Netflix

East of Eden on Netflix’s creator Zoe Kazan follows in her grandfather’s footsteps who directed the 1955 film adaptation.

East of Eden is being hailed as a faithful and “captivating” watch with fans especially impressed by its leading lady.

John Steinbeck’s 1950s classic novel East of Eden has been resurrected once again but this time for Netflix fans, following the story of fierce Cathy Ames (played by Florence Pugh).

Set in the early 1900s, anti-heroine Cathy stops at nothing to get rich and in the process, drives a rift between two brothers that “ignites a saga that unfolds across two generations”.

The seven-part period drama was released in full today, Thursday, October 1, with fans quickly flocking to social media to share their thoughts. And it didn’t take long for users to make a major prediction about Florence Pugh’s future.

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With so many viewers impressed by the 30-year-old’s performance, fans believe she is in the running for an Emmy Award.

“Florence Pugh will definitely get an Emmy for East of Eden, she has out done herself by miles”, someone praised on X. A second agreed: “Just finished watching east of eden and the Emmy campaign for Florence Pugh starts right now.”

“Florence Pugh getting rave reviews for East Of Eden, oh we are sweeping the awards season all the way to that Emmy!”, a third exclaimed.

As another viewer remarked: “People were claiming that Florence Pugh is ruining her career with a Netflix show but the critics are raving about her and she’s most definitely getting an Emmy for this performance.”

Ahead of its release, Pugh opened up to Tudum about the challenges of creating an “epic adventure” for just seven episodes.

“As a performer, it was a really big step up into how I was going to approach this role and shooting this schedule because I had no time in between.

“I’m not only talking about heavy subject matter in the scenes, but the language is from a different era, which has a different rhythm.

“It meant that I had to approach this role in a way that I’d never done before.”

East of Eden is available to watch on Netflix.

Director Na Hong-jin’s action movie “Hope” opened in 1,500 U.S. cinemas this month, marking the biggest domestic theatrical footprint for a Korean-language film since the Academy Award-winning “Parasite.”

That’s a big bet, particularly for a foreign film. But after the success of “Parasite,” the growth of Korean shows such as Netflix’s “Squid Game” on streaming and the broader acceptance of subtitles in film and television, it was a bet Neon was willing to make.

The indie studio snapped up North American and English language rights to “Hope” for an undisclosed price before the film’s world premiere in the spring at the Cannes Film Festival.

Right off the bat, Neon knew the film would be positioned in South Korea as a big action thriller and massive event film for director Na, and wanted to match that.

In the film, which includes Alicia Vikander and Michael Fassbender in its cast, a group of people fight back against a creature that rampages through a Korean village.

“The reality is that just because a movie has subtitles, doesn’t make it an art film or a niche film,” Elissa Federoff, Neon’s chief distribution officer, told me this month. “And this, to us, felt like a big action blockbuster.”

She continued, “To me, it was this movie that certainly cinephiles were going to be curious about. But I also knew that we could cross over to a broader audience if we gave it a shot.”

So far, “Hope” has grossed more than $8 million domestically and $45.6 million worldwide on a reported production budget of at least $45 million.

Neon expected to reach Korean and Korean American audiences with “Hope,” but the film also over-indexed with Latinos, who represented 27% of the audience, according to PostTrak theatrical data.

Such a wide national release is unusual for foreign films, which typically play in specialty theaters on fewer than 100 screens. Though its domestic box office total doesn’t indicate that the film fully crossed over to mainstream audiences, “for a foreign film, it’s very successful” and has done “solid business,” said David A. Gross, who writes the FranchiseRe movie industry newsletter.

Neon, of course, has experience with Korean cinema. It distributed 2019’s “Parasite,” which became the first non-English-language film to win Best Picture. After “Parasite” won the Oscar, it was shown on 2,000 screens, about 17 weeks after its release. The Bong Joon Ho-directed film ended up grossing more than $53 million domestically and brought in more than $263 million worldwide.

The film put Neon on the map in many ways, Federoff said, and also pushed the boundaries for what the industry considered a best picture nominee. Films such as “Parasite” and “Hope” should also expand what studios consider to be mainstream fare.

“Studios and distributors are still boxing things out a little bit and thinking of these as not as accessible or not for a general commercial audience,” Federoff said. “And I would totally disagree with it.”

Though “Hope” is a long way from the domestic box-office success of “Parasite,” these kinds of swings are important to keep the pipeline of original films humming and to vary the types of fare mainstream audiences can see at their local theaters.

Although art house films once skewed toward older audiences, indie films are now popular with younger generations, who have also become accustomed to reading subtitles.

That could bode well for future foreign language films looking to make inroads with mainstream audiences. While giving a wide release to a foreign language film could be seen as risky, it’s a move Federoff believes can help bolster creative filmmaking and keep people engaged at cinemas.

“My hope is that studios start to trust their audience and respect their audiences a little bit more,” she said. “I think we can all do this. I think we can all say that we just have to have more risk taking involved with what we do. There’s a lot of incredible international cinema out there that should be seen by everybody.”

