March 11Barry Keoghan has long been obsessed with joining the PEAKY BLINDERS universe, but timing was never on his side—until now. The 33-year-old Dublin actor spent years pestering casting directors with hopeful texts asking if there was any chance of landing a role in Steven Knight’s phenomenon series, only to be repeatedly told it was an availability issue. That all changed when he was offered the opportunity to play Cillian Murphy’s son in PEAKY BLINDERS: THE IMMORTAL MAN, the highly anticipated feature continuation that just hit UK and Irish cinemas. It was, as Keoghan puts it, a no-brainer. Sitting down with David McCullagh on RTE Radio One, Keoghan reflected on how much the iconic show means to him and how surreal it felt to finally step into its world. He spoke candidly about the nerves that come with joining such a beloved series with a fiercely dedicated fanbase—there’s always pressure to live up to expectations when stepping into an established universe. But those concerns dissolved when he realized he’d be working directly with Steven Knight himself and Cillian Murphy, the show’s magnetic centerpiece. Having those creative heavyweights in his corner was reassurance enough that he’d be in good hands. It’s worth noting that Keoghan and Murphy had already formed a genuine friendship on the set of Christopher Nolan’s DUNKIRK, where they worked together years earlier. Their on-screen chemistry and off-screen rapport made the reunion feel less like a professional obligation and more like a natural collaboration between two actors who genuinely respect each other’s craft. That existing relationship likely made the transition into PEAKY BLINDERS: THE IMMORTAL MAN feel more comfortable, even as the weight of joining such a legendary project settled in. The path to landing this role had an unexpectedly human touch. Keoghan revealed that a cheeky Father’s Day text to Knight ultimately helped seal the deal—a small, personal gesture that somehow bridged the gap between years of unanswered casting inquiries and finally getting his shot at the role he’d been chasing. It’s the kind of story that reminds us that sometimes persistence mixed with a bit of humor and genuine passion can crack open doors that seemed firmly shut. The early reviews have been overwhelmingly positive, with audiences particularly praising Keoghan’s performance in the film. His portrayal of Murphy’s son has resonated with both longtime PEAKY BLINDERS devotees and newcomers alike, proving that his years of wanting to be part of this world weren’t misplaced enthusiasm. He brought something authentic and compelling to the character, making the film’s release feel like a genuine cultural moment rather than just another franchise extension. Beyond PEAKY BLINDERS, Keoghan has been championing fellow Irish talent as the awards season reaches its crescendo. He’s been enthusiastically supporting his pal Jessie Buckley, who’s nominated for an Oscar for her extraordinary performance in Chloé Zhao’s HAMNET. Keoghan’s praise for Buckley is genuine and effusive—he watched the film at Paul Mescal’s invitation and found himself crying, deeply moved by the emotional depth and grace of her work. He’s hopeful that Irish luck will carry Buckley through on Oscars night, recognizing that she’s delivered something truly special that deserves recognition on cinema’s biggest stage. There’s something touching about the way Keoghan speaks about his peers and his craft—he’s clearly someone who loves cinema in its truest form, who gets moved by great acting and great storytelling, and who understands that landing a role in something as culturally significant as PEAKY BLINDERS is a gift earned through perseverance. His journey to this moment, marked by years of hope, a lucky Father’s Day text, and finally, an opportunity to shine alongside one of Ireland’s finest actors, tells a story about never giving up on the work that matters to you. For fans of PEAKY BLINDERS, his presence in THE IMMORTAL MAN feels less like a casting choice and more like an inevitability—like he was always meant to be part of this world. Instagram Youtube [...]
March 10Cillian Murphy is on the promotional circuit for IMMORTAL MAN, the upcoming film where he plays an immortal figure caught between centuries. During interviews, Murphy has opened up about the creative decisions that shaped the project, drawing on experience from PEAKY BLINDERS to bring fresh depth to his role. One standout moment came when discussing the casting of his on-screen son, Barry Keoghan. Rather than formal auditions, Murphy sent Keoghan a Father’s Day text message offering him the part—a gesture that perfectly encapsulates the genuine human connection and warmth that runs through IMMORTAL MAN, a film centered on familial bonds transcending time. Murphy has also reflected on his BBC radio show, likening the creative process to curating a mixtape. This philosophy of treating every project as an opportunity for considered, meaningful creation underscores everything he brings to IMMORTAL MAN. As the film gears up for release, it’s clear Murphy approaches this project with the same meticulous care and artistic integrity that has defined his career. IMMORTAL MAN promises audiences an experience crafted with the thoughtfulness and artistry that makes Cillian Murphy one of the most compelling actors of our time. Instagram Youtube [...]
March 9If you’ve been tracking the trajectory of Irish cinema lately, you know we aren’t just “having a moment”—we’re owning the global stage. At the absolute center of that whirlwind is Saoirse Ronan, a talent who continues to redefine what it means to be a modern screen icon. While the world prepares for the 98th Academy Awards this week, the four-time Oscar nominee isn’t just resting on her laurels; she’s actively shaping the future of independent film. The biggest news rocking the industry right now is the official confirmation of THREE INCESTUOUS SISTERS, a project that feels like a fever dream of high-art talent. This isn’t your typical family drama; based on the hauntingly beautiful illustrated novel by Audrey Niffenegger, this “dark adult fairy tale” sees Saoirse teaming up with fellow Irish powerhouse Jessie Buckley for the first time in a leading capacity. Set to begin filming in April 2026, the production is directed by the legendary Alice Rohrwacher and co-written by cult-favourite author Ottessa Moshfegh, promising a story of gothic isolation and psychological sabotage that is already the talk of the festival circuit. As the “Green Wave” of Irish talent descends upon Los Angeles for Oscar weekend, Saoirse remains the gold standard for the movement. Whether she’s leading a massive production like Wednesday’s residency at Ardmore Studios or diving into a “loose” indie adaptation, her ability to pick scripts that challenge the status quo is what keeps her at the top of every director’s wish list. She isn’t just starring in films anymore; she’s defining the aesthetic of modern Irish storytelling for a global audience. Instagram Youtube [...]
March 5Domhnall Gleeson is being honored with an Oscar Wilde Award at the US-Ireland Alliance’s twentieth anniversary event on 12 March 2026 at The Ebell of Los Angeles, alongside fellow honoree Maura Tierney and Irish singer Dave Lofts. The recognition comes two decades after US-Ireland Alliance president Trina Vargo first witnessed his talent in Martin McDonagh’s THE LIEUTENANT OF INISHMORE on stage—a role that earned him a Tony nomination. Today, Gleeson leads NBCU’s THE PAPER, a mockumentary created by Greg Daniels and Michael Koman where, as the idealistic editor fighting to save a struggling newspaper, he delivers a scene-stealing comedic performance. Recent projects span television and film: he earned Golden Globe and Critics’ Choice nominations for FX/Hulu’s THE PATIENT opposite Steve Carell, and starred back-to-back in Apple TV+ hits THE FOUNTAIN OF YOUTH and ECHO VALLEY. His television range extends from HBO’s RUN to Amazon’s CATASTROPHE and FRANK OF IRELAND, which he co-wrote and co-produced with his brother Brian. His film career has been equally remarkable. After making his screen debut in the Oscar-winning short SIX SHOOTER, he achieved global recognition as Bill Weasley in HARRY POTTER AND THE DEATHLY HALLOWS, then brought ruthless complexity to General Hux in the STAR WARS trilogy. His filmography includes BROOKLYN, EX MACHINA, THE REVENANT, ABOUT TIME, AMERICAN MADE, MOTHER!, PETER RABBIT, and the prestige drama ANNA KARENINA, which drew Academy and BAFTA recognition. As a producer and writer, Gleeson has shaped the projects he’s involved with, demonstrating influence that extends beyond performance. The award recognizes a career defined by intelligence, selectivity, and commitment to the craft across stage, screen, and behind-the-camera work. Instagram Youtube [...]
March 4After nearly four years, PEAKY BLINDERS returns with THE IMMORTAL MAN, arriving in UK cinemas March 6 before Netflix on March 20. Creator Steven Knight brings back Cillian Murphy as Tommy Shelby, and has recommended which episodes fans should revisit before watching. THE IMMORTAL MAN sets up a fascinating conflict as Barry Keoghan joins as Tommy’s son, Erasmus ‘Duke’ Shelby. The supporting cast includes Sophie Rundle, Stephen Graham, Rebecca Ferguson, and Tim Roth. The trailer reveals Ada telling Tommy that his son now leads the Peaky Blinders “like it’s 1919,” echoing the show’s original timeline. Knight suggests three essential episodes to watch first. The 2013 series premiere, which originally aired on BBC, tops his list. Knight explained it “lays out what the whole series is about” and introduces Tommy Shelby in a way that’s “pretty unequivocal about who this person is,” establishing the Shelby family’s fearsome reputation. Second is the season two finale, where Tommy assassinates Chester Campbell (Sam Neill). Knight called it one of his favourite sequences, revealing a pivotal moment: “Here is a man who is not sure if he wants to live or die… we can see that he actually chooses life.” This internal struggle resonates throughout THE IMMORTAL MAN. Finally, the series six finale captures Tommy’s departure from Birmingham, serving as a haunting bookend to his journey. Knight’s selections form a narrative thread connecting the show’s genesis, thematic heart, and emotional climax, preparing audiences for Tommy’s reckoning with his son in THE IMMORTAL MAN. Instagram Youtube [...]
February 27Jessie Buckley arrived at the World Premiere of THE BRIDE in London on Thursday evening riding an extraordinary wave of momentum, fresh from winning a BAFTA just days earlier. The Irish actress, who plays the film’s titular character, commanded the red carpet at Cineworld Leicester Square with the confidence of someone who has thoroughly earned her place among the most versatile and accomplished performers of her generation. She greeted fans and posed for photographs in high spirits, cementing what has become a remarkable and seemingly unstoppable run across film, television, and theatre. THE BRIDE, arriving in UK cinemas nationwide on March 6, represents a bold reimagining of the Frankenstein mythology that strips away the familiar trappings of the classic tale and rebuilds it from the ground up. Set against the backdrop of 1930s Chicago, the film tells the story of a murdered young woman who is brought back to life, intended to serve as a companion to Frankenstein’s Monster. But rather than accept the passive role assigned to her, she begins to forge her own fierce and independent identity within a sprawling world of gangsters, corruption, and profound social upheaval. Director, writer, and producer Maggie Gyllenhaal has described the project as a subversive take on a classic tale, one that masterfully blends gothic romance with the gritty aesthetics of a crime narrative, and she reunites with Buckley following their previous collaboration. The premiere itself became a star-studded affair, with an impressive roster of co-stars joining Buckley on the red carpet. Christian Bale, who takes on the role of Frankenstein’s Monster, drew enthusiastic cheers from assembled fans, while Jake Gyllenhaal and Peter Sarsgaard added considerable star power to the evening. Penélope Cruz rounded out the ensemble, bringing a touch of old-Hollywood glamour to the proceedings and underscoring the scale and ambition of what promises to be one of the year’s most talked-about films. Instagram Youtube [...]
February 26WALK THE BLUE FIELDS is shaping up to be a compelling romance with serious star power, following the announcement that Andrew Scott has joined an already impressive ensemble cast. The film, led by Academy Award nominee Emily Blunt, adapts Claire Keegan’s short story of the same name into what promises to be an emotionally resonant exploration of love, sacrifice, and impossible choices. Set against the Irish landscape, the narrative centers on a woman confronting a devastating truth on what should be the happiest day of her life, when a long-buried love triangle from her past threatens to unravel everything she’s worked toward. Scott’s addition marks a significant coup for the production, joining fellow newcomers Tom Cullen and Ciarán Hinds in roles that remain tantalizingly mysterious. The acclaimed actor, celebrated for transformative performances in SHERLOCK and FLEABAG, has proven his range across an eclectic array of projects, from the psychological thriller RIPLEY to the BAFTA-nominated drama ALL OF US STRANGERS. Most recently, he brought intensity to BLUE MOON opposite Ethan Hawke and demonstrated his ability to balance humor and tension in WAKE UP DEAD MAN, the latest entry in the increasingly unpredictable KNIVES OUT series. With PRESSURE, a World War II drama, and ELSINORE alongside Olivia Colman already lined up for the coming months, Scott’s schedule reflects a career in full creative momentum. Director John Crowley, whose masterful handling of BROOKLYN established his ability to capture intimate human moments within sweeping narratives, takes the helm with a script from playwright and screenwriter Conor McPherson. This creative team signals an approach that prioritizes emotional depth and nuanced character work—precisely what Keegan’s source material demands. The pairing of such thoughtful filmmaking sensibilities with this powerhouse cast suggests WALK THE BLUE FIELDS could be something truly special, a film that honors the quiet devastation of its source material while expanding it into a fully realized cinematic experience. As details about Scott, Cullen, and Hinds’s specific roles slowly emerge, anticipation continues to build for what could be one of the year’s most moving films. Instagram Youtube [...]
February 25Netflix’s upcoming adaptation of the Norwegian series Twin, retitled THE UNDERTOW, promises to deliver the kind of delicious psychological thriller that has audiences on the edge of their seats. The concept alone—identical twins, hidden identities, and the question of which brother is really dead—taps into a rich tradition of twin narratives that have captivated viewers for decades. With Jamie Dornan taking on the dual role of brothers Adam and Lee, the streamer is banking on the kind of complicated, morally gray character work that made him unforgettable in FIFTY SHADES OF GREY, only this time with considerably higher stakes and far more intrigue. The series follows Nicola, a woman trapped in a loveless marriage to Adam, whose arrival is upended when Lee—Adam’s long-estranged identical twin—suddenly reappears in her life. The complication that elevates this premise from standard thriller fare is that Nicola and Lee share a romantic history, a detail that simmers beneath the surface and threatens to ignite the entire narrative. When a split-second accident kills Adam, Nicola faces an impossible choice, and the one she makes with Lee sets off a chain reaction that unspools across a single, breathless week. Together, they decide to manipulate the investigation by falsifying which twin actually died, betting that authorities will assume the carefree Lee is the victim while the more reserved Adam lived. What unfolds is equal parts messy and tense—a high-wire act of deception where the emotional boundaries between Nicola and Lee blur dangerously as their buried feelings resurface amid the chaos of maintaining their lie. Dornan carries the series as both brothers, a demanding dual performance that requires him to embody two distinct personalities while suggesting the psychological and emotional toll of his character’s descent into deception. Mackenzie Davis plays Nicola with what promises to be a nuanced intensity, anchoring the narrative as the woman who becomes the linchpin of the conspiracy. Supporting players including Iain de Caestecker as Marty Munro and Gary Lewis round out an ensemble that feels distinctly Scottish and wonderfully noir in its sensibilities, lending the production a moody, atmospheric quality that complements its dark subject matter. As for when viewers can actually watch this unhinged identity swap unfold, THE UNDERTOW is slated for a 2026 release on Netflix, having shifted from its originally planned 2025 UK slate. Filming wrapped in 2024 after production across the Scottish Highlands, Sutherland, and the Isle of Mull, so the project has been in post-production for some time, allowing the streamer to fine-tune what could be one of its most compelling crime dramas in years. Instagram Youtube [...]
February 24Emma Fogarty has lived a life that defied the odds. Diagnosed with Epidermolysis Bullosa, a rare and devastatingly painful genetic condition that leaves skin so fragile it blisters and tears at the slightest touch, doctors predicted she would never reach 40. Yet here she is, approaching that milestone birthday, ready to take on an extraordinary challenge. When her longtime friend Colin Farrell learned of her goal to complete the Dublin Marathon, he didn’t hesitate to offer his support in the most literal sense—he would push her wheelchair for the final miles of the race. This remarkable story of resilience and friendship is now coming to screens worldwide through THE SLIGHTEST TOUCH, a documentary directed by Rachel Fleit, who previously helmed the HBO Max feature BAMA RUSH. HBO Documentary Films has acquired worldwide TV and streaming rights to the film, ensuring it will reach audiences globally when it debuts on HBO and streams on HBO Max, including in the UK and Ireland, later this year. The film is set to have its world premiere at the 2026 Dublin International Film Festival. THE SLIGHTEST TOUCH is far more than a chronicle of a single marathon, however. It’s an intimate portrait of two lives intertwined by an enduring friendship that has sustained both Emma and Farrell through the years. The documentary captures not just the physical challenge of the Dublin Marathon, but the deeper emotional landscape of their relationship—a bond forged through adversity and sustained by genuine care. In following their journey together, the film offers a window into what it truly means to show up for someone, to refuse to let circumstances define the possible, and to find strength in connection. For viewers, THE SLIGHTEST TOUCH promises to be both an inspiring testament to human determination and a moving exploration of friendship at its finest. As Farrell continues his work with HBO, including potential developments with THE PENGUIN, audiences will have the opportunity to see him in a wholly different light—not as an actor in a scripted drama, but as a devoted friend bearing witness to an extraordinary life. Instagram Youtube [...]
February 23When Ciarán Hinds stepped onto the red carpet at Dublin’s Irish Film & Television Academy Awards, he carried with him five decades of remarkable work—though he admits he rarely thinks about it that way. The Oscar-nominated Belfast actor was honoured with a lifetime achievement award on Friday night, a recognition that seemed to catch even him off guard. “It’s kind of shocking,” he told The Irish News, reflecting on a career that has spanned five decades and touched everything from intimate stage performances to global television phenomena like GAME OF THRONES and celebrated films such as BELFAST, IS THIS THING ON? and TINKER TAILOR SOLDIER SPY. What’s striking about Hinds is his philosophy toward his own extraordinary journey. He tends not to dwell on the past, preferring instead to remain present and focused on what comes next. “I only worked it out recently that I’ve been doing this for 50 years, because I tend not to look behind,” he explained. “I just look ahead and live in the moment. But when you realise that it’s been 50 years since somebody gave you your first job, it’s kind of shocking, really.” This perspective—a combination of gratitude and forward momentum—seems to define not just how he views his career, but how he has sustained it. The north Belfast actor’s career began where many find their footing: on stage. He recalls one of his earliest roles with the kind of humility that characterizes his entire approach to his work. He was “the back end” of a pantomime horse in a production of CINDERELLA, a modest beginning that belies the illustrious path that would follow. Yet even with decades of acclaimed performances across theatre, film, and television, Hinds suggests that success in acting has never been something to be predicted or planned. The craft, he suggests, is inherently unpredictable—a reminder that even the most accomplished careers unfold in ways their architects could never have anticipated when they were playing horses at pantomime. Instagram Youtube [...]
