Tag Archives: Irish Television

IRISH THEATRE NEWS

September 24The sea remembers everything. It holds in its depths the stories of those who trusted their lives to its mercy, only to discover its terrible power. This November, one such story will surface at London’s Irish Cultural Centre, brought to life through a haunting fusion of music, poetry, and the unmistakable voice of Oscar-nominated actor Stephen Rea. OCEAN CHILD represents something entirely unique in contemporary performance art. Born from the creative vision of Belfast cellist and composer Neil Martin, this extraordinary work transforms a forgotten maritime tragedy into an unforgettable artistic experience that transcends traditional boundaries between classical and folk music, between historical documentation and poetic interpretation. The story at its heart is achingly real. On January 21, 1854, the RMS Tayleur met its fate in the cold waters off Dublin’s Lambay Island. What should have been a triumphant maiden voyage to Australia became instead one of the most devastating shipwrecks in Irish maritime history. The clipper had departed Liverpool just two days earlier, carrying over 650 souls eager for new beginnings in the Australian colonies. Within hours of entering Irish waters, their dreams were swallowed by the sea. Only 280 people survived. It is Stephen Rea’s presence that elevates OCEAN CHILD from historical commemoration to something approaching the mystical. Known internationally for his powerful performances in THE CRYING GAME, MICHAEL COLLINS, and V FOR VENDETTA, Rea brings to this production a voice capable of carrying both intimate sorrow and epic scope. He embodies the titular Ocean Child, described as “a poetic creation evoking themes of memory, exile, and the vast power of the sea.” This is not merely narration; it is channeling, giving voice to the voiceless, speaking for those whose stories were lost beneath the waves. The Irish Cultural Centre in Hammersmith provides the perfect setting for this London premiere, as the venue celebrates its own 30th anniversary. Centre Director William Foote recognizes something special in OCEAN CHILD, describing it as encapsulating “everything the ICC stands for: artistic excellence, cross-cultural dialogue, and a commitment to work that transcends cultural and disciplinary boundaries.” This is precisely what makes the production so compelling—it refuses to be contained within conventional categories. OCEAN CHILD stands as testament to art’s unique power to rescue memory from oblivion. In an age where historical tragedies often become mere statistics, Martin’s composition insists on the human dimension of loss. Every note played by the quartet, every word spoken by Rea, every haunting melody drawn from the Mulcahy sisters’ instruments serves to remind us that behind every shipwreck lie individual stories of hope, fear, love, and desperate courage. The production’s November 8 and 9 performances represent the only opportunity London audiences will have to experience this remarkable work. In choosing to limit the run, the creators ensure that OCEAN CHILD remains what it was always meant to be—not a commercial entertainment, but a sacred act of remembrance, a artistic ritual that honors both the dead and the living’s need to understand their stories. Get your tickets HERE. Instagram Youtube [...]
September 19In the dim light of a rural Irish pub, where the line between this world and the next grows thin with each passing story, something extraordinary is happening at the Harold Pinter Theatre. Conor McPherson’s modern masterpiece THE WEIR has arrived in London, running until 6 December, and for the first time, the playwright himself sits in the director’s chair, guiding his own haunting creation with the intimate knowledge that only a creator can possess. Fresh from its acclaimed Dublin run at the 3Olympia Theatre, this production brings together a formidable ensemble that reads like a dream cast for Irish theatre lovers. Brendan Gleeson makes his long-awaited West End debut, joined by Owen McDonnell, Kate Phillips, Tom Vaughan-Lawlor, and Seán McGinley in what promises to be one of the year’s most talked-about theatrical events. For Seán McGinley, who embodies the quietly observant Jim, returning to McPherson’s text represents both professional privilege and personal pilgrimage. “It’s a young play by any standards,” he reflects, “but I think it’s already a classic in the canon of world theatre.” His assessment feels particularly weighted coming from an actor who has witnessed Irish theatre’s evolution firsthand, understanding that certain works transcend their temporal boundaries to speak across generations. McGinley’s appreciation for the play’s architecture runs deep, recognizing how McPherson constructs his emotional edifice with the precision of a master craftsman. “There’s a beautiful rhythm to the language and the play itself is so well constructed in terms of control, of mood and story, so it’s relatively easy to slide into that world,” he explains. This isn’t mere actor’s praise but genuine recognition of how McPherson’s dialogue carries its own musical logic, each exchange building toward moments of unexpected grace and revelation. The actor’s approach to inhabiting Jim reveals something essential about how THE WEIR operates as theatrical experience. McGinley understands that his character’s power lies not in what he says but in how he listens, how he holds space for others’ stories while carrying the weight of his own unspoken truths. “Whenever I’m not talking, I’m intently listening. It’s as simple as that, really,” he observes. “You have to keep your end of the bargain. You have to deliver your part of the story.” This philosophy of shared storytelling responsibility extends beyond individual performance into the very heart of what makes THE WEIR so compelling. Jim emerges as a man of few words whose quiet presence anchors the evening’s emotional journey, a loyal friend to Jack—Gleeson’s character—and a figure deeply rooted in the rhythms of rural Irish life. “He’s a deep thinker,” McGinley notes, “and he seems content enough with his lot. But there’s a shadow of something else there as well.” This production offers London audiences a rare opportunity to experience modern Irish theatre at its finest, guided by the playwright’s own vision and performed by actors who understand the delicate balance between humor and heartbreak that defines McPherson’s work. In the hush of those careful silences and the music of that beautiful language, THE WEIR creates space for the kind of theatrical magic that reminds us why live performance remains irreplaceable in our digital age. Instagram Youtube [...]
August 11After decades of commanding the screen in films like THE BANSHEES OF INISHERIN, Brendan Gleeson is making a triumphant return to his theatrical roots. The Oscar, BAFTA, Golden Globe-nominated, and Emmy-winning actor is set to make his long-awaited West End debut in Conor McPherson’s haunting masterpiece THE WEIR, marking not just a career milestone but a profound homecoming for one of Ireland’s most celebrated performers. Gleeson’s journey back to the stage represents more than a simple career pivot. While audiences worldwide know him as the formidable Mad-Eye Moody or the gentle Uncle Pastuzo, his theatrical foundation runs deep. His return to live performance feels particularly poignant as he takes on the role of Jack in his native Dublin before transferring to London’s Harold Pinter Theatre, bridging the gap between his Irish heritage and international acclaim. THE WEIR itself is a play that demands the kind of nuanced, lived-in performance that Gleeson has perfected over his career. McPherson’s modern classic unfolds on a stormy night in an isolated Irish pub, where four local men’s routine evening is transformed by the arrival of Valerie, a mysterious woman whose presence unleashes a cascade of increasingly unsettling tales. The stories they tell to impress her become windows into deeper truths about loneliness, connection, and the ghosts that haunt rural Irish life. For Gleeson, the role of Jack offers a perfect synthesis of his screen expertise and stage origins. Jack is both everyman and storyteller, a character who embodies the kind of weathered authenticity that has become Gleeson’s signature. The play’s exploration of human connection through storytelling mirrors Gleeson’s own career journey from the intimate world of theater to the global reach of cinema, and now back again to the raw immediacy of live performance. The production reunites Gleeson with a stellar Irish cast including Owen McDonnell from BAD SISTERS and KILLING EVE as Brendan, veteran actor Seán McGinley as Jim, Kate Phillips from PEAKY BLINDERS as Valerie, and Tom Vaughan-Lawlor, known for his powerful stage work in DANCING AT LUGHNASA, as Finbar. This ensemble brings together screen veterans and accomplished stage actors, creating the kind of theatrical alchemy that THE WEIR demands. Gleeson’s return to the stage after his remarkable film career feels like a natural evolution rather than a departure. The intimate scale of THE WEIR, with its focus on character revelation through dialogue and storytelling, plays to his strengths as an actor who can convey volumes with a glance or inflection. The transition from the 3Olympia Theatre in Dublin to the Harold Pinter Theatre in London will allow audiences on both sides of the Irish Sea to witness this master craftsman at work in his element. Instagram Youtube [...]
August 10When George Moore declared “Ireland is a little Russia” in 1911, he couldn’t have predicted how prophetic those words would prove for contemporary Irish theater. Now, over a century later, that connection finds its most compelling expression in Kabosh’s bold new adaptation of Chekhov’s THREE SISTERS, featuring Saoirse-Monica Jackson in what marks a significant return to her theatrical roots. Jackson, who captured hearts worldwide as the irrepressible Erin Quinn in DERRY GIRLS, brings her considerable talents back to the stage in this world premiere adaptation by Ciara Elizabeth Smyth. It’s a homecoming of sorts for the actress, whose career has flourished across both television and film in recent years, with notable appearances in THE CROWN and her breakout role that made her a household name. Her participation in this production represents more than just another credit—it’s a statement about the enduring power of live theater and the pull of meaningful storytelling. The production, directed by Marc Atkinson Borrull with designs by Molly O’Cathain, transforms Chekhov’s turn-of-the-century Russian provincial house into something distinctly Irish, building on Brian Friel’s 1981 translation that first premiered in Derry’s Guildhall. This isn’t merely cultural translation but artistic transformation, where the emotional entanglements of three sisters and their brother dreaming of Moscow become a meditation on Irish identity, displacement, and the universal human longing for something just out of reach. Jackson joins an impressive ensemble that includes Megan Cusack from CALL THE MIDWIFE, Lorcan Cranitch of THE CROWN, Breffni Holahan from THE NEVERS, Alex Murphy from THE YOUNG OFFENDERS, and Máiréad Tyers from EXTRAORDINARY. This casting demonstrates the current strength of Irish and British television talent willing to embrace the intimacy and immediacy of live theater, bringing their screen-honed skills to bear on Chekhov’s psychologically complex characters. What makes this adaptation particularly compelling is Smyth’s examination of nostalgia and the cyclical nature of history, themes that resonate powerfully in contemporary Ireland. The play’s exploration of characters trapped between past and future, unable to fully inhabit their present, speaks to a generation grappling with rapid social change while maintaining connections to tradition. Jackson’s involvement signals her commitment to projects that matter beyond mere entertainment value, choosing work that engages with serious themes while maintaining the sharp humor that has become her trademark. The rehearsed reading format, featuring fourteen actors including several DERRY GIRLS alumni, creates an intimate theatrical experience that strips away spectacle to focus on pure performance and language. This approach allows Jackson and her fellow performers to explore the nuanced emotional landscape of Chekhov’s characters without the constraints of full production, creating space for the kind of raw, immediate connection between performer and audience that defines great theater. For Jackson, this return to theater represents an artist at a crossroads, using her newfound prominence to champion meaningful work rather than simply capitalizing on her television success. Her choice to participate in this world premiere demonstrates a commitment to artistic growth and cultural contribution that extends beyond career advancement. It’s the kind of decision that marks the difference between a performer and an artist, between someone who acts and someone who uses their platform to engage with the world around them. Instagram Youtube [...]