Paramount and the states fight back

Paramount Skydance and the state attorneys general are defending their proposed settlement in the face of skeptical questions from Sen. Cory Booker (D-N.J.), arguing that the judge overseeing the case should approve the agreement without the deeper review the senator has requested.

On Thursday, U.S. District Judge Araceli Martínez-Olguín told both sides to answer Booker’s questions before she ruled on whether to approve the proposed consent decree. She said at the time that she would issue a ruling “in due course.”

On Monday, both sides issued separate filings that argued the terms of the settlement were adequate. In particular, the states pushed back on assertions that the consent decree was too weak, saying it “reflects a reasonable compromise that addresses the competitive issues posed by the proposed merger in the markets alleged in the complaint.”

“The decree’s enforcement provisions have teeth,” the states wrote in their filing.

Stuff We Wrote

Film shoots

Number of the week

A bipartisan group of lawmakers formally introduced a bill last week to create a federal film and television tax credit.

The proposed legislation would provide a 20% credit on above-the-line and below-the-line U.S. labor costs for eligible productions, including postproduction and visual effects work — two industries that have increasingly moved overseas.

The uncapped credit could increase to 30% with several uplifts, including for independent productions or filming in a federally declared disaster area, such as Los Angeles County.

What I’m watching

It’s fall, which means I’m all in on “Dancing with the Stars,” as I have been since Season 2, when Drew Lachey won with pro partner Cheryl Burke back in 2006.

This season feels like it was made for millennials like me, with contestants such as Julia Stiles, Harry Shum Jr. and Jenna Dewan. But my favorite dance last week was actually Guillermo Rodriguez’s paso doble.

Friends star Matthew Perry will be the subject of a moving new documentary series about his life and struggles with addiction

Netflix has unveiled a trailer for its documentary series about Matthew Perry.

The One About Matthew Perry will focus on the late Friends star’s life, career and struggles with addiction. In the trailer, Perry’s close friends and family members open up about the 17 Again and The Whole Nine Yards star.

The trailer prominently features Perry’s sister, Mia Perry Bowick, who shares details about the huge sums of money her sibling had spent trying to beat addiction. The footage also includes some of Perry’s most iconic on-screen moments from Friends.

In a particularly poignant moment, one person reveals how Perry “saved my life” through his own advocacy to help fellow addicts. There is also touching archival footage of Perry discussing his demons in his own words.

A logline for the upcoming series reads: “Told through intimate testimonies from close family and friends, this documentary event reveals the real Matthew Perry—generous, funny, vulnerable, larger than life—and the battles he fought to become the man behind the icon. A raw record of a life lived in full, and the honesty that became his greatest legacy.”

The One About Matthew Perry is the first in-depth documentary about the actor since his death. The series will shed light on the different facets of his life from the comedy genius to the man struggling with addiction and also a campaigner to help others get sober.

A Netflix description goes on to state: “Tender and unflinching, the series doesn’t separate Matthew’s humor from his pain, or his fame from his addiction. It sits with both, the way the people who loved him had to. Millions around the world are touched by addiction – their own, or someone they love – and this series speaks directly to them.”

The streaming platform is releasing the three-part factual series The One About Matthew Perry on October 27. The programme will be coming out a day before the third anniversary of the star’s death.

Perry tragically died on October 28, 2023 at the age of 54. He was found unresponsive in a hot tub at his Los Angeles home. His cause of death was the acute effects of ketamine, according to the Los Angeles County Department of Medical Examiner.

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His death sent the world into mourning with his Friends co-stars paying tribute to Perry. Prior to his death, Perry had released his 2022 autobiography – Friends, Lovers, and the Big Terrible Thing: A Memoir.

Reflecting on the decision to open up about her brother’s death, Mia Perry Bowick said: “It’s taken time for me to feel ready to share these memories and what it was like to love Matthew through all the complexity of his life—to see him as a whole person, not just as Chandler, and not just as someone who struggled with addiction. As his sister, he shaped who I am today, the person I strive to be, and the work to which I’ve devoted my life.

“Matthew had a beautiful heart and a generous spirit, and even in his darkest moments, he could still make you laugh and feel loved. I hope this series gives everyone who loved him, whether personally or from afar, a deeper appreciation for who he truly was, and the legacy he leaves behind.”

The One About Matthew Perry will be released on Netflix on October 27

Netflix viewers have hailed this latest ITV release as an “utterly absorbing” watch.

ITV viewers can’t get enough of this forgotten “brilliant” drama from a Peaky Blinders legend.

Peaky Blinders might be over but fans are still discovering some of its stars’ best work years before they even stepped foot into Tommy Shelby’s (played by Cillian Murphy) chaotic world.

One series that’s just started to grab fans’ attention is three-part ITV drama Leaving which originally made its debut 13 years ago.

Leading the cast is none other than actress Helen McCrory who portrayed Polly Gray, the dangerous matriarch of the Shelby family in Peaky Blinders’ first five seasons.

She isn’t the only recognisable face though in Leaving as McCrory is joined by Masters of the Air star Callum Turner who married singer Dua Lipa earlier this year.