February 21Netflix has finally unveiled the full trailer for THE IMMORTAL MAN, the highly anticipated Peaky Blinders film that marks the continuation of Steven Knight’s acclaimed television saga. The trailer confirms that Oscar winner Cillian Murphy will reprise his iconic role as Tommy Shelby, the flat cap-wearing criminal mastermind, as he returns to Birmingham during the devastation of World War Two. The film boasts an impressive ensemble of new and returning talent. Rebecca Ferguson, known for her work in DUNE, joins the cast alongside Tim Roth from RESERVOIR DOGS and Barry Keoghan from SALTBURN, who takes on the role of Shelby’s son—a young man desperately in need of guidance. Stephen Graham, an accomplished actor recognized for ADOLESCENCE, returns to the fold, as does Sophie Rundle, reprising her role as Tommy’s sister Ada. The supporting cast rounds out with appearances from Ned Dennehy, Packy Lee, Ian Peck, and Jay Lycurgo. According to the trailer’s revelations, Tommy faces a reckoning of devastating proportions. Ferguson’s character confronts him with harsh truths, noting that he lives in “a house haunted with ghosts of people who died because of you” while accusing him of abandoning both his kingdom and his son. Ada delivers equally cutting words, explaining that Tommy’s illegitimate firstborn son, Duke Shelby—now portrayed menacingly by Keoghan—has taken control of the Peaky Blinders and is running them “like it’s 1919, all over again.” Tommy’s response, “I can’t help him, because I’m not that man anymore,” rings hollow, convincing neither the people around him nor himself. Set in Birmingham in 1940 amid the rubble and chaos of World War Two, THE IMMORTAL MAN shows a greying and weathered Shelby driven back from self-imposed exile to confront his most destructive reckoning yet. The stakes have never been higher—with the future of his family and the nation itself hanging in the balance, Tommy must decide whether to face his demons and confront his legacy or burn everything to the ground. The Birmingham he once commanded has transformed in his absence, and nothing remains as he left it. Directed by Tom Harper and written once again by Knight, THE IMMORTAL MAN arrives in select cinemas on March 6, with its streaming release on Netflix following two weeks later on March 20. Instagram Youtube [...]
February 20Eve Hewson is set to reunite with director Lenny Abrahamson for an untitled new film that promises to be one of the more intriguing Irish productions in recent memory. The pair, who previously collaborated on the critically acclaimed series NORMAL PEOPLE and CONVERSATIONS WITH FRIENDS, will head back to Dublin in early March to begin filming what is shaping up to be a richly layered period drama. Set against the vibrant and complex backdrop of 1970s Dublin, the film will explore the city’s Jewish community, offering a window into a distinct cultural and historical world that rarely gets the big-screen treatment it deserves. Joining Hewson is English actor Tom Burke, while newcomer Shane Meagher makes his debut in the role of Davey, a 12-year-old boy navigating the quiet turbulence of adolescence as the dynamics within his parents’ marriage begin to shift around him. It’s the kind of coming-of-age thread that, in the right hands, can anchor an entire film emotionally, and with Abrahamson at the helm, surrounded by much of the same creative team that made his previous work so affecting, there’s every reason to believe this one will land. Instagram Youtube [...]
February 19If you thought the first season of MOBLAND was intense, just wait until you hear what’s coming. The crime drama starring Tom Hardy and Pierce Brosnan is heading back to Paramount+ for a second season, and if the cast’s enthusiasm is anything to go by, it’s shaping up to be something genuinely special. Actor Emmett J. Scanlan, who plays Paul O’Donnell — head of security to Conrad Harrigan — has been refreshingly candid about what fans can expect, describing the new episodes as “insane,” “bananas,” and “even better” than the first season. That’s a bold claim, considering MOBLAND hit the ground running when it debuted in spring 2025, with its premiere ranking as the second-biggest debut in Paramount+ history. The show’s blend of A-list talent, gritty storytelling, and cinematic production values clearly struck a nerve with audiences, and the platform will be counting on season two to do the same. Scanlan described the new scripts as “fantastic” and said the intensity of the first season has essentially been taken “on steroids,” adding that he loved every moment of losing himself in the show’s murky criminal underworld. He also had warm words for Pierce Brosnan, calling the veteran actor an “absolute delight” and a personal hero. With filming currently underway and a 2026 premiere on the horizon, MOBLAND season two is shaping up to be one of the year’s most anticipated streaming events. Instagram Youtube [...]
February 17There’s a particular kind of horror film that succeeds not by reinventing the wheel but by spinning it with such confidence and precision that you forget you’ve seen anything like it before. COLD STORAGE is exactly that film. Directed by Jonny Campbell from a screenplay by David Koepp — adapting his own novel — it’s a creature-feature horror comedy that earns every laugh and every shudder, often in the same breath. It begins in 1979, in the dusty aftermath of Skylab’s crash back to Earth. A piece of debris lands in Western Australia, and with it comes something that has no business being on this planet: a fast-spreading alien fungus that doesn’t wait to be invited in. A tight-lipped NASA team, led by Liam Neeson with cool, coiled intensity alongside the formidably capable Lesley Manville, manages to contain the organism the only way they know how — freeze it, seal it, forget about it. Problem solved. Except, of course, it isn’t. Decades later, that government containment facility has been repurposed into something far more banal: a self-storage warehouse, the kind of place people dump boxes they’ll never open again. Joe Keery’s Travis “Tea Cake” Meacham is there for the paycheck and not much else, while Georgina Campbell’s Naomi Williams is sharp, grounded, and plainly built for a better situation than this one. When the fungus inevitably escapes — slithering through vents, mutating its hosts in ways that are viscerally wrong — these two become the last line of defence against something the authorities buried and hoped the world would never have to reckon with. What makes COLD STORAGE work so well is its unwavering commitment to its own absurdity. There is a sequence involving a reanimated cat that somehow manages to be both genuinely disturbing and sharply funny, and it’s emblematic of everything the film does right — the horror and the humour share the same straight face, neither undermining the other. The fungus itself is rendered with practical-looking effects that are vividly unpleasant in the best possible way, the kind of creature design that gets under your skin precisely because it looks like something that could. Vanessa Redgrave and Richard Brake round out the cast in supporting turns that are brilliantly judged, and Neeson and Manville bring the sort of instant, weathered credibility that anchors the wilder elements of the story in something that feels real. Instagram Youtube [...]
February 14When Emerald Fennell reached out to Alison Oliver about joining her latest project, the response was instant and unequivocal. The Irish actor didn’t need convincing—working with Fennell again was reason enough to say yes. Oliver speaks about their relationship with genuine warmth, explaining how Fennell’s passion for Emily Brontë’s novel has been a constant thread in their friendship since they first met. Watching someone you care about realize a dream project creates its own kind of excitement, and getting the invitation to be part of that journey only amplified it. Fennell’s WUTHERING HEIGHTS is now in theaters, and it’s important to understand what this film isn’t trying to be. Rather than a dutiful page-to-page translation of the Gothic classic, this adaptation chases something more elusive and personal—the visceral impact the book had on Fennell when she first encountered it as a teenager. That distinction matters, and the filmmaker has been transparent about her intentions from the start. The quotation marks surrounding the title aren’t an accident but a signal of this approach. With an original soundtrack from Charli XCX anchoring the emotional landscape, the film remains rooted in eighteenth-century England while following Cathy Earnshaw through the devastating trajectory that begins when her father brings the mysterious Heathcliff into their home. Oliver takes on Isabella Linton, the sheltered ward of Edgar Linton, who becomes Cathy’s husband. This Isabella exists in a protected bubble of privilege and innocence, someone who has been insulated from hardship and consequently lives for surfaces and pleasures. She initially views Cathy as something like a fascinating new acquisition, a companion to adorn her world, but that dynamic shifts violently when Heathcliff enters their orbit and both women find themselves pulled into his gravitational field. The transformation from playmate to rival becomes one of the film’s central tensions. For those keeping track of Oliver’s career, this reunion with Fennell follows her breakout in the Sally Rooney adaptation CONVERSATIONS WITH FRIENDS and her turn in the HBO crime series TASK. But there’s something different about returning to work with a director who already knows your instincts, who has seen what you can do and specifically wants that particular alchemy again. The trust implicit in that kind of creative relationship allows for a different kind of risk-taking, a willingness to push further into uncomfortable territory because the foundation is already solid. Oliver’s Isabella isn’t just another period drama ingénue—she’s a portrait of what happens when someone who has never been tested suddenly finds themselves in emotional waters far deeper and darker than anything they could have imagined. Instagram Youtube [...]
February 13Barry Keoghan has always had that raw, unpredictable energy that makes you lean forward in your seat, and in CRIME 101, the Dublin actor unleashes it with the kind of ferocity that threatens to steal the entire film from under Chris Hemsworth’s polished nose. Playing Ormon, a rogue thief with something to prove and nothing to lose, Keoghan brings the same feral intensity that made him unforgettable in LOVE/HATE, transplanting that Dublin edge straight into the sun-bleached sprawl of Los Angeles where it burns twice as bright and twice as dangerous. Director Bart Layton, who clearly recognized what Keoghan was capable of when he cast him in AMERICAN ANIMALS, has given the actor room to breathe and bite, and bite he does, sinking his teeth into a role that could have been a throwaway wildcard but instead becomes the film’s beating, anarchic heart. Hemsworth’s jewel thief is all smooth surfaces and careful calculation, a career criminal executing his biggest score alongside Halle Berry’s insurance broker, but it’s Keoghan’s Ormon who threatens to blow the whole operation apart, not through incompetence but through sheer, rabid unpredictability. He bounces between moments of genuine criminal skill and flashes of pure psychopathy, a live wire that could spark brilliance or catastrophe at any second, and that tension is what makes CRIME 101 crackle with the kind of energy that elevates it beyond standard heist fare. Like all the best heist films, this one understands that the pleasure isn’t just in watching the plan unfold but in feeling the constant threat that everything could collapse, and Keoghan embodies that threat entirely, a desperate young man hungry to prove he belongs in a world of professionals even as his instability suggests he might destroy it from within. Layton gives audiences the satisfaction of being in on the robbery, that delicious voyeuristic thrill of watching the pieces come together, but he’s smart enough to let Keoghan be the chaos agent who reminds us that no plan survives contact with real human desperation, and the result is a performance that doesn’t just support the film but hijacks it in the best possible way, turning what could have been a sleek, forgettable thriller into something with genuine teeth and unpredictable bite. Instagram Youtube [...]
February 11When Saoirse Monica Jackson talks about the new Netflix series HOW TO GET TO HEAVEN FROM BELFAST, there’s an unmistakable excitement that immediately transports you back to the chaotic energy of DERRY GIRLS. Lisa McGee, the creative genius behind that beloved show, has returned with something entirely different yet distinctly her own. Described by McGee as “a murder mystery – but funny” in a recent BBC interview, the eight-part series centers on three lifelong friends whose lives are upended in the most unexpected way. Saoirse, played by Roísín Gallagher from THE DRY, Robyn, brought to life by Sinéad Keenan of UNFORGOTTEN, and Dara, portrayed by Caoilfhionn Dunne from A THOUSAND BLOWS, have been inseparable since their school days. Now in their late thirties, their bond remains unbreakable until they receive an email announcing the death of the estranged fourth member of their childhood gang. A series of eerie events at the wake convinces them foul play is involved, setting off an epic and hilarious odyssey across Ireland as they attempt to piece together what really happened while confronting the truth about their own shared past. The series arrives on Netflix on Thursday, February 12th, landing perfectly on Galentine’s Day, that wonderfully invented holiday from PARKS AND RECREATION where Leslie Knope celebrated female friendship the day before Valentine’s Day. Jackson shares anecdotes about filming across Ireland that paint a picture of a production filled with the same warmth and authenticity that made DERRY GIRLS such a phenomenon. There’s a memorable story about a keycard mix-up during filming that had the entire cast in stitches, the kind of real-world chaos that somehow always finds its way into McGee’s storytelling. Working with McGee again feels like coming home, Jackson explains, because there’s an understanding of rhythm and tone that makes everything feel effortless even when the material demands precision. What makes HOW TO GET TO HEAVEN FROM BELFAST so compelling is its refusal to be just one thing. It’s a murder mystery wrapped in comedy wrapped in thriller elements wrapped in a profound celebration of female friendship. The show asks what happens when the people who know you best suddenly have to reckon with secrets that threaten to unravel decades of shared history. McGee has always had a gift for capturing the absurdity of real life, for finding humor in heartbreak and humanity in chaos, and this series promises to showcase those talents in ways we haven’t seen before. The Irish landscape becomes a character itself, the physical journey mirroring the emotional one as these three women traverse familiar and unfamiliar terrain in search of answers. Based on McGee’s track record, HOW TO GET TO HEAVEN FROM BELFAST promises sophisticated storytelling wrapped in irresistible entertainment, proving once again that stories about women, friendship, and the messy beautiful reality of being human will always find an audience ready to embrace them. Instagram Youtube [...]
February 10Jamie Dornan is stepping into sharper, more provocative territory with THE WORST, a British dark comedy that’s already creating serious industry anticipation ahead of its debut at the European Film Market in Berlin. This isn’t another glossy franchise entry or formulaic thriller—it’s a caustic class satire that positions Dornan alongside Alicia Vikander in what promises to be one of the year’s most viciously entertaining ensemble pieces. For an actor who has spent recent years carefully diversifying his portfolio beyond the shadow of FIFTY SHADES, THE WORST represents exactly the kind of risk that could redefine how audiences see him. The film follows a single catastrophic night at a French chateau, where Vikander’s Emily Fisher, a wealthy socialite with impeccable taste and questionable judgment, has gathered her closest friends for what should be an enviable escape from reality. Her husband Max plays co-host, and together they’ve curated the kind of gathering that looks flawless on the surface but conceals fractures deep enough to swallow everyone whole. Dornan plays Danny, a talent agent so consumed by his own mythology that he can’t stop name-dropping and self-promoting even as the evening collapses around him. It’s a role that requires precision—Danny is both absurd and recognizable, a walking embodiment of ambition curdled into performance art. What makes THE WORST particularly compelling for Dornan’s career trajectory is its distance from the romantic leads and tortured antiheroes that have dominated his recent work. Whether he was navigating the psychological complexity of THE TOURIST, anchoring Kenneth Branagh’s BELFAST with quiet emotional gravity, or diving into the true-crime darkness of projects like A SERIAL KILLER’S GUIDE TO LIFE, Dornan has been methodically building a reputation as an actor willing to inhabit uncomfortable spaces. THE WORST pushes that instinct further, asking him to be not just morally ambiguous but outright ridiculous—a character whose flaws aren’t tragic but comic, whose delusions aren’t dangerous but pathetic. It’s the kind of performance that could showcase range he hasn’t been asked to demonstrate on this scale before. This pivot toward dark comedy and satire also signals something larger about where Dornan’s career is heading. He’s no longer chasing blockbuster validation or trying to prove himself capable of dramatic heft—he’s already done both. Now he’s hunting for projects that challenge assumptions, that let him disappear into characters who aren’t designed to be likable or sympathetic. Danny in THE WORST is a figure of ridicule, but he’s also a mirror held up to an entire class of people who mistake proximity to success for success itself, who confuse networking with intimacy, who believe their own publicity. Dornan has to make that character funny without softening him, has to let the audience laugh at Danny while recognizing pieces of themselves in his desperation. For Dornan, THE WORST isn’t just another role—it’s a declaration of intent. After years of navigating the aftermath of FIFTY SHADES, of proving he could anchor prestige television and deliver nuanced film work, he’s choosing projects that refuse to play it safe. This is an actor betting on his ability to make people uncomfortable in ways that feel thrilling rather than alienating, to inhabit characters who are both absurd and achingly real. If THE WORST delivers on its promise, it won’t just be a successful dark comedy—it will be the moment Jamie Dornan fully stepped into the next phase of his career, one where he’s no longer defined by what he’s moved past but by what he’s bold enough to chase. Instagram Youtube [...]
February 7Taylor Swift’s latest music video arrived on streaming platforms Friday afternoon, bringing with it an unexpectedly Irish flavor that has fans buzzing about the transatlantic collaboration. The singer tapped Domhnall Gleeson to star opposite her in the visual for OPALITE, a nearly six-minute cinematic piece that Swift herself directed, with the two playing archetypal characters simply known as “lonely woman” and “lonely man.” The chemistry between Swift and the Irish actor unfolds against a narrative backdrop that’s already generating significant attention, though perhaps not as much as the surprise appearances woven throughout the production. Sharp-eyed fans began piecing together the puzzle hours before the official release when promotional billboards surfaced on social media, sparking immediate speculation about Gleeson’s involvement. The confirmation came as the video dropped on Apple Music and Spotify, revealing not just the HARRY POTTER and STAR WARS actor but also cameos from fellow Irish luminaries Cillian Murphy and Graham Norton. The convergence of these Irish talents had actually been foreshadowed back in October when a clip from THE GRAHAM NORTON SHOW showed Swift, Gleeson, and the Oscar-winning Cork actor Murphy appearing together, though at the time no one quite connected the dots to what was brewing behind the scenes. OPALITE marks the second single from THE LIFE OF A SHOWGIRL, Swift’s record-breaking album that dropped October 3rd and continues to dominate charts worldwide. The song carries personal significance for the pop superstar, as she’s revealed it was written about her fiancé, NFL player Travis Kelce, whose birthstone happens to be opal. That intimate detail adds another layer to the visual storytelling, transforming what could have been just another music video into something more confessional and tender. The Irish connection runs deeper than just the casting choices, too. Swift brought her massive Eras Tour to Dublin in June 2024, playing three completely sold-out shows at the Aviva Stadium, cementing her relationship with Irish audiences and perhaps planting the seeds for these creative collaborations that would bear fruit months later in this visually striking piece of work that brings together talent from both sides of the Atlantic. Instagram Youtube [...]
