Netflix

His and Hers exploded onto our screens last week and Netflix fans are now looking for their next binge-watch.

His and Hers is Netflix’s most-watched series but there’s plenty of other gripping dramas that pack a punch on the streamer.

Tessa Thompson and Jon Bernthal lead the way in the newly released six-part thriller which sees an estranged married couple brought back together by a disturbing homicide in their hometown.

As subscribers finish the unpredictable His and Hers, many are looking for their next big watch on the streamer.

From a “horrifying” final episode to a “superb” drama with a 100% Rotten Tomatoes rating, here are five thrillers ready to watch on Netflix.

5 ‘gripping’ binge-worthy Netflix thrillers

Mr Mercedes

Based on Stephen King’s hit novel of the same name, Mr Mercedes follows the psychopathic serial killer Brady Hartsfield (played by Harry Treadaway) after he runs over 16 people at a job fair.

While there is little to no evidence of who committed the horrendous act, retired detective Bill Hodges (Brendan Gleeson) won’t stop investigating as he’s determined to bring the culprit to justice.

Starring Harry Potter legend Brendan Gleeson and Nobody Wants This star Justine Lupe, all three seasons of Mr Mercedes are ready to watch on Netflix.

Run Away

Author Harlan Coben is a mastermind when it comes to hit Netflix thrillers based on some of his best-selling novels and Run Away is no different.

Released on New Year ’s Day, Simon Greene (James Nesbitt) has been desperately trying to find his runaway daughter Paige (Ellie de Lange) for the past six months.

But after he does eventually track her down, it kicks off a string of dangerous events, unravelling family secrets that no one expected.

Run Away stars Cold Feet’s James Nesbitt, Gavin and Stacey icon Ruth Jones and Harry Potter icon Alfred Enoch.

Behind Her Eyes

Based on the 2017 psychological thriller novel of the same name by author Sarah Pinborough, Behind Her Eyes revolves around single mum Louise (Simona Brown) who starts an affair with her psychiatrist boss David (Tom Bateman).

Louise also secretly befriends David’s mysterious wife Adele (Eve Hewson), leading to twisted mind games and an almighty cliffhanger that fans have labelled as “horrifying”.

Dark Winds

Set in 1970s Navajo Nation in the American Southwest, Tribal Police lieutenant Joe Leaphorn (Zach McClarnon) is joined by his new deputy Jim Chee (Kiowa Gordon) in solving a number of crimes that don’t, on the face of it, seem to be connected.

But as they continue to uncover clues around a brutal double murder, they begin to battle their own demons and beliefs.

Only the first season of Dark Winds is currently available to watch on Netflix with reports that its second will be added later this year.

However, all three seasons of Dark Winds are ready to stream on NOW.

The Sinner

Hit psychological crime drama The Sinner focusses less on the crime itself and more on why people do these terrifying acts.

While each series revolves around a different case, at the heart of The Sinner is Detective Harry Ambrose (Bill Pullman) who continues to look into devastating acts of violence and the disturbing reasons why they are committed.

All four seasons of The Sinner are available to watch on Netflix.

A Big Bold Beautiful Journey was released in September last year and despite its star-studded cast, received mixed reviews from critics and audiences.

A divisive film is arriving on Netflix this week. It’s the latest project from award-winning actress Margot Robbie, though it has sparked contrasting reactions from both critics and audiences.

Netflix subscribers will be able to form their own opinion about A Big Bold Beautiful Journey (2025) when it drops on the streaming service on Saturday. Robbie stars opposite Colin Farrell as two strangers who cross paths at a friend’s wedding.

The pair are then offered an opportunity to revisit pivotal moments from their histories. It explores the journey that brought them to where they are now and offers them the possibility to alter their destinies.

The romance, fantasy, drama was penned by Seth Reiss and directed by Kogonada. Its impressive ensemble also features Phoebe Waller-Bridge, Jennifer Grant and Kevin Kline.

A Big Bold Beautiful Journey hit cinemas last September and received a lukewarm reception. Sadly, it flopped at the box office, taking just $20.2 million against its $45 million net budget, reports the Express.

On review aggregator Rotten Tomatoes, only 36% of 185 critics’ reviews are favourable.

Their summary states: “Too solemn to have much fun with its high concept while also too saccharine for its wistful themes to resonate, this well-meaning odyssey never quite lives up to its title.”

However, audience reactions proved more favourable.

The consensus stated: “The dividends of this Journey may depend on how much of A Big Bold Beautiful cheese your stomach can tolerate, but for those seeking vibrant colors and heart, it may pay in spades.”

One cinema-goer reflected: “A good movie to get you thinking about how reviewing how our past choices can reshape how we move forward with our lives and make better choices and be better people. Treat ourselves better and others better.”

Another praised: “Very interesting rom com premise. Loved Colin Farrell (very charming) and Margo Robbie (lovely as always) together.”

A third viewer observed: “I can understand how this movie might not be for everyone, but for anyone who has ever felt like they might be on a big, bold journey, this movie told that story beautifully.”

Yet opinions remained divided, with one remarking: “The movie was too slow,” whilst another noted: “Storyline was too strange for me. Great actors though.”

It was a big night at the Golden Globes for Warner Bros. Discovery, which won nine awards — the most of any studio.

But there was little time to celebrate before reality set in.

On Monday, David Ellison’s Paramount sued Warner, demanding the company and its chief executive, David Zaslav, release more information about how Netflix’s bid was chosen. The move came a little less than a week after Warner rejected Paramount’s latest offer, citing the massive debt load the Ellison-led studio would take on to finance its takeover.

Despite a strong lineup of film and TV contenders this awards season, the overarching story for Warner will continue to be its uncertain future.

Will the storied company’s studios be swallowed up by streaming giant Netflix, which theater owners fear will lead to fewer theatrical releases? Or will Paramount prevail, which would continue the consolidation of the industry?

On Sunday, Hollywood’s anxiety over that deal was on full display.

“Conglomerates are not a good thing,” actor Wanda Sykes told my colleagues Tom Carroll and Rebecca Castillo on the red carpet. “You don’t want a monopoly.”

“Shark Tank” staple Kevin O’Leary, who made his movie debut in A24’s pingpong drama “Marty Supreme,” predicted that Netflix would prevail in its quest to control Warner Bros.’ studios, HBO and HBO Max because investors want to see the best possible return in the next two years.

“I think if they control those franchises, and they have the distribution that’s global … it’s very, very hard to compete with that,” he told The Times.

Eagle-eyed observers zeroed in on a seemingly warm exchange between Zaslav and Netflix Chief Executive Ted Sarandos at the event. And host Nikki Glaser wasted no time in addressing the elephant in the room.

“Let’s get down to business, shall we?” the comedian said, less than a minute into her monologue. “We’ll start the bidding war for Warner Bros. at $5. Do I hear $5?”

Jokes aside, Warner’s strong showing at the Globes could mean a fruitful next few months for the company.

The Globes signify the start of Hollywood’s awards season. And while its status as an Academy Awards bellwether has been hit-or-miss over the years — particularly given the tumult surrounding the show and its members — recognition there can help boost a film’s prospects.

Leading the pack was Paul Thomas Anderson’s “One Battle After Another,” which collected four awards, including best motion picture for musical or comedy. The film, widely considered to be a top contender for the best picture Oscar, follows a onetime revolutionary played by Leonardo DiCaprio who must revisit his old life after his daughter is kidnapped by a former foe.

Ryan Coogler’s “Sinners” was also recognized with Globe awards for cinematic and box office achievement as well as original score for a motion picture.

Acclaimed medical drama “The Pitt” picked up two awards, while HBO Max‘s “Hacks” notched one for female actor in a television series — musical or comedy.

The recognition for Warner highlights why the fight for its future has been so contentious — both Netflix and Paramount see the company and its successful franchises and film and TV slates as a major prize to be won.

Also noteworthy at the Globes, this year marked the first time podcasts were an awards category. The inclusion underscores the growing importance of podcasts to Hollywood — nearly every nominated podcast was hosted by an actor or well-known personality.

But Penske Media, which runs the Globes, came under fire when the Ankler reported that Penske-owned Variety solicited marketing partnerships from potential award winners. (“For Your Consideration” awards campaign ads are also sold by other publications, including The Times).

Penske owns the audio analytics firm, Luminate, that compiled a short list of podcast nominees.

Within the podcast industry, there were also questions about the selection criteria and how some popular shows didn’t make the cut.

Dick Clark Productions, which produces the Golden Globes and is owned by Penske Media Eldridge, declined to comment.

Of course, controversy is nothing new to the Globes.

A Times investigation in 2021 raised concerns about its ethics and financial practices. NBC later pulled the show off the air in 2022 and Netflix, Amazon and many publicity agencies cut ties with the Globes, which undertook a series of changes before returning to the air a year later.

In June 2023, Penske Media acquired the nonprofit group that formerly hosted the Golden Globes — the Hollywood Foreign Press Assn. — and made its members paid employees of the new enterprise.

The Globes scrapped that practice a year ago, describing the change in policy as “an acknowledgment that continuing to pay members could add to a perception of bias in voting.”

Stuff We Wrote

Film shoots

Number of the week

So far, so good for domestic theaters in 2026. Box office revenue for the U.S. and Canada is about $327.5 million to date, up 23% compared with the same time period last year.

This January has been bolstered by strong, holdover performances from Disney-owned 20th Century Studios’ “Avatar: Fire and Ash” and the Mouse House’s animated sequel “Zootopia 2,” as well as Lionsgate’s “The Housemaid.” Paramount Pictures’ chimp horror flick “Primate” opened this past weekend to $11.3 million domestically and $13.4 million worldwide.

Finally …

My colleague Christie D’Zurilla wrote about the now-paused fundraising effort for Mickey Rourke. The Oscar-nominated actor, who was facing eviction, rejected more than $100,000 raised by fans and supporters.

OWEN Cooper may have been one of the Golden Globes’ biggest winners, but the starstruck schoolboy spent the night posing for selfies with his favourite A-list celebs at the exclusive bash.

The Adolescence actor, who turned 16 just last month, made history during the ceremony as he became the youngest ever star to win the supporting actor gong.

Owen is currently studying for his GCSE’s, but took a night off to mingle with Hollywood’s finest, and grabbed plenty of pictures to impress his mates back home.

In a behind-the-scenes snap, the young actor looked starstruck as he chatted to legendary star George Clooney.

From Dwayne ‘The Rock’ Johnson to Leonardo DiCaprio, Owen stopped plenty of actors for a selfie inside the bash – sharing them to his Instagram page.

Alongside The Rock and Leonardo, Owen grabbed selfies with Queen Latifah, Sean Penn, Emily Blunt and her husband John Krasinski, Michael B Jordan, Kevin Hart, and Stranger Things’ Joe Keery inside the Beverly Hills event.

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It didn’t stop there, with Owen smiling alongside Jeremy Allen White during the event’s afterparty and sticking close to Jacob Elordi.

With those selfies, and undoubtably plenty more in his locker, Owen will be returning to school with plenty to talk about from his stateside trip.

But while he’s brushing shoulders with Hollywood royalty and winning gongs, Owen isn’t off the hook from reality.

Last week, it was reported that Owen was sitting his mock GCSE exams from abroad, at the same time as his classmates.

Year 11 students at his school are thought to have sat their RE,  Biology and English Literature exams last week, with Owen doing the same.

“He’s taken his mock exams remotely under controlled conditions, with a moderator, as agreed with licensing and his school,” a source told the Daily Mail, adding that he takes school “very seriously”.

Alongside his win last night, Netflix series Adolescence took home several gongs from the TV categories at the glitzy event, with two of Owen’s co-stars also picking up awards.