Leaving revolves around 45-year-old wife Julie Ranmore (Helen McCrory) whose job as a hotel events manager keeps her from thinking too much about her loveless marriage. But things quickly change when she is introduced to unemployed 21-year-old Aaron (Callum Turner) who is still living with his parents.

They start working at the same hotel and what starts off as a flirtationship quickly escalates into a full-blown affair with the couple having to deal with the consequences.

Taking to IMdB to sing the show’s praises, someone simply described it as a “little gem”.

A fellow viewer said it was “utterly absorbing”, adding: “Brilliantly acted, often tense and heartbreaking, this is an outstanding drama…the late Helen McCrory gives an unforgettable performance.”

Another labelled it as “maddening all the right ways” and others hailing it as perfect for a “little binge on a rainy afternoon”.

McCrory sadly died of breast cancer in 2021 at the age of 52, keeping her illness private and only telling those closest to her.

She died ahead of the sixth series of Peaky Blinders being filmed which was postponed during the coronavirus pandemic.

Her husband and Homeland star Damian Lewis said at the time she had a “heroic battle with cancer”, stating that she was a “beautiful and mighty woman”.

He added: “She died as she lived. Fearlessly. God we love her and we know how lucky we are to have had her in our lives.”

Leaving is available to watch on Netflix.

The new Netflix thriller is currently sitting at number one on the streaming platform’s most-watched films

The true-story thriller has been slammed by furious viewers who ‘wasted an hour and a half of their lives’.

Brand new film Unabomber is based on the real story of lone wolf American terrorist Theodore Kaczynski, who carried out a mail bombing campaign that killed 3 people and injured 23 more. Known as the Unabomber, he committed his crimes between 1978 and 1995.

He was apprehended in 1996 and later pleaded guilty to his crimes. Theodore was consequently given multiple life sentences and spent over two decades in prison. He died by suicide on June 10, 2023, at the age of 81.

Netflix’s take on the late criminal’s story explores his transformation from a bright Harvard student into the infamous Unabomber. It stars 19-year-old actor Jacob Tremblay as the title character.

The main cast also features Oscar winner Russell Crowe, playing a Harvard professor who gets caught in Theodore’s orbit. While beloved actress Shailene Woodley portrays an FBI agent determined to get to the bottom of the Unabomber’s crimes.

The film has already climbed to Number 1 on Netflix’s most-watched charts after just one day on the streaming platform. But many viewers have urged others to skip the star-studded drama.

Writing on Rotten Tomatoes, one disappointed viewer said: “What an absolute waste of time. As far as movies go this had an okay cast. The story was based on real life so interesting I guess as it did happen. It’s sad it happened though but it did. I watched it and was expecting more than I receive.”

Someone else joined in to add: “A word that comes to mind is HOW. HOW DO THEY GET SO MANY BRILLIANT ACTORS IN 1 MOVIE AND STILL FIGURE OUT HOW TO MAKE THE MOVIE SUCK. I WAS BARLEY ABLE TO FINISH IT. COULD OF USED THESE ACTORS TO MAKE SOMETHING GREAT. LET DOWN.”

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Someone else simply wrote on X: ” #unabomber on Netflix is an hour and a half of my life I’m not getting back.” At the time of writing, the thriller has a sour 22% score on Rotten Tomatoes.

But others have rushed to the movie’s defence, with one sharing: “Surprised by the negative reviews. I found the film very well done and with a captivating story, quite well engineered. Acting is brilliant and everything is top notch (costume, music, etc). Great film.”

While a second fan added: “I actually loved this. I was just hooked at the very start. And I’m not easily entertained by movies. First of all I loved the switch from the 50s to the 90s it was refreshing. “

Unabomber is streaming now on Netflix

For many celebrities, getting a Funko Pop! doll modeled after themselves is a sign they’ve made it in Hollywood. The 4-inch vinyl “Pop!” figurines, with their oversize heads and black dot eyes, symbolize being ingrained in pop culture — objects fans buy, celebrate and display.

At Funko’s flagship Hollywood store, there are thousands to choose from, ranging from NFL players to Disney princesses and characters from the Netflix period drama “Bridgerton.”

But the publicly traded company behind the popular dolls has been facing significant headwinds.

Funko Inc. last year posted a loss of $67.4 million on sales of $908.2 million, down 13% from the previous year. The company disclosed it had debts of $225 million.

The Everett, Wash.-based company warned investors in filings that there was “substantial doubt” about its ability to generate enough cash to meet its debt payments, citing the effects of tariffs in China, where most of its toys were made, canceled retail orders and loan covenants it expected to breach.

Funko Chief Executive Josh Simon, pictured at the Pokémon convention, says he took over the company at an “inflection point.”

(Carolyn Fong / For The Times)

Now the company is looking to stage a comeback.

Leading the turnaround challenge is Josh Simon, who left his job running global consumer products at Netflix to become Funko’s chief executive in September 2025 — the third person to hold the title in two years.