February 6When Lisa McGee set out to write her new Netflix series HOW TO GET TO HEAVEN FROM BELFAST, she knew she was returning to familiar territory—not geographically, though Belfast certainly looms large, but thematically. The award-winning creator of DERRY GIRLS has always had a gift for excavating humor from the darkest soil, and her latest offering follows three friends reuniting for their childhood companion’s funeral, only to stumble into a mystery that spirals far beyond what any of them expected. It’s an unlikely premise for comedy, perhaps, but McGee has built her reputation on exactly this kind of tonal tightrope walk. DERRY GIRLS found its comedic pulse against the backdrop of the Troubles in 1990s Northern Ireland, mining absurdist gold from the cultural fault lines that divided communities—who can forget the revelation that Protestants keep their toasters in cupboards, or that Catholics harbor an inexplicable devotion to statues? That show’s success lay in its ability to locate the ridiculous within the real, and HOW TO GET TO HEAVEN FROM BELFAST shares that same DNA. But where DERRY GIRLS was coming-of-age chaos, this new venture leans into something slightly more unsettling. The three friends arrive for their companion’s wake—a traditional Irish gathering where the deceased is brought home and mourners convene to talk, drink, and celebrate a life before burial or cremation—only to discover that nothing about their friend’s death is quite as straightforward as it seemed. What begins as grief soon curdles into suspicion, and before long they’re careening through an eerie adventure that takes them across Ireland and beyond. McGee describes the show as essentially a murder mystery, though she’s quick to add the qualifier “but funny, hopefully.” It’s that hope, that refusal to let darkness have the final word, that defines her work. Starring Sinéad Keenan as Robyn, Caoilfhionn Dunne as Dara, and Róisín Gallagher as Saoirse, the series centers three women at a particular inflection point in their lives—the kind of stage where careers plateau or surge, where aging parents require care, where motherhood and ambition collide in ways no one quite prepared you for. McGee knows this terrain intimately, having drawn on her own friendships and experiences when crafting the show. She wanted to give these women one last adventure, a chance to shake off the weight of responsibility and rediscover something they’d lost along the way. Central to everything is Belfast itself, and the dark Northern Irish sense of humor that McGee wields like a scalpel. Some of the themes are darker than what viewers might expect from the woman who gave us uniformed Catholic schoolgirls navigating bomb scares and boy bands, and the genre shift is deliberate. There’s mystery here, genuine suspense, but it’s all filtered through a lens that refuses to take itself too seriously. McGee has always understood that laughter and grief aren’t opposites but neighbors, and in HOW TO GET TO HEAVEN FROM BELFAST, they share a wall so thin you can hear one through the other. It’s a show about death, yes, but also about friendship, about the versions of ourselves we leave behind, and about what happens when the past reaches out and demands we pay attention. And if that sounds heavy, well, McGee has never been afraid of weight—she just knows how to make you laugh while you’re carrying it. Instagram Youtube [...]
February 5Jessie Buckley stands on the windswept Norfolk coastline, and Jack Davison’s camera captures something beyond celebrity—a woman who has traveled an improbable distance and arrived exactly where she belongs. From rural Ireland to the threshold of the Oscars, her journey really could be a film in itself. Her portrayal of Agnes in HAMNET devastates. Shakespeare’s wife emerges not as a footnote to genius but as a woman of staggering emotional complexity, inhabited with a rawness that feels almost dangerous to witness. This is what happens when an actor refuses to protect herself from the full weight of a character’s grief and rage and love. The trajectory defies the usual logic of stardom. No viral moment, no strategic reinvention. Just a teenage girl who didn’t make it through a talent show audition, absorbed that rejection, and kept moving. She worked quietly, methodically, and became exceptional. Not famous first and talented later, but the reverse—a master of her craft only now being recognized on the scale she deserves. What British Vogue captures in their February 2026 issue is this precise inflection point. Hayley Maitland’s profile finds Buckley at home, newly a mother, standing at the edge of fame that changes everything. Yet what emerges is someone remarkably unaltered, talking about grit and greatness with straightforwardness because these things have never been abstract for her. Against the vast Norfolk sky and churning sea, Buckley looks both grounded and mythic—the visual equivalent of what she brings to HAMNET. An ability to embody one woman so completely that she becomes all women, all fierce maternal love colliding with unbearable loss. What makes this moment compelling is how thoroughly she has earned it. The industry is littered with flashes in the pan. Buckley represents something else: the slow accumulation of expertise, the patient construction of a body of work that reveals not just talent but discipline. She is, quite frankly, in a class of her own. As awards season accelerates, it’s worth pausing on what best actress actually means—not most famous, but best. The one who disappears most completely, who makes you forget you’re watching someone perform. By that measure, Buckley’s frontrunner status isn’t hype. It’s just accurate. Her performance in HAMNET will rip your heart out through nothing more mysterious than absolute commitment to the truth of a moment. Instagram Youtube [...]
February 4Disney+ has just dropped a provocative new trailer for RIVALS, billing the drama series as “the naughtiest show on television,” and if the first season was any indication, that’s not mere marketing hyperbole. The show brings back its formidable ensemble from season one, including David Tennant, Danny Dyer, Aidan Turner, Katherine Parkinson, and Emily Atack, alongside Alex Hassell, who emerged as one of the breakout performers last time around. Fresh blood arrives in the form of Hayley Atwell and Rupert Everett, promising to shake up an already volatile mix. At the heart of season two lies an intensifying battle for the Central South West television franchise, with the war between Corinium and Venturer escalating into genuinely dangerous territory. Tony Baddingham, played with delicious menace by Tennant, has shed whatever restraint he might have possessed and now operates as a ruthlessly efficient destroyer, methodically dismantling his competition through weaponized scandal and psychological manipulation of anyone foolish enough to stand close to him. The season arrives under bittersweet circumstances, following the death of Jilly Cooper, the novelist behind the original source material who served as executive producer on the first season. Tributes poured in from across the entertainment world, and her friend Queen Camilla even visited the set during production of season two, a touching acknowledgment of Cooper’s cultural significance. The second season of RIVALS, which exists in that curious streaming ecosystem as a Hulu original in the United States while airing on Disney+ internationally, launches May 15 and will roll out in two six-episode batches, giving viewers just enough time to recover between bouts of backstabbing, bedroom antics, and boardroom warfare. Instagram Youtube [...]
February 3Caitriona Balfe’s journey from fashion runways to television icon began over a decade ago when she first stepped into the role that would define her career. In 2014, the Irish actress made her debut as Claire Fraser in the opening series of Starz’s period drama OUTLANDER, captivating audiences with her portrayal of a time-travelling nurse navigating eighteenth-century Scotland. Twelve years later, fans around the world eagerly anticipate her return alongside Sam Heughan, who plays her Highland warrior husband Jamie Fraser, for the show’s final chapter set to premiere on Friday, March 6th. But even as OUTLANDER prepares to close its epic story, Balfe is already charting new territory with a role that promises to showcase a completely different dimension of her talent. The actress has joined the star-studded cast of THE HOUSEKEEPER, a film adaptation of an upcoming short story by bestselling novelist Rose Tremain. Set against Cornwall’s wild and brooding landscape, the story follows Danni, the housekeeper at Manderville Hall, a grand historic house owned by the wealthy widower Lord Grenville-Whithers, portrayed by Anthony Hopkins. When young writer Daphne du Maurier, played by Mackenzi Laird, arrives at the estate, Danni finds herself drawn into a clandestine and intoxicating affair. For one woman, it becomes an all-consuming love; for the other, an awakening of long-suppressed desires. Their fragile secret threatens to unravel under the scrutinizing watch of Adelaide, Lord Grenville-Whithers’ calculating niece, brought to life by Helena Bonham Carter. The project marks an intriguing departure for Balfe, trading the sweeping Scottish Highlands for the dramatic coastline of Cornwall, and exchanging period bodices for what appears to be a more intimate, psychologically complex character study. With such formidable talent assembled and source material from a celebrated author, THE HOUSEKEEPER is shaping up to be essential viewing for anyone who has followed Balfe’s remarkable transformation from her breakthrough role to one of television’s most compelling performers. Instagram Youtube [...]
February 2Saoirse Ronan’s journey reads like a masterclass in artistic evolution, and 2026 marks the moment she steps decisively into uncharted territory. After more than two decades of captivating audiences—from her television debut in RTÉ’s THE CLINIC at just nine years old to her Oscar-nominated turn in ATONEMENT at thirteen—the Carlow-born actress is ready to redefine her relationship with cinema by stepping behind the camera. Her directorial debut, a short film titled PAPER PLANE for which she’s also credited as the primary writer, arrives at a pivotal crossroads in her life, one she’s been contemplating with the kind of introspection that has always distinguished her work from mere performance. When Ronan spoke to Deadline about her decision to pull back from the relentless pace of acting, she articulated something rarely admitted in an industry that prizes constant visibility: the need to protect the purity of her craft. After over twenty years in the business, she explained, there’s a fork in the road where she must ensure her work doesn’t become stale, that the simplicity and authenticity she brought to her earliest roles—that childlike approach many former child actors struggle to preserve—remains intact. This isn’t about retreating from the spotlight for its own sake but about safeguarding something deeply personal. She does this work for herself, not for external validation, and the moment that internal compass shifts, she’s prepared to chart a different course. It’s a philosophy born from experience, from understanding that longevity in this profession requires more than talent—it demands conscious choices about when to push forward and when to step sideways into new creative challenges. The timing feels particularly resonant given that Ronan recently welcomed her first child, a life event that naturally invites reflection on priorities and legacy. Her recent filmography includes BAD APPLES in 2025, and her next acting commitment places her alongside Paul Mescal in an upcoming Beatles biopic series where she’ll portray Linda McCartney opposite his Paul McCartney—a pairing that promises both dramatic heft and the kind of chemistry audiences have come to expect from Ireland’s most celebrated exports. But PAPER PLANE represents something entirely different, a chance for Ronan to translate her accumulated knowledge as a performer into the language of direction and storytelling from a new vantage point. With four Oscar nominations already under her belt and a career that has moved seamlessly from I COULD NEVER BE YOUR WOMAN in 2007 through countless projects that have showcased her range and depth, Ronan isn’t simply adding another credit to an already impressive résumé. She’s listening to that internal voice that has guided her from THE CLINIC to Hollywood’s brightest stages, the one insisting that true artistic fulfillment sometimes means letting go of what you know best to discover what you might become. Screen Ireland’s confirmation of her involvement in PAPER PLANE offers few details about plot or scope, but with Ronan’s name attached as both director and writer, expectations are understandably sky-high—this is an artist who has never settled for the easy path, and her transition from in front of the lens to behind it promises to be as thoughtful and compelling as everything she’s given us before. Instagram Youtube [...]
January 31Louis Paxton’s debut feature THE INCOMER arrives at Sundance 2026 as a welcome palate cleanser, blending Scottish folklore with gentle comedy in a story about isolation, grief, and the collision between old and new worlds. On a remote Scottish island, siblings Isla and Sandy live according to their late father’s teachings, fishing and honoring seagull rituals in blissful disconnection from modern life. Their solitude shatters when Daniel, a mainland bureaucrat played by Domhnall Gleeson, arrives with eviction papers from the Northeastern Scottish Council. Isla’s response? She knocks him out cold with a rock. What follows is a tender, funny exploration of fear and change. Isla clings to her father’s warnings about the mythical Fin Man lurking in the waters, using folklore to justify her resistance to leaving. Her terror masks deeper wounds from losing both parents, while her brother Sandy grows increasingly curious about Daniel’s tales of Wi-Fi and supermarkets. The film finds its sweetness in these exchanges, as Daniel becomes an accidental hostage to siblings torn between honoring the past and embracing possibility. Paxton keeps the tone light despite weighty themes of grief and anxiety. Gleeson excels as the bewildered city dweller navigating bizarre customs, while Grant O’Rourke’s Sandy radiates childlike wonder and Gayle Rankin makes Isla’s stubbornness both frustrating and heartbreaking. Their chemistry transforms what could feel contrived into something genuinely warm. When Daniel eventually dons a homemade seagull costume for a ritual ceremony, the film earns its emotional payoffs through absurdity rather than sentiment. THE INCOMER works because it trusts its performances and never overexplains its metaphors. It’s a cozy, eccentric character study that understands how mythology can both comfort and imprison us. Instagram Youtube [...]
January 30We’re still some time away from THE BEATLES: A FOUR-FILM CINEMA EXPERIENCE being released, but the anticipation has already reached extraordinary heights for what promises to be one of the most ambitious projects in cinema history. For the first time, fans have been given a tantalizing glimpse of the transformation that lies ahead, as Paul Mescal, Harris Dickinson, Joseph Quinn, and Barry Keoghan step into the shoes of the most legendary band the world has ever known. The reveal came through an unexpected but fitting source: the Liverpool Institute for Performing Arts, which received exclusive promotional postcards for the films and scattered them across their campus like musical Easter eggs, later sharing images on Instagram that sent the internet into a frenzy. Each postcard features one of the four leads in character, with stark, simple text announcing their role—Mescal’s reads “Paul Mescal is Paul McCartney,” a declaration that somehow manages to be both matter-of-fact and monumentally significant. What makes this project so extraordinary is its structure: all four films are being directed by Sam Mendes, each one told from the perspective of a different Beatle, and all four are set to be released simultaneously on April seventh, twenty twenty-eight. Dickinson will inhabit John Lennon, Quinn will bring George Harrison to life, and Keoghan will portray Ringo Starr, each actor charged with carrying an entire film while their characters’ stories inevitably intertwine across the quartet of narratives. The supporting cast reads like a who’s who of contemporary talent, with Saoirse Ronan as Linda McCartney, James Norton as Brian Epstein, Mia McKenna-Bruce as Maureen Starkey, Anna Sawai as Yoko Ono, Aimee Lou Wood as Pattie Boyd, Harry Lloyd as George Martin, and David Morrissey as Jim McCartney. It’s a constellation of performers that suggests Mendes and his team are approaching this not as mere musical biopic but as a sprawling, multi-perspective epic that honors the complexity and cultural seismic shift the Beatles represented, while those first-look postcards, simple as they are, have ignited imaginations about what’s to come when four films attempt to capture lightning in a bottle all at once. Instagram Youtube [...]
January 28The 2026 BAFTA Film Award nominations, unveiled on January 27, 2026, marked a watershed moment for Irish cinema, with talent from the island securing recognition across multiple categories in what has become one of the strongest showings in recent memory. At the heart of this success stands HAMNET, Chloé Zhao’s adaptation that has emerged as the dominant force of the awards season, carrying Irish performers Jessie Buckley and Paul Mescal to career-defining nominations while simultaneously breaking records for the sheer volume of nods it received. Buckley’s Leading Actress nomination for her portrayal of Agnes represents a culmination of years of critically acclaimed work, while Mescal’s Supporting Actor recognition for his turn as William Shakespeare confirms his rapid ascent from breakthrough star to established force in contemporary cinema. The film’s reach extends beyond its headliners, with writer Maggie O’Farrell landing on the longlist for Adapted Screenplay, demonstrating how Irish creative voices have penetrated every level of the production. According to The Irish Times, HAMNET’s nomination haul has shattered previous benchmarks, transforming what might have been a modest costume drama into an awards juggernaut that has elevated Irish participation across the board. The Irish presence radiates outward from HAMNET into other productions that showcase the depth of talent the country continues to produce. Andrew Scott earned a Supporting Actor longlist mention for BLUE MOON, a production that not only filmed on Irish soil but was developed in association with Dublin-based Wild Atlantic Pictures, as noted by IFTN. Cinematographer Robbie Ryan received longlist recognition for his work on BUGONIA, another project produced by Dublin’s Element Pictures, while visual effects artist Richard Baneham made the longlist for AVATAR: FIRE AND ASH. Even Cillian Murphy, fresh from his recent Oscar triumph, appears among the producers listed on the Outstanding British Film longlist for STEVE, extending his influence beyond performance into the realm of production. What emerges from these nominations is not merely a roster of individual achievements but evidence of an ecosystem that has matured over decades of strategic investment in film infrastructure, training, and international co-production treaties. The February 22, 2026 ceremony in London will serve as the culmination of this recognition, but the nominations themselves already tell a story of Irish cinema at a peak moment, with performers, craftspeople, and production companies all operating at the highest levels of international filmmaking and reaping the rewards that sustained excellence inevitably brings. Instagram Youtube [...]
January 26Richard Linklater’s BLUE MOON is the kind of film that knows exactly who it’s for and makes no attempt to dilute itself for anyone else. Set almost entirely over one night inside Sardi’s restaurant on the opening of OKLAHOMA! in 1943, the film unfolds less like a traditional biopic and more like a rueful, jazz-inflected chamber piece: talky, intimate, deeply literary, and quietly devastating. It’s classic Linklater territory, where time suspends itself and conversation becomes action, where character reveals itself not through plot mechanics but through rhythm, contradiction, and emotional drift. The supporting cast is uniformly strong, with Andrew Scott offering a coolly contained, subtly cutting Richard Rodgers, a man who understands Hart perhaps too well. Bobby Cannavale brings warmth and grounded humanity as Eddie the bartender, while Margaret Qualley plays Elizabeth Weiland not as a manic pixie fantasy but as a young woman whose kindness and confusion inadvertently sharpen Hart’s despair. Their scenes together are among the film’s most quietly cruel, not because of malice, but because of emotional asymmetry, because two people can occupy the same moment and experience entirely different versions of it. Visually restrained and modest in scale, BLUE MOON resists the temptation to romanticize its subject or its era. Shane F. Kelly’s cinematography keeps us close, almost uncomfortably so, while Graham Reynolds’ score hums gently in the background, never insisting on emotion but allowing it to surface naturally. This is not a flashy film, nor does it aspire to be. Its pleasures are intellectual, emotional, and deeply human, the kind that linger long after the lights come up, not because they announce themselves but because they accumulate quietly, like regret, like memory, like all the things we say and fail to say when we know time is running out. Instagram Youtube [...]
January 24The announcement of this year’s Academy Awards shortlist has sparked celebration across Ireland’s film industry, prompting President Catherine Connolly to publicly recognize the remarkable achievement of the nation’s creative talent. Taking to social media platform X, she extended her congratulations to Jessie Buckley, John Kelly, Richard Baneham, Maggie O’Farrell, Element Pictures, and Wild Atlantic Pictures, praising not only their individual nominations but the continued international recognition that Ireland’s film industry has earned on the world stage. The sweep of Irish talent across multiple categories demonstrates the depth and breadth of the country’s cinematic contributions. Element Pictures emerged as a standout with four nominations for BUGONIA, prompting co-chief executive Ed Guiney to express his pride in everyone involved with the production. His statement reflected both gratitude and vindication, noting the film’s wonderful reception throughout awards season and the delight of seeing their work acknowledged at such a prestigious level. The multiple nominations for a single Irish-backed production underscore the collaborative excellence that has become synonymous with the company’s output. Dublin native Richard Baneham continues his extraordinary relationship with the Academy, earning recognition in the visual effects category for his contributions to AVATAR: FIRE AND ASH. This nomination is particularly significant given that Baneham already possesses two Oscar statuettes from his work on previous installments of the AVATAR franchise, establishing him as one of the most accomplished Irish technicians in the global film industry. His continued involvement in one of cinema’s most ambitious and technically demanding series speaks to the caliber of expertise Ireland exports to major international productions. Wild Atlantic Pictures secured its place in the conversation with BLUE MOON, which garnered nominations in two distinct categories that highlight both craft and performance. The film’s recognition for best original screenplay acknowledges the writing talent behind the production, while Ethan Hawke’s nomination for best actor brings star power to Ireland’s Oscar presence. The dual recognition positions BLUE MOON as a significant artistic achievement that resonates across multiple aspects of filmmaking, from the foundational elements of storytelling to the execution of performance. The animation sector also represents Ireland strongly this year, with RETIREMENT PLAN competing for the best animated short film award. Voiced by Domhnall Gleeson, whose own international profile has risen steadily through diverse roles, the short film benefited from crucial support through Screen Ireland’s Frameworks animated short film scheme. The partnership between Screen Ireland, RTÉ, and the production team illustrates how strategic investment in creative infrastructure can yield internationally competitive work. The film’s availability on the RTÉ Player ensures that domestic audiences can engage with the same content that captured the attention of Academy voters, creating a direct connection between national support systems and global recognition. Collectively, these nominations paint a portrait of an Irish film industry firing on all cylinders, from intimate animated shorts to sweeping visual effects spectacles, from original screenwriting to acclaimed performances. The recognition spans production companies, individual craftspeople, writers, and performers, suggesting that Ireland’s cinematic success is not confined to any single specialty but rather reflects a comprehensive ecosystem of talent and support. As the filmmakers prepare to attend the ceremony, they carry with them not just their own ambitions but the hopes of an entire industry that has worked tirelessly to establish Ireland as a significant force in international cinema. President Connolly’s congratulations serve as both acknowledgment of what has been achieved and encouragement for what continues to unfold as Ireland’s creative voices reach ever larger audiences on the world’s most prominent stages. Instagram Youtube [...]