August 2Nearly three decades after its debut, Marie Jones’ STONES IN HIS POCKETS continues to strike a chord with audiences worldwide, its razor-sharp commentary on Hollywood’s patronizing portrayal of Ireland as relevant today as it was in the 1990s. The latest production, currently running at Cork’s Everyman Theatre, brings this enduring classic full circle in the most unexpected way possible—as a genuine family affair that showcases not just the play’s timeless appeal, but also the remarkable trajectory of one of Northern Ireland’s most respected acting dynasties. At the heart of this production’s unique appeal is the involvement of Ian McElhinney, the veteran actor whose recent years have seen him transition from respected character actor to household name. While many know him as the stern patriarch Grandda Joe McCool in the beloved DERRY GIRLS, McElhinney’s career spans decades of distinguished work across stage and screen. His surprise cameo appearance in *Stones In His Pockets*, alongside his wife Marie Jones herself, adds an unexpected layer of authenticity to a play that has always been about the intersection of performance and reality. McElhinney’s presence in the production feels particularly poignant given his own journey through the entertainment industry. Having built his reputation through meticulous character work in productions ranging from GAME OF THRONES to countless Irish theatre productions, he understands intimately the world Jones created—one where local talent is often reduced to stereotypical roles while outsiders profit from romanticized versions of Irish culture. His cameo, brief though it may be, carries the weight of an actor who has navigated both sides of this equation throughout his career. The production itself, directed by Matthew McElhinney (Jones’ son), attempts to modernize the classic with digital projection backdrops and contemporary references, though these updates create an occasionally jarring disconnect. While the insertion of Amazon Prime references feels forced alongside the play’s otherwise period sensibilities, the core story remains devastatingly effective. Gerard McCabe and Shaun Blaney deliver bravura performances as Charlie and Jake, the two extras whose dreams and disillusionment drive the narrative forward. McCabe’s transformation into the flirtatious leading lady Caroline Giovanni with nothing more than an imaginary hair flick demonstrates the kind of theatrical magic that makes this play endure. Yet it’s the tragic undercurrent that gives STONES IN HIS POCKETS its lasting power. Beneath the comedy lies a story about economic desperation, rural decline, and the human cost of being treated as disposable. The play’s title references a heartbreaking event that serves as the emotional climax, and while this production doesn’t quite nail the tonal shift from comedy to pathos, the underlying themes remain potent. The fictional film-within-a-play, THE QUIET VALLEY, serves as a perfect metaphor for how Irish culture is often packaged and sold back to the world as something quaint and harmless. The production’s most satisfying moment comes in its final flourish—a trailer for Charlie and Jake’s own movie featuring several well-known faces, providing the kind of Hollywood ending that feels both earned and subversive. It’s a reminder that STONES IN HIS POCKETS has always been about more than cultural commentary; it’s about the universal human desire for recognition and the stories we tell ourselves about success. For Ian McElhinney, whose recent career renaissance has included everything from the blood-soaked political machinations of GAME OF THRONES to the gentle humor of DERRY GIRLS, this return to Marie Jones’ work represents a homecoming of sorts. His involvement, however brief, connects the play’s original vision with its contemporary relevance, bridging the gap between the Ireland of thirty years ago and the one audiences see today. As STONES IN HIS POCKETS continues its run at the Everyman Theatre through August 10th, it serves as both entertainment and time capsule, a reminder that some stories transcend their original moment to become permanent fixtures in our cultural landscape. With the McElhinney family’s involvement, this production becomes something more—a testament to the enduring power of Irish storytelling and the artists who continue to shape it across generations. Instagram Youtube [...]
May 6In a momentous theatrical event, acclaimed actor Brendan Gleeson is set to make his triumphant return to the stage after a decade-long absence in Conor McPherson’s haunting masterpiece THE WEIR. This special production marks several significant milestones as McPherson directs his own work for the first time since writing it nearly thirty years ago, while Gleeson, whose recent screen performances in THE BANSHEES OF INISHERIN and IN BRUGES have cemented his status as one of Ireland’s greatest acting talents, will make his West End debut. The announcement from Landmark Productions and Kate Horton Productions has already created tremendous anticipation among theatre enthusiasts. Gleeson, whose last stage appearance was in THE WALWORTH FARCE at Dublin’s 3Olympia Theatre in 2015, will return to that same venue where he began his career, performing from August 8 to September 6 before transferring to London’s Harold Pinter Theatre for a run extending to December 2025. “Conor McPherson’s THE WEIR is one of the rarest plays around,” Gleeson remarked, expressing his excitement about returning to the stage and making his West End debut. McPherson himself shared his disbelief that thirty years have passed since writing the play, calling it “an absolute honour” to bring it to life again with “one of the great titans of Irish acting.” THE WEIR, a profound meditation on human connection, takes place on a stormy night in rural Ireland where four local men gather in an isolated pub. Their usual banter is disrupted by the arrival of a woman named Valerie, leading them to share increasingly unsettling stories to impress her, unaware that she carries a deeply personal tale of her own that will shake them all. The play stands as a testament to our fundamental need for connection, the possibility of finding hope in darkness, and the enduring power of storytelling. Kate Horton described being “spellbound” by the play at its Royal Court premiere and expressed joy at bringing together such titans of Irish and international theatre. Anne Clarke of Landmark Productions recalled the thrill of learning about the project, having previously worked with Gleeson on THE WALWORTH FARCE alongside his sons Brian and Domhnall. This new production promises to be an extraordinary theatrical event, bringing together a legendary actor at the height of his powers with one of contemporary drama’s most moving and profound works, offering audiences in both Dublin and London a rare opportunity to witness theatrical magic in the making. [...]
April 30In a significant theatrical announcement, Aidan Turner will star alongside Lesley Manville and Monica Barbaro in an eagerly anticipated revival of LES LIAISONS DANGEREUSES at London’s National Theatre. This marks the first time Christopher Hampton’s celebrated adaptation of Pierre Choderlos de Laclos’ scandalous novel will grace the National’s stage, with performances expected to begin in spring 2026. The production reunites acclaimed director Marianne Elliott with the venue after a nine-year absence, forming a centerpiece of Indhu Rubasingham’s inaugural season as Artistic Director. For Turner, this role represents another prestigious addition to a career that has evolved dramatically since his breakout in POLDARK. The Irish actor has strategically balanced his screen work with challenging stage performances, including his critically lauded turn in Martin McDonagh’s THE LIEUTENANT OF INISHMORE. Turner will share the stage with BAFTA and Olivier Award-winner Manville, who joins fresh from her triumphant, award-winning performance in OEDIPUS at Wyndham’s Theatre—a production now Broadway-bound. Completing the high-profile casting trio is Barbaro, known for her role in TOP GUN: MAVERICK. The creative team assembling around this production includes set designer Rosanna Vize, costume designer Natalie Roar, movement director Tom Jackson Greaves, lighting designer James Farncombe, and sound designer Ian Dickson. Elliott’s return to the National, where her previous credits include ANGELS IN AMERICA, THE CURIOUS INCIDENT OF THE DOG IN THE NIGHT-TIME, and co-direction of WAR HORSE, promises to bring fresh perspective to Hampton’s 1985 adaptation, known for its sharp wit, psychological complexity, and themes of manipulation and seduction. While exact dates, further casting details, and ticket information remain forthcoming, the production’s announcement as part of a 16-show season signals Rubasingham’s ambitious artistic vision for one of the world’s leading theatrical institutions. [...]
April 25John Carney’s beloved 2016 film SING STREET continues its artistic journey as it prepares for its UK stage premiere at London’s Lyric Hammersmith Theatre this summer. The musical adaptation, running from July 8 to August 23, 2025, brings the ’80s-infused coming-of-age story to British audiences following successful runs in Boston and New York. In an exciting casting announcement, Adam Hunter will make his musical theatre debut as Brendan, a fitting role considering his history with the production. Hunter featured prominently on the original film soundtrack and served as the featured vocalist on the OST version of “To Find You.” To commemorate this full-circle moment, producers have released a new track titled “Outside,” performed by Hunter, which offers a glimpse into Brendan’s character—a young man afraid to venture beyond his room into the world. “SING STREET has followed me throughout my career,” Hunter reflects. “Now, to be making my live theatre debut with this beautiful stage adaptation, featuring an incredible set of songs from the movie with brand-new music for the stage is a dream.” Set in Dublin in 1982, SING STREET tells the story of sixteen-year-old Conor who forms a band to impress the mysterious aspiring model Raphina. Against the backdrop of family turmoil and the challenges of fitting into a new Catholic school, Conor discovers the transformative power of music and young love. The musical preserves the film’s exploration of these themes while expanding the emotional landscape through new compositions. The stage adaptation boasts an impressive pedigree of Tony Award-winning talent. Enda Walsh, known for his work on ONCE (another John Carney film adaptation), pens the book, while Rebecca Taichman directs. The music comes from Gary Clark (of Danny Wilson fame) and John Carney himself, combining beloved songs from the original film with fresh material crafted specifically for the stage production. Get your tickets at singstreet.com. [...]