“Funko was at an interesting inflection point,” said 48-year-old Simon, who lives in Los Feliz. “I felt there was still a lot of really deep fandom and enthusiasm from retailers and at the same time, there were a lot of problems that had to be sorted out at the company. I thought it would be an interesting adventure and hopefully a way to help turn things around a bit and restore it back to that level of fan passion and glory that existed years ago.”

The rise and fall of Funko

Funko began in 1998 when entrepreneur Mike Becker decided bobbleheads would be the next big thing and shipped them out of his garage. After entrepreneur Brian Mariotti bought Funko in 2005, the business began licensing more characters. Sales took off with the launch of its big-headed “Pop!” figurines in 2010.

The company changed ownership over the years, added backpacks and other products, and went public in 2017. Most of its revenue still comes from making licensed characters and selling them through retailers, online and at events.

Funko survived a decline in sales with the rise of kidults — adults who collect toys.

(Carolyn Fong / For The Times)

But Funko’s sales plunged in 2025 following a global trade war.

The company overestimated demand, picked the wrong characters and made too many of dolls, said Gerrick Johnson, senior research analyst at Seaport Research Partners, which has a buy rating on Funko.

President Trump’s heavy tariffs imposed on China substantially raised the costs of making Funko dolls.

Amid lagging sales, retailers marked down the figurines, alienating collectors who want to see items appreciate in value.

“Collectors hate buying things 50% off,” Johnson said. “One of the biggest turnoffs in collectibles is a bargain bin.”

What kept the brand alive through the slump was the rise of kidults — adults who collect toys. Simon was one, picking up Pop! figurines from “Toy Story” and “Back to the Future” long before he worked there. Funko’s job, he said, is to distill what people love about a character into a stylized version of it.

“The number of inbound requests we get from musicians and athletes and celebrities — everyone is excited and pitching us they want a Funko Pop! made of themselves, because in some ways it suggests a mark of establishment in pop culture,” Simon said. “It’s like akin to getting your star on the Hollywood Walk of Fame in some way.”

Convention-goers create custom dolls at a Funko Pop! kiosk.

(Carolyn Fong / For The Times)

One expert said Funko’s job is to distill what people love about a character into a stylized version of it.

(Carolyn Fong / For The Times)

A turnaround plan

Though based in Washington, Funko has a large presence in L.A., where most of its senior leadership is based. They work out of the same offices as the flagship Hollywood store. The company also has employees in Arizona, London, Hong Kong and other markets.

Under Simon, Funko has diversified its supply chain, shifting production out of China to Vietnam and other countries. To improve cash flow, Funko renegotiated the timing of its debt payments and pushed products to market faster.

For example, Funko turned around figurines of the characters from “KPop Demon Hunters” — the Netflix film that became the streamer’s most-watched movie ever after its June 2025 release — in about four months, well ahead of Mattel, whose first items reached stores this spring.

When John Cena stepped into the ring for his final WWE match in December, there were pre-orders for a Funko figure wearing the same outfit down to the shirt reading, “The Last Time is Now,” built from an image Funko received a week earlier. The doll became a bestseller, said Scott Zanghellini, executive vice president of WWE Consumer Products.

“It’s happening in real time and his team being able to move quickly, and us always moving quickly in this world of we have seven hours of programming a week — how do you take advantage of that and give the fans what they want?” Zanghellini said.

Funko is also widening what counts as a license, making figures from “The Folk of the Air,” Holly Black’s fantasy series revived by book lovers on TikTok, as well as creating more original characters that aren’t licensed.

“We really want to make sure that we can be a part of these cultural moments while they’re happening,” Simon said.

Reaching out to fans is another priority. At PokémonXP, the first official Pokémon fan convention held last month at San Francisco’s Moscone Center, Funko ran a Pop! Yourself booth where attendees built custom figures in exclusive Trainer uniforms with a Pokémon of their choice.

“We really want to make sure that we can be a part of these cultural moments while they’re happening,” Funko’s chief executive said.

(Carolyn Fong / For The Times)

Jeff Leu, 40, of San Francisco spent about $100 there on two figures modeled after his kids. He already owns 40 to 50 “The Simpsons” Pop! figures and tracks his collection in a spreadsheet.

“I feel like there is a Funko for everything,” Leu said.

Now he feels the pull of the Pokémon ones.

“As they add more, there’s more pressure to buy it because I like to collect things,” Leu said. “Luckily I have a lot of room to display my toys.”

So far, the turnaround plan has yielded some positive signs.

Second-quarter sales rose 7% to $207.7 million and the company reported net income of $15.4 million, against a $40.5-million loss a year earlier. The quarter, however, included a $25.4-million benefit from expected tariff refunds, without which Funko would have lost money.

Funko’s share price closed Friday around $5.50, up about 1%. The stock has climbed 38% in the last year but is 60% below what it trade at in January 2025.

“It’s way too early to make any sort of calls on Josh at this point, but I like what he’s doing,” Johnson said. “It’s an interesting point in Funko’s history, and it’s a great opportunity for him to grow this business.”

Not everyone has to pay – and there’s a simple and legal way to avoid paying this £180 annual fee

People with a Netflix subscription – regardless of their tier – may need to pay a fee of £180, depending on what they watch.