January 23DRIVER, penned by Patrick Ireland and Jessica Romagnoli, will bring together two of television’s most compelling performers in Dafne Keen and Aidan Gillen for what’s being billed as a charged exploration of London’s after-hours underworld. The film centers on Trey, a reclusive ex-con who’s carved out a solitary existence on the city’s margins, making his living as a night driver. His carefully maintained isolation begins to crack when he encounters Camden, played by Keen, a sharp and restless young woman navigating life as a call girl. What develops between them is described as a fragile bond that grows increasingly intimate, set against the backdrop of a city that never quite sleeps and the kind of nocturnal London that most people never see. Keen has been building an impressive career since her childhood debut on THE REFUGEES in 2015, but it was her ferocious turn as Laura in LOGAN that announced her as a talent to watch. That 2017 X-Men film showcased her ability to convey both vulnerability and barely contained rage, a performance she revisited years later in DEADPOOL & WOLVERINE. Between those superhero appearances, she anchored the ambitious fantasy series HIS DARK MATERIALS as Lyra Belacqua and more recently appeared in the STAR WARS universe as Jecki Lon in THE ACOLYTE. Her trajectory suggests an actor unafraid of complex material and physically demanding roles, making her casting as Camden feel like a natural progression into grittier, more grounded territory. Gillen brings decades of experience playing men operating in moral gray zones and wielding quiet power. From his breakout as Stuart Alan Jones in QUEER AS FOLK through his chilling portrayal of Petyr “Littlefinger” Baelish across seven seasons of GAME OF THRONES, he’s proven adept at characters who survive through intelligence and adaptation. His work as John Boy in LOVE/HATE and Aberama Gold in PEAKY BLINDERS further cemented his ability to inhabit the criminal underworld with authenticity and surprising humanity. As Trey, he’ll likely draw on that entire reservoir of experience to create a character whose past weighs heavily but whose present offers the possibility of redemption or at least connection. The premise of DRIVER taps into something quintessentially British while also feeling universal in its exploration of loneliness and the unexpected places people find intimacy. There’s something compelling about two people existing on society’s edges, both running from something or toward something, finding each other in the small hours when defenses are down and the city reveals its hidden face. The fact that it’s set specifically in London’s after-hours world suggests the filmmakers understand that the city itself will function as a third character, its nighttime geography shaping the relationship that develops between driver and passenger. With Keen’s proven ability to convey fierce independence and Gillen’s mastery of guarded complexity, DRIVER has the elements to become the kind of British crime film that lingers in the mind long after the credits roll. Instagram Youtube [...]
January 21Paul Mescal and Josh O’Connor are bringing something truly special to audiences with THE HISTORY OF SOUND, and their recent conversation about the film reveals just how deeply they’ve connected with this intimate musical journey. The two actors didn’t just discuss their roles—they sang, they reminisced, and they opened up about the profound experience of bringing this story to life. When asked about their favorite songs from the film, both Mescal and O’Connor lit up with genuine enthusiasm. The music isn’t just a backdrop in THE HISTORY OF SOUND; it’s the very heartbeat of the narrative, and recording onto actual wax cylinders gave them a tangible connection to the historical authenticity of their characters’ world. There’s something remarkably visceral about working with century-old technology, they explained, where every take matters because you’re literally etching sound into wax. The fragility of the medium mirrors the fragility of memory itself, which sits at the core of what makes this film so emotionally resonant. The conversation took an intriguing turn when they were asked which Beatles song their characters would gravitate toward. It’s a question that reveals how fully these actors inhabited their roles, thinking beyond the script to imagine the inner lives and musical tastes of the men they portray. The Beatles discussion naturally flowed into talk of the upcoming biopics about the legendary band, with both actors expressing excitement about how those films will explore different eras and perspectives of one of music’s most influential groups. Instagram Youtube [...]
January 20The Irish Film & Television Academy has announced the nominations for the 2026 IFTA Awards, marking another remarkable year for Irish storytelling that has captivated audiences far beyond the island’s shores. After months of meticulous viewing and deliberation by Academy Members and expert juries, twenty-nine categories now stand ready to honor the exceptional achievements in Film and Drama that have defined the past twelve months, with Deloitte serving as the official vote scrutineer to ensure the integrity of the process. The twenty-third anniversary IFTA Awards Ceremony will unfold on Friday, February 20th, 2026 at the Dublin Royal Convention Centre, where comedian, actor and broadcaster Kevin McGahern returns for his second consecutive year as host. The evening promises to be a gathering of Irish and international industry luminaries, a celebration not merely of individual accomplishments but of the artistic and technical brilliance that continues to position Ireland as a formidable force in global filmmaking. The ceremony will recognize both the craft that brings stories to life and the profound cultural impact these narratives carry across borders, reminding audiences worldwide of Ireland’s unique voice in contemporary cinema and television. This year’s event holds particular significance as it will honor beloved actor Ciarán Hinds with the Lifetime Achievement Award, a tribute to his extraordinary contributions across decades of cinema and television work. His recognition stands as a testament to the enduring legacy of Irish talent that has shaped the industry and inspired generations of storytellers. The nominations themselves reflect an unparalleled moment for Irish storytelling on the global stage, showcasing the depth and diversity of voices emerging from a nation that has always understood the power of a well-told tale. As the awards ceremony approaches, the anticipation builds not just for who will take home the honors, but for what these achievements signal about the future of Irish film and drama in an ever-evolving international landscape. Instagram Youtube [...]
January 19When the opening scene of the latest GAME OF THRONES spinoff shows a lumbering oaf taking a dump behind a tree, you know something has shifted in Westeros. This isn’t the bloody intrigue of the original series or the dragon-heavy courtly drama of HOUSE OF THE DRAGON. A KNIGHT OF THE SEVEN KINGDOMS occupies its own strange territory, chronologically sandwiched between those two juggernauts but tonally adrift in uncharted waters where comedy and bleakness converge in ways this franchise has never quite attempted before. That oaf eventually gets a name: Dunk. He’s a knight, technically, though of the hedge variety, a lower-status category whose members cannot afford proper lodging and sleep under trees like vagrants. The show wastes no time reminding us that any knight can make a knight simply by dubbing them, a lack of gatekeeping that has created a rigid class system where highborn warriors scorn their ignoble brethren as knights in name only, and only just. There’s nothing just about any of it, of course, but the show trusts us to see the cruelty embedded in these hierarchies without underlining it. The plot is deceptively simple on the surface. Dunk journeys to a tourney, a jousting competition where he hopes to prove himself worthy, and we follow his fumbling attempts to get on the ballot given his nondescript lineage. He falls for a girl, participates in a tug-of-war, muddles through various humiliations. He’s both hampered and assisted by his new squire, Egg, a bald pubescent boy who latches onto him at an inn and refuses to leave. Their dynamic carries the show, two misfits stumbling through a world that has no clear place for either of them, trying to manufacture dignity from the scraps they’ve been handed. What makes A KNIGHT OF THE SEVEN KINGDOMS glorious is precisely what makes it a risk. This is GAME OF THRONES as grossout comedy, embracing bodily functions and base humor while maintaining the franchise’s visual splendor and attention to detail. It’s the series at its best because it remembers that even in a world of dragons and prophecies, most people are just trying to survive with some shred of honor intact, however that word gets defined by those with nothing else to their names. The show finds its heart in that struggle, in the gap between what Dunk aspires to be and what the world keeps telling him he is, and it plays that gap for both pathos and laughs without ever losing sight of the fundamental human dignity at stake. Instagram Youtube [...]
January 18In January 2026, cinema has finally found its new icon of defiance as Maggie Gyllenhaal’s THE BRIDE! officially arrives in theaters. Jessie Buckley delivers a performance that doesn’t just reanimate a classic monster; she sets the screen on fire. Set against the gritty, atmospheric backdrop of 1930s Chicago, THE BRIDE! reimagines the lore of Frankenstein’s companion. While the original 1935 masterpiece gave us a silent, terrified creature, Buckley’s version is a revolutionary force. After being murdered and brought back to life to serve as a companion for Christian Bale’s lonely Monster, she refuses the role of a submissive mate, instead igniting a radical social movement that shakes the foundations of the city. Jessie Buckley has spent her career mastering a unique blend of the feral and the fragile, and this role marks the pinnacle of that journey. Fresh off her 2026 Golden Globe win for HAMNET, Buckley brings a raw, punk-rock energy to this undead heroine. Her transformation is visceral, moving from the shock of bleached-blonde hair and stitched scars to a “wild” energy that captures the transition from a victim of violence to a master of her own destiny. Her dynamic with Christian Bale’s Frankenstein is not one of traditional romance, but of shared trauma and explosive rebellion. Following the critical success of THE LOST DAUGHTER, Maggie Gyllenhaal uses the horror genre to explore deep themes of female agency and identity. The film’s aesthetic—a mix of gothic horror and 1930s noir—provides the perfect stage for Buckley to truly go wild. THE BRIDE! is more than a simple remake; it is a cinematic manifesto. Jessie Buckley proves once again that she is the most versatile actor of her generation, turning a “monster” into a symbol of liberation for 2026. Experience the rebellion by watching the latest trailers and finding theater listings on the official Warner Bros. Pictures website. For more on Jessie’s incredible 2026 award season run, visit her profile on The Golden Globes official site. Instagram Youtube [...]
January 16Northern Ireland’s next big Netflix sensation arrives on our screens in February 2026, and if you loved DERRY GIRLS, you’re in for a wild ride. Lisa McGee, the BAFTA-winning creator who captured hearts with her beloved sitcom, is back with HOW TO GET TO HEAVEN FROM BELFAST, a genre-bending comedy thriller that promises to be darker, stranger, and more unpredictable than anything she’s done before. At the heart of this twisted tale are three women bound together by childhood and circumstance: Saoirse, a chaotic TV writer barely holding it together; Robyn, a stressed-out mother of three juggling life’s endless demands; and Dara, the dependable carer who keeps everyone grounded. They grew up together in a quiet Northern Ireland town and have remained fiercely loyal to one another through the years. But when an email arrives announcing the death of the estranged fourth member of their childhood gang, everything changes. Despite the years of silence and unresolved tension, the three friends decide to attend her wake, setting off on what McGee describes as a “dark, dangerous and hilarious odyssey through Ireland and beyond.” What begins as a simple journey to pay respects quickly spirals into something far more sinister as a series of eerie events unfold along their route across Ireland, and a dark childhood secret that’s been buried for decades threatens to claw its way to the surface. McGee couldn’t be more excited about reuniting the creative team behind DERRY GIRLS for this ambitious new project. “We got the gang back together,” she told Netflix’s Tudum. “This is the show I’ve always wanted to make; a mash-up of my two favorite genres, mystery and comedy. We want to keep you guessing and keep you laughing. I can’t wait for you to meet Saoirse, Robyn and Dara, and go on this wild, weird adventure with them—an Irish odyssey—full of twists, turns, and arguments about eyelash extensions.” It’s that signature blend of the profound and the absurd, the terrifying and the hilarious, that makes McGee’s storytelling so distinctive. Where DERRY GIRLS found comedy in the chaos of growing up during the Troubles, HOW TO GET TO HEAVEN FROM BELFAST promises to explore the haunting power of the past and the lengths we’ll go to protect the people we love, all while delivering the sharp wit and authentic Irish sensibility that made McGee a household name. Instagram Youtube [...]
January 15Cillian Murphy is assembling what could be one of the most electrifying ensembles of the next few years, anchoring Damien Chazelle’s mysterious new prison drama alongside Daniel Craig and the recently announced Michelle Williams. For Murphy, fresh off his Oscar-winning turn in OPPENHEIMER, this marks a fascinating pivot into what insiders suggest will be a contained, pressure-cooker environment that could showcase the intensity he’s become known for in an entirely new context. The Irish actor has long excelled at portraying men caught in moral and psychological vise grips, from his haunted gangster in PEAKY BLINDERS to the tormented physicist grappling with history’s weight, and a prison setting promises to be the ultimate crucible for that particular talent. Chazelle’s decision to pursue this project tells its own story about Murphy’s draw as a leading man. The director had been juggling multiple high-profile possibilities, including an Evel Knievel biopic that had Leonardo DiCaprio circling the lead, but once Murphy and Craig committed to the prison film, everything else fell away. That speaks volumes about what Murphy brings to a project now—not just the technical brilliance and emotional precision that won him Academy recognition, but the kind of gravity that makes a filmmaker abandon other star-studded vehicles to focus entirely on bringing his vision to life with this particular actor at the center. Chazelle, who earned his reputation crafting searing character studies in WHIPLASH and LA LA LAND, clearly sees something in Murphy that demands this story be told with him, and the fact that Williams signed on right before the holidays suggests the script is worth abandoning safer bets for. The secrecy surrounding the project only amplifies the intrigue around Murphy’s involvement. With production expected to begin later this year through Chazelle’s Wild Chickens Productions banner and Paramount handling distribution, details remain tantalizingly sparse beyond the prison setting. But that’s exactly where Murphy has always thrived—in the shadows and silences, in the spaces between words where tension builds and characters reveal themselves through microexpressions and coiled energy. Pairing him with Craig, another actor who commands the screen through sheer presence rather than volume, suggests Chazelle is building something that will rely on the kind of restrained, combustible performances both men excel at delivering. The fact that A-list talent continues rushing to join Chazelle’s projects, with Williams representing just the latest coup, means Murphy will be surrounded by the caliber of actors who can match his intensity scene for scene, creating the conditions for the kind of ensemble fireworks that only happen when everyone involved knows they’re working at the highest level. Whatever this untitled drama ultimately becomes, it’s shaping up as another defining chapter in Murphy’s remarkable ascent from character actor to undeniable leading force in cinema. Instagram Youtube [...]
January 14The Irish Film & Television Academy has chosen to honor Ciarán Hinds with the Irish Academy Award for Lifetime Achievement, a recognition that feels both inevitable and richly deserved for an actor whose five-decade career has left an indelible mark on screens both at home and around the world. The Belfast-born performer will receive the award at the 23rd Anniversary IFTA Awards Ceremony on February 20th at the Dublin Royal Convention Centre, with comedian and actor Kevin McGahern hosting an evening that promises to gather industry colleagues, friends, and family to celebrate a truly remarkable body of work. What sets Hinds apart is not merely the longevity of his career but the extraordinary caliber of collaborators he has attracted throughout it. An Oscar, Golden Globe, and BAFTA nominee who has already claimed five IFTA awards, Hinds has worked with a constellation of cinema’s most celebrated filmmakers—Martin Scorsese, Steven Spielberg, Kathryn Bigelow, Paul Thomas Anderson, Kenneth Branagh, and John Boorman among them. These are directors who choose their actors with exacting care, and their repeated trust in Hinds speaks volumes about his craft. Similarly, his screen partners read like a roster of acting royalty: Judi Dench, Liam Neeson, Cate Blanchett, Nicole Kidman, Daniel Craig, Ralph Fiennes, Frances McDormand, and Florence Pugh have all shared scenes with him, each collaboration adding another layer to an already rich tapestry of performances. Hinds himself responded to the news with characteristic grace and humility, expressing deep gratitude to IFTA for the recognition and praising the organization’s support for the cinematic and televisual arts over more than twenty years. His journey began after training at the Royal Academy of Dramatic Arts, followed by formative years at the Glasgow Citizens’ Theatre before making his film debut in EXCALIBUR. That early role inaugurated a screen presence that would eventually culminate in an Oscar nomination for his deeply moving performance in BELFAST in 2022, a film that allowed him to return to his roots and draw upon the very streets and struggles that shaped him. Now, with upcoming projects including IS THIS THING ON?, MIDWINTER BREAK, and Netflix’s EAST OF EDEN on the horizon, Hinds shows no signs of slowing down, continuing to choose roles that challenge and illuminate, carrying forward a legacy that has made him one of Ireland’s most treasured exports to the world of international cinema. Instagram Youtube [...]
January 13Barry Keoghan’s career trajectory continues its remarkable ascent with a slate of projects that showcase both his range and his rising stature in Hollywood. The Irish actor has joined forces with some of cinema’s biggest names for CRIME 101, a high-stakes thriller that dropped its first trailer recently, offering audiences a glimpse of Keoghan in an unexpected guise: bleached blonde hair and a pink and white tracksuit that marks a striking departure from his usual aesthetic. Set for release on February 13, CRIME 101 adapts Don Winslow’s novella about an elusive jewel thief operating along the Pacific Coast Highway, a criminal who has remained uncaught by following his own rigid principles. Keoghan plays Ormon, a thief whose disturbing methods put him at odds with another criminal portrayed by Chris Hemsworth, while Halle Berry and Mark Ruffalo round out the impressive ensemble cast. The recently released trailer offers a glimpse of Keoghan’s transformation for the role, complete with bleached blonde hair and a pink and white tracksuit, plus a brief taste of his American accent as his character navigates a dangerous rivalry with Hemsworth’s criminal. The film, based on Don Winslow’s novella about an elusive jewel thief operating along the Pacific Coast Highway who follows his own strict moral code, arrives February 13. But CRIME 101 is just one piece of an increasingly ambitious slate for the Dublin-born actor. He’s also confirmed for the PEAKY BLINDERS film alongside Cillian Murphy, where early teasers suggest he’ll be leading a new generation of the infamous gang, his tattooed arms and white vest hinting at a character ready to carry the franchise forward. Then there’s the ambitious Beatles biopics slated for April 2028, where Keoghan will embody Ringo Starr opposite Paul Mescal’s Paul McCartney, a pairing of two of Ireland’s most compelling young actors that promises to bring fresh energy to one of music’s most iconic stories. Instagram Youtube [...]