Stephen Graham was named best actor in a TV mini series, while Erin Doherty scooped best supporting actress.

Golden Globes viewers were quick to react to Owen’s win, with many flocking to social media.

One person said: “I couldn’t think of anyone more deserving! I can see an Oscar in his future for his next film!”

Another added: “Kid’s out here making the rest of us look bad at 16.”

A third said: “16 years old and already sweeping the Emmy, Golden Globe, and Critics Choice… Owen Cooper is officially a prodigy. Future Hollywood legend in the making.”

Adolescence was Owen’s first foray into TV, with the whopping debut leading to a string of gongs for the young star.

His and Hers is already one of Netflix’s biggest hits of 2026, but fans may be confused over one of the thriller’s many plot twists

Warning – this article contains major spoilers for His and Hers.

His and Hers fans are curious to know what exactly happened to Anna (played by Tessa Thompson) and Jack’s (Jon Bernthal) child in the hit Netflix thriller.

Released on the streaming service last Thursday (8th January), the six-part series follows journalist Anna and detective Jack, an estranged married couple, as they investigate a horrific murder in the town of Dahlonega, Georgia.

As the investigation unfolds, their complex history begins to be revealed while further murders spread panic throughout the town.

In the gripping finale, everything seems to be tied up when Anna’s colleague Lexy Jones (Rebecca Rittenhouse) is revealed to be her school friend Catherine Kelly and assumed to be the murderer when evidence is found at her home.

Jack’s partner Priya Patel (Sunita Mani) takes her out with a shot to the head, but, a year later, the truth behind what really happened is finally revealed.

But what happened to Anna’s child?

During the final stretch of the last episode, Anna discovers that her mother, Alice (Crystal Fox), was actually behind the murders after unearthing a video tape of her daughter being attacked by men in the woods, orchestrated by her first victim, Rachel (Jamie Tisdale).

Alice snaps and decides to take revenge by stabbing Rachel before also taking out her best friend Helen Wang (Poppy Liu) and Jack’s sister Zoe (Marin Ireland), who were with her in the woods when Anna was attacked.

Catherine/Lexy ran away from the incident, so Alice decided to pin the murders on her by planting evidence at her home, though she admits she doesn’t feel any remorse when Patel takes her out.

Alice’s plan was also spurred on by Anna’s disappearance following the loss of her and Jack’s daughter, Charlotte, at infancy.

Throughout the series, the reason behind their broken relationship is a mystery, though it’s clear a traumatic event occurred that wrenched them apart and made Anna become reclusive and abandon her job as a TV news anchor.

When Alice explains her motives for killing Rachel, it is revealed that the couple’s daughter perished, though the details remain vague.

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It’s confirmed that Anna’s mother was looking after Charlotte when she died and the cause of death is assumed to be unknown causes related to crib death, also known as Sudden Infant Death Syndrome (SIDS).

SIDS is a tragic phenomenon in which seemingly healthy infants under a year old can suddenly die. This sometimes occurs due to smoke inhalation or their sleeping environment, but most deaths are unexplained.

His and Hers is available to stream on Netflix.

**For the latest showbiz, TV, movie and streaming news, go to the new ** Everything Gossip ** website**

THE Golden Globes took place on Sunday night, kicking off the 2026 awards season.

But who won what, and which movies and stars were brutally snubbed?

From Wicked: For Good being completely left out of the mix, to a British actor being the youngest ever winner of a Golden Globes category – it’s safe to say it was an eventful evening.

Adolescence’s Owen Cooper, who is just 16 years of age, became the youngest-ever winner of the supporting actor award at the ceremony.

The Netflix series Adolescence took home several gongs from the TV categories at the glitzy event.

But despite the success of the British psychological crime drama television series, Hollywood smash hit Wicked: For Good did not take home one single gong.

OUCH!

Nikki Glaser rips into Hollywood elite and makes shock Epstein jab at Golden Globes

Nominated for four awards, and with two nominations in the best original song category, Wicked: For Good failed to nab an award despite it’s box office success.

The Golden Globes 2026 – Full list of winners

Best film (drama) – Hamnet

Best film (musical or comedy) – One Battle After Another

Best female actor in a film (drama) – Jessie Buckley, Hamnet

Best television series (musical or comedy) – The Studio

Best television limited series, anthology series or television film – Adolescence

Best television series (drama) – The Pitt

Best female actor in a television series (drama) – Rhea Seehorn, Pluribus

Best standup comedy on television – Ricky Gervais Mortality

Best supporting female actor on television – Erin Doherty, Adolescence

Best film (non-English language) – The Secret Agent

Best film (animated) – KPop Demon Hunters

Best director (film) – Paul Thomas Anderson, One Battle After Another

Cinematic and box office achievement – Sinners

Best female actor in a television limited series, anthology series or television film – Michelle Williams, Dying For Sex

Best male actor in television limited series, anthology series or television film – Stephen Graham, Adolescence

Best male actor in a film (musical or comedy) – Timothée Chalamet, Marty Supreme

Best female actor in a film (musical or comedy) – Rose Byrne, If I Had Legs I’d Kick You

Best screenplay (film) – Paul Thomas Anderson, One Battle After Another

Best original score (film) – Ludwig Göransson, Sinners

Best original song (film) – Golden, KPop Demon Hunters 

Best podcast – Good Hang with Amy Poehler

Best male actor in a television series (musical or comedy) – Seth Rogen, The Studio

Best supporting male actor on television – Owen Cooper, Adolescence

Best female actor in a television series (musical or comedy) – Jean Smart, Hacks

Best male actor in a supporting role in a film – Stellan Skarsgård, Sentimental Value

Best female actor in a supporting role in a film – Teyana Taylor, One Battle After Another 

British actor Stephen Graham won his first ever Golden Globe for Netflix’s Adolescence, telling his wife ‘you saved my life’ in an emotional acceptance speech at the ceremony

British acting legend Stephen Graham OBE has bagged his first ever Golden Globe award.

After a career filled with hard-hitting performances, the Kirkby-born star scooped up his inaugural gong for Best Performance by a Male Actor in a Limited Series, Anthology Series or a Motion Picture Made for Television for his leading role in the Netflix smash-hit Adolescence.

The Netflix limited series is currently enjoying a victory lap of Hollywood on Monday night, with the British-produced programme written by Graham, who also starred in the show.

The Line of Duty actor appeared genuinely shocked as he was presented with the award in the ballroom of the Beverly Hills Hilton in Los Angeles.

The audience erupted as the actor, writer and show creator quickly composed himself, praising his fellow nominees and acknowledging the cast and crew who helped make Adolescence one of Netflix’s biggest British successes, reports the Daily Star.

However, it was Graham’s heartfelt tribute to his family that truly silenced the room.

Turning to his wife, he simply said: “You saved my life.”

Then, addressing his children, he added: “To my two beautiful kids, Grace and Alfie – I love you to the moon and back forever.”

Despite the monumental win, Graham later quipped that his children weren’t particularly impressed by the shiny new trophy.

It turns out they were far more thrilled by something else entirely: their father’s encounter with Snoop Dogg.

Chatting backstage with Associated Press, the typically composed actor confessed he was utterly starstruck following his run-in with the hip-hop legend.

“He shook my hand, and he looked me right in the eyes – couldn’t see his eyes because he had his glasses on – and said, ‘You’re a mother***** gangster,’*” Graham said. “My life is complete.”

Thus far, Adolescence has swept the board for the Brits.

Erin Doherty secured Best Performance by a Female Actor in a Supporting Role, whilst teenage phenomenon Owen Cooper made history earlier in the evening by becoming the youngest ever Golden Globe winner. Adolescence also claimed the gong for Best Limited Series.

The hit sci-fi series’ latest season dropped almost a year ago

The future of dystopian sci-fi series Black Mirror has finally been confirmed after a nearly year-long wait for new episodes.

Releasing on Netflix, the Charlie Brooker-created show centres around the dark side of technology and its often terrifying impact on humanity.

A seventh season released on the streaming giant in April 2025 after a two-year hiatus, bringing viewers six harrowing new episodes to enjoy. Among them was the story of a woman whose life depends on a subscription service she can no longer afford, plus the tale of an isolated man forced to face his past wrongs after new technology allows him to step inside old photographs.

In an interview with Netflix’s Tudum, Brooker confirmed a new season would be going ahead, and he made a chilling promise that what comes next will be “more Black Mirror than ever.”

“Well, luckily it does have a future, so I can confirm that Black Mirror will return, just in time for reality to catch up with it. So, that’s exciting. That chunk of my brain has already been activated and is whirring away,” he teased.

While no release date has been confirmed yet, Black Mirror fans have been sent into a frenzy by the update and many are already counting down the days until they can consume new episodes.

One eager viewer penned: “Black Mirror is always such a wild ride. Can’t wait to see what’s next.” A second fan responding to the news added: “More Black Mirror than ever is a good sign, I feared they had lost their way a couple seasons ago.”

Meanwhile a third commented: “Charlie Brooker basically saying reality is catching up is savage because let’s be real, every new episode could be a mirror to the chaos we’re already living in. People are gonna binge it and instantly freak out thinking the show predicted their life again and it’s glorious.”

Brooker added that he was also working on another Netflix series that is as of yet untitled, but completely unrelated to the dark world Black Mirror explores.

“There’s definitely something I’m not saying about it at the moment just yet. I can’t even tell you what it’s called yet, but it’s very much not Black Mirror,” he revealed to Tudum.

“I can say that. It’s a very, very different thing. The most detective show of all time. It’s a deeply profound and profoundly serious crime thriller.”

Seasons 1 to 7 of Black Mirror are now streaming on Netflix. A release date for the upcoming season is yet to be announced. For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website.

From Game of Thrones to Killing Eve, the Prince and Princess of Wales are big fans of TV – but one 92% rated espionage thriller has captured Princess Catherine’s attention

As the winter chill sets in, many of us are opting for cosy nights in front of the telly rather than braving the cold outdoors, and seems likely that Prince William and Kate Middleton are dooing something similar.

While Royal enthusiasts eagerly anticipate more appearances from the Prince and Princess of Wales, particularly as she marks a year of cancer remission this month, it’s likely that Catherine will be looking forward to some downtime at home.

However, as the Princess of Wales rings in her 44th birthday, there’s a bit of a dampener – no confirmed release date for the second series of one of her favourite TV shows, a spy thriller boasting an impressive 92% rating on Rotten Tomatoes. Black Doves, a gripping espionage series masterminded by Joe Barton for Netflix, was one of December 2024’s standout hits and was greenlit for a second series before its inaugural season had even concluded.

The series, starring big names like Keira Knightley, Ben Wishaw, and Sarah Lancashire, revolves around a group of freelance spies whose cover is threatened. Black Doves zeroes in on undercover agent Helen Webb, portrayed by Oscar nominee Kiera Knightley, who finds her covert identity at risk after her lover is killed by figures within London’s criminal underworld.

The programme captivated audiences, with one typical response online stating: “I thought Black Doves on Netflix was pretty good and entertaining. Keira Knightley and Ben Whishaw are great as a team of clandestine spies and assassins. Absolutely deserves the second season. Can’t wait.”

Another viewer gushed: “Black Doves was fantastic television. So damn good! !” A third added: “If you love a British political/espionage thriller, Black Doves is a masterpiece. Slick script, superb characters, smashing storyline. Heavy on irony and good old fashioned violence.”

This marks another occasion where William and Kate have revealed their television tastes. During a trip to the BAFTA offices in central London, where he discovered details about a bursary granted in his honour, William admitted his passion for the Jason Bourne series.

When encountering Paul Greengrass, who helmed three of the six films, William enthusiastically enquired “another Bourne, another Bourne”. The filmmaker allegedly replied with chuckling and a head shake.