UK households currently pay £180 a year for a colour TV Licence, or £60.50 for a black-and-white set, after the fee increased on April 1, 2026. Failure to pay when needed could land people in hot water, and a fine of £1,000.

Although many people assume a TV Licence only applies to watching the BBC, that is not true. A TV Licence covers far more than BBC content, including:

• All TV channels like BBC, ITV, Channel 4, U&Dave and international channels
• Pay TV services like Sky, Virgin Media and EE TV
• Live TV on streaming services – like YouTube, Netflix, and Amazon Prime Video
• Everything on BBC iPlayer
• Watching, recording and downloading on any device

Do I need a TV Licence to watch Netflix?

It depends. Officials note: “If you are watching a TV programme that is being broadcast live on Netflix, you need to be covered by a TV Licence. You don’t need a TV Licence to watch on-demand programmes on Netflix.”

If you want to keep watching Netflix and avoid paying the Licence fee, simply do not watch any live TV or events on the platform and watch your usual on-demand content. This means you can watch classics like Gilmore Girls, Manifest, Breaking Bad, and the latest competition series, Wonka’s The Golden Ticket – without the need for a TV Licence.

If you live in a shared household, the UK Government confirms: “You need your own TV Licence if you have separate tenancy agreements and you watch TV in your own room.”

You can have one TV Licence for the whole household if you either:

• watch TV in a single shared area
• have a joint tenancy agreement

I have a Netflix subscription – so why do I need a TV Licence?

TV Licensing explains: “Paying for a Netflix subscription grants you access to a large and varied catalogue of movies, series, documentaries and more. Paying for a TV Licence lets you legally watch and record TV on any channel via a range of TV services, including Sky, Freeview, Virgin and Freesat.

“With a TV Licence, you can also watch live on streaming services (e.g. Amazon Prime and Channel 4) and access the full suite of award-winning movies, series and documentaries on BBC iPlayer.

“Some households enjoy having access to Netflix as well as being covered by a licence. Other households prefer to only pay for a TV Licence to watch live on TV and streaming services, including iPlayer, on any device.”

Netflix isn’t the only streaming service you may need to buy a TV Licence for, on top of the subscription fee. TV Licensing further states: “If you’re watching TV showing live on Amazon Prime, you need to be covered by a TV Licence. You don’t need a TV Licence if you’re only watching on-demand programmes on Amazon Prime.”

You could be fined £1,000

You can be fined up to £1,000 if you watch or record live TV without a Licence. TV Licensing warns: “You could be prosecuted if we find that you have been watching, recording or downloading programmes illegally.

“The maximum penalty is a £1,000 fine plus any legal costs and/or compensation you may be ordered to pay. The maximum fine is £2,000 in Guernsey.”

The Damned United tells an unbelievable true story that’s perfect for Ted Lasso fans.

Netflix’s The Damned United stars legends from the worlds of Harry Potter, The Good Omens and Adolescence.

After dropping on Netflix at the weekend, sports drama The Damned United has soared into the streamer’s Top 10 most-watched list and continues to rise in the charts.

Originally released in 2009 and based on a novel by David Peace three years prior, The Damned United tells the turbulent tale of Brian Clough and his disastrous run as the manager of Leeds United in 1974. Only lasting 44 days in the job, Clough was quickly able to alienate the players and the board, leading to the collapse of his professional football career.

As Netflix subscribers continue to discover the classic sports film, here’s everything there is to know about The Damned United cast.

The Damned United cast in full

Brian Clough – Michael Sheen

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Arrogant and fiercely outspoken Brian Clough wasn’t quiet when it came to criticising Leeds United’s former manager Don Revie.

So it took Clough by surprise when he was asked by the team’s board to take over managing the reigning champions.

Actor Michael Sheen has starred in an abundance of hit shows and films throughout his career including The Queen, Good Omens, Masters of Sex, The Twilight Saga and Frost/Nixon.

Peter Taylor – Timothy Spall

Peter Taylor is Clough’s loyal assistant manager and best friend who helps ground the fiery manager when needed.

He is portrayed by actor Timothy Spall who is best remembered for his work in Mr Turner, The King’s Speech and in the Harry Potter franchise as the villainous Peter Pettigrew.

Billy Bremner – Stephen Graham

Billy Bremner is the hard-working captain of Leeds United who is Clough’s main antagonist, leading the resistance that brings about the manager’s infamously short 44-day run at the club.

Bremner is brought to life in The Damned United by Emmy Award-winning actor Stephen Graham, renowned for his work in Netflix’s Adolescence, This is England, A Thousand Blows and Boardwalk Empire.

John O’Hare – Martin Compston

John O’Hare is the team’s striker, known for his aggressive team spirit while playing under Clough.

He is portrayed by none other than Martin Compston, famed for starring as DI Steve Arnott in the unforgettable Line of Duty.

Before becoming a household name in the BBC crime drama, Compston was a professional footballer in Scotland and made a couple of appearances playing for Greenock Morton.