January 12From a teenage hopeful on a BBC talent show to the cusp of Academy Award glory, Jessie Buckley’s journey reads like something from the movies themselves. Eighteen years ago, she stood on the stage of I’D DO ANYTHING, a West End competition show, trying to make her mark. Now, with a Golden Globe for best actress in a drama clutched in her hands for her searing portrayal of William Shakespeare’s wife in HAMNET, she stands poised to etch her name into Oscar history. The film, which also claimed best film at the Golden Globes and hit UK cinemas this Friday, has positioned Buckley as a hot favourite for Academy Award recognition. Her previous nomination in 2022 for THE LOST DAUGHTER proved she belonged in elite company, but this feels different, more assured, more inevitable. If she succeeds, she’ll become only the fifth Irish actor to claim that famous gold statuette, joining the rarefied company of Barry Fitzgerald, Brenda Fricker, Daniel Day Lewis, and Cillian Murphy. The island of Ireland could celebrate a remarkable double triumph too, as Northern Ireland-born Maggie O’Farrell, whose award-winning novel provided the source material, co-wrote the screenplay and may find herself in line for her own Oscar recognition. Standing before the Golden Globes audience, Buckley spoke with genuine warmth about the honor of working in this industry, but what struck deepest was her reflection on the production itself. Here was a film about perhaps the most famous Brit who ever lived, yet it became something gloriously international, a creative collision of cultures with a Chinese director, Irish actors including her co-star Paul Mescal who played Shakespeare himself, a mostly Polish crew, and their British family. Mescal, nominated for best supporting actor, ultimately lost to Stellan Skarsgård, but his presence alongside Buckley underscored the Irish talent now commanding attention on the world stage. Steven Spielberg, who co-produced HAMNET, told the ceremony he loved O’Farrell’s book, lending his considerable weight to a project that has captured imaginations on both sides of the Atlantic. With the Golden Globes serving as a crucial bellwether less than a fortnight before the Academy Award nominations land on January 22, Buckley’s trajectory from reality television contestant to Oscar frontrunner feels like a vindication of talent, persistence, and the long game. This could indeed be the year she writes her name into history. Instagram Youtube [...]
January 11For more than two decades, the franchise that began with 28 DAYS LATER has occupied a unique space in horror cinema, one that refuses the comfort of genre conventions. These films were never content to be mere survival thrillers or infection narratives. They were excavations of collapse itself—watching as systems, moralities, and identities crumbled under the weight of crisis. Now, with 28 YEARS LATER: THE BONE TEMPLE, produced by Cillian Murphy, the series appears ready to confront its most challenging and essential question: what happens when the apocalypse stops being an emergency and becomes simply the past? The power of a sequel set decades after catastrophe lies in its relationship to memory. 28 YEARS LATER: THE BONE TEMPLE will inevitably feature two generations living side by side, separated not by age alone but by experience itself. There are those who remember the world before the collapse, who carry the weight of what was lost, and there are those born into ruin, for whom devastation is not tragedy but baseline reality. This divide is not philosophical abstraction. It is the foundation for conflict that feels profoundly human, the kind that emerges not from monsters but from irreconcilable perspectives on what survival even means. What makes 28 YEARS LATER: THE BONE TEMPLE so compelling is its implicit maturity. This is not a story about running. It is about staying. It is about the stubborn, unglamorous work of building something that might last in a world defined by impermanence. Where 28 DAYS LATER gave us the shock of societal collapse and 28 WEEKS LATER showed us the cruelty of failed reconstruction, this film seems positioned to explore something quieter and perhaps more unsettling: the mundane horror of adaptation. The film does not need to escalate violence or spectacle to justify its existence. Its strength may lie instead in introspection, in examining what it costs to rebuild and whether that rebuilding ever truly constitutes healing. Much about 28 YEARS LATER: THE BONE TEMPLE remains deliberately opaque, but its promise is clear. It offers evolution rather than escalation, depth rather than volume. In a genre saturated with endings, with final stands and last survivors, THE BONE TEMPLE dares to ask what comes after. It asks whether humanity, having been given a second chance at beginning, actually deserves it. If the film delivers on this thematic ambition, it could stand not merely as another installment but as one of the franchise’s most thoughtful and resonant entries—a film brave enough to suggest that the real horror might not be the infection at all, but what we become when we try to move on from it. Instagram Youtube [...]
January 10Irish and Irish-connected talent has surged to remarkable prominence in this year’s BAFTA Film Awards longlist, showcasing a depth of creative achievement that spans performance, technical artistry, and storytelling. Jessie Buckley commands attention in the Leading Actress category for her work in the historical drama HAMNET, a film that has emerged as a significant force across multiple categories. Her co-star Paul Mescal finds himself recognized in the Supporting Actor category for the same production, while the film’s literary origins add another layer of Irish distinction through Coleraine-born author Maggie O’Farrell, who appears on the Adapted Screenplay longlist for transforming her bestselling novel into cinema alongside director Chloé Zhao. The cross-pollination of Irish talent becomes even more evident when examining the Leading Actor category, where Cillian Murphy earns recognition for his performance in the school-based drama STEVE, a project that carries his own Big Things Films among its production credits and simultaneously appears on the Outstanding British Film longlist. Andrew Scott joins this constellation of Irish performers through his turn in the comedy-drama BLUE MOON, a production filmed on Irish soil and brought to life in association with Dublin-based Wild Atlantic Pictures, demonstrating how Irish production infrastructure continues to attract and support compelling narratives. Behind the camera, the Irish presence proves equally formidable, with Dublin cinematographer Robbie Ryan earning a longlist position for his work on the black comedy BUGONIA, a film that has garnered multiple nominations and stems from Dublin’s Element Pictures, with Ryan’s previous BAFTA nominations for director Yorgos Lanthimos’ POOR THINGS and THE FAVOURITE establishing him as a crucial visual collaborator. Armagh-born cinematographer Séamus McGarvey, already a four-time BAFTA nominee, adds to this technical brilliance through his longlisted work on the psychological drama DIE MY LOVE, while Richard Baneham, the Irish visual effects master who has already claimed two BAFTAs and two Oscars for his AVATAR work, finds himself longlisted again as part of the team behind AVATAR: FIRE AND ASH. The recognition extends into emerging voices as well, with Donegal writer-director Myrid Carten’s acclaimed documentary A WANT IN HER, an Irish-British-Dutch co-production, appearing in the Outstanding Debut by a British Writer, Director, or Producer category alongside Akinola Davies Jr’s family drama MY FATHER’S SHADOW, which once again features Dublin’s Element Pictures among its producers. This sweeping presence across categories ranging from acting and cinematography to visual effects, screenwriting, and debut filmmaking reveals not just individual achievement but a sustained creative ecosystem that connects Irish artists, production companies, and stories to the highest echelons of international cinema, transforming what might once have been occasional breakthrough moments into an undeniable and consistent force within the industry’s most prestigious recognition. Instagram Youtube [...]
January 7RTÉ has unveiled the full trailer for THESE SACRED VOWS, a darkly comic new series that promises to dissect an Irish wedding weekend gone catastrophically wrong. Written and directed by John Butler, the award-winning Irish screenwriter behind HANDSOME DEVIL and PAPI CHULO, the six-part comedy-drama arrives on RTÉ One and RTÉ Player on February 1st, 2026, bringing with it a murder mystery wrapped in family dysfunction and holiday chaos. The premise is immediately gripping: the morning after an Irish wedding on a sun-drenched Spanish island, the body of a priest is discovered floating face-down in the swimming pool of the young guests’ villa. What unfolds is not a straightforward whodunit but rather a fractured narrative that jumps backward through the wild week leading up to the tragedy, with each episode offering a fresh perspective from a different character. It’s a structure that promises both revelation and misdirection, allowing viewers to piece together what really happened while experiencing the escalating tensions, secrets, and bad decisions that culminated in death. The cast reads like a who’s who of contemporary Irish screen talent. Tom Vaughan-Lawlor, known for his menacing turn in LOVE/HATE and his appearance in AVENGERS: INFINITY WAR and AVENGERS: ENDGAME, plays the ill-fated Fr. Vincent, while Justine Mitchell, memorable from DERRY GIRLS and SMOTHER, takes on the role of Sandra, the mother of the bride navigating what should be the happiest week of her daughter’s life. Jason O’Mara, whose credits include AGENTS OF SHIELD and THE MAN IN THE HIGH CASTLE, plays Jerry, the father of the bride, presumably dealing with his own set of complications as the wedding week spirals. India Mullen, who made strong impressions in NORMAL PEOPLE and SAY NOTHING, appears as Ava, one of the wedding party guests whose perspective will help unravel the mystery. The ensemble extends beyond these central figures to include Adam John Richardson from THE DRY, Aaron Heffernan from BRASSIC, and Mark O’Halloran, the acclaimed writer and actor behind ADAM & PAUL and GARAGE. Comedians Shane Daniel Byrne and Catherine Bohart round out the cast, suggesting the series will lean into its comedic elements even as it grapples with darker themes. Newcomer Isolt Caffrey makes her debut as Karen, one of several characters whose version of events will shape our understanding of the tragedy. Butler’s vision for THESE SACRED VOWS appears to be an exploration of how truth is subjective, filtered through personal biases, selective memory, and self-preservation. By revisiting the same week multiple times from different vantage points, the series can peel back layers of deception and misunderstanding while also finding humor in the absurdity of destination weddings, family obligations, and the particular brand of chaos that emerges when people are removed from their daily lives and thrust into an unfamiliar setting with an open bar and high expectations. The Spanish island setting provides both gorgeous scenery and a pressure-cooker environment where tensions simmer under the Mediterranean sun. The production represents a collaboration between RTÉ, Banijay Rights, and Fís Éireann/Screen Ireland, with Rob Walpole and Rebecca O’Flanagan producing for Treasure Entertainment. Executive producers include RTÉ’s Head of Drama David Crean and Director of Acquisitions and Co-Productions Dermot Horan, alongside Cathy Payne and Simon Cox for Banijay Rights and Kate McColgan for Fís Éireann/Screen Ireland. The involvement of Banijay Rights suggests the series has international ambitions beyond its RTÉ debut, positioning it to reach audiences who have developed an appetite for Irish storytelling through hits like NORMAL PEOPLE, BAD SISTERS, and DERRY GIRLS. With its blend of mystery, comedy, and ensemble drama, THESE SACRED VOWS looks set to offer something fresh in the crowded landscape of prestige television. The wedding setting provides built-in drama, while the murder mystery gives structure and propulsion to what might otherwise be a more meandering character study. Butler’s track record suggests he’ll find both heart and humor in even the darkest moments, and the cast has the range to navigate tonal shifts between farce and tragedy. Whether the series can stick its landing across six episodes remains to be seen, but the ingredients are certainly promising for anyone looking for their next binge-worthy obsession when it arrives this February. Instagram Youtube [...]
January 5Jessie Buckley, the Killarney-born actress whose talent has captivated audiences on both sides of the Atlantic, has claimed the Critics Choice Award for Best Actress for her stunning performance in HAMNET, the historical drama that has emerged as one of the season’s most emotionally resonant films. The twenty-nine-year-old collected her prize at the thirty-first annual Critics Choice Awards ceremony in Santa Monica, California, where comedian Chelsea Handler presided over an evening that celebrated the year’s finest achievements in cinema. Buckley’s triumph represents a significant milestone in a career that has consistently demonstrated her ability to inhabit complex characters with remarkable depth and authenticity. Her acceptance speech revealed the profound impact that working on HAMNET had on her artistic journey, as she paid heartfelt tribute to director Chloé Zhao, whose vision brought Maggie O’Farrell’s acclaimed novel to cinematic life. “Chloe Zhao, you have reminded me of the power of telling a story and the journey that you can go on to touch the deepest parts of what it is to be alive, thank you,” Buckley told the assembled audience, her words underscoring the emotional intensity of the filmmaking experience. She also acknowledged her co-stars, including Irish actor Paul Mescal and the distinguished Emily Watson, with characteristic warmth and humor. “Paul, I bloody love you man. And I know loads of other women do in this room too, but tough shit,” she said, drawing laughter from the crowd while expressing genuine affection for her colleague. HAMNET explores one of the most devastating chapters in William Shakespeare’s life, centering on the playwright and his wife Agnes as they navigate the unbearable grief that follows the death of their eleven-year-old son. The film has been praised for its intimate portrayal of parental loss and its sensitive exploration of how tragedy shaped one of history’s greatest writers, with Buckley’s performance anchoring the narrative with raw emotional power that critics have described as unforgettable. Instagram Youtube [...]
January 4If you only know Jessie Buckley from her recent Oscar-nominated turns, you owe it to yourself to go back to where her cinematic journey truly caught fire. Michael Pearce’s BEAST is not your typical “girl meets bad boy” thriller; it is a primal, mud-flecked descent into the dark side of freedom and the thin line between victimhood and villainy. Set against the rugged, windswept backdrop of the Isle of Jersey, Buckley stars as Moll, a 27-year-old tour guide suffocating under the thumb of her domineering, classist mother (played with frostbitten perfection by Geraldine James). Moll is a character defined by “quiet desperation,” a woman whose internal stability is a fraying rope held together by societal politeness. Everything changes when she meets Pascal (Johnny Flynn), a rugged, mysterious outsider who represents everything her stifling family loathes. Their chemistry is “combustible,” a wild, animalistic attraction that feels as dangerous as the landscape they inhabit. The genius of BEAST lies in its ambiguity. As a serial killer begins targeting young women on the island, Pascal becomes the prime suspect. Moll chooses to defend him, not necessarily because she is sure of his innocence, but because she sees a kindred darkness in him—a “beast” that matches her own. Buckley’s performance is a masterclass in shifting states. She moves between dazed vulnerability and a terrifying, cold-eyed strength that suggests she is a “woman you don’t want to mess with”. Instagram Youtube [...]
January 3Prepare the scoring paddles, put the tanning booth on standby and get ready to shimmy from the couch because DANCING WITH THE STARS is returning for its ninth season with enough razzle-dazzle to light up Ireland’s dreariest winter nights. The show that transformed Sunday evenings into glittering spectacles of sequins, spray tans and surprisingly competent pirouettes is back, and this time there’s a major shake-up at the judging table that has fans buzzing with anticipation. Two-time STRICTLY COME DANCING champion Oti Mabuse has swept onto the panel as head judge, succeeding Loraine Barry who stepped down last September after eight years of score-holding glory. If you somehow missed Mabuse hoisting the glitterball trophy on the BBC’s flagship dance competition with celebrity partners Kelvin Fletcher and Bill Bailey in 2019 and 2020, you might have caught her dispensing verdicts on DANCING ON ICE, offering witty observations as a panellist on THE MASKED DANCER, or roughing it as a campmate on I’M A CELEBRITY…GET ME OUT OF HERE! She joins returning judges Brian Redmond, Arthur Gourounlian and Karen Byrne, creating a panel that promises equal parts technical expertise and entertainment value. Her sister Motsi Mabuse also judges on STRICTLY, making the Mabuse family something of a dance dynasty. Behind the microphone, Laura Fox steps in to co-present alongside Jennifer Zamparelli, filling the sparkly shoes of regular co-host Doireann Garrihy who’s on maternity leave. It’s a temporary arrangement but one that keeps the show’s energy bubbling as contestants stumble through their first rehearsals and eventually glide across the floor with something approaching grace. Since launching in 2017 as the replacement for THE VOICE OF IRELAND, DANCING WITH THE STARS has become one of RTÉ’s most reliable Sunday night draws, even while working with a fraction of the budget that bankrolls STRICTLY COME DANCING, the parent format that spawned this international television phenomenon. Produced for RTÉ by ShinAwiL as part of the broadcaster’s statutory commitment to commission content from Ireland’s independent production sector, the show has proven that you don’t need British Broadcasting Corporation money to create something genuinely beloved. What makes DANCING WITH THE STARS more than just another reality competition is its democratic soul wrapped in rhinestones. The judges’ marks represent only half the battle, with viewers wielding equal power to determine which celebrities waltz confidently into the next week and which must foxtrot sadly home. In the final, the judges step aside entirely and the public vote alone crowns the champion, creating genuine suspense that keeps phones buzzing and group chats aflame with partisan passion. It’s simultaneously a dance competition measuring technical prowess and a popularity contest rewarding personality, creating a delicious tension between merit and likability that fuels water-cooler debates nationwide. But perhaps most importantly for its multigenerational audience sprawled across couches from Cork to Donegal, DANCING WITH THE STARS brings a touch of sparkly, unapologetic fun to Ireland’s drab winter nights when darkness falls before the workday ends and rain seems like a permanent atmospheric condition. It’s escapism in its purest form, a weekly reminder that life doesn’t always have to be serious, that celebrities willing to make fools of themselves in pursuit of a trophy deserve our affection, and that watching someone finally nail a routine they’ve butchered for three consecutive weeks can genuinely lift the spirits. As the ninth season approaches, the formula remains intact: take some famous faces, pair them with professional dancers, add judges who know a fleckeral from a botched lift, let the public weigh in, and watch Ireland fall in love all over again with the simple magic of people learning to dance. Instagram Youtube [...]
January 2When RUN AWAY arrives on screen, adapted from Harlan Coben’s 2019 novel by his frequent collaborator Danny Brocklehurst alongside Tom Farrelly and Amanda Duke, it signals something of a shift in the streaming thriller landscape that Coben has come to dominate with algorithmic precision. This is one of his less bombastic efforts, trading in the usual baroque plot gymnastics for something more harrowing, more grounded in the kind of parental nightmare that doesn’t require secret societies or buried corpses to feel genuinely unsettling. At its center is James Nesbitt as Simon, a father whose daughter Paige has vanished into the undertow of drug addiction, and while the role doesn’t break new ground for an actor who has made a career of playing tormented everymen, it serves as a sharp reminder that few inhabit that particular emotional territory with quite his weathered authenticity. What elevates the proceedings beyond standard missing-person melodrama is the supporting cast, particularly Tracy-Ann Oberman as Jessica, Simon’s lawyer, who brings a magnificently terrifying energy to every scene, and Ruth Jones as private investigator Elena Ravenscroft, all iron fist wrapped in velvet glove, radiating a faint but beautifully calibrated unease that lingers long after she exits the frame. The machinery of plot unfolds across eight episodes in increasingly convoluted but surprisingly well-oiled grooves, each twist engineered to open fresh avenues of intrigue and ensure you’ll return for the next installment, which is precisely how these things are built to function in the streaming era even if we pretend we’ve been unshackled from the tyranny of appointment television. Simon, against the wishes of his wife Ingrid, played by a woefully underused Minnie Driver who spends much of the series comatose in an ICU bed while dialogue so hackneyed it would disgrace CASUALTY plays out above her inert form, continues his secret search for Paige despite the official wisdom that addicts must hit rock bottom before they can be saved. The first episode closes with the kind of calculated revelation that defines Coben’s approach: Paige’s brother at university with her busking guitar stashed in his room, Elena discovering that Henry’s last Instagram post before his alleged two-week holiday came from Paige herself, all those familiar notes of dum-dum-dah that once would have kept us waiting seven days and now simply keep us clicking through to the next hour. We mock the formula even as we submit to it, because Coben has perfected the art of the ratings banker, the dependable machine that converts recognizable faces and competent craft into engagement metrics, and RUN AWAY, for all its modest ambitions and occasionally creaky dialogue, delivers exactly what it promises: a sleek, functional thriller that understands the difference between innovation and reliability, and has long since chosen the latter. Instagram Youtube [...]