April 15In a stunning testament to his artistic versatility, Andrew Scott’s groundbreaking one-man adaptation of UNCLE VANYA is extending its Off-Broadway run before even beginning performances, a reflection of the actor’s meteoric rise in recent years. The production, now set to start on March 10 and continue through May 11, 2025, brings Scott’s tour-de-force performance to American audiences at the Lucille Lortel Theatre following its acclaimed West End run and subsequent film capture. The innovative adaptation sees Scott embodying all eight characters in Chekhov’s classic drama, where a professor and his young wife visit their rural estate managed by family members Vanya and Sonya, setting off a chain of romantic entanglements and tensions that culminate when the professor announces plans to sell the property. Scott developed this ambitious theatrical experiment alongside adaptor Simon Stephens, designer Rosanna Vize, and director Sam Yates, with rehearsals recently commencing in London. Scott’s recent career trajectory has been nothing short of extraordinary. While theater aficionados have long appreciated his stage presence in productions like HAMLET, PRESENT LAUGHTER, and SEA WALL, his mainstream popularity has surged through his mesmerizing performances in FLEABAG, RIPLEY, and ALL OF US STRANGERS. This latest venture highlights Scott’s continued commitment to challenging material despite his Hollywood success, returning to the American stage for the first time since his 2006 Broadway debut in THE VERTICAL HOUR alongside Julianne Moore and Bill Nighy. The production features an impressive creative team including lighting design by James Farncombe, sound design by Dan Balfour, video design by Jack Phelan, movement direction by Michela Meazza, music by Kelly Moran, and costume design by Natalie Pryce. Produced by Wessex Grove, Gavin Kalin Productions, and Kater Gordon, with Wagner Johnson Productions serving as executive producers, this extended run offers theatrical audiences a rare opportunity to witness one of today’s most captivating performers at the height of his artistic powers, transforming Chekhov’s ensemble drama into a singular showcase of his remarkable range. [...]
March 18Tennessee Williams’ haunting classic A STREETCAR NAMED DESIRE has returned to New York with fresh wounds and raw nerves, now playing at Brooklyn Academy of Music in a stripped-down London import starring Paul Mescal, the Irish actor whose meteoric rise continues to captivate audiences worldwide. Fresh from commanding the Roman arena in Ridley Scott’s GLADIATOR II, Mescal brings a youthful vitality and magnetic presence to Stanley Kowalski, the role immortalized by Marlon Brando. His performance stands as testament to his remarkable versatility, seamlessly transitioning from epic historical blockbusters to intimate psychological drama with the confidence of an actor far beyond his years. Rebecca Frecknall’s minimalist production—running a brisk three hours—reduces Williams’ humid New Orleans setting to its bare essentials: a square platform suggesting a boxing ring without ropes, surrounded by darkness. A percussionist perched above the stage punctuates moments of tension and violence like audible manifestations of Blanche’s deteriorating psyche. This stark approach, which might have been electrifying in a smaller venue, sometimes struggles to connect across the expansive Harvey Theater, creating a self-conscious distance that works against the play’s inherent intimacy. Patsy Ferran’s Blanche DuBois trembles on the edge of sanity throughout, her jittery portrayal emphasizing the character’s fragility and impending psychological collapse rather than lingering in her faded Southern glamour. Unlike other recent productions—the 2009 Sydney production with Cate Blanchett that sold out BAM but never reached Broadway, or the disappointing 2005 and 2012 Broadway revivals with Natasha Richardson and Nicole Ari Parker respectively—this interpretation refuses to indulge in Blanche’s delusions of gentility or invite the audience to share in her fantasies. Frecknall, who previously divided critics with her Broadway revival of CABARET, opts for stylized movement and percussive punctuation over the dreamy, poetic atmosphere traditionally associated with Williams’ work. The violence feels gratuitous at times, the concept heavy-handed. Yet Mescal’s presence grounds the production, his Stanley representing another impressive credential in a career that has rapidly evolved from indie darling in NORMAL PEOPLE to commanding Hollywood star. As he continues this remarkable trajectory between stage and screen, this STREETCAR ultimately serves as further evidence of Mescal’s extraordinary talent and range, even when the production surrounding him fails to fully realize Williams’ tragic vision of desire and delusion in the American South. More Paul Mescal Mescal: IFTA Best Supporting Actor Paul Mescal in GLADIATOR 2 ALL OF US STRANGERS now streaming Mescal and Scott take The Co-Star Test [...]
March 13Andrew Scott, the Emmy-nominated star of FLEABAG and ALL OF US STRANGERS, has brought his tour-de-force performance to New York as Simon Stephens’s radical adaptation of VANYA begins previews at the Lucille Lortel Theatre. Fresh from his recent cinematic triumphs in ALL OF US STRANGERS and RIPLEY, Scott now reprises the Olivier Award-winning role that London critics declared “a revelation” during its acclaimed run at the Duke of York’s Theatre in late 2023. This isn’t just another revival of Chekhov’s classic—it’s a theatrical high-wire act where Scott inhabits every character in the 105-minute production. While luminaries like Laurence Olivier, Ian McKellen, and Peter O’Toole have grappled with the titular role throughout theatrical history, Scott breaks new ground by embodying the entire dramatis personae. The actor, who first captivated American audiences in the BBC’s SHERLOCK before achieving global recognition as the “Hot Priest” in FLEABAG, brings his remarkable emotional range to this innovative staging. The production, co-created by Scott alongside adapter Simon Stephens, director Sam Yates, and designer Rosanna Vize, “explores the kaleidoscope of human emotions, harnessing the power of the intimate bond between actor and audience to delve deeper into the human psyche.” Scott’s involvement extends beyond mere performance—his creative partnership with the production team reflects his growing artistic influence following his meteoric rise in film and television. Scott’s return to New York theater marks a significant moment for the actor, who made his Broadway debut in 2006 in David Hare’s THE VERTICAL HOUR. Now, with an Olivier Award and a BAFTA already secured, and coming off his critically acclaimed performance in Andrew Haigh’s tender ghost story ALL OF US STRANGERS, Scott confirms his status as one of our most versatile performing artists. The off-Broadway run is scheduled for just eight weeks with an official opening night set for March 18. Theater enthusiasts unable to secure tickets may find solace in knowing the London production is currently streaming on National Theatre at Home, though nothing compares to witnessing Scott’s transformative performance live. This limited engagement, executive produced by Wagner Johnson Productions, features the design talents of James Farncombe (lighting), Dan Balfour (sound), Jack Phelan (video), Michela Meazza (movement), and Natalie Pryce (costumes), with Marianna Gailus serving as Scott’s understudy. More Andrew Scott IFTV-Blog-16-180×180 Scott earns Golden Globes nomination Andrew Scott in PEOPLE WATCHING RIPLEY now on Netflix [...]
February 26DERRY GIRLS sensation Saoirse-Monica Jackson is set to captivate New York audiences in her Off-Broadway debut this spring. The beloved actress, known for portraying Erin Quinn in the hit series, will headline the world premiere of IRISHTOWN at the Irish Repertory Theatre’s Francis J. Greenburger Mainstage, running April 2 to May 25, 2025, with an official opening on April 13. This fresh comedy, penned by Ciara Elizabeth Smyth and directed by Nicola Murphy Dubey, delves into the chaotic world of a Dublin theatre company. As rehearsals progress, the cast grows increasingly concerned that their playwright has created something too experimental and insufficiently Irish. Taking matters into their own hands to restore authentic Irish elements, they inadvertently unleash theatrical mayhem. Jackson won’t be alone on stage – the production boasts an impressive ensemble including Tony nominee Kate Burton of GREY’S ANATOMY fame, Angela Reed from HARRY POTTER AND THE CURSED CHILD, and Purgatory star Kevin Oliver Lynch, with Roger Clark contributing voiceover work. The 31-year-old actress has been steadily building an impressive portfolio beyond her breakout role in Derry Girls. Her film credits include FINDING YOU, THE FLASH, and UPGRADED, while her television work recently expanded to include Netflix’s black comedy series THE DECAMERON alongside Zosia Mamet. This limited Off-Broadway run represents an exciting new chapter for Jackson as she transitions from screen to stage, bringing her distinctive talent to New York’s vibrant theatre scene. [...]
January 7Fresh from two triumphant, sold-out runs in London’s West End, this stunning revival of Tennessee Williams’s A STREETCAR NAMED DESIRE comes to the Brooklyn Academy of Music for an exclusive five-week engagement. The production stars Paul Mescal (GLADIATOR II, AFTERSUN, ALL OF US STRANGERS) as Stanley Kowalski, alongside Patsy Ferran (LIVING, GOD’S OWN COUNTRY) as Blanche DuBois and Anjana Vasan (KILLING EVE, BLACK MIRROR) as Stella Kowalski. At the helm is Olivier Award-winning director Rebecca Frecknall (CABARET, SUMMER AND SMOKE). In the sultry heat of New Orleans, Blanche DuBois arrives at her sister Stella’s apartment, seeking refuge with nowhere else to turn. As the temperature rises, so does the tension within the cramped quarters. Stanley, portrayed by Mescal with what The New York Times calls “swagger and sensitivity,” begins to unravel the carefully woven threads of Blanche’s past. As her meticulously constructed façade begins to crumble, the production reveals the dark undercurrents that pulse beneath the surface of one of America’s greatest plays. Due to exceptional demand, additional matinee performances have been added on Thursday, March 13 at 1:30pm, Wednesday, March 19 at 1:30pm, Wednesday, March 26 at 1:30pm, and Wednesday, April 2 at 1:30pm. Get your tickets here. More Paul Mescal Mescal on THR’s ACTOR’S ROUNDTABLE Paul Mescal in GLADIATOR 2 ALL OF US STRANGERS now streaming Mescal to host SNL tonight [...]
September 30Olivier Award®-winning actor Andrew Scott (RIPLEY) will reprise his wildly acclaimed performance in VANYA, a radical new adaptation of Chekhov’s masterwork, UNCLE VANYA. Anton Chekhov’s timeless masterpiece has captivated audiences and influenced dramatists for more than 125 years, thanks to the emotional depth and subtle humor it brings to the exploration of unfulfilled dreams, existential yearning, and the complexities of human relationships. Learn More More Andrew Scott Scott wraps KNIVES OUT 3 Andrew Scott in PRESSURE Andrew Scott: Actors on Actors RIPLEY now on Netflix Previous Next https://youtu.be/KAkq5c9J43k [...]
February 12Andrew Scott’s VANYA, the solo adaptation of Chekhov’s Uncle Vanya, has won the Best Play Revival award at the 24th Annual WhatsOnStage Awards. The piece saw Scott take on all the four lead roles in the piece across a 105-minute runtime, and was heralded as “a revelation”. The Dublin-born actor is having an incredible year with stand-out performances on both stage and screen, most notably in ALL OF US STRANGERS with FOE‘s Paul Mescal. Learn More [...]
September 23Double Olivier Award winning actor Andrew Scott talks to Graham Norton ahead of returning to London’s glittering West End to star in a new adaption of VANYA. Co-created by Scott, along with Simon Stephens, Sam Yates and Rosanna Vize, the story follows Chekhov’s closely, although Stephen’s adaptation is in modern vernacular with anglicised names and not a samovar in sight. Watch Now [...]
June 8FLEABAG hot priest Andrew Scott is set to play every role in the new production of VANYA on the West End this Autumn. Scott’s name is most renowned for his appearances on Television, with starring roles in FLEABAG and SHERLOCK, as well as an appearance in Netflix’s BLACK MIRROR. Scott has also appeared in movies such as war thriller 1917, and SPECTRE, Daniel Craig’s fourth Bond film, where Scott appeared as a nemesis of the infamous British spy. Full Preview [...]
Instagram Youtube