Don Revie – Colm Meaney

Don Revie is the legendary, formidable Leeds United manager who leaves to manage the England national team. It is his exit from the team that leads his rival Clough to begin his chaotic short stint at Leeds.

Don is played by actor Colm Meaney who stars in Remarkably Bright Creatures, In the Land of Saints and Sinners and Star Trek: Deep Space Nine.

Sam Longson – Jim Broadbent

Prior to Clough joining Leeds United, he was the manager of Derby County with Sam Longson acting as its chairman.

Actor Jim Broadbent is recognised for starring in the Harry Potter and Bridget Jones franchises, as well as Game of Thrones and Only Fools and Horses.

The Damned United is available to watch on Netflix.

Fans of dark crime dramas have a new thriller to look forward to, with a familiar face set to lead Sky’s latest big adaptation.

Fans of dark, gripping crime dramas have a new series to add to their watchlists.

David Oyelowo is set to lead the cast in Sky’s new series The Girl with the Dragon Tattoo, alongside rising star Viola Prettejohn, who is known for playing young Princess Elizabeth in the sixth season of The Crown.

The eight-part Sky Original is adaptation of Stieg Larsson’s bestselling Millennium novels. It could be perfect for viewers who enjoyed shows such as The Fall and The Capture, with a dark mystery, complex characters and a dangerous investigation at its heart.

David, who is known for his roles in Selma and Interstellar will take on the role of investigative journalist Mikael Blomkvist. Viola Prettejohn will play Lisbeth Salander, the brilliant but troubled hacker at the centre of Larsson’s story.

The story follows Blomkvist as he is hired by wealthy businessman Henrik Vanger to investigate the disappearance of his niece Harriet.

Harriet vanished more than 30 years earlier from the Vanger family’s isolated island home, but Henrik remains convinced that a member of his own family was responsible.

Blomkvist soon teams up with Salander, an exceptionally talented hacker with a complicated past and a fierce determination to uncover the truth.

Together, they begin to uncover secrets buried within the Vanger family, leading them towards a far more dangerous mystery than they initially expected.

The new adaptation will bring Larsson’s story into the modern day, exploring themes including power, misogyny, secrecy and technology.

The original Girl with the Dragon Tattoo novel was published in 2005 and went on to become an international bestseller. The Millennium books have sold more than 100 million copies worldwide and have already been adapted for both Swedish and English-language audiences.

The first English-language film adaptation was released in 2011 and starred Daniel Craig as Blomkvist and Rooney Mara as Salander, with David Fincher directing.

The new Sky series will offer a fresh interpretation of the characters and story for a new audience and it comes from Left Bank Pictures, the production company behind The Crown and The Day of the Jackal.

Meghan Lyvers, Managing Director, Scripted Originals, Sky, said: “Lisbeth Salander and Mikael Blomkvist are two of modern fiction’s most iconic and compelling characters, and we’re thrilled to have Viola and David bringing them to life for a new generation.”

She added: “Our brilliant writing team, Reinaldo Marcus Green’s bold vision and our fantastic partners at Left Bank Pictures are creating a series that honours everything audiences love about The Girl with the Dragon Tattoo, while taking its characters, mystery and themes into a world that feels unmistakably of the moment. We can’t wait for audiences to experience it.”

Filming is due to begin in Lithuania next month, with the series set to air on Sky and NOW in the UK and Ireland, as well as Sky platforms across Italy, Germany, Switzerland and Austria.

The Girl with the Dragon Tattoo lands on Sky soon

TILLY Ramsay has celebrated her fourth anniversary with her very rarely seen boyfriend in a new social media snap.

The daughter of chef Gordon took to Instagram to mark the occasion by sharing a new loved-up image with her man, Henry Farrow.

Tilly and Henry have been dating for four years but unlike her sister Holly in her union with Adam Peaty, Tilly has aimed to keep the romance private where possible.

Sharing a snap from a recent luxe getaway together, Tilly paid tribute to Henry with a gushing post.

Tilly captioned the snap with: “Four years with the best.”

She then shared another mirror selfie of the pair with the caption: “Love love love you.”

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Who is Tilly Ramsay’s boyfriend Henry Farrow?

Tilly and Harry have largely kept their romance out of view and only went public for the first time on Valentine’s Day 2023.

He only briefly appeared alongside her on the family’s Netflix programme and Harry has largely shunned taking on any of his own media appearances.

In episode 5 viewers caught a glimpse of Henry smiling supportively at Tilly.

He travels down with her family to surprise her whilst she is training in Cork, Ireland.

Henry is from Bristol and is the Son of an entrepreneur father.

Little else is known about him but he is believed to have graduated from Nottingham University in 2024 alongside Tilly.

A three-part series following investigative reporters and police investigators who were instrumental in holding Gary Glitter accountable for his sex abuse crimes has been paused

Netflix has paused the release of an investigative docuseries into disgraced Gary Glitter’s history of sexually abusing minors.

The streaming giant has issued a statement confirming that the three-part series will no longer be released on October 14 as they originally announced.

A spokesperson for Netflix said: “We have made the decision to pause the release of Hunting Gary Glitter originally due to launch on October 14.