January 1SAIPAN arrives in Irish cinemas at a moment when the wounds it depicts have barely begun to heal, bringing to the screen one of the most contentious episodes in Irish sporting history with an urgency that feels almost reckless. The film, directed by Glenn Leyburn and Lisa Barros D’Sa and written by Paul Fraser, doesn’t simply recount the infamous 2002 World Cup bust-up between Ireland’s captain Roy Keane and manager Mick McCarthy—it resurrects it, forces us to live through it again, and dares us to pick a side in a fight that has divided the nation for over two decades. The setup is deceptively simple: Ireland’s national football team gathers on a remote Pacific island on the eve of the 2002 FIFA World Cup, ostensibly to prepare for their moment on the world stage. Keane, portrayed with ferocious precision by Éanna Hardwicke, arrives with a singular mission: to win it all. But what he finds on Saipan is something less than world-class—substandard facilities, a casual approach to preparation, and what he perceives as a fundamental lack of ambition from the Irish Football Association. For a player who has spent his career demanding excellence from himself and everyone around him, it’s intolerable. The tension builds like a pressure cooker until it finally explodes in a confrontation with McCarthy, played with exasperated authority by Steve Coogan, resulting in Keane’s shocking departure from the squad days before the tournament begins. What makes SAIPAN work, and what elevates it beyond mere sports drama, is its refusal to offer easy answers or convenient villains. Fraser’s script imagines the private moments behind closed doors, the conversations that weren’t recorded by journalists or captured on camera, and in doing so creates a portrait of two men locked in an impossible situation of their own making. Keane’s obsessive drive for perfection, his inability to accept anything less than total commitment, crashes headlong into McCarthy’s pragmatic approach to management and his determination to maintain authority over his squad. Neither man is entirely wrong, and neither is entirely right, which is precisely what has made this incident so endlessly debatable in Irish pubs and living rooms for the past twenty years. Hardwicke’s performance as Keane is nothing short of revelatory, capturing not just the footballer’s famous intensity and barely controlled rage but also the wry humor and self-awareness that have always lurked beneath the surface. He doesn’t impersonate Keane so much as inhabit him, finding the humanity in a man often reduced to caricature. Coogan, meanwhile, brings unexpected depth to McCarthy, playing him not as a buffoon or a tyrant but as a man trying to hold together a fractious group while navigating his own insecurities and the impossible expectations of an entire nation. The casting alone makes SAIPAN essential viewing, transforming what could have been a by-the-numbers recreation into something electric and alive. The film currently plays in select Irish theaters before expanding nationwide on New Year’s Day, a release strategy that feels appropriate for a story so deeply embedded in the Irish psyche. This isn’t just about football or even about two men who couldn’t get along—it’s about national identity, about the tension between excellence and pragmatism, about what we demand from our heroes and what we’re willing to forgive. SAIPAN doesn’t resolve these questions because they can’t be resolved, but it earns its place in the conversation simply by treating them with the seriousness and complexity they deserve. More than two decades after the events it depicts, the film proves that some arguments never really end—they just find new ways to be told. Instagram Youtube [...]
December 24The remote Scottish isles have long held a mythic pull in cinema, but few films dare to venture as deep into their stark beauty and isolationist folklore as THE INCOMER, the singular debut from UK director Louis Paxton that will open the Next Section category at the 2026 Sundance Film Festival. With Paris-based Charades boarding world sales, the film arrives with considerable international momentum, anchored by a cast led by Irish actor Domhnall Gleeson and HOUSE OF THE DRAGON’s Gayle Rankin. On an unnamed Scottish island buffeted by wind and myth, siblings Isla and Sandy have carved out an existence that belongs more to ancestral memory than modern life, surviving by hunting seabirds, retelling the stories passed down through generations, and fiercely defending their homeland from what they call “incomers”—outsiders who threaten to dilute or destroy their way of being. Their precarious balance shatters when Daniel, an awkward council worker played by Gleeson, arrives with bureaucratic orders to relocate them, setting off a collision between ancient tradition and contemporary governance. The film’s supporting ensemble includes Grant O’Rourke from OUTLANDER, Emun Elliott of PROMETHEUS, Michelle Gomez known for DOCTOR WHO, and John Hannah, forever etched in memory from FOUR WEDDINGS AND A FUNERAL, lending weight and range to Paxton’s vision of a Scotland rarely seen on screen. What emerges from the synopsis is a story that refuses easy categorization, blending comedy with ecological elegy, myth with bureaucratic absurdity, and the fierce dignity of those who refuse to be erased with the well-meaning but destructive machinery of progress. Paxton’s choice to stage this confrontation on a remote isle, where siblings converse with mythical beings and live according to rhythms older than nations, suggests a filmmaker unafraid to wrestle with questions of belonging, displacement, and what we lose when we prioritize efficiency over rootedness. As THE INCOMER prepares for its world premiere in Park City, it promises to be one of Sundance’s most distinctive offerings, a film that honors the stubborn beauty of those who remain when everyone else has left, and asks whether preservation is worth the cost of isolation. Instagram Youtube [...]
December 23Irish actor Andrew Scott is set to bring one of theater’s most poignant true stories to the screen in ELSINORE, a film that chronicles the final chapter of Scottish actor Ian Charleson’s extraordinary life. Best remembered for his luminous performance in the 1981 classic CHARIOTS OF FIRE, Charleson faced his greatest challenge when he prepared to play Hamlet at London’s National Theatre while battling terminal illness, ultimately delivering what would become his final role before his death in 1990 at just forty years old. Scott, whose recent work in ALL OF US STRANGERS, RIPLEY, and PRESSURE has cemented his reputation as one of contemporary cinema’s most versatile performers, will not only star as Charleson but also serve as producer on the project, bringing both his considerable talent and personal investment to this deeply moving story. Joining him is Olivia Colman, the Oscar-winning actress celebrated for her transformative performances in THE FAVOURITE, THE CROWN, and THE LOST DAUGHTER, who will portray Charleson’s doctor in what promises to be a powerful exploration of the relationship between patient and caregiver during an artist’s most vulnerable moments. Written by Stephen Beresford, who previously crafted the beloved screenplay for PRIDE, and directed by Simon Stone, whose sensitive hand guided THE DIG, ELSINORE emerges from StudioCanal, LD Entertainment, Lucky Red, and Magnolia Mae Films as what producers describe as an inspiring testament to the human spirit’s capacity for greatness even when confronting impossible odds. The production, which will feature an ensemble of acclaimed British actors to be announced as filming approaches, begins shooting on January 5, 2026, following its unveiling at Canal+ Group’s The Original+ showcase in Paris this past Tuesday.  Instagram Youtube [...]
December 22When Bradley Cooper steps behind the camera again in 2025 with IS THIS THING ON?, he’s assembled a cast that reads like a masterclass in understated brilliance. Among the names—Will Arnett, Laura Dern, Amy Sedaris—sits Ciarán Hinds, the Belfast-born actor whose face you know even if his name doesn’t immediately register. Hinds will play Jan in this exploration of divorce and stand-up comedy, a pairing of subjects that promises the kind of uncomfortable humor that lands like a punch to the gut before you realize you’re laughing. For an actor who’s portrayed everyone from Julius Caesar in ROME to the tormented father in BELFAST, from the sinister Steppenwolf in JUSTICE LEAGUE to Albus Dumbledore’s brother in HARRY POTTER AND THE DEATHLY HALLOWS, adding a character named Jan to the repertoire feels almost refreshingly ordinary. Almost. Because with Hinds, nothing is ever quite ordinary. He brings gravity to fantasy, warmth to prestige drama, and a lived-in authenticity that makes you forget you’re watching someone act. His Mance Rayder in GAME OF THRONES felt like a king precisely because he never seemed to be trying to convince you he was one. IS THIS THING ON? marks another chapter in a career that’s been less about headlines and more about the slow accumulation of indelible moments. Cooper, fresh from his ambitious turn with MAESTRO, clearly understands that sometimes the most interesting stories about falling apart require actors who know how to hold themselves together on screen. With Hinds in the mix alongside Arnett’s comic timing, Dern’s emotional precision, and Sedaris’s sharp wit, the film has the ingredients for something that could cut deeper than your typical comedy about life’s wreckage. And in an industry increasingly obsessed with spectacle, there’s something quietly radical about a project that seems content to explore the messy, ordinary devastation of a marriage ending and a comic trying to find the joke in it all. Instagram Youtube [...]
December 20When eighteen-year-old Maud’s father dies, she inherits Knowl, a sprawling country estate that should secure her future, except there’s a catch: she won’t truly control it until she turns twenty-one. Until then, someone must serve as her guardian, and her father’s will names the most unlikely candidate imaginable—Uncle Silas, a man whose very name carries the weight of scandal. The rumors that trail him are dark and persistent: gambling debts that ruined him, a dissolute lifestyle that isolated him from respectable society, and whispers of something far worse, something that might involve murder. He’s lived as a pariah for years, and now he’s coming to Knowl, bringing his family with him. They arrive like a storm cloud: Silas himself, his aimless son Edward, his distracted daughter Emily, and a severe governess who goes only by Madame. What should feel like a house coming alive with new energy instead becomes suffocating, the atmosphere growing heavier with each passing day. Silas presents himself as a kindly uncle at first, all gentle manners and concerned expressions, but the mask doesn’t hold for long. His true agenda crystallizes with chilling clarity—he believes Knowl should be his, that he’s entitled to what his brother left behind, and he has a plan to claim it. The preferred method is simple enough: marry Maud off to Edward, binding the inheritance to the family through matrimony. But there are contingencies, darker options lurking behind his eyes, methods that don’t require anyone’s consent. As the threats escalate and violence enters the equation, something awakens in Maud. She’s not the passive heroine of a typical gothic tale, waiting to be rescued or resigned to being destroyed. The danger ignites something fierce in her, a determination to fight for what’s rightfully hers, to refuse the fate these men have mapped out for her. Family secrets begin to surface, ugly truths that have been buried for years, and with each revelation, Maud’s resolve hardens. By the time she understands the full scope of their intentions, her fury isn’t just justified—it’s righteous, and it’s unstoppable. LIES WE TELL takes Sheridan Le Fanu’s classic novel UNCLE SILAS and transforms it into something urgent and vital for our moment. The original gothic framework is still there—the isolated estate, the vulnerable young woman, the menacing male relatives—but the film refuses to let its heroine remain a victim. Instead, it hands her the tools to fight back, to claim not just her inheritance but her agency, her voice, her very right to determine her own future. This is Gothic literature seen through a feminist lens that refuses compromise, a story where the woman in peril becomes the woman who refuses to perish, who takes her fortune and her fate into her own hands and dares anyone to try and stop her. Instagram Youtube [...]
December 19When Colin Farrell and Jessie Buckley sit down together, they’re practically strangers, but something shifts in the air almost immediately—the conversation plunges into depths that feel inevitable, as if the weight of what they’ve been carrying on screen demands to be acknowledged. Both Irish, both navigating the kind of roles that leave marks, they find themselves in that rare space where small talk feels impossible and honesty becomes the only currency worth trading. Farrell has spent his year inhabiting the unraveling psyche of an addict in Edward Berger’s BALLAD OF A SMALL PLAYER, set against the neon-soaked backdrop of Macau, where his character exists in a perpetual state of financial and emotional freefall, grasping at connection with a credit broker played by Fala Chen even as everything else slips through his fingers. Buckley, meanwhile, has endured something different but equally devastating in Chloé Zhao’s HAMNET, where she embodies Agnes Shakespeare, an imagined version of William’s wife, and walks through the unbearable aftermath of losing her son—her grief made all the more complex and wrenching when she discovers that her husband has transformed their tragedy into his greatest work, turning their private anguish into public art. It’s this tension between suffering and creation, between living through pain and witnessing it transmuted into something that might outlast them both, that seems to hover between Farrell and Buckley as they talk. Agnes is horrified at first, then slowly moved, forced to reckon with the uncomfortable truth that art can be both an act of theft and an act of preservation, that it can feel like betrayal and tribute at once. And perhaps that’s what draws these two actors together despite their unfamiliarity—they both understand, in their bones, what it means to offer yourself up to a story that asks for everything, to let yourself be emptied out in service of something larger, and to trust that there’s power in that emptying, that art really can reach across time and circumstance to touch something true in whoever encounters it. Instagram Youtube [...]
December 12In a recent conversation with Drew Barrymore, actor Andrew Scott shared intimate details about his journey from childhood challenges to becoming one of Hollywood’s most beloved performers. Before his acclaimed career, Scott faced a significant speech impediment as a child. While doing commercials, he struggled with a pronounced lisp that required rigorous treatment. He underwent speech therapy that included practicing difficult tongue-twisters like “seashells, seashells on the seashore” to overcome the impediment. Scott discussed his collaboration with Phoebe Waller-Bridge on FLEABAG, which swept awards seasons and earned him the nickname “hot priest.” He attributed the character’s appeal more to the fantasy of the forbidden priest trope than to himself personally, crediting the great chemistry he shared with Waller-Bridge. The most profound part of the interview addressed filming WAKE UP DEAD MAN: A KNIVES OUT MYSTERY just six weeks after his mother’s sudden death. She passed within 24 hours of becoming ill and was someone Scott described as his best friend and hero. He initially doubted whether he could proceed with filming but ultimately decided to continue. His castmates provided extraordinary support during this difficult period. Scott described how grief manifested physically—he would fall asleep during breaks from sheer exhaustion. The experience challenged Hollywood’s cold reputation and reinforced his belief that actors, despite their quirks, are fundamentally in the “empathy game.” His colleagues’ compassion during this period left him deeply grateful and reminded him why actors have been his greatest friends throughout his career. Instagram Youtube [...]
December 6Eve Hewson’s journey to becoming Daphne, the haunting face from Jay’s past, began years ago when she landed her first major role in Paolo Sorrentino’s THIS MUST BE THE PLACE, a Sean Penn star vehicle that set her on a path through acclaimed projects like the Peabody Award-winning BAD SISTERS, THE PERFECT COUPLE, FLORA & SON, THE LUMINARIES, BEHIND HER EYES, THE 27 CLUB, TESLA, THE KNICK, and Steven Spielberg’s upcoming untitled science fiction film. Now she appears in Noah Baumbach’s JAY KELLY, a deceptively simple title for a film that pretends to be about Hollywood but reveals itself as something far more universal. Baumbach, who directed and co-wrote with Emily Mortimer, insists that making a movie about an actor means inherently making a movie about identity and performance itself, about how we remeet and redefine ourselves as we accumulate experience and perhaps wisdom, externalizing what is fundamentally a human struggle through the clear metaphor of an actor’s life. George Clooney embodies this struggle as Jay Kelly, a man in the later years of his career who finds himself confronting an uncomfortable truth: he may not have been such a great friend or father, having devoted himself instead to being really good at being a movie star. Daphne becomes the ghost who forces him to reckon with that past, a reminder of all the people and moments he left behind in his single-minded pursuit of fame, and in her presence Jay must finally face the difference between the persona he’s perfected and the person he’s neglected to become. Instagram Youtube [...]
December 5There’s something haunting about the way the past refuses to stay buried, the way it surfaces decades later in the canals of Amsterdam, reflected in water that won’t stay still. Focus Features has just dropped the trailer for MIDWINTER BREAK, adapted from Bernard MacLaverty’s novel, and it promises to be one of those quiet devastations that lingers long after the credits roll. Lesley Manville and Ciarán Hinds embody Stella and Gerry, a retired couple whose winter escape to Amsterdam becomes anything but the peaceful getaway they might have envisioned. Instead, the city’s beauty becomes a backdrop for reckoning, a place where troubled memories rise like ghosts they can no longer outrun. The film positions itself as a meditation on faith, commitment, and love’s stubborn endurance, but the trailer hints at something darker underneath all that devotion. “A day they can’t forget. A truth they can’t escape,” the tagline warns, and you can feel the weight of those words in every frame. The memories troubling this couple aren’t just personal regrets or marital disappointments, they’re clearly tied to The Troubles in Ireland, that brutal period of sectarian violence that scarred generations. Whatever happened back then, whatever debt is owed, it’s followed them across decades and across the North Sea to Amsterdam’s seemingly serene streets. Julie Lamberton and Ed Sayer appear as the younger versions of Stella and Gerry in flashbacks, and you sense that these glimpses into the past will gradually illuminate the shadows that have shaped this marriage. The trailer showcases Amsterdam in all its golden-hour glory, those iconic bridges and gabled houses, the play of light on ancient water, but all that beauty feels bittersweet when you realize it’s the setting for a truth finally demanding to be faced. There’s something almost cruel about how gorgeous it all looks, as if the world’s loveliness makes the pain of what they’re confronting even sharper. What makes MIDWINTER BREAK so compelling, even just from the trailer, is how it refuses easy answers about love and loyalty. This isn’t a story about whether they stay together or fall apart, it’s about the cost of staying together, about what we carry for each other and what that carrying does to us over time. The film seems to ask whether love can survive not just the passage of years but the weight of shared history, especially when that history is stained with violence and loss. Can a marriage endure when it’s built on foundations that include tragedy, complicity, or secrets that have calcified into the very structure of who they are together? The sadness that creeps in while watching the trailer isn’t just about anticipating their revelation, it’s about recognizing that sometimes learning the truth about a relationship means confronting how much has been left unsaid, how much has been sacrificed or suppressed in the name of keeping going. Amsterdam becomes a kind of crossroads where the past and present finally collide, where the life they’ve built together has to stand up against the memories they’ve tried to leave behind. The city’s beauty only amplifies the tragedy of what they’re facing, making their crisis feel both intimate and somehow universal, a reminder that no one gets through a long life, or a long love, without accumulating wounds that never fully heal. Instagram Youtube [...]