Swiss filmmaker Edward Berger was linked to the project for several months but subsequently declared “It’s really not clear whether… I’m doing that film or not”. Currently, the prospects for William’s cherished Bourne franchise appear uncertain.

Another William and Catherine favourite facing an unclear future is the BBC’s hit series Killing Eve, starring Jodie Comer and Sandra Oh. During a 2019 visit to a BAFTA exhibition, William reportedly confessed his fondness for the series.

Show producer Sally Woodward Gentle and costume designer Phoebe de Gaye revealed that the prince “apparently… has watched it all”.

“He [Prince William] said he loved it. He talked about the dark humour of it, and Jodie [Comer] and Sandra [Oh], how amazing they both are. And he talked about the humour you get through the costumes, which is what Phoebe is so clever at,” Gentle disclosed.

Whilst the programme concluded with its fourth series in 2022, persistent speculation continues about a potential spin-off, possibly centred on the early years of Fiona Shaw’s character, Carolyn Martens.

Prince William has revealed that he and Kate, 42, were equally keen on watching episodes of Game of Thrones. The Royal pair even told actor Tom Wlaschiha, famous for playing Jaquan H’ghar in the drama, that they have “watched every series”.

Speaking on BBC Radio 1 in 2017, William declared their passion for the programme, describing them as “big fans” and advising: “You should definitely watch Game of Thrones, that’s worth watching.”

Beyond television, Prince William is recognised for his love of music, an interest he shares with his children, George and Charlotte. He disclosed on Apple’s Time To Walk podcast in December 2023 that the youngsters frequently bicker over song choices during their morning routines.

The musical inclinations of the Wales family were put in the spotlight when William, accompanied by Charlotte and George, made international headlines after snapping a selfie with pop superstar Taylor Swift. Marking his 42nd birthday, the future monarch was spotted having a grand time at Swift’s concert at Wembley Stadium with his children.

A fan-favourite star from Stranger Things took on a minor Game of Thrones role before becoming a household name

Joseph Quinn, known for his role in Stranger Things, had a minor part in HBO’s smash-hit fantasy series Game of Thrones, and fans are just now discovering this unexpected link.

The British actor is most recognised for his portrayal of the standout character Eddie Munson in the fourth series of Netflix’s popular supernatural horror drama.

He has since secured the iconic role of Johnny Storm, also known as the Human Torch, in Marvel’s The Fantastic Four: First Steps and will be playing George Harrison in the eagerly awaited four-part Beatles cinematic event.

However, before he became a familiar face, he played a small role in the seventh and penultimate season of Game of Thrones as Koner, a soldier loyal to House Stark.

In the episode titled The Spoils of War, Koner is seen guarding Winterfell’s gate alongside fellow soldier Henk (played by Danny Kirrane) when Arya Stark (Maisie Williams) arrives and insists on being let in, reports the Express.

The soldiers mock her and dismiss her, believing Arya to be dead, and instruct her to leave when she requests to see Jon Snow (Kit Harington), who they inform her is thousands of miles away.

Eventually, Arya manages to bypass the soldiers by warning them of severe repercussions if her sister and the castle’s head, Sansa Stark (Sophie Turner), learns of their refusal to let her in.

Koner and Henk argue over who will accompany her to Sansa, while Arya seizes the opportunity to sneak through the gates.

Viewers who haven’t watched the episode since its original broadcast in 2017 were left gobsmacked after a recent Reddit discussion jogged their memories about the Stranger Things actor’s early television role.

“I was today years old when I realized that Joseph Quinn (who plays Eddie in Stranger Things) was also in GoT!” one fan wrote.

Another viewer on X recently made the connection as well, writing: “Love when you go back to an older show and notice a now established actor in the start of their career.

“Joseph Quinn in Game of Thrones. Never realised he was in it.”

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This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Stranger Things.

Interestingly, Quinn’s episode was helmed by Matt Shakman, who would later go on to direct him in The Fantastic Four.

The actor has also featured in films including Gladiator II and Warfare, as well as BBC dramas Strike and Small Axe.

He’s set to return as the Human Torch in Avengers: Doomsday, which arrives in cinemas towards the end of 2026.

Stranger Things is available to stream on Netflix. Game of Thrones is available on Sky and NOW.

**For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website**

In the last episode of The Envelope video podcast before the 2026 Oscar nominations, Joel Edgerton describes the transformative experience of making “Train Dreams.” Plus, our hosts share the names they’d like to hear called on nominations morning.

Kelvin Washington: Hello and welcome to another episode of The Envelope. Kelvin Washington, Yvonne Villarreal, Mark Olsen, and it’s great to have you both here as usual and especially when this is our last episode before Oscar nominations. So I’ll start with you, Yvonne. It could be a movie, a director, or some rising star or just anything that you hope once they read those nominations that morning, you’re gonna hear.

Yvonne Villarreal: I’m not going to say the usual suspects because that’s covered. I really want to see Chase Infiniti get nominated for her role in “One Battle After Another.” I just think she’s been such a revelation for me as somebody who watched “Presumed Innocent.” Seeing her in this role — and I don’t want to spoil anything, but she really finds herself in a hairy situation in this film and the way she sort of rises to the occasion and really has a moment of triumph for herself, I think it was just striking to watch. And she’ll be in “The Handmaid’s Tale” spin-off “The Testaments.” I’m really looking forward to see what she does there. But also I’ll say, as somebody who got thrown into the bandwagon of “KPop Demon Hunters” because of my 6-year-old niece, I wanna see that get some love in the animated category.

Mark Olsen: And in the music categories. Best song.

Washington: It better! Do you know how much I have to hear that song in my house with three daughters, 9, 7 and 4 [years old]? Like, I’m going to be “Golden.”

Villarreal: Are they memorized?

Washington: That’s an understatement. It’s to the point I got concerned. Is it like some robotic AI that’s taking over my daughter’s brain? Instantly. That and 6-7. I have to deal with that every day.

All right. Mark, swing it to you. What do you have?

Olsen: Well, you know, the actress Rose Byrne for the movie “If I Had Legs I’d Kick You.” She won a lot of critics’ prizes leading up to the nominations. And I think it’d be so exciting if the filmmaker on that, Mary Bronstein, also got recognized either for the screenplay or as director. You know, Mary’s someone that she made her first film, “Yeast,” more than 15 years ago and had not gotten a second project going and had sort of been living a life and doing other things. And to see her sort of reemerge with this project in particular, which is so powerful and so specific, it would be really exciting — as great as it is to see Rose being rightfully recognized — to see Mary get some attention as well.

Washington: So I’m gonna jump in with a couple. One, because she’s been on the radar for years as just a multitude of things, she’s multifaceted: Teyana Taylor can dance, she can sing, she’s just all of that and now acting alongside Leonardo DiCaprio. Very impressive for her. And not a debut, but maybe for those who aren’t familiar. So I’d be interested to see, I have a feeling we’re gonna hear her name. And then I’m going super popcorn, Raisinets, Junior Mints, going to the theater. “F1,” for me, I know it was kind of —

Villarreal: Whoa, that’s a throwback.

Washington: I know, but hear me out. It was fun. It was just fun. And it’s kind of one of those movies like, you know, you forget that you go to the movies, it’s gonna be a little fun, maybe a little cheesy, but dang it, I’m here. I’ve got my popcorn. All of that. That for me was another one that was like, “Oh man, that’s kind of the moviegoing experience sometimes we’ve forgotten.”

Olsen: And it’s always good to see the Oscars recognize a film like that as well. I mean, it helps just for attracting audience to the telecast. But I think it is important that the Oscars recognize a breadth of filmmaking styles and one of the things that’s so exciting about the movies is that it can be so many different things, from like a really small personal story to some big high-tech film like “F1: The Movie.” And so I think, yeah, to see that recognized in some of the major categories would be really exciting.

Washington: You know why I like Mark? Because he tried to legitimize my choice. And I’m OK with that.

Olsen: There’s no try. You don’t need the help.

Washington: Look at how I look in the camera. You know, why? Because I know someone’s going to be highbrowin’ me right now. And I get it. And I am with you. However, as we know, we can get all the types of mergers and some things will happen. Are people going to be going into movies anymore? And I was sitting in it going, “Oh, yeah, this is kind of what that feels like.” So ha! Take that.

Villarreal: My reaction was more, it had been a while since I heard the title.

Washington: It felt the same.

Villarreal: Sorry!

Washington: I like what I like, OK? I enjoyed it. That’s all I have to say about that.

All right, Mark, coming to you now. We’re talking about Oscar buzz, and just buzz and a lot of traction that someone can get from a role. Talk about Joel Edgerton playing a logger in Netflix’s “Train Dreams.” What was that conversation like?

Olsen: It was a really terrific conversation. This is a movie that premiered at Sundance last year and was picked up by Netflix there. And even though it has that machinery behind it, there is still something that feels very organic about the success of this movie. It genuinely feels like it’s word of mouth that people have been discovering the film. And it has just a really quiet power too. And a lot of that comes from Joel’s performance. You know, he originally pursued the rights to this book himself and wasn’t able to get it, the rights were already taken. And so he sort of like thought, “Oh, well, that’s that.” And then years go by and the project comes back around and he’s offered this role that he’d been so interested in playing. And he feels like it’s hit him at a very specific time in his life.

The [story] is set in the early part of the 20th century. He plays a logger in the Pacific Northwest. And it really is just a portrait of a life. And the story deals with grief and family, and Joel, in the subsequent years, has become a father himself. And he said how, if he’d have played this a few years ago, he thinks it’d be totally different than the way that [he’s] playing it now. Also he is a guy who’s been in the business for a few years now. He has, I think, some really sharp opinions, views on like what this business is, what the industry is like right now and where it’s going. So it was a really terrific conversation to have with him.

Washington: It sounds like it. Let’s get straight to it. Here is Mark and Joel right now.

Joel Edgerton in “Train Dreams.”

(Netflix)

Mark Olsen: As we’re talking, the movie has been building this sense of momentum around it with reviews and awards. And while there is an awards campaign around the movie, there is something about it that feels very organic. This movie seems to be catching on through word of mouth, just people seeing it and responding to it. How do you feel about the response to the movie?

Joel Edgerton: It feels very good. Coming from an independent film background, I love it when small movies make a lot of noise. And I can’t really analyze or diagnose why, but I get this feeling with “Train Dreams” that it means different things for different people and it holds up a bit of a mirror to their own experience, being that the film is really this celebration of an ordinary life and shows the majesty in that. What my character goes through, they’re universal experiences and so people find something of their own experience in it and I think that’s part of the reason why. It’s a small movie but it’s also a very big movie.

Olsen: The other side of that, in a way, you were recently on a red carpet and you were asked about some comments that James Cameron had made regarding movies on streaming services and the awards race. And I don’t know if you want to say anything more about that, but also do you feel like people do somehow hold it against “Train Dreams” that it’s on Netflix?

Edgerton: Look, the world we live in now is so in the hands of the audiences because of social media. I feel like in the old days, well before I was born, we were told who our movie stars were. The studios would make those decisions for us, and things were very narrow. And now people have the power to choose what they want to watch, who they want to watch, they choose the movie stars. They speak about the movies, and Letterboxd, for example, is such a big thing. And in that same vein, it’s really interesting to hear what people, regular people, moviegoers think of how movies should be exhibited, how they feel, regardless of whether they know about the business side of things or not, or why things are the way they are. They have feelings, sometimes very passionate points of view on where and how we should watch movies. And of course, for all of the business side, if we put it aside, I do believe people want to go to the cinema and watch movies.