Irish Theatre

, , ,

ABOUT

Welcome to irishfilmtv.com (IFTV), a digital celebration of Irish on-screen culture and the perfect resource for lovers of Irish content.

Fully bilingual and updated daily, IFTV highlights the very latest news and updates on Ireland’s world-class creators, from emerging Irish filmmakers to established acting royalty, through streaming links, interviews, reviews, production updates and theatrical release information, with the goal of connected new audiences to Irish creative projects in film, tv and theatre.

Spearheading the initiative is Michael Barry whose strategic leadership has helped shape content acquisition and programming strategies across Canada’s telecommunications giants and theatrical distribution landscape. His distinguished career includes Rogers, Bell, TELUS and Cineplex Entertainment, where he has driven innovation in content licensing and programming initiatives. 

A respected curator in the international film festival circuit, Michael has served on programming teams for several prestigious institutions. He has contributed his expertise to Hot Docs Canadian International Film Festival, North America’s largest documentary festival; the Gimli International Film Festival, Manitoba’s premier film event; and co-founded the Toronto Irish Film Festival in 2010, establishing a vital cultural bridge between Canadian and Irish cinema. 

Michael’s creative accomplishments extend to filmmaking, where his directorial debut documentary THE WEXFORD garnered critical acclaim, securing the Audience Choice Award at the Scarborough Worldwide Film Festival. The film’s cultural significance has been recognized through its permanent inclusion in the City of Toronto Digital Archives, preserving an important piece of Toronto’s community history. 

In recognition of his outstanding contributions to international cultural exchange, Michael was awarded the City of Belfast Global Ambassador distinction in 2019. This prestigious award acknowledges his decade-plus leadership of the Toronto Irish Film Festival and its instrumental role in creating platforms for emerging Irish filmmakers to reach global audiences, while strengthening the cultural ties between Ireland and North America. 

Michael currently serves as Outreach Manager for the Toronto Film School, Canada’s #1 film school, supporting the creative aspirations of emerging Canadian actors, directors, screenwriters, graphic designers and video game developers.

Connect with Michael on LinkedIn.

Irish Film

, , , , , , , , ,

Northern Irish shows “Best of 2024”

BLUE LIGHTS tops "Best of 2024" list

BLUE LIGHTS tops "Best of 2024" list

Two groundbreaking television series set in Northern Ireland have captured critical acclaim, making the New York Times Best TV Shows of 2024 list and offering powerful narratives that explore the region’s complex historical and contemporary landscape.

Disney’s SAY NOTHING, adapted from Patrick Radden Keefe’s bestselling book, delivers a gripping narrative deeply rooted in the historical context of the Troubles. The show provides an unflinching look at a dark period of Northern Irish history, examining the human cost of prolonged conflict.

TV Critic James Poniewozik praised the series as a “tough but enthralling work that traces old scars, revives bitter memories and measures a generational account of multiplying injustice.” The show stands out for its nuanced approach to storytelling, bringing the intricate layers of Northern Ireland’s painful past into sharp focus.

Equally compelling is BLUE LIGHTS, a Belfast-based drama that offers a modern perspective on the ongoing reverberations of the Troubles. Created by Adam Patterson and Declan Lawn, the series follows PSNI (Police Service of Northern Ireland) officers navigating the complex social and political landscape of contemporary Belfast.

New York Times TV Critic Mike Hale highlighted the show’s profound exploration of historical trauma, noting that “The Troubles are alive in this Northern Irish crime drama, a legacy of damage, suspicion and hatred that threatens cops every time they step out of their cars.”

The series distinguishes itself through its authentic portrayal of police work, blending familiar procedural elements with deep emotional nuance. Sian Brooke’s performance as a middle-aged rookie officer with social worker instincts has been particularly praised, bringing depth and humanity to the ensemble cast.

Both SAY NOTHING and BLUE LIGHTS demonstrate the continued artistic vitality of Northern Irish storytelling, offering viewers sophisticated, layered narratives that go beyond simplistic representations of conflict and instead explore the human experiences that persist in its wake.

More Irish TV Shows

Saoirse-Monica Jackson in THE DECAMERON
Eve Hewson in THE PERFECT COUPLE
Nicola Coughlan in BRIDGERTON Season 3
Once Upon a Time in Northern Ireland

Irish Television

,

SAY NOTHING on Hulu Nov 14

SAY NOTHING on Hulu

SAY NOTHING on Hulu

FX’s limited series SAY NOTHING is a gripping story of murder and memory in Northern Ireland during The Troubles. The 9-episode series is based on the book by Patrick Radden Keefe.

Spanning four decades, the series opens with the shocking disappearance of Jean McConville, a single mother of ten who was abducted from her home in 1972 and never seen alive again.

Telling the story of various Irish Republican Army (IRA) members, SAY NOTHING explores the extremes some people will go to in the name of their beliefs, the way a deeply divided society can suddenly tip over into armed conflict, the long shadow of radical violence for all affected, and the emotional and psychological costs of a code of silence.

The series stars rising Irish actress Lola Pettigrew as Dolours Price. Pettigrew has garnered attention for her powerful performances in films like DATING AMBER (2020), where she played the lead role of Amber, and HERE ARE THE YOUNG MEN (2020). She earned critical acclaim for her role in the BBC drama THREE FAMILIES (2021) and has demonstrated her range in theatrical productions across Ireland and the UK. Her casting as Dolours Price follows her notable turn in ROGUE AGENT (2022) alongside James Norton and Gemma Arterton.

Alongside Pettigrew, Hazel Doupe stars as Marian Price, Anthony Boyle as Brendan Hughes, a charismatic but conflicted military strategist, and Josh Finan as Gerry Adams, a leading political operator who would go on to negotiate peace and has always denied having any involvement with the IRA. Maxine Peake stars as Older Dolours Price.

SAY NOTHING is executive produced by Nina Jacobson and Brad Simpson of Color Force, creator Joshua Zetumer, Patrick Radden Keefe, Edward McDonnell, Monica Levinson and Northern Ireland native Michael Lennox. The series is produced by FX Productions.

More Irish TV Shows

Saoirse-Monica Jackson in THE DECAMERON
Eve Hewson in THE PERFECT COUPLE
Nicola Coughlan in BRIDGERTON Season 3
Once Upon a Time in Northern Ireland

Irish Television

,

1 Comment

Homepage

LATEST VIDEOS

Instagram Youtube
How to Get to Heaven from Belfast | Official Trailer

HOW TO GET TO HEAVEN FROM BELFAST trailer

Jessie Buckley & Paul Mescal Ask Rapid-Fire Questions

A KNIGHT OF THE SEVEN KINGDOMS trailer

Colin Farrell & Jessie Buckley - Actors on Actors

Jessie Buckley on winning a Golden Globe & visiting Los Angeles

PEAKY BLINDERS: THE IMMORTAL MAN trailer

More VIDEOS

LATEST NEWS

More FILM news
More TV news
More THEATRE news

irish_film_tv

942 2,023

follow IFTV on Instagram for daily updates

Barry Keoghan is having a MOMENT 🎬✨

The Dublin actor just dropped the trailer for CRIME 101 (hitting screens February 13!) and he`s completely unrecognizable.

Keoghan goes head-to-head with Chris Hemsworth, Halle Berry, and Mark Ruffalo in this intense crime thriller.

Watch new trailer now at irishfilmtv.com.

#Ireland #Irish #Movies #Film #Television #TV #Cinema #Irishmovies #IrishFilm #IrishCinema #Actor #ActorsLife #IrishActor #BarryKeoghan #Crime101 #PeakyBlinders #ChrisHemsworth #HalleBerry #MarkRuffalo #CillianMurphy #PaulMescal #TheBeatles #Hollywood #IrishTalent #Dublin

12 1
Open post by irish_film_tv with ID 18089972803967322
Barry Keoghan is having a MOMENT 🎬✨ The Dublin actor just dropped the trailer for CRIME 101 (hitting screens February 13!) and he's completely unrecognizable. Keoghan goes head-to-head with Chris Hemsworth, Halle Berry, and Mark Ruffalo in this intense crime thriller. Watch new trailer now at irishfilmtv.com. #Ireland #Irish #Movies #Film #Television #TV #Cinema #Irishmovies #IrishFilm #IrishCinema #Actor #ActorsLife #IrishActor #BarryKeoghan #Crime101 #PeakyBlinders #ChrisHemsworth #HalleBerry #MarkRuffalo #CillianMurphy #PaulMescal #TheBeatles #Hollywood #IrishTalent #Dublin

...

HAMNET star Jessie Buckley shines in BEAST, now on #Netflix.

A troubled woman living in an isolated community finds herself pulled between the control of her oppressive family and the allure of a secretive outsider suspected of a series of brutal murders.

More at irishfilmtv.com.

13 4
Open post by irish_film_tv with ID 18031422098768769
HAMNET star Jessie Buckley shines in BEAST, now on #Netflix. A troubled woman living in an isolated community finds herself pulled between the control of her oppressive family and the allure of a secretive outsider suspected of a series of brutal murders. More at irishfilmtv.com.

...

Killarney`s own Jessie Buckley just took home the Critics Choice Award for Best Actress for HAMNET, and her acceptance speech was pure gold 🏆✨

In HAMNET, Buckley delivers a devastating performance as Agnes, William Shakespeare`s wife, navigating the grief of losing their 11-year-old son. Critics are calling it unforgettable, and now she has the trophy to prove it 🎬💚

More Jessie at irishfilmtv.com.

16 2
Open post by irish_film_tv with ID 18392758780176256
Killarney's own Jessie Buckley just took home the Critics Choice Award for Best Actress for HAMNET, and her acceptance speech was pure gold 🏆✨ In HAMNET, Buckley delivers a devastating performance as Agnes, William Shakespeare's wife, navigating the grief of losing their 11-year-old son. Critics are calling it unforgettable, and now she has the trophy to prove it 🎬💚 More Jessie at irishfilmtv.com.

...

Domhnall Gleeson heads to a remote Scottish isle for THE INCOMER!

He plays an awkward council worker tasked with relocating two siblings who survive by hunting seabirds, talking to mythical beings, and fiercely defending their homeland from outsiders.

More Domhnall at irishfilmtv.com.

11 2
Open post by irish_film_tv with ID 18118254988560207
Domhnall Gleeson heads to a remote Scottish isle for THE INCOMER! He plays an awkward council worker tasked with relocating two siblings who survive by hunting seabirds, talking to mythical beings, and fiercely defending their homeland from outsiders. More Domhnall at irishfilmtv.com.

...

Netflix just quietly dropped a crime thriller you`ve been sleeping on, and Brendan Gleeson`s performance alone makes it mandatory viewing.

MR MERCEDES, Stephen King`s dark detective series that somehow flew under the radar, is finally streaming – and it`s everything fans of slow-burn psychological thrillers have been craving.

More at irishfilmtv.com.

12 1
Open post by irish_film_tv with ID 18378808501196607
Netflix just quietly dropped a crime thriller you've been sleeping on, and Brendan Gleeson's performance alone makes it mandatory viewing. MR MERCEDES, Stephen King's dark detective series that somehow flew under the radar, is finally streaming – and it's everything fans of slow-burn psychological thrillers have been craving. More at irishfilmtv.com.

...

Cillian Murphy just confirmed THE IMMORTAL MAN drops in 2026 and Tommy Shelby is coming back with a vengeance. 🔥

Fresh off STEVE hitting Netflix, Murphy spilled the tea on The Graham Norton Show that the Peaky Blinders film has wrapped.

Watch now at irishfilmtv.com.

11 3
Open post by irish_film_tv with ID 18072593237268832
Cillian Murphy just confirmed THE IMMORTAL MAN drops in 2026 and Tommy Shelby is coming back with a vengeance. 🔥 Fresh off STEVE hitting Netflix, Murphy spilled the tea on The Graham Norton Show that the Peaky Blinders film has wrapped. Watch now at irishfilmtv.com.