December 3Your first look at Harlan Coben’s latest Netflix thriller has arrived, and it promises to unravel the dark secrets lurking behind closed doors. RUN AWAY launches January 1, 2026, continuing Coben’s tradition of kicking off the new year with edge-of-your-seat mysteries, following in the footsteps of MISSING YOU and FOOL ME ONCE. James Nesbitt, fresh from his starring role in MISSING YOU, returns to Coben’s twisted universe as Simon, a man whose seemingly perfect existence shatters when his eldest daughter Paige vanishes into the darkness. What makes a family? What secrets do we bury to protect the people we love, and what lies do we tell ourselves to keep everything from falling apart? These are the questions at the heart of RUN AWAY, an eight-episode limited series adapted from Coben’s 2019 novel. Coben himself frames it perfectly: every time you walk past a house, there’s an entire universe unfolding behind that door, and none of us have the slightest clue what’s really happening inside. Simon thought he had it all—the loving wife, the beautiful children, the career, the picture-perfect home. Then Paige ran away, and his carefully constructed world collapsed like a house of cards. When Simon finally finds his daughter vulnerable and strung out on drugs in a city park, it feels like a second chance, an opportunity to bring his little girl home and piece their shattered family back together. But Paige isn’t alone, and what begins as a desperate attempt at rescue explodes into shocking violence that changes everything. In the aftermath, Simon loses his daughter all over again, and his desperate search to find her will drag him into a dangerous underworld he never knew existed. The deeper he digs, the more he uncovers—untold violence, buried truths, and revelations that threaten to blow his family apart for good. Nesbitt leads an impressive ensemble cast including Ruth Jones, Minnie Driver, Alfred Enoch, and Lucian Msamati, all of whom appear in the newly released images that tease the thriller’s dark atmosphere and emotional intensity. The series promises to deliver everything fans have come to expect from Coben’s Netflix adaptations: twists that leave you reeling, family dynamics that feel uncomfortably real, and the creeping realization that the people closest to us might be the ones we know the least. This mystery is only just beginning, and when it arrives on New Year’s Day 2026, prepare to question everything you think you know about the secrets families keep. Instagram Youtube [...]
December 2The Hollywood Reporter has unveiled something extraordinary: behind-the-scenes imagery from STEVE, captured by none other than Sir Don McCullin, the legendary British photojournalist whose lens has witnessed some of history’s most harrowing moments. At ninety years old, McCullin has declared this Netflix drama his final film project, a fitting capstone to a career that has included just a handful of cinematic ventures—most notably Michelangelo Antonioni’s BLOW-UP in 1966 and Ridley Scott’s BLACK HAWK DOWN in 2001. Directed by Tim Mielants and written by Max Porter, STEVE reimagines Porter’s best-selling novel “Shy” through the story of a single pivotal day. Cillian Murphy embodies the title character, a head teacher navigating the crushing pressure of leading a last-chance reform school while battling to keep its doors open and his own mental health intact. The performance arrives on the heels of Murphy’s career-defining turn in OPPENHEIMER, though as the actor himself explained, the transition wasn’t calculated strategy but rather immediate necessity—as soon as the awards season ended, production on STEVE began. The film operates on parallel tracks, following Steve’s deteriorating composure while simultaneously tracking Shy, a troubled teenager played by Jay Lycurgo, who took home a BIFA award for the role. Shy exists in the precarious space between his damaged past and an uncertain future, wrestling with the contradiction between inner vulnerability and outward violence. The ensemble surrounding these central figures includes powerhouse talents like Tracey Ullman, Simbi Ajikawo, and Emily Watson, all captured in McCullin’s reportage-style photography during several days spent documenting the production. McCullin’s approach to these behind-the-scenes images deliberately references the aesthetic of his earlier conflict photography, bringing that same unflinching documentary eye to the process of filmmaking itself. The result offers something beyond typical promotional photography—these are images that carry the weight of witness, the same quality that made McCullin’s Vietnam War, Troubles, and Falklands War photographs historical documents of profound significance. That he chose STEVE as his cinematic farewell speaks to something essential in the material, a recognition perhaps that the battles fought in reform school corridors and within fractured psyches deserve the same serious attention he once gave to warzones. After its world premiere at the Toronto International Film Festival, STEVE arrived on Netflix on October 3rd, bringing Porter’s intimate character study to a global audience. The collaboration between Murphy’s quietly devastating performance, Mielants’ direction, Porter’s adaptation of his own novel, and McCullin’s photographic documentation creates something that exists both as film and as artifact—a record of artistic creation captured by someone who spent a lifetime recording history as it happened. Instagram Youtube [...]
December 1The Disney+ period comedy-drama RIVALS has claimed the top honor at this year’s International Emmy Awards, taking home the prize for best drama series in a ceremony that celebrates television excellence from productions originating outside the United States. The series, adapted from Jilly Cooper’s beloved bonkbuster novels, features Irish actors Aidan Turner and Victoria Smurfit among an ensemble cast that includes David Tennant, Katherine Parkinson, and Danny Dyer. Set against the backdrop of the 1980s, RIVALS follows a group of wealthy media figures navigating ambition, rivalry, and scandal in an era of excess and transformation. The show became an unexpected hit following its October 2024 release, captivating audiences with its sharp wit, sumptuous production design, and deliciously soapy storytelling. The series’ success has already secured its future, with a second season announced in August that will welcome Rupert Everett, known for MY BEST FRIEND’S WEDDING, and Hayley Atwell of AGENT CARTER into the fold. The International Emmy win solidifies RIVALS as a standout achievement in international television, proving that period drama with a contemporary edge can still capture the cultural zeitgeist and resonate with viewers hungry for glamorous escapism wrapped in biting social commentary. Instagram Youtube [...]
November 29Maria Doyle Kennedy has spent decades moving fluidly between music and screen, building a career that refuses to stay in one lane. Born in 1964, she grew up across Dublin, Enniscorthy, and Bray, eventually channeling her artistic energy into both song and performance. After cutting her teeth in several bands, she took control of her musical destiny in 2000 by founding a record label with her husband, Kieran Kennedy. Since then, she’s released eleven solo albums, with her most recent, Fire on the Roof of Eden, arriving in 2021 to showcase her enduring voice and songwriting craft. But Kennedy’s reach extends far beyond the recording studio. Her acting career spans over fifty films and television series, and she’s become a recognizable presence on screen for audiences around the world. She made an early mark in THE COMMITMENTS, the beloved 1991 film that captured Dublin’s soul music scene, and later delivered memorable performances in period dramas like THE TUDORS, where she portrayed Catherine of Aragon with quiet strength. More recently, she’s appeared in KIN, the Irish crime drama that brought her talents back to home soil, proving that whether she’s working in historical epics or contemporary thrillers, Kennedy brings an authenticity that grounds every project she touches. It’s this dual commitment to music and acting, maintained across decades, that makes her one of Ireland’s most versatile and enduring artists. In a brand new interview with The Irish Examiner, Maria outlines the artists and art that formed her creative palette. Read the full “Culture That Made Me” list HERE. Instagram Youtube [...]
November 27Paul Mescal is proving once again why he’s one of the most compelling actors of his generation. Fresh from his Oscar nomination, the Irish star is taking on two vastly different but equally challenging roles that showcase his remarkable range and dedication to his craft. In his latest appearance on TODAY, Mescal opened up about portraying William Shakespeare in the upcoming film HAMNET an adaptation that explores the profound personal tragedy behind one of the Bard’s most celebrated works. The film delves into the story of love, loss, and grief that inspired Shakespeare’s creative genius. “There’s a lot of love at the center of it, which I think adds to the heartbreak,” Mescal explained, capturing the emotional core of the project. The film focuses on the devastating loss that shaped not just Shakespeare as a man, but as an artist whose work would endure for centuries. Rather than simply presenting Shakespeare as the literary icon we know from history books, HAMNET offers an intimate portrait of a husband and father grappling with unimaginable pain. This humanizing approach aligns perfectly with Mescal’s strength as an actor—his ability to convey deep vulnerability and complex emotion with subtlety and authenticity. As if embodying one of history’s greatest writers wasn’t enough, Mescal is also preparing to step into the shoes of another legend: Paul McCartney. The upcoming Beatles biopic represents a different kind of challenge entirely, requiring Mescal to master new skills that are essential to capturing the essence of the iconic musician. During his TODAY interview, Mescal discussed the unique demands of the role, particularly learning to play guitar left-handed—a necessity for authentically portraying the left-handed McCartney. This level of commitment demonstrates Mescal’s approach to his craft: nothing short of complete immersion. Beyond the instrumental work, Mescal will also be singing, channeling McCartney’s distinctive voice and the musical magic that defined an era. The pressure to get it right is undoubtedly immense, given the Beatles’ legendary status and the generations of devoted fans who know every note by heart. What makes Mescal’s current trajectory so fascinating is the sheer variety of roles he’s choosing. From his breakout performance in NORMAL PEOPLE to his recent work in projects like AFTERSUN and GLADIATOR II, he has consistently sought out complex, challenging characters that push him as an artist. The leap from Shakespeare to McCartney—from Elizabethan tragedy to 1960s rock and roll—demonstrates an actor unafraid to stretch himself across genres, time periods, and performance styles. Both roles require deep research, physical transformation, and emotional authenticity, yet they couldn’t be more different in their demands. With both HAMNET and the McCartney biopic on the horizon, Paul Mescal’s star continues to rise. His willingness to take risks, combined with his natural talent and work ethic, suggests that his Oscar nomination is just the beginning of what promises to be a remarkable career. Audiences can look forward to seeing Mescal bring these two iconic figures to life with the same depth and sensitivity that has become his trademark. Whether he’s exploring the grief-stricken heart of Shakespeare or capturing the youthful energy of a Beatle, one thing is certain: Paul Mescal will give it everything he has. Instagram Youtube [...]
November 22There’s something profoundly fitting about the opening image of Clint Bentley’s TRAIN DREAMS: Robert Grainier, played with weathered grace by Joel Edgerton, stares pensively through a train window, watching America roll past in all its raw, unfinished beauty. He’s a logger by trade, one of countless men who helped stitch this country together with railroad ties and steel, and that window becomes a kind of metaphor for the film itself—a frame through which we glimpse a life lived in motion, always between places, always between moments of connection and stretches of profound solitude. Robert’s work takes him away from his wife, portrayed by Felicity Jones, and their infant daughter for long, aching periods. It’s the kind of sacrifice men of that era made without question, trading proximity for purpose, presence for provision. But the calculus of such choices shifts irrevocably when a devastating forest fire tears through the community the Grainiers call home. What was once a simple life, anchored by the promise of return, becomes something else entirely—something marked by absence and the terrible weight of what can be lost in an instant. TRAIN DREAMS belongs to that increasingly rare category of Hollywood filmmaking: the quiet, cerebral meditation that refuses to announce its emotional devastation with swelling scores or theatrical confrontations. This is a film that trusts stillness, that understands how grief and resilience don’t always manifest in grand gestures but in the small, persistent acts of continuing forward. The impact doesn’t hit you in the theater—it follows you home, settles into your thoughts days later, surfaces unexpectedly when you’re doing something completely unrelated. That’s the sign of a film that’s burrowed beneath your defenses. What makes the story resonate so deeply is the constellation of supporting performances that orbit Edgerton’s central turn. William H. Macy appears as an old-timer on Robert’s crew, bringing decades of lived experience into every wrinkled expression. Kerry Condon shows up as a forestry services worker, and even in her brief screen time, she carries a kind of practical empathy that feels quintessentially American—the recognition that survival often depends on the kindness of near-strangers. Clifton Collins Jr. plays one of Robert’s only friends, and their scenes together have the easy rhythm of men who’ve learned to communicate more in what they don’t say than in the words they actually speak. And Jones, though her role is limited by the constraints of the story itself, provides the gravitational center around which Robert’s entire existence revolves. These actors don’t dominate the screen—they can’t, given their limited appearances—but each brings an unmistakable weight that allows us to understand Robert as more than a solitary figure enduring hardship. They help us see him as a man embedded in a network of relationships, however fragile or temporary, who lived not in isolation but in connection with others who were similarly trying to carve out meaning from the unforgiving landscape of early twentieth-century America. Condon’s performance, in particular, deserves special attention. There’s a specificity to how she inhabits her character, a woman working in what was undoubtedly a male-dominated field, who has learned to move through the world with both competence and caution. She doesn’t need lengthy monologues to establish her character’s depth—it’s there in her posture, in the way she assesses situations before speaking, in the particular quality of her attention when she listens to Robert. Condon has built a career on these kinds of precisely calibrated performances, where restraint becomes its own form of eloquence. In TRAIN DREAMS, she contributes to the film’s larger meditation on how we witness each other’s lives, how we show up for one another in moments of crisis, and how sometimes the most meaningful connections are the ones we don’t expect or fully understand until much later. Instagram Youtube [...]
November 21The Palm Springs International Film Awards has revealed that Focus Features’ HAMNET will receive the prestigious Vanguard Award this January, recognizing the collective achievement of a film’s cast and director when their collaboration produces something truly exceptional. Director Chloé Zhao, along with actors Jessie Buckley and Paul Mescal, are all expected to attend the ceremony on January 3, 2026, at the Palm Springs Convention Center, with the festival itself running from January 2 through 12. Presented by Kering and sponsored by Entertainment Tonight, the event promises to celebrate one of the year’s most emotionally powerful cinematic experiences. The Academy Award-winning Zhao brings her distinctive sensibility to this adaptation of Maggie O’Farrell’s celebrated novel, crafting a deeply observed meditation on love’s fragility and art’s capacity to transform suffering into transcendence. The film traces the relationship between an impoverished Latin tutor named William Shakespeare and the free-spirited Agnes, whose passionate attraction ignites a torrid affair that evolves into marriage and a family with three children. Their bond faces its greatest test when William’s theatrical ambitions pull him toward London’s stages while Agnes remains behind, shouldering the weight of domestic life alone. When devastating tragedy strikes their family, the couple’s once-unshakeable connection fractures under grief’s unbearable pressure, yet from this shared anguish emerges the raw emotional material that will eventually crystallize into Shakespeare’s immortal masterpiece, HAMLET. Festival Chairman Nachhattar Singh Chandi emphasized the profound honor of presenting this year’s Vanguard Award to HAMNET, calling it one of the most resonant films of the year and praising Zhao for bringing such weighty subject matter to the screen with remarkable grace. The extraordinary performances delivered by Buckley and Mescal establish the film’s deeply human core, grounding its exploration of artistic genius in the messy, painful reality of lived experience. The recognition celebrates HAMNET’s exceptional achievement in cinematic storytelling, acknowledging how it transforms a historical footnote into something universal and achingly immediate, revealing how the greatest art often emerges from our deepest wounds. Instagram Youtube [...]
November 20Netflix has quietly dropped a crime drama that deserves far more attention than it’s getting, and if you’re someone who lives for the slow burn of a well-crafted detective story, you need to stop what you’re doing and add MR MERCEDES to your queue immediately. Originally airing on the now-defunct Audience Network back in 2017, this adaptation of Stephen King’s Bill Hodges trilogy has finally found its way to streaming, bringing with it a 91 percent Rotten Tomatoes score and the kind of dark, methodical tension that makes truly great detective fiction unforgettable. At its core, MR MERCEDES follows retired detective Bill Hodges, a man who should be enjoying his golden years but instead finds himself psychologically terrorized by the one case he couldn’t close. A serial killer begins sending him letters and emails, taunting him about a horrific crime in which a stolen Mercedes was deliberately driven into a crowd of innocent people. What starts as psychological warfare soon escalates into something far more dangerous, forcing Hodges out of retirement and into a crusade that blurs the line between justice and obsession. The Netflix description puts it simply but effectively: a retired detective haunted by a deadly unsolved crime hunting for the merciless killer behind an intentional act of mass violence. What elevates MR MERCEDES beyond standard crime procedural fare is its cast, a collection of actors who bring genuine weight to material that could easily veer into melodrama in lesser hands. Brendan Gleeson, fresh off his acclaimed performance in THE BANSHEES OF INISHERIN, anchors the series as Hodges, delivering the kind of lived-in, weary performance that makes you believe every mistake and regret etched into his character’s past. Opposite him, Harry Treadaway from PENNY DREADFUL takes on the role of Brady Hartsfield, the killer whose cat-and-mouse game with Hodges forms the show’s dark heart. Holland Taylor, known for her work in TWO AND A HALF MEN, appears as Ida Silver, while Justine Lupe, who would later gain recognition in SUCCESSION, plays Holly Gibney, a character King fans will recognize as one of his most enduring creations. Stephen King adaptations are notoriously hit or miss, with Hollywood’s track record ranging from the sublime to the unwatchable, but MR MERCEDES belongs firmly in the former category. The series understands what makes King’s crime writing work, the way he burrows into the psychology of both hunter and hunted, the unglamorous reality of detective work, and the toll that violence takes on everyone it touches. This isn’t a show about flashy forensics or last-minute twists, though it has its share of shocking moments. Instead, it’s about obsession, guilt, and the impossible question of whether you can ever really leave your work behind when your work involves staring into the darkest corners of human nature. For anyone who’s been craving something with more substance than the typical Netflix true crime docuseries or formulaic procedural, MR MERCEDES offers something richer and more unsettling. It’s a show that takes its time, that lets tension build in the spaces between conversations, that trusts its audience to stay invested even when the pace slows to a crawl. The fact that it comes from King’s source material is almost a bonus, what matters is that it’s simply excellent television that somehow slipped under the radar during its original run and now deserves a second chance to find the audience it should have had all along. Instagram Youtube [...]
November 19The trailer has finally dropped for WAKE UP DEAD MAN: A KNIVES OUT MYSTERY, and it promises to deliver everything fans have been craving from this beloved franchise. Daniel Craig returns once again as the impeccably accented detective Benoit Blanc, bringing his signature blend of charm and razor-sharp deduction to yet another impossible case. But this time around, the ensemble cast reads like a masterclass in contemporary cinema, with two particular additions that should have audiences especially excited: Andrew Scott and Daryl McCormack are joining the mystery. The setting shifts from the sprawling estates and tech billionaire retreats of previous films to something altogether more intimate and unsettling: a small town’s religious community. When young priest Jud Duplenticy, played by Josh O’Connor, arrives to assist the magnetic and controversial Monsignor Jefferson Wicks, portrayed by Josh Brolin, he immediately senses that something sinister lurks beneath the surface of this seemingly devout congregation. The flock itself is a fascinating cross-section of small-town life, from Glenn Close as the pious Martha Delacroix to Thomas Haden Church as the watchful groundskeeper Samson Holt. Kerry Washington appears as the tightly wound lawyer Vera Draven, while McCormack plays her brother Cy, a man with political ambitions. Rounding out this intriguing collection of suspects are Jeremy Renner as the town doctor Nat Sharp, Scott as bestselling author Lee Ross, and Cailee Spaeny as concert cellist Simone Vivane. The murder itself arrives suddenly and defies explanation, an impossible crime that leaves local police chief Geraldine Scott, played by Mila Kunis, completely stumped. With no obvious suspect and a crime scene that seems to defy the laws of logic itself, she does what anyone would do when faced with the inexplicable: she calls in Benoit Blanc. What follows promises to be another labyrinthine puzzle filled with the sharp dialogue, unexpected twists, and social commentary that have made the KNIVES OUT films such critical and commercial darlings. Director Rian Johnson has proven he understands how to craft a modern murder mystery that honors the genre’s traditions while subverting expectations at every turn, and this third outing looks to continue that winning formula. The release strategy follows the now-familiar pattern for major Netflix releases, with WAKE UP DEAD MAN: A KNIVES OUT MYSTERY arriving in select cinemas on November twenty-sixth before making its streaming debut on December twelfth. It’s a brief theatrical window, but one that should give audiences the chance to experience this whodunit on the big screen, where every suspicious glance and carefully planted clue can be savored in all its glory. Mark your calendars, because Benoit Blanc is back, and this time the mystery is steeped in secrets that not even prayer can absolve. Instagram Youtube [...]
