shorter episode than usual today. But we still have time for one more dish.”

When the episode ended, he made sure to explain that he was grateful to his guests, crew and viewers for making his show a continued success. He said: “That’s all we have got time for today, a massive thank you to all of my guests.”

He continued: “To my food team, you can sleep better now. Daniel and Sally, and of course, Harry Redknapp and Carly Paoli.”

James later teased when his show would be back on the air – but did not commit to an exact date. He said: “We will be back here with more top chefs, other brilliant guests, and more delicious recipes later on in the year.”

And signing off, he told viewers: “Until then, thanks for watching. Have a wonderful, fantastic summer. I’ll see you out there wherever you are. Thanks for watching, see you again soon, goodbye for now.”

ITV has been making headlines in recent weeks over the brutal changes they have been making behind-the-scenes, reportedly leading to staff redundancies and even reports Lorraine Kelly is considering quitting the network after her number of shows per year was cut in half and her time slot hugely reduced.

ITV revealed last month: “From January 2026, Good Morning Britain will be extended by 30 minutes to run from 6am to 9.30am daily, and will transfer to be produced by ITV News at ITN at their base at Gray’s Inn Road in London. GMB will be made by a dedicated team within ITV News at ITN.

“This change will see ITV bring all its national news gathering into one hub, with Good Morning Britain benefitting from the journalistic and production resources already in place for national news bulletins, for the website and for digital platforms including ITVX.”

It was added: “Lorraine, This Morning and Loose Women will continue to be produced by ITV Studios and will be broadcast from a new location in central London.” Drastic changes have not yet been made for weekend scheduling.

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James Martin confirmed that ITV’s Saturday Morning would be taking a break with him and the rest of the crew for the summer holidays

James Martin has announced he’s taking a well-deserved break from his popular ITV cooking show, Saturday Morning, as he and the team enjoy some summer downtime.

Wrapping up today’s episode, the celebrity chef expressed his gratitude: “That’s all we have got time for today, a massive thank you to all of my guests.”

He gave a shout-out to his culinary squad: “My food team, you can sleep better now. Daniel and Sally, and of course, Harry Redknapp and Carly Paoli.”

James then revealed the season’s end: “That is also for the series. Me and the crew are heading off on sunny holidays. Different climates.”

In a light-hearted exchange with one of the crew, James inquired about holiday destinations, learning that one was off to Portugal, while he himself would be heading to Yorkshire, reports Devon Live.

He promised viewers more culinary delights upon their return: “Yorkshire for me. But we will be back here with more top chefs, other brilliant guests, and more delicious recipes later on in the year.”

Signing off, James wished everyone a splendid summer: “Until then, thanks for watching. Have a wonderful, fantastic summer. I’ll see you out there wherever you are.”

He concluded with a friendly farewell: “Thanks for watching, see you again soon, goodbye for now.”

Earlier in the show, James had informed the audience of a shorter episode due to the Derby broadcast on ITV1: “Because of the Derby on ITV1 this afternoon, it is a shorter episode than usual today. But we still have time for one more dish,” he explained.

During a segment filmed in Italy, James even joked about retiring there after tasting a local chef’s traditional fish dish, much to the delight of viewers.

“Can I just say if your two sons don’t want to do this, you call me,” he offered.

He then laughed and mused over an enticing possibility: “I might retire here. I could be over there, I could be doing this, it is fantastic.”

James Martin’s Saturday Morning is available to watch on ITVX.

Goalkeepers: Hannah Hampton (Aston Villa), Khiara Keating (Manchester City), Anna Moorhouse (Orlando Pride).

Defenders: Lucy Bronze (Chelsea), Leah Williamson (Arsenal), Jess Carter (Chelsea), Alex Greenwood (Manchester City), Lotte Wubben-Moy (Arsenal), Esme Morgan (Washington Spirit), Niamh Charles (Chelsea), Maya Le Tissier (Manchester United.

Midfielders: Ella Toone (Manchester United), Georgia Stanway (Bayern Munich), Keira Walsh (Manchester City), Grace Clinton (Manchester United), Jess Park (Manchester City).

Forwards: Lauren Hemp (Manchester City), Lauren James (Chelsea), Chloe Kelly (Arsenal on loan from Manchester City), Beth Mead (Arsenal), Michelle Agyemang (Brighton on loan from Arsenal), Alessia Russo (Arsenal), Aggie Beever-Jones (Chelsea).

UC Irvine bounced back from an NCAA tournament regional opening loss, rolling to an 8-3 win over Fresno State on Saturday at UCLA’s Jackie Robinson Stadium.

James Castagnola led the Anteaters at the plate, delivering a home run and three RBIs. Winning pitcher Riley Kelly tossed 52 strikes, allowing four hits and two runs during four innings.

Eddie Saldivar delivered a home run and scored twice in the season-ending loss for the Bulldogs.

UC Irvine will face the loser of the late UCLA-Arizona State game in another elimination game at 3 p.m. PDT Sunday. If the Anteaters win, they would face the winner of the Bruins-Sun Devils game in another elimination contest. UC Irvine needs to sweep its next three games to win the Los Angeles Regional.