...

Michael Fassbender is trading the big screen for Netflix royalty!

The Irish-German powerhouse is set to play Joe Kennedy Sr. in KENNEDY, an 8-episode drama diving deep into America`s most mythologized family. No release date yet, but with Fassbender leading, this one`s already on our watchlist. 👑

More at irishfilmtv.com.

11 1
Open post by irish_film_tv with ID 18360821077083639
Michael Fassbender is trading the big screen for Netflix royalty! The Irish-German powerhouse is set to play Joe Kennedy Sr. in KENNEDY, an 8-episode drama diving deep into America's most mythologized family. No release date yet, but with Fassbender leading, this one's already on our watchlist. 👑 More at irishfilmtv.com.

...

Gothic drama LIES WE TELL is now on Netflix.

With powerful performances by Agnes O`Casey and David Wilmot, the Irish drama takes Sheridan Le Fanu`s classic novel UNCLE SILAS and transforms it into something urgent and vital for our moment.

More at irishfilmtv.com.

7 2
Open post by irish_film_tv with ID 17873787582464351
Gothic drama LIES WE TELL is now on Netflix. With powerful performances by Agnes O'Casey and David Wilmot, the Irish drama takes Sheridan Le Fanu's classic novel UNCLE SILAS and transforms it into something urgent and vital for our moment. More at irishfilmtv.com.

...

Paul Mescal is about to make Shakespeare absolutely swoon-worthy in HAMNET!

Fresh off his GLADIATOR II armor, our Irish king is diving deep into 1580s plague-era romance with Jessie Buckley as his muse.

Watch the new trailer via link in bio!

15 3
Open post by irish_film_tv with ID 18068025364957336
Paul Mescal is about to make Shakespeare absolutely swoon-worthy in HAMNET! Fresh off his GLADIATOR II armor, our Irish king is diving deep into 1580s plague-era romance with Jessie Buckley as his muse. Watch the new trailer via link in bio!

...

Cillian Murphy isn`t chasing blockbusters—he`s back in the classroom.

The Irish actor`s latest role in Netflix`s STEVE sees him playing a struggling teacher at a last-chance reform school, proving once again that he`s more interested in transformation than validation.

Watch Cillian`s TODAY interview via link in bio.

40 2
Open post by irish_film_tv with ID 18093962944839275
Cillian Murphy isn't chasing blockbusters—he's back in the classroom. The Irish actor's latest role in Netflix's STEVE sees him playing a struggling teacher at a last-chance reform school, proving once again that he's more interested in transformation than validation. Watch Cillian's TODAY interview via link in bio.

...

🎰 NEW TRAILER ALERT! Colin Farrell is on an absolute TEAR right now!

Fresh off his Golden Globe and SAG wins for THE PENGUIN, he`s diving into Edward Berger`s new film BALLAD OF A SMALL PLAYER - and the first trailer looks absolutely stunning.

Watch now at irishfilmtv.com.

23 3
Open post by irish_film_tv with ID 17981952842893952
🎰 NEW TRAILER ALERT! Colin Farrell is on an absolute TEAR right now! Fresh off his Golden Globe and SAG wins for THE PENGUIN, he's diving into Edward Berger's new film BALLAD OF A SMALL PLAYER - and the first trailer looks absolutely stunning. Watch now at irishfilmtv.com.

...

🏆 RIVALS just scooped the International Emmy for Best Drama Series!

The Disney+ hit starring Irish talents Aidan Turner and Victoria Smurfit brought home the gold for this deliciously scandalous 1980s romp through the world of wealthy media types.

More at irishfilmtv.com.

12 1
Open post by irish_film_tv with ID 18091525727501274
🏆 RIVALS just scooped the International Emmy for Best Drama Series! The Disney+ hit starring Irish talents Aidan Turner and Victoria Smurfit brought home the gold for this deliciously scandalous 1980s romp through the world of wealthy media types. More at irishfilmtv.com.

...

Westeros is trading dragonfire for something a bit more human!

Set nearly a century before GAME OF THRONES, HBO’s latest venture into the world of Ice and Fire, A KNIGHT OF THE SEVEN KINGDOMS, is now on #HBO.

First look trailer at irishfilmtv.com.

5 1
Open post by irish_film_tv with ID 17904578295181716
Westeros is trading dragonfire for something a bit more human! Set nearly a century before GAME OF THRONES, HBO’s latest venture into the world of Ice and Fire, A KNIGHT OF THE SEVEN KINGDOMS, is now on #HBO. First look trailer at irishfilmtv.com.

...

🎭 From beloved DERRY GIRL to Chekhov star!

Saoirse-Monica Jackson is trading the screen for the stage in Kabosh`s bold new adaptation of THREE SISTERS at @gaiety_theatre.

Visit irishfilmtv.com for ticket links!

12 2
Open post by irish_film_tv with ID 18159500326329721
🎭 From beloved DERRY GIRL to Chekhov star! Saoirse-Monica Jackson is trading the screen for the stage in Kabosh's bold new adaptation of THREE SISTERS at @gaiety_theatre. Visit irishfilmtv.com for ticket links!

...

Paul Mescal and Josh O`Connor are bringing something truly special to THE HISTORY OF SOUND 🎵✨

The two actors sang, reminisced, and opened up about this intimate musical journey. Recording onto actual wax cylinders gave them a tangible connection to their characters` world—the fragility of the medium mirrors the fragility of memory itself.

They revealed which Beatles song their characters would love and discussed the upcoming Beatles biopics. What emerges most powerfully is the chemistry between them—THE HISTORY OF SOUND is ultimately about how music becomes the language through which we express what words cannot capture 🎬🎶

#Ireland #Irish #Movies #Film #Television #TV #Cinema #Irishmovies #IrishFilm #IrishCinema #Actor #ActorsLife #IrishActor #PaulMescal #JoshOConnor #TheHistoryOfSound #IndieFilm #MovieNews #FilmLovers #CinemaLovers #MusicInFilm #PeriodDrama #BritishCinema #Acting #Cinephile #NewRelease #thebeatles

9 2
Open post by irish_film_tv with ID 18061918208661010
Paul Mescal and Josh O'Connor are bringing something truly special to THE HISTORY OF SOUND 🎵✨ The two actors sang, reminisced, and opened up about this intimate musical journey. Recording onto actual wax cylinders gave them a tangible connection to their characters' world—the fragility of the medium mirrors the fragility of memory itself. They revealed which Beatles song their characters would love and discussed the upcoming Beatles biopics. What emerges most powerfully is the chemistry between them—THE HISTORY OF SOUND is ultimately about how music becomes the language through which we express what words cannot capture 🎬🎶 #Ireland #Irish #Movies #Film #Television #TV #Cinema #Irishmovies #IrishFilm #IrishCinema #Actor #ActorsLife #IrishActor #PaulMescal #JoshOConnor #TheHistoryOfSound #IndieFilm #MovieNews #FilmLovers #CinemaLovers #MusicInFilm #PeriodDrama #BritishCinema #Acting #Cinephile #NewRelease #thebeatles

...

Lisa McGee (yes, the genius behind DERRY GIRLS) is back with HOW TO GET TO HEAVEN FROM BELFAST and it sounds absolutely unhinged in the best way possible.

Three childhood friends—chaotic TV writer Saoirse, stressed mum-of-three Robyn, and dependable Dara—reunite for the wake of their estranged fourth friend. What starts as a simple journey across Ireland quickly spirals into something darker when eerie events unfold and a buried childhood secret threatens to surface.

Mark your calendars for February 2026 because this Irish odyssey is going to be unmissable!

#Ireland #Irish #Movies #Film #Television #TV #Cinema #Irishmovies #IrishFilm #IrishCinema #Actor #ActorsLife #IrishActor #Netflix #NetflixSeries #LisaMcGee #DerryGirls #Belfast #ComediThriller #IrishDrama #IrishStories #MustWatch #ComingSoon #NewSeries #IrishWriters #IrishEntertainment #TVDrama #NetflixOriginal #BingeWorthy #IrishWomen

4 0
Open post by irish_film_tv with ID 18442195576102058
Lisa McGee (yes, the genius behind DERRY GIRLS) is back with HOW TO GET TO HEAVEN FROM BELFAST and it sounds absolutely unhinged in the best way possible. Three childhood friends—chaotic TV writer Saoirse, stressed mum-of-three Robyn, and dependable Dara—reunite for the wake of their estranged fourth friend. What starts as a simple journey across Ireland quickly spirals into something darker when eerie events unfold and a buried childhood secret threatens to surface. Mark your calendars for February 2026 because this Irish odyssey is going to be unmissable! #Ireland #Irish #Movies #Film #Television #TV #Cinema #Irishmovies #IrishFilm #IrishCinema #Actor #ActorsLife #IrishActor #Netflix #NetflixSeries #LisaMcGee #DerryGirls #Belfast #ComediThriller #IrishDrama #IrishStories #MustWatch #ComingSoon #NewSeries #IrishWriters #IrishEntertainment #TVDrama #NetflixOriginal #BingeWorthy #IrishWomen

...

** Now on Netflix **

RUN AWAY brings Harlan Coben back to form with James Nesbitt doing what he does best—playing a tormented father searching for his missing daughter against all advice.

More at irishfilmtv.com.

3 1
Open post by irish_film_tv with ID 18107776864644484
** Now on Netflix ** RUN AWAY brings Harlan Coben back to form with James Nesbitt doing what he does best—playing a tormented father searching for his missing daughter against all advice. More at irishfilmtv.com.

...

Colin Farrell`s latest is dividing audiences, but everyone agrees on one thing: his performance is absolutely magnetic ✨

The Oscar-nominated Irish actor stars as Lord Doyle, a spiraling gambler in neon-soaked Macao searching for redemption.

Don`t miss Farrell at his destructive best, now on @netflix!

19 4
Open post by irish_film_tv with ID 17925388905155860
Colin Farrell's latest is dividing audiences, but everyone agrees on one thing: his performance is absolutely magnetic ✨ The Oscar-nominated Irish actor stars as Lord Doyle, a spiraling gambler in neon-soaked Macao searching for redemption. Don't miss Farrell at his destructive best, now on @netflix!

...

🎭 LEGEND RETURNS TO THE STAGE 🎭

From Mad-Eye Moody to Uncle Pastuzo, Brendan Gleeson has captivated us on screen for decades. Now he`s making his WEST END DEBUT in THE WEIR! Dublin first (Aug 8-Sep 6) then London`s Harold Pinter Theatre (Sep 12-Dec 6).

More at irishfilmtv.com.