My comments come from understanding now where I am in my life. I’m all about creativity and all about story, but I do understand business, and I feel like I emerged out of my bubble in Sydney and felt like the whole world of cinema had suddenly changed. My views on streaming had started to evolve just after we showed a movie at Cannes called “The Stranger.” Another very small movie we made down in Adelaide and Netflix picked up the movie and I remember thinking, “Should we go with them?” So many people saw that movie because it was on a streamer. And so my feelings are very mixed and they’re very much tailored to what the movie is — and therefore according to what the movie is and how big or small it is, where it should live. I’m all for pushing to fight for keeping cinema alive and I believe a younger generation feels the same thing. But I also feel like there are chances that some people have that are narrow as they get their start in the business, which means sometimes the first things you can do, you’re not necessarily going to get a 2,000-screen release on your very first movie. So I have many, many opinions about it. But I feel like we all need to fight for cinema. We also sort of hopefully don’t allow streaming, as great as it can be, to take over everything. That’s my feeling.

Olsen: You’re also a producer as well. This feels like we’re in the middle of a transformative moment for the industry. What is it like for you as a person in the middle of that tide, just trying to navigate that for yourself?

Edgerton: Again, it’s all about what is the story and where should it live. My feeling always is that if I ever get behind making something, I want as many people as possible to see it. I also want to have an exchange at the cinema. One of the great things about “Train Dreams” is I’ve done about 50 Q&As so far — I haven’t counted them up, but around that, and we’ll do a bunch more. We’ve been to a number of festivals and we have an exchange with the audience. We get to watch and see people’s reaction to the film in like an analog way. Sometimes the feeling with letting a movie go on streamer without any fanfare is that it feels like it disappears with a whisper, and you don’t get to have that exchange. And I think that’s very important.

My dream would be to make a film exhibited at the cinema, knowing that at some point it will end up on TV screens and in people’s lounge rooms all over the world. And finding the right way to get a balance of both. There’s nothing better than sitting in the cinema and watching a movie with a bunch of other people. The sad thing at the moment [is] it seems — and again, I don’t know the full diagnostics of it — you get a cinema release and you’re there for like two weeks and then you’re replaced by something else. I’m old enough to remember the days where a movie would sit in the cinema for six, seven, eight weeks if it was good.

Olsen: I don’t want to belabor the point, but I’m so curious about this. I’m assuming when you went to the Gotham Awards you were not thinking “I’m going to give James Cameron a piece of my mind tonight.” Do you find in the time that you’ve been doing this, now you may show up to something and you have no idea what someone’s going to ask you, you have to be ready to talk about just about anything?

Edgerton: You’re right, and I never expect a red carpet is a mine field. I do go home sometimes and think, “What did I say?” I knew what I said. And I also stand by what I said. What I don’t love is the process of reduction of someone’s comments. Someone had sent me this thing that said that I “lashed out” or used a word that was quite a violent one, like I was lashing back at James Cameron. I was like, “No, I wasn’t doing that at all.” I actually had a fair and balanced opinion about the fact that James is, excuse the semi-pun, a titan. He is a pioneer and an inventor and we’ve seen that he’s created technology that has made movies better. He can exhibit movies in this broad scale because he’s dared to dream big. And I feel like there’s a world where there are people who are never going to get their first film on 2,000 screens because it’s a small story, movies like “Sorry, Baby.” They’re not 2,000-screen release movies. There’s a world where they live somewhere, whether it’s in small art house cinemas or whatever. So I was like, “All right, don’t make it feel like I’m putting the gloves on and have a fight with James Cameron, because he’s probably going to win if that’s the case.” And that’s certainly not what I was doing at all. Just saying my point of view is slightly different. And I also understand his point of view. But [comedic wrestler voice] “I’ll meet you on the top oval, James. Let’s do it.” I’m not trying to start a fight. I’m a lover, not a fighter.

Olsen: To start talking about “Train Dreams,” you’ve talked a lot about how you read the book around 2018 or so and the rights weren’t available so you set that idea aside —

Edgerton: Sulked a bit.

Olsen: What do you feel like you were responding to then in that book?

Edgerton: I’ve heard the term neo-western, which I understand now, but it didn’t really make sense to me at the time. When I first read the book, we come into the story with this violent act towards the Chinese worker, for anyone who’s seen the film. And I didn’t know Denis Johnson’s work at all at the time. The book had been gifted to me as a wrap gift on “Boy Erased.” I thought, “If someone gives you a book, it means they think there’s some meaning in it for you, that it will resonate with you,” and it did. But I thought, “Oh, this is a western.” And then within a handful of pages, I realized it was a different kind of western. It would look and feel like a western, but it was a rumination on a life itself. Not that it was going to answer the big elusive question of the meaning of life, but swirling questions of what is the purpose of a life and what is in the extraordinary details of a life we may never care to remember because the person is not the great inventor, the great general, the great president or superhero. I love the ordinariness, I love the idea that it resonated with something that my parents had always instilled in me, which is that every single human being has a great story to tell and that we all shouldn’t be considered insignificant. And I just was so moved by the sort of glimpses of one man’s entire life. Wanted to get my hands on it, couldn’t, and I’m happy to say that it’s good that I didn’t get my big fat lumberjack hands on it then. Mostly because I think [director and co-writer] Clint [Bentley] is a remarkably sensitive, excellent filmmaker [and] has done a much better job than I ever would if I was in control of things. And because in the four years since he reached out to me to be in the film, I’d become a dad. And that was like everything to me. And if you’ve seen the film and you know what’s inside of the film, I really believe that my performance, I don’t know what my performance would have been like pre-Joel the Dad, but now that I am a dad, it’s like there’s stuff inside of me that makes this performance possible.

Olsen: But when it came back to you, do you feel like you responded to it differently? Did you recognize that difference right away?

Edgerton: One hundred percent. And I know it, there was a significant moment. Clint came to meet me in Chicago, I was shooting “Dark Matter” and I was very excited that this had somehow come around to me, knowing that I loved the book and the character so much. Then I watched “Jockey” and knew that he was a really solid filmmaker. His adaptation was extraordinary. And then when I met him, I realized as a filmmaker he was like a director version of the central character of the film — kind, honest, generous, a really great observer. And I went home and I spoke to my wife, and she obviously, her two big questions every time I want to do a project [are] when and where. Because it means moving us around, uprooting our family. I told her and Spokane didn’t exactly make her click her heels, because her life is about being plugged into big cities. She said, what’s the story about? And I started trying to tell her the story, and when I got to the stuff that happens to Robert in the middle of the film, and my 1 1/2-year-old twins are in the other room, I couldn’t even finish telling her the story. And I realized then how much the story now kind of terrified me. But also was so much more connected for me. And she watched me, my chin was quivering and and she was like, “All right, I guess we’re going to Spokane.”

Olsen: Have you done a project that felt this personal before? And did that have its own kind of anxiety attached? Did you have any reluctance to do this for the reason that you were connecting to it so strongly?

Edgerton: I feel like I learn something about myself on every job and every time I approach a new job, I always describe it in rudimentary terms, like a toolkit. What aspects of myself do I bring to this? Which parts do I leave behind? And how would I approach this? For example, “Gatsby” for me felt like, “This is about me turning myself up to 11 out of 10, bringing something bigger.” And with “Train Dreams” what I’ve really learned was how much in the past I’ve tried to hide from myself. And I feel like it’s a trap a lot of actors fall into, is thinking they’re not enough and you have to adorn a performance to be really seen or heard or impress. And I realized how much I’ve avoided playing characters that are very much like me. And though Robert’s a lumberjack, I’m putting all the trappings of it aside on an emotional level. How much is a character like you? And I’m constantly trying to play dress ups and really interested in being people that I’m not and I think that my favorite actors have often been transformative character actors. So I felt like my task in my mind was always to do something different and run away from the idea of just showing my own self really. And I realized that as a husband, as a father and as a guy who’s constantly guilty and struggling with the idea of being away from my family for work, these are all things that Robert is [dealing with], just doing a different job. A contract worker, which I am too except I’m not chopping down trees. And I have my greatest fears around my kids and the safety of my kids. So it felt to me like this was a chance to be very open about my own feelings and bring that to the work without feeling like I had to put too much garnish on things. And that’s a bit scary for me. But it now makes me realize it’s probably a better path in the future to do a bit more of that, just be a bit more open rather than hiding who I am, if that makes any sense.

Olsen: Completely. Because a lot of reviews of the movie, I sort of said this myself, have noted how it feels almost as if your career has been building to this performance, leading to it somehow. Does it feel like that to you?

Edgerton: I know that in decades to come I’ll look back and say always that “Train Dreams” is one of the great experiences I’ve ever had. The process and the result. I think the movie’s fantastic, but what I got out of it personally, it was extraordinary. Look, I hope that I’m building towards something else extraordinary in the future, and it’s like a new mission with each film and each story and each character. But this one definitely feels special for me, and it feels like I use the word “suitable,” which feels so boring. But I played characters that are not suitable for me in the past, and I’ve really challenged myself to bend into shapes that are different from who I am, rhythms that are different from what I’m like, successfully or relatively unsuccessfully. I can’t really judge it for myself. But this felt really suitable. It felt like it belonged to me.

Olsen: You’re also a director, writer, producer. What is it like for you when you show up to a project and you’re just an actor? Does it allow you to focus more on your performance? Or are you always like, “I was thinking you could put the camera over there.”

Edgerton: It’s such a relief. I think directing is the best job in the world, but I wouldn’t want to be doing it every time I went to work, because there’s a lot of stress, a lot of responsibility. Many times I’ve described the difference between acting and directing. An actor is like a child. Literally you could turn up to work in your pajamas, somebody will put makeup on you, dress you, you have one — well, I don’t want to be reductive about it — but you have one job, to play your character and fit into the story, serve the story. As a director you’re running the household. You’ve got to do everything. You’ve got to stock the fridge, you’ve got to make all the decisions about everything in the household, and there’s so much responsibility to that.

I was curious after I directed my first film, how I would be walking onto another director’s set. And it would just be a sin to walk onto someone else’s set and start to look over their shoulder and check their homework and sort of impose yourself on that process. I realized the two things that fascinated me the most were what lens was being put on the camera according to what the shot was. So I just became like really quietly observant. Actors who direct get this sort of great luxury of visiting so many sets and watching other directors and learning from them, good and bad things. And behavioral stuff. It’s not just about how their craft works or how they apply themselves as filmmakers, but how they conduct themselves as people, how they treat their crew, how they elicit the best out of their heads of department and give them freedom or not. Like Clint, for example, on “Train Dreams” is amazing at deputizing his heads of department, giving them freedom, and I think that’s the greatest show of power as a director, the confidence of relinquishing control because you hired the great people and you’re trusting them to collaborate with you. So as an actor I love the freedom of just being there to serve the story. And then watching and putting little things in my ideas bag for next time if I’m lucky enough to be the director again.

Olsen: You were recently on [“Late Night With Seth Meyers”] and he said that he thought it was a very wonderful performance and he noted how you don’t have very much dialogue in the movie and you said you think it’s wonderful because there isn’t much dialogue. And you were kidding, but I wonder if you could unravel that a little bit. How do you think the lack of dialogue in the movie impacted your performance?

Edgerton: Words are there to confuse us in the world. There’s the things we say, what they actually mean, there’s so many layers to any conversation you have with any person. There’s something really interesting about people who don’t speak very much. There’s a mystery often to them. I think there’s a lot of mystery to men that I grew up with in my life. I find myself drawn to people that don’t speak very much because I’m wondering what they think, what do they think of me, what’s going on in their mind. As an actor, I guess I really cut my teeth on “Loving” with Jeff Nichols. He’s a character, again, a very good man who had a lot of feelings and a lot to say, but for whatever reason or for different reasons, with Richard Loving and with Robert, chooses not to say things or doesn’t know if he has the right to say certain things. As an actor I think what becomes the focus is knowing that the camera sees, is looking into your soul. The thought is the imperative, to put the thoughts in the right place, to just be present, knowing that the camera will read those things. And of course the story’s job is to help guide us along and we have a narration. But I was always hoping that the camera will see what’s on my mind and for me to then fill that with words would actually kind of be counter to what the character is, which is one of these very stoic nonverbal men that I think we can all identify with or that we’ve met in our lives. So it’s just putting the right thoughts in my head.