“This follows new legal information we recently became aware of. We’re not able to share further detail at this time, but we’ll provide an update as soon as we’re in a position to do so.”

The synopsis for the series states: “A string of dogged journalists chases fugitive pop star Gary Glitter across the globe — from Cuba to Cambodia to Vietnam — determined to expose the child sexual abuse he concealed behind decades of chart-topping fame.

“This documentary follows their pursuit alongside the survivors who speak out, charting Glitter’s 1997 conviction, through to his years on the run, and eventual incarceration.”

The rocker, real name Paul Gadd, was a popular British glam rocker in the 1970s and sang numerous hits like Do You Wanna Touch Me and I Love You Love Me Love.

In 1999, his popularity was derailed by numerous allegations of child sexual abuse and subsequent conviction for possession of child pornography.

Later, in 2006, he was jailed in Vietnam for the sexual abuse of two girls. In 2015, he was convicted of sexually abusing three additional young girls.

In 2023, Gadd was released for a short time on probation before being reincarcerated. Police did not publicly say how he violated the terms of his release.

Featured in the trailer of Hunting Gary Glitter, the docuseries uses first-person interviews to detail Gladd’s original convictions and years hopping from country to country, including Vietnam, Cuba, and Cambodia to avoid prosecution and jail time.

The advert was released alongside the initial announcement but has now been pulled as has all the other assets from Netflix’s media website.

Hunting Gary Glitter was due to be released on Netflix on October 14 but has been paused

Filming a broadcast television show can leave even the most seasoned actors feeling like they’ve lost sense of time. But by afternoon on a recent weekday, Josh Charles actually looks like he teleported to the past as he collapses into a seat inside his production trailer in upstate New York.

He’s in the throes of filming Season 2 of “Best Medicine,” the Fox dramedy he headlines that’s set in a small fishing village in Maine, and the reason he’s shed his character’s usual suit and tie for gaitered trousers and a navy coat with red facings eventually reveals itself: Port Wenn, the show’s fictional town, is putting on a Revolutionary War reenactment. And if you’re familiar with Martin Best, the curmudgeonly doctor with an almost permanently furrowed brow portrayed by Charles, the character’s willingness to don such a getup likely took some coaxing.

That’s the fun of it all for Charles.

He’s been a working actor since childhood — making his debut at 15 in John Waters’ cult classic “Hairspray,” followed soon after by his turn as Knox Overstreet in “Dead Poets Society” — and a fixture in TV and film ever since.

While best known for dramatic roles like high-powered lawyer Will Gardner in “The Good Wife,” Charles easily pivots to comedy — like the time he memorably played the triple-collared, snobby camp ringleader in “Wet Hot American Summer: First Day of Camp.” Now, “Best Medicine” lets Charles leans into the push and pull of the comedy and drama within his tightly wound alter ego.

Josh Charles as Martin Best in Fox’s “Best Medicine.”

(Francisco Roman / Fox)

Created by Liz Tuccillo (“How to Be Single,” “Sex and the City”), the series follows a brilliant but cranky heart surgeon who, after developing a crippling blood phobia spurred by a traumatic medical case, abandons his thriving career in Boston to become a general practitioner in the town where he spent summers as a child. Martin Best is a doc whose bedside manner could use some TLC, but he came to town hoping he can still practice medicine — that is, if the townspeople would actually do as he says.

“I have been really wanting to do more comedy lately and looking — especially if I was going to call a place home for a particular period of time, like you do in a television show — for something that was a little more lighter air than I had been networking in of late,” says Charles, whose recent credits include dystopian drama “The Handmaid’s Tale” and spy thriller “The Veil.”

The series is based on the beloved British dramedy “Doc Martin,” which starred Martin Clunes as a doctor with a similar storyline, that aired between 2004 and 2022. Tuccillo says Charles brought an elegance and depth to the fish-out-of-water dynamic his character navigates in the quirky town.

“He never hits a false note,” she says in a separate video call. “I knew the material would be in great hands in that he would always elevate it just by his artistry and being. I knew he was going to be able to play the gruffness, but any time that you’re doing a show, there is a question mark on so many things. To be honest, we were like, ‘But is he going to be super funny? Is he going to want to do pratfalls? Is he going to be game for the comedy part of it?’ When we started working, it was clear he was game for all the shenanigans … he likes to laugh. So I try to devise things that I think will amuse him.”

A special advance preview of the Season 2 premiere aired Sunday, but the show will move into its regular time slot Tuesday. Here are edited excerpts from the conversation with Charles.

Josh Charles poses for photos on the “Best Medicine” set in upstate New York. He says he was drawn to the Fox dramedy because it was “a little more lighter air” than the other work he had done recently.

(Ebru Yildiz / For The Times)

“Best Medicine” hit Netflix after its first season aired. Building an audience outside the traditional linear viewing has become such a key component of television today. How do you feel about it?