18 1
Open post by irish_film_tv with ID 18041037773345742
🎭 LEGEND RETURNS TO THE STAGE 🎭 From Mad-Eye Moody to Uncle Pastuzo, Brendan Gleeson has captivated us on screen for decades. Now he's making his WEST END DEBUT in THE WEIR! Dublin first (Aug 8-Sep 6) then London's Harold Pinter Theatre (Sep 12-Dec 6). More at irishfilmtv.com.

...

Barry Keoghan goes blonde and badass for CRIME 101! 🎬

The Irish star trades blows with Chris Hemsworth and Mark Ruffalo in this high-stakes crime thriller, playing Orman, a thief whose methods are as disturbing as they are effective. With Detective Lou Lubesnick (Ruffalo) closing in and rival criminal Davis (Hemsworth) in his way, this heist is about to get messy.

More at irishfilmtv.com.

12 3
Open post by irish_film_tv with ID 18380300455199373
Barry Keoghan goes blonde and badass for CRIME 101! 🎬 The Irish star trades blows with Chris Hemsworth and Mark Ruffalo in this high-stakes crime thriller, playing Orman, a thief whose methods are as disturbing as they are effective. With Detective Lou Lubesnick (Ruffalo) closing in and rival criminal Davis (Hemsworth) in his way, this heist is about to get messy. More at irishfilmtv.com.

...

From FAIR CITY to KNIVES OUT! Daryl McCormack shines in the new #netflix film WAKE UP DEAD MAN.

McCormack just wrapped Netflix`s PRIDE AND PREJUDICE opposite Jack Lowden, Emma Corrin, and Olivia Colman. Talk about range: trading viral grift for Jane Austen elegance. Same actor, different century, wildly different moral compass.

More Daryl at irishfilmtv.com.

15 3
Open post by irish_film_tv with ID 17932069071148756
From FAIR CITY to KNIVES OUT! Daryl McCormack shines in the new #netflix film WAKE UP DEAD MAN. McCormack just wrapped Netflix's PRIDE AND PREJUDICE opposite Jack Lowden, Emma Corrin, and Olivia Colman. Talk about range: trading viral grift for Jane Austen elegance. Same actor, different century, wildly different moral compass. More Daryl at irishfilmtv.com.

...

🍺 From PEAKY BLINDERS to pints of pure drama!

Steven Knight is serving up Ireland`s most scandalous brewing dynasty in HOUSE OF GUINNESS, hitting Netflix Sept 25th ✨

Anthony Boyle, Louis Partridge, Emily Fairn & Fionn O`Shea are about to show you what happens when you inherit black gold... and all the poison that comes with it 🖤

More at irishfilmtv.com.

12 1
Open post by irish_film_tv with ID 18089789761769768
🍺 From PEAKY BLINDERS to pints of pure drama! Steven Knight is serving up Ireland's most scandalous brewing dynasty in HOUSE OF GUINNESS, hitting Netflix Sept 25th ✨ Anthony Boyle, Louis Partridge, Emily Fairn & Fionn O'Shea are about to show you what happens when you inherit black gold... and all the poison that comes with it 🖤 More at irishfilmtv.com.

...

Adapted from Louise Kennedy`s bestselling novel, TRESPASSES stars Gillian Anderson as executive producer and cast member.

Kennedy praises the "ear-perfect, sexy script" and "gorgeously melancholic aesthetic vision" that brings her Women`s Prize-shortlisted novel to life.

Premieres Sunday 9pm on Channel 4, more at irishfilmtv.com.

6 2
Open post by irish_film_tv with ID 17918639433208100
Adapted from Louise Kennedy's bestselling novel, TRESPASSES stars Gillian Anderson as executive producer and cast member. Kennedy praises the "ear-perfect, sexy script" and "gorgeously melancholic aesthetic vision" that brings her Women's Prize-shortlisted novel to life. Premieres Sunday 9pm on Channel 4, more at irishfilmtv.com.

...

🏆 HUGE news! Irish filmmaker Gar O`Rourke`s SANATORIUM has been selected to represent Ireland at the 98th Academy Awards!

Shot in a Ukrainian health retreat while war rages nearby, this isn`t your typical wartime documentary. It`s funny, heartwarming, and absolutely beguiling - following people taking mud baths while bombs smoke in the distance. Life goes on. ✨

Trailer now at irishfilmtv.com.

11 2
Open post by irish_film_tv with ID 18420661690101612
🏆 HUGE news! Irish filmmaker Gar O'Rourke's SANATORIUM has been selected to represent Ireland at the 98th Academy Awards! Shot in a Ukrainian health retreat while war rages nearby, this isn't your typical wartime documentary. It's funny, heartwarming, and absolutely beguiling - following people taking mud baths while bombs smoke in the distance. Life goes on. ✨ Trailer now at irishfilmtv.com.

...

🖤⚡️ JESSIE BUCKLEY IS COMING BACK TO LIFE! ⚡️🖤

Ireland`s Irish powerhouse transforms into a Gaga-esque flapper brought back to life as the companion of Christian Bale`s creature in Maggie Gyllenhaal`s electrifying new take on THE BRIDE!

New trailer at irishfilmtv.com.

7 3
Open post by irish_film_tv with ID 18040232687463345
🖤⚡️ JESSIE BUCKLEY IS COMING BACK TO LIFE! ⚡️🖤 Ireland's Irish powerhouse transforms into a Gaga-esque flapper brought back to life as the companion of Christian Bale's creature in Maggie Gyllenhaal's electrifying new take on THE BRIDE! New trailer at irishfilmtv.com.

...

🎭 From Shakespeare to a Beatle: Paul Mescal is doing the impossible!

Oscar-nominated Irish actor Paul Mescal is taking on TWO iconic roles that prove he`s one of the most fearless actors working today.

Watch Paul`s latest interview at irishfilmtv.com.

16 4
Open post by irish_film_tv with ID 17847470091582302
🎭 From Shakespeare to a Beatle: Paul Mescal is doing the impossible! Oscar-nominated Irish actor Paul Mescal is taking on TWO iconic roles that prove he's one of the most fearless actors working today. Watch Paul's latest interview at irishfilmtv.com.

...

A priest. A pool. A Spanish island. And one very dead body. 🏊‍♂️☠️

THESE SACRED VOWS hits RTÉ One on February 1st, and this wedding weekend mystery is about to become your next obsession.

Newly released trailer now at irishfilmtv.com.

6 2
Open post by irish_film_tv with ID 18052784582681168
A priest. A pool. A Spanish island. And one very dead body. 🏊‍♂️☠️ THESE SACRED VOWS hits RTÉ One on February 1st, and this wedding weekend mystery is about to become your next obsession. Newly released trailer now at irishfilmtv.com.

...

When the past catches up with you in Amsterdam 🌊

Ciarán Hinds and Lesley Manville star in MIDWINTER BREAK—a retired couple`s winter getaway becomes a reckoning with memories they`ve tried to outrun for decades, in theatres Feb 20.

New trailer at irishfilmtv.com.

13 3
Open post by irish_film_tv with ID 18098038210834073
When the past catches up with you in Amsterdam 🌊 Ciarán Hinds and Lesley Manville star in MIDWINTER BREAK—a retired couple's winter getaway becomes a reckoning with memories they've tried to outrun for decades, in theatres Feb 20. New trailer at irishfilmtv.com.

...

🎬 From STAR WARS to THE OFFICE spin-off magic!

Domhnall Gleeson is absolutely crushing it as Ned Sampson in THE PAPER - proving he`s evolved from beloved supporting player to commanding leading man 🌟

Catch him chatting with Seth Meyers about the series - THE PAPER is streaming NOW on Peacock! 📺✨

12 1
Open post by irish_film_tv with ID 18081479524936240
🎬 From STAR WARS to THE OFFICE spin-off magic! Domhnall Gleeson is absolutely crushing it as Ned Sampson in THE PAPER - proving he's evolved from beloved supporting player to commanding leading man 🌟 Catch him chatting with Seth Meyers about the series - THE PAPER is streaming NOW on Peacock! 📺✨

...

For more than two decades, Domhnall Gleeson has carved out one of the most diverse and compelling careers in contemporary cinema.

Watch Domhnall break down his career in his latest @esquire interview!

Link in bio ❤️

33 7
Open post by irish_film_tv with ID 17914694403218923
For more than two decades, Domhnall Gleeson has carved out one of the most diverse and compelling careers in contemporary cinema. Watch Domhnall break down his career in his latest @esquire interview! Link in bio ❤️

...

Eve Hewson brings ghosts to life in Noah Baumbach`s JAY KELLY.

From her breakout in THIS MUST BE THE PLACE to BAD SISTERS and beyond, she`s now haunting George Clooney as Daphne—a face from the past that forces a movie star to confront who he became while chasing fame.

More Eve at irishfilmtv.com.

9 4
Open post by irish_film_tv with ID 18169424131377675
Eve Hewson brings ghosts to life in Noah Baumbach's JAY KELLY. From her breakout in THIS MUST BE THE PLACE to BAD SISTERS and beyond, she's now haunting George Clooney as Daphne—a face from the past that forces a movie star to confront who he became while chasing fame. More Eve at irishfilmtv.com.

...

Andrew Scott`s hot streak continues 🔥

From the Hot Priest in FLEABAG to his heartbreaking turn in ALL OF US STRANGERS, he`s now bringing that signature intensity to BLUE MOON as composer Richard Rodgers.

The film hits theaters Friday, more at irishfilmtv.com.

18 4
Open post by irish_film_tv with ID 18085113580769644
Andrew Scott's hot streak continues 🔥 From the Hot Priest in FLEABAG to his heartbreaking turn in ALL OF US STRANGERS, he's now bringing that signature intensity to BLUE MOON as composer Richard Rodgers. The film hits theaters Friday, more at irishfilmtv.com.

...

Andrew Scott is about to steal another movie and we`re absolutely here for it! 🔍

The trailer for WAKE UP DEAD MAN: A KNIVES OUT MYSTERY has dropped, and our beloved Irish actor is joining Daniel Craig`s Benoit Blanc for what looks like the most deliciously twisted instalment yet.

Scott plays bestselling author Lee Ross, one of several suspects in a seemingly impossible murder that rocks a small town`s religious community.

More at irishfilmtv.com.

11 5
Open post by irish_film_tv with ID 18297463792284771
Andrew Scott is about to steal another movie and we're absolutely here for it! 🔍 The trailer for WAKE UP DEAD MAN: A KNIVES OUT MYSTERY has dropped, and our beloved Irish actor is joining Daniel Craig's Benoit Blanc for what looks like the most deliciously twisted instalment yet. Scott plays bestselling author Lee Ross, one of several suspects in a seemingly impossible murder that rocks a small town's religious community. More at irishfilmtv.com.

...

🎬 HAMNET has officially overtaken Paul Thomas Anderson`s ONE BATTLE AFTER ANOTHER as the Oscar frontrunner!

Chloé Zhao`s Shakespeare-inspired drama now leads with a 96.8% chance of nomination, fueled by its Telluride buzz and Toronto People`s Choice win.