Olsen: It is remarkable how often in the movie it’s as if we’re just watching you feel, you’re sort of taking in your surroundings, you’re not really saying much, but it does feel like we’re in your head, that we can understand what the character is thinking and what you’re conveying as a performer.

Edgerton: Thank you. I was smiling because I was remembering the square root of eight. Do you know what I’m talking about? There’s an episode of “Friends” — is it Joey who’s the actor? — he’s like, “When you’ve got to act and you’ve got to look like you’re really trying to work something out, you’ve just got to think of the square root of eight.” It actually works. But I wasn’t using it in “Train Dreams.”

Olsen: The story does build to this scene with Kerry Condon where your character actually does explain himself. What was it like to flip the switch and have to be verbal and emotional in a more conventional way?

Edgerton: Talking about emotion was one of the tricky things with “Train Dreams.” Clint and I had many conversations, very cerebral conversations, theoretical conversations about story — and emotion was one of them. So Robert’s a character, one of these men who is not really willing to show his emotions. And when he does he’s very quick to put them down, or in the case of the film he apologizes for showing his grief. But it’s all building to this moment, and this is one of the things I love about the film, is that it illuminates the importance of human connection. Robert meets this character Claire that the audience feels like maybe there’s a romance about to happen, which I love that it doesn’t steer in that direction. These chance encounters with strangers that we maybe don’t know that we need to have met on our journey, that are a chance for us to express ourselves. And he has a chance to, whether he knows it or not, he’s going to tell her about his feelings of strange complicity in something he had no responsibility for. And we knew that we were building towards this and yet at the same time we’re still trying to keep a lid on the emotions, but finally Robert gets to speak and it makes so much more sense of his silence up until that point if he we finally hear him string more than a sentence together to try and talk about what’s inside of him and those scenes we shot them in a short one-and-a-half hour window of magic hour with Kerry, who’s just extraordinary. And it felt like time was standing still, even though you would think that there would be a sense that we were rushing. It felt like we had hours.

Olsen: As you’re making the movie, are you talking with Clint or William H. Macy or Felicity Jones, having these kind of big picture, thematic conversations? Because the movie invites these questions of, what makes a life? How do you define being a man? Are you having those conversations while you’re making the movie?

Edgerton: There’s something fascinating about “Train Dreams.” Something I say is so special about Clint is, I know this because I read so many screenplays and I think about story all the time, is this draw to tell an audience what to feel all the time. Whether it’s through words, the story itself, music. “Train Dreams” does this thing that as much as I can speak about it objectively, and it’s the same in the novella, these moments that aren’t telling you what to feel, they’re just layering on top of each other, and I feel like there’s some compression of all these things. It pulls something out of people in their own way. They find their own experience out of it, which can be quite emotional and quite cathartic in a good way. Particularly anyone who’s been through moments where they’re being knocked down in life. I think there’s some sort of hopefulness in watching Robert’s story. It’s hard to define, but there’s a confidence in the way Clint’s rendered it. It’s not telling you each time what to feel. Robert’s not telling you, it’s not screaming to the heavens. There’s nothing sort of overly melodramatic or cathartic about it. And yet these layers build and compress. I had a very similar experience watching “Into the Wild,” Sean Penn’s film. It’s another character isolating himself in in nature. The credits roll and something in me just was like it was like, “I needed to feel something.” I call them a happy cry movie. You know, you’re crying but also happy at the same time.

Olsen: There’s a a moment in the film that I find so haunting and I’ve been trying to unravel it for myself. It’s late in the film, it’s the 1960s, you’re portraying the character as an old man. And in the voice-over the narrator Will Patton says something like, “He never spoke on a telephone.” And there’s something about that I just find deeply moving and really haunting. And I’m struggling to even define for myself what it is about that idea that really gets me.

Edgerton: Because there’s these great things in the movie that I call little sidecars or whatever, this idea that the world is sort of moving so quickly it’s going to leave us behind. It reminded me of my grandmother, who when I pointed a video camera at her for the first time, she didn’t move because she was thinking I was taking a photo of her. And I was saying “It’s OK, this is a camera that’s gonna capture you moving.” She was like Robert. She never saw some of these things. She never experienced a lot of things. I think she went on an airplane, like a jumbo jet, once in her life. And there’s a great thing in the book actually, about Robert and his point of view on the world and as he’s aging, and it talks about his body and his spine and the way his shoulders moved. For example, that scene where Robert goes up to the window and realizes he’s staring at a man walking on the moon and he’s looking up at the sky, wondering, “How is that even possible?” There’s this sense of his physical dilapidation as he moves. It’s this guy that every time he turns his head has to move his entire body from all the hard work. But all this is sort of just a general sense of wonderment that I remember in my grandmother’s eyes when she would look at new things. But this sort of awe and childlike wonder at the world, which I found very special.

Olsen: Part of the story also deals with just how to know when your time has past. And you and I are about the same age and it’s something I grapple with a lot, wanting to be sure that I still have something meaningful to contribute. Do you worry about that for yourself? In a way it comes back to where we started this conversation, that there are people who would tell you that movies are on the way out.

Edgerton: Relevance is a weird thing. I always saw myself as the youngest person in the room. I started very young. I was young at drama school. I was always young, and now I’m not. The beauty of being an actor if we’re allowed to keep doing what we’re doing, if AI doesn’t mess everything up, as long as my brain keeps working, I can keep learning about the new versions of myself as I get older. You know, “Train Dreams” is a good chance for me to see myself in the middle of my life. But I wonder about relevance. I wonder about my character staring at a chainsaw in the movie and wondering how it’s going to affect his world. I wonder at that for myself, as I’ve never downloaded ChatGPT. I’m sort of terrified, but I also feel like I need to not turn a blind eye to it. I have young kids. I’ve got to accept this thing. But I do worry about what it’s going to do to movies. What I feel optimistic about [is] — I always evoke Jonathan Glazer’s film, “Zone of Interest.” Because I think the genius of that film is the beautiful human thought behind the point of view of setting a Holocaust film in the general’s house over the wall in an opulent setting. And I keep thinking, “I don’t think AI is going to come up with an idea like that, think outside the box.” I think it pushes us into more of a challenge of the unique thought, the unique piece of art, doing things that are bespoke. I don’t think we’ll ever want to stop watching human beings or listening to human stories told by humans, starring humans, music made by humans, paintings painted by humans. I hope. Yes, we can enjoy the wildness of what computers create for us. But I don’t think zeros and ones are going to entirely ruin our lives. But then I can be pessimistic too. I won’t rant on that.

An upcoming Netflix thriller based on a bestselling series of novels is a must-watch for streamers this year

Netflix has confirmed a new thriller series based on an iconic series of books is in the works – and it’s shaping up to be a must-watch release for 2026.

Starring Watchmen’s Yahya Abdul-Mateen ll, the seven-episode first season follows former Special Forces soldier John Creasy, who’s looking to turn over a new leaf.

However, he must first battle his own personal demons before he can live the life he wants to lead.

Man on Fire will stream on Netflix at an undisclosed date in 2026. Based on the 1980 novel of the same name by A.J. Quinnell, the original book has spawned a bestselling series and a film adaptation starring Denzel Washington.

Joining Abdul-Mateen is Billie Boullet (World-Breaker) and City of God star Alice Braga in major roles.

Plus, True Detective’s Scoot McNairy and Only Murder in the Building’s Bobby Cannavale will also star in recurring roles.

Director Steven Caple Jr, who has helmed the blockbuster films Creed II and Transformers: Rise of the Beasts, will direct the first two episodes.

An official synopsis from Netflix reads: “Man on Fire follows John Creasy, who was once a high-functioning and skilled Special Forces Mercenary known for surviving even the most desolate situations.

“However, John is now battling extreme PTSD and personal demons. As he attempts a fresh start, he’ll find himself back in the (metaphorical) fire and fighting harder than ever.”

Actress Boullet will portray Poe Rayborn, a young woman “growing at a rapid and confusing pace” who reluctantly moves to Brazil when her parents relocate.

Spending her days with a class of wealthy international school friends, her worldview is totally thrown off its axis after witnessing a terrifying event and she’s forced to ally herself to John.

Braga is portraying Valeria Melo, “a professional driver with familial connections to a gang running a local favela. After Creasy hires Melo, she quickly becomes his right hand in protecting a young girl and pursuing terrorists.”

Cannavale will take on a guest role as Paul Rayburn, an ex-Special Forces soldier with an uncanny ability to read people. McNairy is guest starring as an intelligent and manipulative CIA agent, Henry Tappan.

Watch Bridgerton on Netflix for free with Sky

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Sky is giving away a free Netflix subscription with its new Sky Stream TV bundles, including the £15 Essential TV plan.

This lets members watch live and on-demand TV content without a satellite dish or aerial and includes hit shows like Bridgerton.

If you still need to be sold on this action-packed new series, Quinnell’s series of novels have built up a huge following of die-hard readers over the years who will surely be first in line.

One fan on Goodreads gave the first book a five-star review and said: “Few books are perfect action films but this is one of them.

“I have not felt this engrossed while reading a story in a long time. If you enjoy action or revenge movies you will dig this book.”

Netflix has just released a first-look at Abdul-Mateen in action, but stayed tuned for more details coming soon.

Man on Fire premieres in 2026 on Netflix.

House of Guinness featured a particular scene which has had everyone talking.

House of Guinness is on Netflix and the historical drama was the creation of Peaky Blinders boss, Steven Knight. Having been out for months already, the series continues to be a huge hit with new fans continuing to tune in.

The series tells the true story of the Guinness siblings as they continue their father’s brewing business following his death.

Anthony Boyle plays Arthur Guinness, and the star has opened up about filming the series and his excitement at the prospect of a second season. Fans may recognise the star from Derry Girls, as well as Say Nothing.

The star spoke out about one particular scene during episode three, in which he was seen standing fully frontal whilst getting out of the bath.

Fans took to X, formerly Twitter, to say they were “blindsided” and the 31-year-old star has opened up about filming the scene.

READ MORE: Was Arthur Guinness assassinated? House of Guinness explainedREAD MORE: Was Arthur Guinness gay? Truth behind House of Guinness’s big secret explained

While it did not bother him filming completely naked, he did have one worry about the audience following the show’s release.

Speaking to Town & Country, he was asked if he considers the large audience of Netflix intimidating, to which he said: “Yeah, definitely when I did the naked scene [laughs].

“Definitely when I did that, I was sat in that bath and I was like, ‘Oh wait, it’s gonna be like millions of people’.

“My focus is usually on the other person, less so than what I’m experiencing, but on the day that you’re getting naked, you’re like, ‘Oh god, I hope my f****** granny doesn’t see this!’

“Moments like that happen! But for the most part, I don’t think about the reach of the show, no.”

Taking to X to share their thoughts on the bath scene, Sharon SL shared: “Is no one talking about Arthur’s bath scene? What was that I just saw?”

Stoops commented: “Did NOT expect to see that in the bath scene, holy hell.”

Addressing the future of the series, Boyle said he would love to return for a second season if it was given the green light by Netflix.

Speaking exclusively to Reach titles at a screening of the series, he said: “If they want to do a second season, I’d love to. I think the scripts were amazing and I really enjoyed the cast and directors.