EX-TOWIE star James Argent has ditched the lawyers who kept him out of jail after he assaulted his girlfriend. 

The former reality TV star is now on to his third legal team since the May 5 assault in Spain. 

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Argent, 37, struck a deal with public prosecutors and accepted a six-month suspended prison sentence for the attack on former Miss Sweden Nicoline Artursson, 32, at a rented home. 

She suffered injuries to her neck, arms, hand and leg.

He was hauled to Fuengirola’s Court of Violence Against Women and admitted the crime of mistreatment. 

A well-placed legal source said: “The individual who was convicted has appointed a new barrister and solicitor.” 

The new lawyers have not been named but may be involved in negotiating terms of a rehabilitation course he has to attend. 

The ex-Towie star James Argent was ordered to pay his ex-girlfriend just £250 in compensation for attacking her.

Argent, 37, was handed a six month suspended prison sentence after hurting Nicoline Artursson at their Spanish home.

He frogmarched her to the door of their picturesque beachfront property and pushed her down a set of steps.

Cops wanted to charge Argent with wounding but settled for the lesser offence of ‘mistreatment’ after he agreed to a plea deal.

But court papers obtained by The Sun show Argent – who raked in £5,000-a-week last year – was only required to pay Nicoline a paltry £250 in damages.

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Twenty-two seasons ago, LeBron James entered the NBA with almost unbelievable expectations, the fate of a franchise in Cleveland and a league hungry for a new star on his back.

Twenty-two years later, the Lakers’ star exceeded even the most outlandish predictions, winning championships in three different cities, scoring more points than anyone in league history and authoring the kind of sustained greatness that’s unmatched across sport.

And if you needed proof, more was offered Friday.

A panel of media voters selected James to the league’s All-NBA second team — the 21st year he’s been voted all-league on one of the three teams. His 21 All-NBA appearances is six more than Kareem-Abdul Jabbar, Kobe Bryant andf Tim Duncan, who are tied with the second at 15.

Despite turning 40 in late December, James played 70 games and averaged 24.4 points, 7.8 rebounds and 8.2 assists while shooting 51.3% from the field and 37.6% from three. His 78.2% shooting from the free-throw line was a career best.

Clippers guard James Harden made All-NBA third team, his eighth All-NBA selection and first since 2020.

League MVP Shai Gilgeous-Alexander, Denver’s Nikola Jokic, Milwaukee’s Giannis Antetokounmpo, Boston’s Jayson Tatum and Cleveland’s Donovan Mitchell made first team All-NBA.

Jalen Brunson, Stephen Curry, Anthony Edwards and Evan Mobley joined James on the second team while Cade Cunningham, Tyrese Haliburton, Karl-Anthony Towns and Jalen Williams were with Harden on the third team.

James, who suffered a sprained medial collageral ligament in the Lakers’ final game of the first round, has a $52-million player option for next season. If he declines the option, he’d be an unrestricted free agent.

May 16 (UPI) — Homeland Security Secretary Kristi Noem announced Thursday night that DHS and the Secret Service are investigating a since-deleted picture former FBI Director James Comey published online as a threat targeting President Donald Trump.

“Disgraced former FBI Director James Comey just called for the assassination of @POTUS Trump,” she said online. “DHS and Secret Service is investigating this threat and will respond appropriately.”

Comey had published the now-deleted photo to Instagram. It showed shells on a beach arranged to form the numerals “86 47.”

“Cool shell formation on my beach walk,” Comey had written in the caption.

The number 86 is widely used code in restaurants and the hospitality industry meaning an item is either sold out, no longer available or should be removed from a dish. The Merriam-Webster dictionary says it is slag meaning to eject, dismiss or remove.

The number 47 suggests Trump, who is the 47th president of the United States.

The president’s eldest child, Donald Trump Jr., published a screenshot of the deleted post to his X account, describing the image as “James Comey casually calling for my dad to be murdered.”

In a follow-up post on Instagram, Comey explained that he had assumed the shells conveyed a political statement but not one suggesting violence.

“I posted earlier a picture of some shells I saw today on a beach walk, which I assumed were a political message. I didn’t realize some folks associate those numbers with violence,” he said. “It never occurred to me but I oppose violence of any kind so I took the post down.”

FBI Director Kash Patel said in a statement that the FBI is aware of the post “directed at President Trump” and is in contact with the Secret Service.

“Primary jurisdiction is with SS on these matters and we, the FBI, will provide all necessary support,” he said.

UPI has contacted the Secret Service for comment.

Tulsi Gabbard, director of National Intelligence, also described the image on X as Comey issuing “a call to action to murder the President of the United States.”

In an interview with Fox News, Gabbard said Comey should be jailed for it.

“I’m very concerned for the president’s life,” she said. “And James Comey, in my view, should be held accountable and put behind bars for this.”

Comey served as director of the FBI from 2013 until he was fired by Trump during his first term in 2017, during which his office investigated Russian interference into the 2016 election and Hillary Clinton‘s use of a private email server while she was secretary of state.