More at irishfilmtv.com.

11 2
Open post by irish_film_tv with ID 18072134972010026
🎬 HAMNET has officially overtaken Paul Thomas Anderson's ONE BATTLE AFTER ANOTHER as the Oscar frontrunner! Chloé Zhao's Shakespeare-inspired drama now leads with a 96.8% chance of nomination, fueled by its Telluride buzz and Toronto People's Choice win. More at irishfilmtv.com.

...

James Nesbitt is back in Harlan Coben`s twisted universe. 🔍

RUN AWAY drops January 1st on #Netflix — and this one`s personal.

When Simon (Nesbitt) finally finds his missing daughter strung out in a city park, it`s supposed to be a second chance. Instead, it`s the beginning of a nightmare.

New trailer at irishfilmtv.com.

5 2
Open post by irish_film_tv with ID 18089502430749350
James Nesbitt is back in Harlan Coben's twisted universe. 🔍 RUN AWAY drops January 1st on #Netflix — and this one's personal. When Simon (Nesbitt) finally finds his missing daughter strung out in a city park, it's supposed to be a second chance. Instead, it's the beginning of a nightmare. New trailer at irishfilmtv.com.

...

Daniel Day-Lewis is BACK and we`re not ready for how devastating ANEMONE is 😭

After 7 years away from the screen, Day-Lewis returns in this quiet Irish masterpiece directed by his son Ronan. It`s not a flashy comeback—it`s something far more powerful. A meditation on isolation, guilt, and the human connections we can`t outrun, no matter how far we go.

ANEMONE is now on Prime!

7 1
Open post by irish_film_tv with ID 18142604410449258
Daniel Day-Lewis is BACK and we're not ready for how devastating ANEMONE is 😭 After 7 years away from the screen, Day-Lewis returns in this quiet Irish masterpiece directed by his son Ronan. It's not a flashy comeback—it's something far more powerful. A meditation on isolation, guilt, and the human connections we can't outrun, no matter how far we go. ANEMONE is now on Prime!

...

Saoirse Ronan is heading back to the `60s! 🎸

The four-time Oscar nominee is reportedly set to play Linda McCartney in Sam Mendes` wildly ambitious THE BEATLES project—four separate films, each following a different Beatle.

She`ll star opposite Paul Mescal (her FOE co-star) as Paul McCartney, with Barry Keoghan as Ringo, Joseph Quinn as George, and Harris Dickinson as John.

More at irishfilmtv.com.

8 3
Open post by irish_film_tv with ID 17848310454543313
Saoirse Ronan is heading back to the '60s! 🎸 The four-time Oscar nominee is reportedly set to play Linda McCartney in Sam Mendes' wildly ambitious THE BEATLES project—four separate films, each following a different Beatle. She'll star opposite Paul Mescal (her FOE co-star) as Paul McCartney, with Barry Keoghan as Ringo, Joseph Quinn as George, and Harris Dickinson as John. More at irishfilmtv.com.

...

From 007 to retirement home detective, @piercebrosnanofficial has done it all!

In a new interview, The THURSDAY MURDER CLUB (now streaming on @netflix) star strolls through the north London streets where he once cut his teeth as a young actor.

More at irishfilmtv.com.

11 3
Open post by irish_film_tv with ID 18140672449424732
From 007 to retirement home detective, @piercebrosnanofficial has done it all! In a new interview, The THURSDAY MURDER CLUB (now streaming on @netflix) star strolls through the north London streets where he once cut his teeth as a young actor. More at irishfilmtv.com.

...

Brendan Gleeson is bringing all the feels in H IS FOR HAWK 🎬🦅

Playing the beloved father in this beautiful 2025 drama based on Helen Macdonald`s bestselling memoir, Gleeson delivers a performance that`s both tender and powerful.

More at irishfilmtv.com.

13 4
Open post by irish_film_tv with ID 18055054862277021
Brendan Gleeson is bringing all the feels in H IS FOR HAWK 🎬🦅 Playing the beloved father in this beautiful 2025 drama based on Helen Macdonald's bestselling memoir, Gleeson delivers a performance that's both tender and powerful. More at irishfilmtv.com.

...

🔥 The feud that stopped a nation.

SAIPAN brings the explosive 2002 World Cup confrontation between Roy Keane and Mick McCarthy to the big screen—and it`s not about football glory, it`s about ego, standards, and two men whose rivalry became bigger than the game itself.

Watch the new trailer at irishfilmtv.com.

10 2
Open post by irish_film_tv with ID 17990185103895712
🔥 The feud that stopped a nation. SAIPAN brings the explosive 2002 World Cup confrontation between Roy Keane and Mick McCarthy to the big screen—and it's not about football glory, it's about ego, standards, and two men whose rivalry became bigger than the game itself. Watch the new trailer at irishfilmtv.com.

...

Netflix has assembled a powerhouse Irish cast for their upcoming adaptation of Marian Keyes` bestselling novel GROWN UPS.

Sarah Greene (BAD SISTERS) leads alongside Barry Ward, Aisling Bea (THIS WAY UP), Robert Sheehan (UMBRELLA ACADEMY), Adrian Dunbar (LINE OF DUTY) and more incredible talent ✨

This 8-part series follows the chaotic Casey family as they navigate grief, love, and the messy reality of being "grown up".

More at irishfilmtv.com.

18 2
Open post by irish_film_tv with ID 17981590679899261
Netflix has assembled a powerhouse Irish cast for their upcoming adaptation of Marian Keyes' bestselling novel GROWN UPS. Sarah Greene (BAD SISTERS) leads alongside Barry Ward, Aisling Bea (THIS WAY UP), Robert Sheehan (UMBRELLA ACADEMY), Adrian Dunbar (LINE OF DUTY) and more incredible talent ✨ This 8-part series follows the chaotic Casey family as they navigate grief, love, and the messy reality of being "grown up". More at irishfilmtv.com.

...

🎭 Jessie Buckley is about to break our hearts all over again in HAMNET 💔

From her Oscar-nominated turn in THE LOST DAUGHTER to the psychological depths of MEN, this Irish powerhouse keeps choosing roles that demand everything.

HAMNET hits theaters November 27th - mark your calendars! 🗓️

20 3
Open post by irish_film_tv with ID 17922082125131083
🎭 Jessie Buckley is about to break our hearts all over again in HAMNET 💔 From her Oscar-nominated turn in THE LOST DAUGHTER to the psychological depths of MEN, this Irish powerhouse keeps choosing roles that demand everything. HAMNET hits theaters November 27th - mark your calendars! 🗓️

...

Pierce Brosnan trades his 007 tuxedo for raw, devastating drama in CURTAIN CALL—arriving on digital November 10.

Starring opposite Jessica Lange, Brosnan continues his brilliant pivot from action hero to serious character actor, exploring the heartbreaking reality of dementia in the theatre world.

Watch trailer on irishfilmtv.com.

10 2
Open post by irish_film_tv with ID 18077430839150867
Pierce Brosnan trades his 007 tuxedo for raw, devastating drama in CURTAIN CALL—arriving on digital November 10. Starring opposite Jessica Lange, Brosnan continues his brilliant pivot from action hero to serious character actor, exploring the heartbreaking reality of dementia in the theatre world. Watch trailer on irishfilmtv.com.

...

Instagram Youtube

Irish Film, Irish Television

, , ,

REVIEWS

Latest Irish Film and TV Reviews

IFTV's BLITZ review

IFTV’s BLITZ review

October 10, 2024

BLITZ opens in cinemas on Friday, November 1st, and streams on Apple TV+ from Friday, November 22nd In BLITZ, director Steve McQueen ventures into the tumultuous landscape of London during World War II, crafting a narrative that marries the visceral realities of war with deeply personal stories of family and

Read More
BRING THEM DOWN review

BRING THEM DOWN review

September 21, 2024

BRING THEM DOWN initially tells its story through the perspective of Michael. Weighed down by internal conflicts, he traverses the Irish countryside almost invisibly. His brooding aggression and minimal dialogue hook you into his world. Michael’s silent fury is far more fascinating and impactful than the noise of his neighboring

Read More
Saoirse Ronan

THE OUTRUN review

August 27, 2024

FOE star Saoirse Ronan is earning rave reviews for her performance in THE OUTRUN. The film is an adaptation of Amy Liptrot’s autobiographical story, in which a return to one’s origins is synonymous with inner healing. Here, Ronan finds a role tailor-made to explore the intricacies of the human soul, in

Read More
FOE on Amazon Prime Jan 5

FOE review

October 2, 2023

After providing the raw fodder for Charlie Kaufman’s characteristically cryptic I’M THINKING OF ENDING THINGS, Canadian novelist Iain Reid serves up more brain-bender material in Garth Davis’ FOE. Anchored by emotionally raw performances from Saoirse Ronan and Paul Mescal, with Aaron Pierre as a stranger bringing equal parts seductive charm

Read More

BALLYWALTER review

September 25, 2023

The reviews for BALLYWALTER are in! The Irish Independent says “Patrick Kielty is a revelation and Seána Kerslake exemplary in this moving drama. Together they created something wonderful, something unique, something that deserves to find an audience. Armed with a moving, meaningful screenplay by Stacey Gregg, BALLYWALTER speaks only when

Read More
Eve Hewson

FLORA AND SON review

September 13, 2023

The reviews are in for ONCE director, John Carney’s FLORA AND SON. Single mom, Flora (Eve Hewson), struggles to keep her son Max (Orén Kinlan) out of trouble in Dublin. She gets the idea to give her teenager a guitar, but he quickly refuses it in all his teenage angst.