“I loved it, I love the end product. It’s a show I’m really proud of and if they wanted to go again I’d be overjoyed.”

At this moment in time, the series is yet to be renewed for a second season. This could be because director Knight is focusing on the upcoming Peaky Blinders film, titled The Immortal Man. The film is due to be released in March 2026 and it sees the return of Cillian Murphy as Tommy Shelby.

House of Guinness is on Netflix

**For the latest showbiz, TV, movie and streaming news, go to the new Everything Gossip website**

A Stranger Things icon has announced their next big career move alongside Julianne Moore and a Disney princess.

A Stranger Things star has already moved on from the unforgettable Netflix sci-fi drama with a major project now in the works.

Stranger Things has officially come to an end and while fans did have some questions after the finale, Netflix subscribers couldn’t help but labelled it as the “best show ever”.

All of the characters upped their game ahead of the final battle against Vecna but someone who surprised fans with their newfound bravery was Karen Wheeler (played by Cara Buono).

Not only did Mike (Finn Wolfhard), Nancy (Natalia Dyer) and Holly Wheeler’s (Nell Fisher) mum fight off a demogorgon with a wine bottle, she blew up three of the creatures in the hospital’s laundry room, saving some of the beloved gang.

Fans flocked to X, formerly Twitter, to hail Karen a “hero” and a “bada**”, with someone writing: “Wow. I feel like I need to write Karen Wheeler multiple apology letters. She achieved fully elevated GOAT status this season.”

Now Karen Wheeler star Cara Buono is working on a brand new project that’s worlds away from the dangers of the Upside Down.

Buono is set to play the leading role of Cassie in what’s currently being listed as “Untitled Musical Comedy Jesse Eisenberg”.

The official synopsis for the project, which is currently in post-production, reads: “A shy woman unexpectedly cast in a local musical production loses herself in the role under the spell of the strong-willed director, immersing herself in the high-stakes world of community theatre.”

But Buono is far from the only familiar face in the upcoming musical comedy as she heads up a star-studded cast.

Alongside the Karen Wheeler actress, the project will star Oscar-nominated actor Paul Giamatti, famed for The Holdovers, Billions and Black Mirror.

Another massive name in the cast is Hollywood legend Julianne Moore whose work includes Boogie Nights, The Hours and Still Alice which won her an Academy Award for Best Actress.

The Little Mermaid star Halle Bailey, who also features in Grown-Ish and The Colour Purple, joins them along with Better Call Saul icon Patrick Fabian.

The musical comedy has been created by none other than Jesse Eisenberg who rose to fame in The Social Network, but has since gone on to star in the Now You See Me franchise.

He also wrote and starred in the 2024 film A Real Pain which won Kieran Culkin the Oscar for Best Supporting Actor.

Stranger Things is available to watch on Netflix.

A broadcast TV show about a middle-aged guy who becomes an LAPD cop wouldn’t seem like your typical teen magnet.

Yet, the “The Rookie” was the most-streamed show among young people under 18 across all broadcast series in the 2024-2025 broadcast TV season, according to Nielsen data.

Odd as that may seem, the numbers match showrunner Alexi Hawley’s own experience. He says he is often approached by parents telling him how much their kids gravitate to the ABC police procedural.

Recently, he said, actor Dwayne Johnson visited the Los Angeles set with his preteen daughter, who loves the Nathan Fillion-led series, now in its eighth season.

“You’re always surprised in this business at success,” Hawley said in an interview.

He offers multiple explanations: “A lot of it has to do with the comfort food of the show. Bad things happen on our show a lot, but I think the mix of humor and action and heavy stuff resonates with people.”

Part of it, too, he says, is that the show is very “clippable.”

“The Rookie,” which is produced by Lionsgate Television and 20th Television and shot in Los Angeles, has 2.8 million followers on TikTok. In the last 12 months, its biggest audience on the platform were people aged 18 to 24, according to TikTok Studio.

At a time when the broadcast TV business faces steep challenges — including continued cord-cutting and declining ad dollars — the ability of “The Rookie” to captivate young viewers is noteworthy. And its stars’ embrace of social media, particularly TikTok, might have lessons for other broadcast shows looking to draw new and younger eyeballs in the streaming era.

Eric Winter, who plays the serious Sgt. Tim Bradford on “The Rookie,” is especially active on the platform, despite some initial resistance.

“I was anti-TikTok,” he said. “I was like, ‘I’m never doing it. I’m never gonna have an account. I won’t be seen doing a post or a dance, acting like a fool.’ And my wife was like, ‘You’re launching a premium rum brand. You’ve got to be out there. You’ve got to be public with it.’”

And he’s seen teen fandom up close — at publicity events kids will line up to get his autograph.

After launching his TikTik about two years ago, Winter now has about 6.6 million followers, and he’ll post pranks with his co-stars from the set or group TikToks.

Even Fillion has gotten in on the action and has asked Winter for advice. Many other cast members are active on the platform as well.

“We’re all trying to outdo each other with TikTok, and it’s grown into its own little beast that drives the eyeballs,” Winter said. “I just started doing a lot of goofy ones that worked.”

Beyond jokes from the set, clips from the show itself have driven people to the series who may not have otherwise found it. Scenes involving the will-they-won’t-they romance between Winter’s character Bradford and co-star Melissa O’Neil’s Sgt. Lucy Chen (collectively known to fans as “Chenford”) also drive major views, as do shorts with Fillion.

“We have these funny moments, and these little stories that we can do because we’re a patrol show where anything can happen anytime they get out of their car,” Hawley said. “And I think those translate really well to 30-second, one-minute clips that just bring people to want to watch more.”

It’s kind of like movie trailers for the new generation. While young viewers can’t watch an entire show via social media, the shorter clips are clearly one way of introducing them to the series — and getting them hooked. Collaborations with YouTube stars also help.

Last season, YouTube personalities Ryan Bergara and Shane Madej guest starred in an episode of “The Rookie” in which the pair investigates a haunted psychiatric facility. Hawley learned of Bergara and Madej’s “Ghost Files” paranormal show through his kids.

This year, he’s planning a similar crossover with comedy streamer Dropout.TV.

“Rather than doing crossovers with traditional shows, like other ABC shows, given our growing young fan base, I’m like, ‘Well, what can I pull into our show that younger people relate to more,’” Hawley said.

The predictable format offers something else: a reprieve from the chaos of the world, similar to older network shows like “Golden Girls” and “Modern Family” that are also popular with younger audiences.

“The world is hard right now,” Hawley said. “It’s very stressful. There’s something that’s just comforting about putting us on and the number of episodes we have. Our show is an escape for people.”

Stuff we wrote

Film shoots

Number of the week

Disney-owned 20th Century Studios’ “Avatar: Fire and Ash” cracked the $1-billion mark at the global box office on Sunday. The film is the third Disney film released in 2025 that has crossed $1 billion worldwide, following the animated “Zootopia 2” and the live-action adaptation of “Lilo & Stitch.”

Topping it off, “Avatar: Fire and Ash” is the third of three “Avatar” films to reach $1 billion globally. The James Cameron-directed franchise has now grossed more than $6.35 billion so far.

Finally …

My colleague, Andrew J. Campa, has a fascinating story about how thieves are hacking off the leaves of agave plants — and the theories about why it’s happening.

Netflix splits Bridgerton season 4 into two parts as Benedict Bridgerton takes centre stage

The fourth instalment of Netflix’s sizzling period drama, Bridgerton, is on the horizon, and fans are eagerly awaiting the romantic journey of Benedict Bridgerton (Luke Thompson) as he falls for the enigmatic Sophie (Yerin Ha). Despite his mother, Lady Violet’s (Ruth Gemmell), persistent appeals, Benedict, being the second son, has resisted settling down.

However, everything changes at his mother’s masquerade ball when Benedict becomes captivated by a mysterious Lady in Silver. He enlists the help of his somewhat reluctant sister, Eloise (Claudia Jessie), to unmask the identity of this intriguing woman. In an unexpected twist, Sophie Baek is actually employed as a resourceful maid for Araminta Gun (Katie Leung). When Benedict and Sophie cross paths again, he remains oblivious that she is his elusive Lady in Silver.

He finds himself caught between his genuine feelings for the captivating maid and his fantasy of the masked lady. The official synopsis teases: “Will Benedict’s inability to see these women as one and the same derail the undeniable spark between him and Sophie? And can love truly conquer anything – even a cross-class connection forbidden by society?” The upcoming season draws inspiration from Julia Quinn’s novel, An Offer From a Gentleman, hailed as a unique take on the Cinderella tale.

Here’s everything you need to know about the fourth season, including its release date, episode count, and cast.

When is Bridgerton season 4 out?

Bridgerton’s fourth season has been divided into two parts, set to air on separate dates on Netflix. The first part will be released globally on January 29, with the second part following on February 26. This means that die-hard fans will have to endure a month-long wait between the two parts. Netflix typically releases new titles at midnight in the US and at 8am in the UK.

Netflix’s Tudum has announced a live stream event on January 14, which will include an early screening of the first episode and red carpet coverage of the global premiere in Paris.

How many episodes are in Bridgerton season 4?

Each part will consist of four episodes, making up a total of eight episodes for the fourth season. Based on previous seasons, each episode is expected to run for approximately an hour. The series is exclusively available on Netflix, meaning viewers won’t be able to catch the new episodes on any other platform.

Benedict actor Thompson teased: “The storyline is a bit of a twist on Cinderella. You remember being told those stories as a child — the magic and the romance of them. It’s really exciting to have that weaved into the world that we know of Bridgerton … It’s such a great story, but it’s also, I hope, really relatable.”

Who is in the cast of Bridgerton season 4?

Season four will introduce several new characters, including Lady Araminta Gun, portrayed by Katie Leung. Lady Gun is a twice-widowed mother of two daughters, who is eager to see at least one of them wed. Katie Leung, a 38 year old British actress, is best known for her role as Cho Chang, Harry Potter‘s first love interest, in the Harry Potter film series.

Rosamund Li is portrayed by Michelle Mao, with her character being Araminta’s eldest daughter and most treasured child. Michelle Mao is a 27 year old actress who has previously appeared in Surfside Girls and Morgan’s Secret. Posy Li is brought to life by Isabella Wei, whose character serves as Rosamund’s younger, more compassionate sister, described as talkative and excessively welcoming. Isabella Wei is a 21 year old actress and dancer from Hong Kong, recognised for her performances in the Netflix series 1899 and Black Doves.

The entire main cast will be reprising their roles, including Jonathan Bailey as Anthony Bridgerton, Simone Ashley as Kate Bridgerton and Adjoa Andoh as Lady Danbury. Two previous stars have also been promoted to series regulars – Emma Naomi as Alice Mondrich and Hugh Sachs as Brimsley.

Finally, Yerin Ha joins as leading lady Sophie, and she opened up about her latest role, sharing: “What drew me to Sophie was that she immediately has obstacles — something that she constantly has to overcome. Whether it’s this battle around social status or trying to hide her feelings from Benedict.”

Is there a trailer for Bridgerton season 4?

The official trailer for season four dropped over Christmas, sparking criticism from fans as Anthony and Kate were “missing” from the preview.

One frustrated viewer posted on X, formerly Twitter, writing: “Clearly we understand Kathony [Kate and Anthony] had their season… but it truly doesn’t make sense that the VISCOUNT and VISCOUNTESS Bridgerton, the literal HEADS of the household, are nowhere to be seen Imao.”

The fresh teaser unveils Penelope Featherington, played by Nicola Coughlan, teaming up with Queen Charlotte, portrayed by Golda Rosheuvel, following the revelation of her secret identity as Lady Whistledown. Concurrently, Sophie’s Cinderella-esque scene unfolds as she is compelled to make a hasty exit from the ball at midnight, leaving Benedict in the dark.