One of my dad’s best friends told me, “I’m watching the show on Netflix!” He’s like, “I just can’t watch shows with commercials anymore” — as people are programmed now. That is the new shift. You go into these platforms for periods of time, build your audience in a different way and hopefully keep growing that audience. [Television] keeps evolving and growing in a way that I don’t fully understand, but I do know that it’s a different world right now. Netflix has a great reach, and it’s great that we’re on there and that people are discovering it. And apparently we did very well.

Season 2 opens with Martin on probation and under review by the medical board. What is Martin in for this season?

When it starts off, he’s really in it. Eden [Martin’s ex-girlfriend played by Eliza Coupe] is now back in the picture. She’s coming from Boston every weekend, and she’s rubbed a lot of people in town the wrong way. And the progress that Martin made, we see him maybe take a few steps back in the way that he interacts with people. He’s with her and I think there’s feelings there, but I think their relationship feels very — I don’t know, it’s interesting. It doesn’t have the fire. But she doesn’t make him feel bad about himself. She respects him, and I think those things are important. And he’s around in this town where nobody’s listening to him half the time. People are just always mad at him about something, and she’s not. She puts him a little bit on a pedestal, and I think he really needs that.

All that presents an obstacle for the show’s slow burn: Martin and Louisa (Abigail Spencer). There’s been some discourse about the art of the slow burn and how the pacing has changed in an era of short episode orders and unpredictable renewals. You have experience in this department with “The Good Wife.”

Liz and I have talked about it a little bit. You don’t want to muck bait it and drag it out for the sake of dragging it out. I think they’ve done a good job of putting the obstacles in a way that still feels organic and genuine and not yet a reach. In the British show, things accelerated so much faster. They only made eight [episodes] a year. We want to also have it feel like it’s plausible. It is really fun to have Eliza Coupe here. It’s fun to play scenes with her and [see] the different side that brought out in Martin. That is the challenge because I don’t think we’re as interested in doing it quite that fast [as the British show]. I have faith in them that we’ll land it in a good way.

Ellen Soraya Nikbakht as a peculiar patient and Josh Charles as Martin Best in the Season 2 premiere of “Best Medicine.”

(Danielle Mathias / Fox)

You’ve played in comedy and drama in your career. It’s fun to watch you straddle both sides with this character. How has it been finding the rhythm or tone with him?

A lot of the comedy I’ve done, I’ve done some stuff that’s more silly and kind of over the top. I love playing the fool. What’s really fun [here], to me, are the circumstances they put Martin in where things are blowing up in front of him and he’s just trying to deal. I’ve enjoyed doing a lot of the physical comedy on the show.

I [also] found it really interesting to have a character who doesn’t want to be around people, but he actually does. He just doesn’t really know how to do it, and he’s never really had any kind of practice at it in his life. And he’s gone through a lot of trauma in his life. He’s a really specific kind of workaholic. For him to grow up with what he did, and losing his sister really young in his life — I did research on that and what that does to people and how that can sort of frame your life. I imagine he went to private school, maybe a boarding school, then he goes on the track of going to college and medical school — we know how hard that is, the kind of hours they put in; then to be really successful at it, you put everything you have into your work. There’s this other side of his life that is completely empty. This town kind of just softens off the edges of him a little bit and helps him become a little more authentic version of who he was maybe meant to be. That gives me some place to build off of and to go with the character, other than it feeling kind of just very one-note.

Matthew Goode, left, as Finn Polmar and Josh Charles as Will Gardner in a scene from Season 5 of “The Good Wife.”

(CBS)

This series marks your return to broadcast television after leaving “The Good Wife” in its fifth season. You’ve done TV since then, of course. But a big reason you left broadcast was because of the grind of a 20-plus episode season. With “Best Medicine,” you’re the lead and the second season will have 14 episodes. Does that feel like the sweet spot?

If “The Good Wife” was “The Good Fight,” I would have done that until the wheels come off. I would have never wanted to leave that because I would have had a life. I could have been able to go do a play, travel with my family, see my kids. At the time of “The Good Wife,” I didn’t have kids, but we were about to get married and wanted to have children. I was only going to do 18 [episodes] at most with this show, if they wanted it. And then I asked them this year, “Well, we’re just at 14. What was the decision [there]?” And I’m happy about it. They also agree. This just feels like where the show wants to live creatively. You work really hard for four or five months, and then you get to go explore other projects and travel and live your life.

Your departure from “The Good Wife,” with your character Will Gardner dying, felt like an out–of–body viewing experience as it happened. The fact that it was kept under wraps —

I can’t believe we did it, honestly. There was one journalist who obviously had a source somewhere and did find out. Part of being able to keep that silent until the moment was an agreement that they would come to set and be there as long as it was [kept secret]. I remember like when the episode aired, I was in the editing bay with the editors in L.A. [for an episode I directed]. I’m seeing things come in and I was like, “Oh my God!” I thought it was going to get ruined for people on the West Coast. These days, you know how they make something, how much this cost, how they did this scene … we used to be surprised by things. To be able to truly shock people you know like in an Orson Welles-style “War of the Worlds” way. I felt like in our own sort of network TV way, this was the equivalent of that. We really got to narratively pack a punch. That season was one of the great treats of my career. I just felt the writing on that show that season was at another level.