November 18Gabriel Byrne commands attention the moment he enters a room, and when he settled into THE LATE LATE SHOW studio fresh from Cork’s International Film Festival, the 75-year-old actor brought with him three decades of gravitas earned since THE USUAL SUSPECTS catapulted him into cinema’s permanent consciousness. Before heading west to the Dingle Literary Festival, Byrne sat down to discuss everything from American politics to the Irish soul, delivering the kind of passionate, unfiltered commentary that has defined his extraordinary career. Politics ignited the conversation immediately. His criticism of Donald Trump has been well documented, but on this Friday night, he channeled his hopes into Zohran Mamdani, who he insists represents genuine hope for ordinary Americans. “It’s time for the old guard in the Democratic Party to move on,” Byrne declared. “The reality is, I think they have lost, did quite a long time ago, lost touch with the American working class, who are really disillusioned.” Mamdani, in Byrne’s view, stands against the bankers, billionaires, captured politicians, and Silicon Valley titans who wield unprecedented power over our lives. When host Patrick Kielty produced a 1989 photograph showing Byrne campaigning alongside Michael D. Higgins, the actor’s face softened with admiration. “I think we were absolutely blessed in having such a magnificent President, a representative of our country, a poet, a public intellectual, a campaigner,” he said. Of Ireland’s new president, Catherine Connolly, Byrne praised her empathy, compassion, and intelligence. “We’ve been very lucky, really, in terms of the presidents that we’ve had, Mary McAleese, Mary Robinson,” he reflected, before adding, “sometimes I wish we’d vote that way when it came to the general elections.” Would he himself ever consider entering politics? Byrne’s answer revealed something fundamental about the independence that has shaped his life. “I could never belong to a party. The older I get, the more I value independence.” That independence has served him well across his remarkable body of work, which continues to expand with vigor. Having portrayed Samuel Beckett in DANCE FIRST (2023), capturing Ireland’s most enigmatic literary genius, Byrne went on to appear as Enzo Ferrari in LAMBORGHINI: THE MAN BEHIND THE LEGEND (2023), starred in the romantic Irish drama FOUR LETTERS OF LOVE (2024), and took on a role in this year’s BALLERINA, set within the JOHN WICK universe. These recent projects sit alongside earlier work like his chilling turn in HEREDITARY and MURDER AT YELLOWSTONE CITY, demonstrating an actor who refuses to be confined by genre or expectation. But it was when the conversation turned to storytelling and Irish culture that Byrne truly came alive. The actor traced a direct line from Ireland’s colonial past to its present creative power, arguing that oppression paradoxically strengthened the nation’s imaginative capacity. “I think, you know, because of colonialism, our culture was suppressed, buried, denied, and we went underground, and we went into an oral tradition where poems were passed from one person to another, stories were told around the fireside,” he explained. “That was a form of theatre. And what was in play there was the imagination.” “We’ve always retained this power of imagination and the power to tell a story,” Byrne continued. “When Irish people are on their game and you get a good storyteller, there’s nobody quite like them.” He invoked Oscar Wilde’s claim that the Irish are the greatest storytellers since the Greeks, calling it Ireland’s “soft power” that radiates outward to touch the entire world. “We’re a nation that people look to and respect and admire, and we have so much to offer.” Then came the challenge, the moment when Byrne’s passion crystallized into something approaching a manifesto. “Retain the Irish character,” he urged. “Speak our own language.” He identified one of colonialism’s cruelest legacies: the shame it instills in the colonized, making them feel their own culture is something to hide rather than celebrate. But something has shifted, Byrne insisted. “I think we are coming into a place now where we are beginning to—at last—embrace the richness and the power of our own culture, and we don’t have to look anywhere else to get it.” Three decades after THE USUAL SUSPECTS, Gabriel Byrne remains as committed to the power of storytelling as ever. He stands as living proof of what Irish culture can produce when given the space to flourish: artists who refuse to compromise, who value independence above all else, and who understand that the most powerful act is simply telling the truth about who you are and where you come from. Instagram Youtube [...]
November 17Paul Mescal was lying in a hotel bed in Australia, fresh out of quarantine, when he first read THE HISTORY OF SOUND. It was just before Christmas, and he’d been shooting Benjamin Millepied’s CARMEN when the script arrived. Alone and restless, he started reading, and before long he was crying. There’s a scene, he remembers, barely an eighth of a page, where the older version of Lionel eats tinned peaches straight from the can, and it destroyed him completely. He thought it was a perfect screenplay, and the fact that it was Ben Shattuck’s first made it all the more remarkable. He wanted the film made immediately, which makes him laugh now because what he learned, of course, is that films don’t get made overnight. For audiences, Mescal’s shift from vengeful gladiator to gentle introspective folklorist might seem like a leap, but to him it was a straight line. He says it’s the longest he’s ever lived with a character, having read the script in 2020, and he’s never walked onto a set understanding someone as well as he understood Lionel. There was excitement in that and pressure too. GLADIATOR II was a totally different physical undertaking, he explains, laughing about how in the last two weeks of shooting he was on a treadmill for three hours a day trying to lose the frame he’d built, but in terms of where he feels most at home, characters like Lionel are definitely closer to him. Mescal has become known for roles that allow him to express vulnerability, in AFTERSUN, NORMAL PEOPLE, and Chloé Zhao’s forthcoming HAMNET, but THE HISTORY OF SOUND may be the most space he’s been given yet for that quality. Over the last five years he’s been able to become increasingly selective, and his Academy Award nomination for AFTERSUN changed the practical realities of his career. Oscar nominations are great for getting films off the ground, he says, but he hasn’t really had time to reflect on how it’s changed him as a person. He’s more comfortable knowing himself as a performer, though he’d be wary of any actor claiming they know themselves better because of success. He finds out a lot about himself while playing a character, he says, and then forgets it immediately because you’re trying to figure out something else about somebody else’s psychology. Central to the film is the music itself, a blend of traditional American folk styles, most now obscure except for songs like “Silver Dagger”. Mescal, O’Connor and Hermanus worked with singer-songwriter Sam Amidon, whose voice blends with theirs throughout the film, alongside performances by a range of folk artists whose songs the characters record on their travels. The act of David recording and Lionel transcribing is, Mescal says, almost like a romantic exchange. Instagram Youtube [...]
November 14For more than two decades, Domhnall Gleeson has carved out one of the most diverse and compelling careers in contemporary cinema. The Irish actor has moved seamlessly between fantasy blockbusters and intimate character studies, between comedy and horror, between the familiar warmth of time-traveling romance and the cold brutality of frontier survival. In a recent episode of “For the Record,” Gleeson opened up about the experiences that have defined his journey, from the magic of the HARRY POTTER set to the punishing shoot of THE REVENANT, offering rare glimpses into what it takes to inhabit such wildly different worlds. Then came STAR WARS: THE FORCE AWAKENS, and with it, General Hux, a character that would become one of the sequel trilogy’s most memorable antagonists. Gleeson brought a seething intensity to the First Order’s fanatical young general, a true believer in authoritarianism whose barely controlled rage made him both ridiculous and genuinely threatening. His delivery of Hux’s Nuremberg-style rally speech remains one of the trilogy’s most chilling moments, a reminder that evil often announces itself with theatrical conviction. The role required him to embrace villainy without camp, to find the human pettiness and ambition beneath the Nazi-inspired uniform, and he did so with magnetic commitment across multiple films. Perhaps his most physically demanding role came with THE REVENANT, where he joined Leonardo DiCaprio, Tom Hardy, and director Alejandro González Iñárritu in one of the most grueling productions in recent film history. Shot in brutal natural conditions using only natural light, the film tested everyone involved, and Gleeson has been candid about the challenges of working in freezing temperatures, the endless takes, and the uncompromising vision that drove Iñárritu’s approach. Playing Captain Andrew Henry, the pragmatic leader trying to guide his men through a hostile wilderness while navigating the moral complexities of frontier justice, Gleeson held his own alongside some of cinema’s most intense performers. The film’s commitment to authenticity meant real cold, real exhaustion, real discomfort, all in service of creating something visceral and unforgettable. In recent years, Gleeson has continued to demonstrate his versatility across both television and film. His turn as Sam Fortner, a serial killer, in the FX psychological thriller series THE PATIENT opposite Steve Carell earned him Golden Globe and Critics Choice nominations, showcasing his ability to inhabit deeply disturbing characters with nuance and complexity. He followed that with a portrayal of John Dean in the satirical political miniseries WHITE HOUSE PLUMBERS, bringing his talents to the realm of historical drama and political satire.  Instagram Youtube [...]
November 11The adaptation of Co Down author Louise Kennedy’s bestselling novel has arrived as one of 2025’s most anticipated television events, bringing together the filmmaking team behind BROOKLYN and AN EDUCATION to craft a forbidden romance set against the violent backdrop of Northern Ireland’s Troubles. The four-part drama TRESPASSES, which completed filming in Belfast this past December, tells the story of Cushla, a young Catholic schoolteacher worn down by the monotony of her daily existence in a small town outside Belfast, who finds herself drawn into a dangerous affair with Michael, an older Protestant barrister she meets while working shifts at her family’s pub. Lola Petticrew, who previously appeared in SAY NOTHING, brings intensity to the role of Cushla, while Tom Cullen of MY SON portrays her conflicted lover, with the cast rounded out by Barry Ward from BAD SISTERS and Lisa Dwyer Hogg of THE FALL. Gillian Anderson, serving as executive producer while also appearing onscreen as Cushla’s perpetually combative mother described as a “glorious wreck,” has helped shepherd this passion project to completion. Screenwriter Ailbhe Keogan, earning her first lead writing credit after contributing to BAD SISTERS and RUN & JUMP, adapted Kennedy’s debut novel, which earned a Women’s Prize for Fiction shortlisting, with the author herself praising both Keogan’s “ear-perfect, sexy script” and director Dawn Shadforth’s “gorgeously melancholic aesthetic vision” for bringing an authentic version of her work to television. Channel 4 describes the series as a forbidden love story unfolding amid the sectarian violence that defined the era, and Keogan promises viewers a narrative that manages to be political, cinematic, sensual, and moving while maintaining hope despite the heartbreak woven throughout. The production represents a deeply personal triumph for Kennedy, who expressed gratitude that exceptional care was taken to honor the world and characters she created, particularly the unforgettable inhabitants of Cushla and Michael’s Belfast. TRESPASSES premieres Sunday night on Channel 4 at 9pm, offering audiences a richly textured portrait of desire and danger in a divided society. Instagram Youtube [...]
November 10THE IRIS AFFAIR arrives as a tense Sky Original that transforms the Italian landscape into a sprawling battlefield of intellect and survival, where two exceptional minds collide in a chase thriller that refuses to let up. This is Neil Cross territory—the mastermind behind LUTHER returns as writer, creator, and showrunner, bringing his signature psychological intensity to a story that begins with puzzles and ends with everything at stake. Enigmatic genius Iris Nixon solves what others cannot, cracking a string of complex online puzzles that lead her to a sun-drenched piazza in Florence. There she encounters Cameron Beck, a charismatic entrepreneur whose invitation seems like opportunity incarnate: come work for him, unlock a powerful piece of top-secret technology, change everything. Her curiosity is both her greatest asset and her fatal flaw, and she accepts, drawn into Cameron’s orbit by the promise of something extraordinary. But when Iris discovers the dangerous potential lurking within the device she’s been recruited to activate, she makes a choice that transforms her from collaborator into fugitive. She steals the journal containing the activation sequence and disappears into the Italian countryside. What follows is a relentless pursuit that sprawls across one of Europe’s most visually stunning countries, shot on location in Sardinia during the summer of 2024. From a remote cabin where silence becomes suffocating to the bustling chaos of Rome’s streets where every face could be enemy or ally, Iris runs while Cameron hunts. This is a high-stakes game where trust is the most dangerous currency of all, where every decision carries weight, and where failure means catastrophe. Cross understands that the best thrillers aren’t just about the chase—they’re about what the chase reveals, the way desperation strips away pretense and forces brilliant people to show who they truly are when everything is on the line. THE IRIS AFFAIR, previously titled IRIS before its evolution, delivers exactly that kind of escalating tension, a cinematic experience that uses Italy not just as backdrop but as character, a country of beauty and shadows where two people play out a deadly game of hide and seek that only one of them can win. Instagram Youtube [...]
November 6Roadside Attractions has released the first trailer for H IS FOR HAWK, and it arrives like a quiet storm—raw, aching, and deeply human. Directed by Philippa Lowthorpe, whose work on CALL THE MIDWIFE and THE CROWN has demonstrated her gift for intimate storytelling, the film adapts Helen Macdonald’s acclaimed 2014 memoir into something that feels both devastatingly personal and universally resonant. Lowthorpe co-wrote the screenplay with Emma Donoghue, the novelist behind ROOM, bringing together two voices attuned to the ways loss can unmoor us and how we might find our way back to solid ground. The trailer introduces us to Helen, played with remarkable vulnerability by Claire Foy, in the immediate aftermath of her father’s sudden death. Brendan Gleeson appears as the father whose absence becomes the film’s gravitational center, a presence felt most acutely through his lack. What follows is not a conventional grief narrative but something wilder and more unpredictable. Helen turns to falconry, beginning the arduous process of training a young goshawk she names Mabel. The relationship between woman and bird becomes a mirror for Helen’s internal struggle—both fierce, both untamed, both seeking something that looks like freedom but might actually be survival. Foy, who has built a career on performances that reveal the complexity beneath surface composure in projects like THE CROWN and WOMEN TALKING, brings that same intensity to Helen’s journey. The supporting cast includes Denise Gough, Sam Spruell, and Lindsay Duncan, each contributing to the ecosystem of Helen’s grief. Produced by Dede Gardner and Jeremy Kleiner, the film premiered at the Telluride Film Festival where it earned praise particularly for its authentic portrayal of falconry—the kind of specific, tactile detail that transforms metaphor into lived experience. After an awards-qualifying run in December, H IS FOR HAWK will open nationwide on January 23, 2026, offering audiences a meditation on how we rebuild ourselves when the center doesn’t hold, one wingbeat at a time. Instagram Youtube [...]
November 5In the ever-shifting Oscar landscape, HAMNET has pulled off the biggest move in a month: overtaking what had seemed to be the prohibitive favorite, Paul Thomas Anderson’s ONE BATTLE AFTER ANOTHER, in the Gold Derby odds for predicted Best Picture nominees. The Shakespeare-inspired drama now leads the pack by a narrow margin, with a 96.8 percent chance to be nominated, compared to 95.8 percent for ONE BATTLE AFTER ANOTHER. Directed by Oscar winner Chloé Zhao, HAMNET is a deeply emotional dramatization of the real-world circumstances that may have inspired William Shakespeare’s Hamlet, and the Focus Features film, starring Paul Mescal and Jessie Buckley, has been on a remarkable trajectory since its festival debut. The film occupied the top slot in September after its warm reception at the Telluride Film Festival, followed by winning the People’s Choice Award at the Toronto International Film Festival, but in early October, Anderson’s film surged to number one following a strong opening weekend and had held the spot until this past weekend. The two films are both considered locks for nominations and expected to be competing for top prizes throughout awards season, though the race is playing out differently across various categories. For the predicted Best Director field, Anderson still has the lead over Zhao, while in the acting categories, Buckley leads the predicted Best Actress nominees and Leonardo DiCaprio continues to dominate Best Actor predictions for ONE BATTLE AFTER ANOTHER. Despite HAMNET’s strong showing in Best Picture predictions, both Zhao and Mescal were overlooked in recent predictions for director and supporting acting categories, suggesting the film’s path to Oscar glory may be more complicated than its current frontrunner status suggests. HAMNET could see another boost when it opens nationwide on November 27, potentially widening its lead in what is shaping up to be a very close race just two months before the January 22 Oscar nominations, when voters will finally reveal whether this Shakespeare-inspired drama can maintain its momentum or if Anderson’s latest work will reclaim its crown. Instagram Youtube [...]
November 4When Lisa McGee, the creative mind behind DERRY GIRLS, tells you she’s made the show she’s always wanted to make, you listen. HOW TO GET TO HEAVEN FROM BELFAST is her answer to a question nobody knew they needed to ask, and it arrives in February 2026 as an eight-episode comedy-thriller that promises to drag three estranged friends through a mystery neither they nor the audience will see coming. McGee describes it as a mash-up of her two favorite genres, mystery and comedy, designed to keep viewers both guessing and laughing in equal measure. She reunited the creative team from DERRY GIRLS to pull off this wild Irish odyssey, bringing together Roísín Gallagher as Saoirse, Sinéad Keenan as Robyn, and Caoilfhionn Dunne as Dara—three women in their late thirties whose friendship has endured since school but is about to be tested in ways none of them anticipated. The premise sounds deceptively simple: clever but chaotic TV writer Saoirse, glamorous and perpetually stressed mother-of-three Robyn, and dependable yet inhibited carer Dara receive an email announcing the death of the estranged fourth member of their childhood gang. What follows at her wake is a series of eerie events that launch them on a dark, dangerous, and hilarious journey through Ireland and beyond as they attempt to piece together the truth about their shared past. McGee promises twists, turns, and arguments about eyelash extensions, which tells you everything you need to know about the tonal tightrope this series intends to walk. She’s in awe of the cast’s talent, timing, and chemistry, and praises director Michael Lennox’s work as simply stunning. Netflix, she says, has been incredibly supportive of their mad vision, encouraging viewers to get ready to piece this puzzle together while remembering one crucial rule: a good friend keeps your secrets, but a great friend helps you bury them. Each of the eight hour-long episodes will unravel another layer of mystery, another revelation about what these three women thought they knew about themselves and each other. McGee’s invitation to join Saoirse, Robyn, and Dara on their wild, weird adventure feels less like a casual viewing suggestion and more like a dare. HOW TO GET TO HEAVEN FROM BELFAST isn’t just asking whether you can get from Belfast to heaven—it’s asking what you’re willing to dig up along the way, and whether friendship can survive the excavation. The journey begins in February 2026, and if McGee’s track record is anything to go by, it’s going to be one hell of a ride. Instagram Youtube [...]
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