The trailer also spotlights the complex relationship between Benedict and his mother, showcasing his struggle between fulfilling her aspirations and pursuing his own dreams.

Bridgerton season 4, part 1 premieres on Netflix on January 29, followed by part 2 on February 26.

**For the latest showbiz, TV, movie and streaming news, go to the new **Everything Gossip** website**

The Critics Choice Awards 2026 recognised the biggest films and TV series of the past year, with Netflix’s Adolescence dominating the TV categories

The Critics Choice Awards served as a grand stage for the year’s most celebrated films and TV series to receive their well-deserved accolades. With big-screen blockbusters and Netflix sensations vying for esteemed awards, the competition was fierce.

Among the nominated films were Ariana Grande and Cynthia Erivo’s ‘Wicked: For Good’, and Netflix’s fresh take on ‘Frankenstein’ by renowned director Guillermo del Toro. A-listers such as Timothée Chalamet and Emma Stone were also in the running for individual honours.

The star-studded ceremony acknowledged excellence in music, stunts, animation, and production design. Two titles reigned supreme, with Netflix’s ‘Adolescence’ emerging as the top TV victor of the night.

In the film categories, ‘Frankenstein’ scooped up four awards, alongside Ryan Coogler’s redemption tale ‘Sinners’. The event drew a host of celebrities, including Kylie Jenner who attended in support of her beau, Chalamet.

Here’s a rundown of the winners and nominees from the Critics Choice Awards 2026.

Best Picture

Winner: One Battle After Another

Nominees:

Bugonia

Frankenstein

Hamnet

Jay Kelly

Marty Supreme

Sentimental Value

Sinners

Train Dreams

Wicked: For Good

Best Actor

Winner: Timothée Chalamet for Marty Supreme

Nominees:

Leonardo DiCaprio, One Battle After Another

Joel Edgerton, Train Dreams

Ethan Hawke, Blue Moon

Michael B. Jordan, Sinners

Wagner Moura, The Secret Agent

Best Actress

Winner: Jessie Buckley for Hamnet

Nominees:

Rose Byrne, If I Had Legs I’d Kick You

Chase Infiniti, One Battle After Another

Renate Reinsve, Sentimental Value

Amanda Seyfried, The Testament of Ann Lee

Emma Stone, Bugonia

Best Director

Winner: Paul Thomas Anderson for One Battle After Another

Nominees:

Ryan Coogler, Sinners

Guillermo del Toro, Frankenstein

Josh Safdie, Marty Supreme

Joachim Trier, Sentimental Value

Chloé Zhao, Hamnet

Best Original Screenplay

Winner: Ryan Coogler for Sinners

Nominees:

Noah Baumbach, Emily Mortimer, Jay Kelly

Ronald Bronstein, Josh Safdie, Marty Supreme

Zach Cregger, Weapons

Eva Victor, Sorry, Baby

Eskil Vogt, Joachim Trier, Sentimental Value

Best Adapted Screenplay

Winner: Paul Thomas Anderson for One Battle After Another

Nominees:

Clint Bentley, Greg Kwedar, Train Dreams

Park Chan-wook, Lee Kyoung-mi, Don Mckellar, Jahye Lee, No Other Choice

Guillermo del Toro, Frankenstein

Will Tracy, Bugonia

Chloé Zhao, Maggie O’Farrell, Hamnet

Best Stunt Design

Winner: Wade Eastwood for Mission: Impossible – The Final Reckoning

Nominees:

Stephen Dunlevy, Kyle Gardiner, Jackson Spidell, Jeremy Marinas, Jan Petina, Domonkos Párdányi, Kinga Kósa-Gavalda, Ballerina

Gary Powell, Luciano Bacheta, Craig Dolby, F1

Brian Machleit, One Battle After Another

Andy Gill, Sinners

Giedrius Nagys, Warfare

Best Score

Winner: Ludwig Göransson for Sinners

Nominees:

Hans Zimmer, F1

Alexandre Desplat, Frankenstein

Max Richter, Hamnet

Daniel Lopatin, Marty Supreme

Jonny Greenwood, One Battle After Another

Best Film Made for Television

Winner: Bridget Jones: Mad About the Boy

Nominees:

Deep Cover

The Gorge

Mountainhead

Nonnas

Summer of ’69

Best Variety Series

Winner: Last Week Tonight with John Oliver

Nominees:

Conan O’Brien Must Go

Saturday Night Live

Best Animated Feature

Winner: KPop Demon Hunters

Nominees:

Arco

Elio

In Your Dreams

Little Amélie or the Character of Rain

Zootopia 2

Best Song

Winner: “Golden” – Ejae, Mark Sonnenblick, Ido, 24, Teddy from KPop Demon Hunters

Nominees:

“Drive” – Ed Sheeran, John Mayer, Blake Slatkin – F1

“I Lied to You” – Raphael Saadiq, Ludwig Göransson – Sinners

“Clothed by the Sun” – Daniel Blumberg – The Testament of Ann Lee

“Train Dreams” – Nick Cave, Bryce Dessner – Train Dreams

“The Girl in the Bubble” – Stephen Schwartz – Wicked: For Good

Best Drama Series

Winner: The Pitt

Nominees:

Alien: Earth

Andor

The Diplomat

Paradise

Pluribus

Severance

Task

Best Actress in a Drama Series

Winner: Rhea Seehorn for Pluribus

Nominees:

Kathy Bates, Matlock

Carrie Coon, The Gilded Age

Britt Lower, Severance

Bella Ramsey, The Last of Us

Keri Russell, The Diplomat

Best Actor in a Drama Series

Winner: Noah Wyle for The Pitt

Nominees:

Sterling K. Brown, Paradise

Diego Luna, Andor

Mark Ruffalo, Task

Adam Scott, Severance

Billy Bob Thornton, Landman

Best Supporting Actor in a Drama Series

Winner: Tramell Tillman for Severance

Nominees:

Patrick Ball, The Pitt

Billy Crudup, The Morning Show

Ato Essandoh, The Diplomat

Wood Harris, Forever

Tom Pelphrey, Task

Best Supporting Actress in a Drama Series

Winner: Katherine LaNasa for The Pitt

Nominees:

Nicole Beharie, The Morning Show

Denée Benton, The Gilded Age

Allison Janney, The Diplomat

Greta Lee, The Morning Show

Skye P. Marshall, Matlock

Best Supporting Actress

Winner: Amy Madigan for Weapons

Nominees:

Elle Fanning, Sentimental Value

Ariana Grande, Wicked: For Good

Inga Ibsdotter Lilleaas, Sentimental Value

Wunmi Mosaku, Sinners

Teyana Taylor, One Battle After Another

Best Supporting Actor

Winner: Jacob Elordi for Frankenstein

Nominees:

Benicio del Toro, One Battle After Another

Paul Mescal, Hamnet

Sean Penn, One Battle After Another

Adam Sandler, Jay Kelly

Stellan Skarsgård, Sentimental Value

Best Comedy Series

Winner: The Studio

Nominees:

Abbott Elementary

Elsbeth

Ghosts

Hacks

Nobody Wants This

Only Murders in the Building

The Righteous Gemstones

Best Actress in a Comedy Series

Winner: Jean Smart for Hacks

Nominees:

Kristen Bell, Nobody Wants This

Natasha Lyonne, Poker Face

Rose McIver, Ghosts

Edi Patterson, The Righteous Gemstones

Carrie Preston, Elsbeth

Best Actor in a Comedy Series

Winner: Seth Rogen for The Studio

Nominees:

Adam Brody, Nobody Wants This

Ted Danson, A Man on the Inside

David Alan Grier, St. Denis Medical

Danny McBride, The Righteous Gemstones

Alexander Skarsgård, Murderbot

Best Supporting Actor in a Comedy Series

Winner: Ike Barinholtz for The Studio

Nominees:

Paul W. Downs, Hacks

Asher Grodman, Ghosts

Oscar Nuñez, The Paper

Chris Perfetti, Abbott Elementary

Timothy Simons, Nobody Wants This

Best Supporting Actress in a Comedy Series

Winner: Janelle James for Abbott Elementary

Nominees:

Danielle Brooks, Peacemaker

Hannah Einbinder, Hacks

Justine Lupe, Nobody Wants This

Ego Nwodim, Saturday Night Live

Rebecca Wisocky, Ghosts

Best Talk Show

Winner: Jimmy Kimmel Live!

Nominees:

The Daily Show

Hot Ones

Late Night with Seth Meyers

The Late Show with Stephen Colbert

Watch What Happens Live with Andy Cohen

Best Casting and Ensemble

Winner: Francine Maisler for Sinners

Nominees:

Nina Gold, Hamnet

Douglas Aibel, Nina Gold, Jay Kelly

Jennifer Venditti, Marty Supreme

Cassandra Kulukundis, One Battle After Another

Tiffany Little Canfield, Bernard Telsey, Wicked: For Good

Best Limited Series

Winner: Adolescence

Nominees:

All Her Fault

Chief of War

Death by Lightning

Devil in Disguise: John Wayne Gacy

Dope Thief

Dying for Sex

The Girlfriend

Best Actress in a Limited Series or Movie Made for Television

Winner: Sarah Snook for All Her Fault

Nominees:

Jessica Biel, The Better Sister

Meghann Fahy, Sirens

Michelle Williams, Dying for Sex

Robin Wright, The Girlfriend

Renée Zellweger, Bridget Jones: Mad About the Boy

Best Actor in a Limited Series or Movie Made for Television

Winner: Stephen Graham for Adolescence

Nominees:

Michael Chernus, Devil in Disguise: John Wayne Gacy

Brian Tyree Henry, Dope Thief

Charlie Hunnam, Monster: The Ed Gein Story

Matthew Rhys, The Beast in Me

Michael Shannon, Death by Lightning

Best Supporting Actor in a Limited Series or Movie Made for Television

Winner: Owen Cooper, Adolescence

Nominees:

Wagner Moura, Dope Thief

Nick Offerman, Death by Lightning

Michael Peña, All Her Fault

Ashley Walters, Adolescence

Ramy Youssef, Mountainhead

Best Supporting Actress in a Limited Series or Movie Made for Television

Winner: Erin Doherty, Adolescence

Nominees:

Betty Gilpin, Death by Lightning

Marin Ireland, Devil in Disguise: John Wayne Gacy

Sophia Lillis, All Her Fault

Julianne Moore, Sirens

Christine Tremarco, Adolescence

Best Young Actor / Actress

Winner: Miles Caton in Sinners

Nominees:

Everett Blunck, The Plague

Cary Christopher, Weapons

Shannon Mahina Gorman, Rental Family

Jacobi Jupe, Hamnet

Nina Ye, Left-Handed Girl

Best Foreign Language Film

Winner: The Secret Agent

Nominees:

It Was Just an Accident

Left-Handed Girl

No Other Choice

Sirt

Belé

Best Comedy

Winner: The Naked Gun

Nominees:

The Ballad of Wallis Island

Eternity

Friendship

The Phoenician Scheme

Splitsville

Best Foreign Language Series

Winner: Squid Game

Nominees:

Acapulco

Last Samurai Standing

Mussolini: Son of the Century

Red Alert

When No One Sees Us

Best Animated Series

Winner: South Park

Nominees:

Bob’s Burgers

Harley Quinn

Long Story Short

Marvel Zombies

Your Friendly Neighbourhood Spider-Man

Best Cinematography

Winner: Adolpho Veloso for Train Dreams

Nominees:

Claudio Miranda, F1

Dan Laustsen, Frankenstein

Łukasz Żal, Hamnet

Michael Bauman, One Battle After Another

Autumn Durald Arkapaw, Sinners

Best Comedy Special

Winner: SNL50: The Anniversary Special

Nominees:

Brett Goldstein: The Second Best Night of Your Life

Caleb Hearon: Model Comedian

Leanne Morgan: Unspeakable Things

Marc Maron: Panicked

Sarah Silverman: PostMortem

Best Production Design

Winner: Tamara Deverell, Shane Vieau for Frankenstein

Nominees:

Kasra Farahani, Jille Azis, The Fantastic Four: First Steps

Fiona Crombie, Alice Felton, Hamnet

Jack Fisk, Adam Willis, Marty Supreme

Hannah Beachler, Monique Champagne, Sinners

Nathan Crowley, Lee Sandales, Wicked: For Good

Best Editing

Winner: Stephen Mirrione for F1

Nominees:

Kirk Baxter, A House of Dynamite

Ronald Bronstein, Josh Safdie, Marty Supreme

Andy Jurgensen, One Battle After Another

Viridiana Lieberman, The Perfect Neighbour

Michael P. Shawver, Sinners

Best Costume Design

Winner: Kate Hawley for Frankenstein

Nominees:

Malgosia Turzanska, Hamnet

Lindsay Pugh, Hedda

Colleen Atwood, Christine Cantella, Kiss of the Spider Woman

Ruth E. Carter, Sinners

Paul Tazewell, Wicked: For Good

Best Hair and Makeup

Winner: Mike Hill, Jordan Samuel, Cliona Furey for Frankenstein

Nominees:

Flora Moody, John Nolan, 28 Years Later

Siân Richards, Ken Diaz, Mike Fontaine, Shunika Terry, Sinners

Kazu Hiro, Felix Fox, Mia Neal, The Smashing Machine

Leo Satkovich, Melizah Wheat, Jason Collins, Weapons

Frances Hannon, Mark Coulier, Laura Blount, Wicked: For Good

Best Visual Effects

Winner: Joe Letteri, Richard Baneham, Eric Saindon, Daniel Barrett for Avatar: Fire and Ash

Nominees:

Ryan Tudhope, Nikeah Forde, Robert Harrington, Nicolas Chevallier, Eric Leven, Edward Price, Keith Dawson, F1

Dennis Berardi, Ayo Burgess, Ivan Busquets, José Granell, Frankenstein

Alex Wuttke, Ian Lowe, Jeff Sutherland, Kirstin Hall, Mission: Impossible – The Final Reckoning

Michael Ralla, Espen Nordahl, Guido Wolter, Donnie Dean, Sinners

Stephane Ceretti, Enrico Damm, Stéphane Nazé, Guy Williams, Superman

Best Sound

Winner: Al Nelson, Gwendolyn Yates Whittle, Gary A. Rizzo, Juan Peralta, Gareth John for F1

Nominees:

Nathan Robitaille, Nelson Ferreira, Christian Cooke, Brad Zoern, Greg Chapman – Frankenstein

Jose Antonio Garcia, Christopher Scarabosio, Tony Villaflor – One Battle After Another

Chris Welcker, Benny Burtt, Brandon Proctor, Steve Boeddeker, Felipe Pacheco, David V. Butler – Sinners

Laia Casanovas – Sirt

Mitch Low, Glenn Freemantle, Ben Barker, Howard Bargroff, Richard Spooner – Warfare

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The new courtroom drama has been hailed as a ‘must watch’ for Netflix viewers.

A ‘brilliant’ new film has landed on Netflix, with viewers hailing it as “one of the most powerful and emotionally charged films of 2025”. The courtroom drama, based on a genuine landmark case that film enthusiasts are already dubbing essential viewing, has garnered rave reviews from both critics and audiences.

Helmed by director Suparn Varma, the film Haq boasts an impressive 83% critics’ score and a stellar 92% audience rating on Rotten Tomatoes.

The cast features Yami Gautam portraying Shazia Bano, Emraan Hashmi as Abbas Khan, and Sheeba Chaddha in the role of Bela Jain.

Netflix’s official synopsis states: “After her husband abandons her, Shazia Bano takes him to court, fueling a national debate on women’s rights and justice. Inspired by a landmark judgment.”

The film draws inspiration from the actual case of Mohd Ahmed Khan v. Shah Bano Begum, involving a 62-year-old woman from Indore who sought maintenance under Section 125 of the Criminal Procedure Code following her divorce by her lawyer husband through Islamic law (triple talaq).

The couple had shared over four decades of marriage, and when she requested modest monthly support post-divorce, he refused, arguing his obligations extended only to roughly three months during the ‘iddat’ period according to Islamic law. The legal battle reached the Supreme Court, resulting in a landmark decision that forms the heart of the film’s narrative, reports the Express.

Cinema enthusiasts have already heaped praise on the ‘compelling’ drama, with one viewer declaring on Rotten Tomatoes: “Phenomenal film! ! ! A great movie, after a long time! ! ! Must watch! !”

Another echoed the sentiment: “Class. Amazing biopic. The challenge of religious law and civil law coexisting. Landmark case that ensured all women get protection and rights from a divorce. She almost loses everything but keeps her faith. Amazing acting. Yami steals the show and her final monologue is something else. Definitely watch.”

A third hailed the production as ‘beautiful’ and an ‘absolute must see’, whilst another praised: “Haq is a riveting courtroom drama that blends fearless storytelling with exceptional performances.”

One enthusiastic reviewer gushed: “10/10 A powerful and beautiful film highlighting women’s rights. Both Yami and Imran delivered outstanding performances, but Yami was exceptional… She absolutely owned the screen.”

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However, not all critics were equally impressed, with The Hollywood Reporter India describing it as “well-intentioned but reductive”. Despite this, the overwhelming response to the picture has been tremendously positive.

On IMDb, one viewer gushed: “Masterpiece of Truth, Courage, and Justice. Haq isn’t just a movie – it’s an experience, a statement, and a revolution in storytelling. Directed by Suparn Varma, this courtroom drama shines as one of the most powerful and emotionally charged films of 2025.”

Another agreed, stating: “Must Watch Movie. I really loved this movie…The story is strong and the film keeps you hooked from start to end. Yami Gautam is the highlight of the movie… Her acting is so powerful that she even overshadows Emraan Hashmi. Every dialogue she delivered gave me goosebumps. She truly deserves a National Award for this performance.”

Yet another person labelled the film as “superb”, penning: “Haq delivers a powerful cinematic experience with its gripping story and heartfelt performances.”

They further added: “What makes Haq special is its bold message about truth and integrity, leaving the audience inspired and thoughtful. It is one of the most compelling films of the year.”

Haq is available to stream now on Netflix.

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A “masterpiece” biopic starring Robert De Niro is streaming on Netflix in the UK

A “masterpiece” biopic featuring Robert De Niro is available to stream on Netflix in the UK as of this week.

Raging Bull (1980) stands as a biographical sports drama adapted from world champion boxer Jake LaMotta’s memoir.

De Niro portrays LaMotta, whose “violence and determination led him to the very top inside the ring but destroyed his relationships outside it”, according to the BBC’s synopsis.

The cast of this Martin Scorsese-directed picture, a frequent De Niro collaborator, features Joe Pesci as Jake’s younger sibling and former manager, plus Cathy Moriarty as Jake’s long-suffering spouse Vickie.

The production secured two Academy Awards, with De Niro claiming Best Actor honours and Thelma Schoonmaker earning Best Editing recognition, cementing its status as a timeless classic, reports the Express.

Film blog Taste of Cinema declared it the “greatest biopic of all time” in a glowing post, celebrating both its performances and “surrealist” boxing sequences.

Devotees have flocked to IMDb to heap praise upon the picture, with one branding it a “masterpiece” whilst commending Scorsese’s directorial prowess.

“The fight scenes are famous for their brutal realism and it’s easy to see why,” they penned.

“He puts you right in the ring with the fighters and you cant help but admire their technical brilliance. However, the most stunning aspect of all is Thelma Schoonmaker’s editing.

“It’s some of the best editing I’ve ever seen especially during the fight scenes where it’s positively breathtaking.”

Another viewer praised: “Besides the legendary performance of Robert De Niro, there are many things in this film that will remain in my heart forever: the splendid black & white, the contrast between the slow moving scenes and the frenetic ones, the choice of the music and the sense of loss which entangles the whole movie.”

A third fan hailed the fight scenes as “are the most brutal that I have ever seen on film even though there’s only like 12 minutes of them and the editing is simply brilliant”.

They lamented: “It should have earned Scorsese a best director Oscar but at least they had enough sense to award de Niro the best actor Oscar,” adding: “I’ll come back to this film forever.”

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A fourth critic, who rated the film a perfect 10/10, enthused: “Terrific performances by the leads, particularly De Niro and Joe Pesci. Overall this is rightfully one of the greatest films ever made!”

The film carries a 15 certificate and includes strong violence, domestic abuse, sex references, and very strong language – so viewers are advised to exercise discretion.

Raging Bull is currently available for streaming on Netflix.

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The Stranger Things finale included a few Easter Eggs, but only one is the real clue to what The Duffer Brothers’ new spin-off will be about.

The finale episode of Stranger Things has arrived and fans are already picking it apart to find clues for an upcoming spin-off. Since the finale aired on Netflix last week, The Duffer Brothers have confirmed which Easter Egg viewers should look out for that will be an important clue to the series they do next.

One popular fan theory, which had been quickly gaining traction, was that Hopper and Joyce would have their own show when they move to Montauk, a real town that partially served as the inspiration behind the creepy experiments we see in Stranger Things.

However, in an interview with Deadline, The Duffer Brothers clarified that this was simply a cheeky Easter Egg about Stranger Things’ original name, as it had originally been a supernatural drama called Montauk back in 2015 before the location was changed to the fictional Hawkins, Indiana.

“There’s no Montauk spinoff,” Ross Duffer confirmed. “That was more of a wink to the fans, deep-cut fans that know that the show started as Montauk.”

However, fans who had been to see Stranger Things spin-off play The First Shadow on London’s West End spotted a few other Easter Eggs in the finale, with Henry Creel’s origin story reportedly being a crucial clue to the real spin-off.

During the season 5 finale, we learn Henry found a rock inside a scientist’s brief case that gave him powers and connected him to The Mind Flayer. This adds more context to the play, as The First Shadow previously revealed he went missing in the desert and came back changed by what he found there.

Speaking to The Hollywood Reporter, Matt Duffer confirmed: “I’ve been pinned down and forced to blow this already, so I might as well tell you. There’s lingering questions about the rock and where the rock came from [in Henry’s story in the finale] and the scientist and all of that.

“Because we had said that there is something in the finale that is going to connect to the spinoff. The spinoff is not about rocks or mining the rocks, but I would say that’s the loose end that’s not that’s not tied up that will be tied up.”

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He went on to explain that there would be “an entirely new mythology” but that the spin-off “does connect and will answer some of the lingering questions”, adding: “It’s not specifically about the Mind Flayer or the Upside Down, but hopefully it provides some answers to that at least those lingering questions related to Henry’s memory.”

The show creators also told Variety that they would start working on the spin-off from Monday, January 5, with Matt revealing: “You don’t understand. My favorite part of the show is working on it. It’s not releasing it — that’s just stressful, no matter how it goes when you release it.

“It’s maybe my least favorite part of the process. I like the creative part. I like making it. So, we’re actually really excited, and it’s very exciting to work with a clean slate: completely new characters, new town, new world, new mythology.”

As well as the new spin-off, an animated series featuring the original Stranger Things characters has also already been confirmed. It will be called Stranger Things: Tales from ’85 and is reportedly set to come out some time in 2026.

Stranger Things seasons 1 to 5 are available to stream in full on Netflix now.

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