Read More
Michael Fassbender

THE KILLER review

September 5, 2023

Straight from it’s World Premiere at Venice Film Festival, THE KILLER is earning highly positive reviews. David Fincher’s horribly addictive samurai procedural, adapted by Andrew Kevin Walker from the graphic novel by Alexis Nolent, stars Michael Fassbender as the un-named titular hitman: an ascetic who in the movie’s sensationally low-key

Read More
Lola

LOLA review

April 11, 2023

The debut film from Irish director Andrew Legge is a pacy, thrillingly inventive found-footage mockumentary that purports to show the invention, in 1940, of a machine that can intercept television and radio broadcasts from the future. The device is named Lola in honour of the mother of the machine’s creators:

Read More
Town of Strangers

TOWN OF STRANGERS review

February 8, 2023

TOWN OF STRANGERS is set in the town of Gort in County Galway, perhaps best known for being the site of Coole House, the home of Lady Gregory and the Irish literary revival of Yeats, Synge, O’Casey and Shaw. None of that is mentioned, however: director Threasa O’Brien focuses on

Read More
Aftersun

AFTERSUN review

November 19, 2022

Charlotte Wells’ moving debut feature AFTERSUN details a father-daughter vacation at a cheap resort in Turkey. There’s something unknowable about Calum (Paul Mescal), and maybe this is because Sophie (Frankie Corio) is a child, and he’s her dad, and she’s just about coming to the age where she’s separating herself

Read More
The Wonder

THE WONDER review

November 16, 2022

In the new film version of Emma Donoghue’s richly absorbing novel THE WONDER, we confront what the march of history and colonialism has done to Ireland. The film opens in 1862, ten years after the Great Hunger, in a windswept midlands village where a local girl called Anna O’Donnell is

Read More

HOLE IN THE HEAD review

August 16, 2022

Greystones filmmaker Dean Kavanagh made his cinema debut with his first narrative feature, HOLE IN THE HEAD, at the Irish Film Institute on Friday, August 12. The experimental director used the ongoing pandemic and repeated lockdowns of years past to both create and film his piece, using the natural landscape

Read More

Irish Film, Irish Television

, , ,

IRISH TV NEWS

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 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 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 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 [...]
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 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 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 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 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 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 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 [...]
October 21Netflix has officially announced “KENNEDY,” an eight-episode drama series that will star Michael Fassbender as Joe Kennedy Sr., marking a significant addition to the actor’s increasingly selective television portfolio. Based on Fredrik Logevall’s acclaimed biography “JFK: Coming of Age in the American Century, 1917-1956,” the series promises to peel back the mythological veneer surrounding America’s most storied political dynasty and reveal the raw human ambition, struggle, and tragedy that defined them. For Fassbender, this represents a notable shift in his recent career trajectory. After dominating the big screen with intense performances in films like STEVE JOBS, ALIEN: COVENANT, and THE SNOWMAN, the German-Irish actor has been more discerning about his projects in recent years. His appearance in David Fincher’s THE KILLER in 2023 signaled his willingness to embrace streaming platforms for the right material, and “KENNEDY” appears to be another carefully chosen vehicle that allows him to sink his teeth into a complex, morally ambiguous patriarch. The role of Joe Kennedy Sr., the controversial businessman and political operator who orchestrated his family’s rise to power through a combination of wealth, cunning, and ruthless determination, seems tailor-made for Fassbender’s ability to portray charismatic yet deeply flawed men. The series will launch in the 1930s, chronicling Joe and Rose Kennedy’s improbable journey from ambitious strivers to American royalty, following their nine children including the rebellious Jack Kennedy, who would struggle to emerge from the shadow of his older brother Joe Jr. Showrunner Sam Shaw describes the Kennedy saga as existing somewhere between Shakespeare and THE BOLD AND THE BEAUTIFUL, a deliberately provocative framing that acknowledges both the family’s genuine historical significance and the soap operatic quality of their endless cycles of triumph and disaster. The assassinations of JFK and Robert Kennedy, the tragic death of JFK Jr. alongside his wife and sister-in-law in that 1999 plane crash, and the countless other misfortunes that gave birth to whispers of a Kennedy curse have all contributed to a narrative that feels almost too dramatically perfect to be real. Shaw’s vision, drawing from Logevall’s nuanced biography, aims to strip away the mythology and expose the human strivings and burdens underneath, using the Kennedy story as a lens through which to examine not just mid-century American ambition but our current moment and how we arrived here. It’s an ambitious undertaking that will need Fassbender’s considerable talents to anchor it, and if his recent choices are any indication, he wouldn’t have signed on unless the material warranted the commitment. The series has no release date yet but stands apart from Ryan Murphy’s upcoming “American Love Story,” which will focus specifically on JFK Jr., suggesting that Netflix is betting heavily on America’s endless fascination with the family that came closest to establishing a modern political dynasty before fate intervened. Instagram Youtube [...]
October 7The BBC has secured three more series of THE GRAHAM NORTON SHOW in a deal that ensures the beloved chatshow will remain a cornerstone of British television through 2026 and beyond. The agreement with Norton and his production company So Television begins with series 34, cementing the show’s position as one of the most successful entertainment programmes on British screens. What started as a BBC Two venture in 2007 has evolved into a cultural phenomenon that not only commands impressive viewing figures but also dominates social media conversations long after each episode airs. The show’s enduring appeal lies in Norton’s unique ability to attract genuine A-list talent and create an atmosphere where even the most guarded celebrities let down their defenses. Taylor Swift’s recent appearance exemplified this perfectly when she chose Norton’s sofa for her first television interview to promote THE LIFE OF A SHOWGIRL, timing it to coincide with the album’s release day. That kind of exclusive access speaks volumes about the respect Norton has cultivated within the entertainment industry and the trust that major stars place in him as an interviewer. The latest series averaged 2.9 million viewers per episode, impressive numbers in an era of fragmented viewing habits, but the show’s reach extends far beyond traditional broadcast metrics as clips regularly achieve viral status across social media platforms. After making the jump to BBC One following two series on BBC Two, THE GRAHAM NORTON SHOW has become synonymous with Friday night entertainment in Britain. The formula remains deceptively simple yet endlessly entertaining, bringing together unlikely combinations of guests who might never otherwise share a stage, letting their stories and personalities collide in unpredictable ways. Norton himself expressed his continued enthusiasm for the role, describing hosting his own chatshow as both a huge pleasure and a privilege, adding that he’s thrilled the BBC is allowing him to continue for another three years and that his whole team looks forward to bringing the world’s brightest stars into the homes of the great British public. Kalpna Patel-Knight, the BBC’s head of entertainment, emphasized that Norton sets the gold standard for celebrity interviews and continues to attract the best global talent to his sofa, which explains why the show remains so beloved by audiences. THE GRAHAM NORTON SHOW airs on BBC One on Fridays at 10.40pm, with upcoming guests including Julia Roberts and Colin Farrell, proving once again that Norton’s magnetic appeal shows no signs of diminishing. Instagram Youtube [...]
September 25In the ever-evolving landscape of Irish talent making waves internationally, Niamh McCormack stands as a compelling force whose time has truly arrived. The Dublin-born actress has been steadily building an impressive portfolio since launching her career in 2010, but it’s her recent trajectory that’s capturing attention across the industry. McCormack’s recent work reads like a masterclass in genre diversity. Her appearance in THE WITCHER showcased her ability to inhabit fantasy worlds with authenticity, while her role in DUNGEONS AND DRAGONS demonstrated her command of adventure narratives. Her performance in EVERYTHING NOW further proved her versatility, tackling contemporary drama with the same skill she brings to period pieces. Each project has served as a stepping stone, building toward what promises to be her most significant role yet. Now, with Netflix’s HOUSE OF GUINNESS set to premiere on September 25th, McCormack is poised to deliver what could be her breakthrough performance. As Ellen Cochrane, sister to Fenian leader Patrick Cochrane, she embodies a character that writer Stephen Knight has crafted with remarkable depth and historical significance. “Ellen represents hundreds of women who have been written out of history,” McCormack explains with evident passion. “She is a modern woman ahead of her time, really representing the working class in this time period which has not been done before.” This isn’t just another period drama for McCormack—it’s deeply personal. The discovery that her own great-grandfather served as a lieutenant in the Irish Republican Brotherhood adds profound weight to her portrayal. Learning of this family connection after filming wrapped felt like destiny revealing itself. “It means so much to me to be given the privilege to tell a story of our people,” she reflects, her voice carrying the weight of ancestral pride. The timing of HOUSE OF GUINNESS couldn’t be more perfect for McCormack’s career trajectory. After years of building her craft across various genres and platforms, she’s ready for the spotlight that comes with a major Netflix production. Her recent work has demonstrated range, commitment, and an innate understanding of storytelling that positions her perfectly for this moment. McCormack embodies the current generation of Irish actors who refuse to be confined by geographic boundaries while remaining deeply connected to their cultural roots. Her journey from 2010’s early career beginnings through recent standout performances in THE WITCHER, DUNGEONS AND DRAGONS, and EVERYTHING NOW has led to this pivotal moment where personal history, professional preparation, and perfect timing converge. HOUSE OF GUINNESS isn’t just McCormack’s next project—it’s her declaration that she belongs among Ireland’s premier acting talents, ready to carry forward the stories that define who we are. Instagram Youtube [...]
September 12Netflix has assembled a powerhouse cast for their upcoming adaptation of Marian Keyes’ bestselling novel GROWN UPS and the excitement is palpable as cameras roll across Dublin’s streets. This eight-part drama series promises to deliver the perfect blend of Irish wit, family dysfunction, and heartbreaking authenticity that made Keyes’ novel such a sensation. The story centers on the Casey clan, a boisterous Irish family whose lives are held together by an intricate tapestry of love, loyalty, old grudges, and shared memories. But when their foundation crumbles with the unexpected death of the family’s golden child, everything they thought they knew about themselves gets turned upside down. What follows is a year of reckoning that’s equal parts devastating and absurd, as the Caseys navigate grief while confronting the uncomfortable truth that despite their age and responsibilities, they’re still figuring out how to be adults. Leading this stellar ensemble is Sarah Greene, fresh from her acclaimed performance in BAD SISTERS, taking on the complex role of Jessie. Barry Ward, who captivated audiences in both BAD SISTERS and THE END OF THE F***ING WORLD, steps into Johnny’s shoes with his trademark intensity. Aisling Bea brings her sharp comedic timing from THIS WAY UP to the role of Cara, while Robert Sheehan channels the charismatic energy that made him a standout in THE UMBRELLA ACADEMY and MISFITS as Liam. The supporting cast reads like a who’s who of Irish and British talent. Adrian Dunbar, beloved for his no-nonsense presence in LINE OF DUTY and RIDLEY, takes on Canice, while veteran actress Sinéad Cusack, known for her powerful work in MARCELLA and MOTHERFATHERSON, embodies Rose. Amy-Leigh Hickman from YOU and OUR GIRL joins as Nell, alongside German actress Karin Hanczewski from CALL MY AGENT: BERLIN bringing international flair as Ed. What makes this adaptation particularly special is its commitment to authenticity. Strauss insisted from the beginning that the series be filmed in Ireland, capturing not just the setting but the soul of Irish family life that permeates Keyes’ work. The result is a production that feels genuinely rooted in its Dublin locations, with every frame breathing the atmosphere that made the novel so compelling. As filming continues across County Dublin, anticipation builds for a series that promises to capture both the humor and heartbreak of modern family life. With its combination of established talent and fresh faces, all guided by a creative team that clearly understands the source material’s emotional core, GROWN UPS is shaping up to be Netflix’s next must-watch drama. The Casey family’s chaotic journey through grief, growth, and the messy business of being human is exactly the kind of storytelling that reminds us why great novels deserve great adaptations. Instagram Youtube [...]
September 10For nine seasons, from 2005 to 2013, THE OFFICE became a cultural phenomenon that extended far beyond its initial television run. The series thrived in syndication, found new life on streaming platforms, and spawned countless memes and cultural references. Its influence on subsequent workplace comedies cannot be overstated—the mockumentary format became a standard approach, and the idea that office mundanity could be comedy gold inspired numerous imitators. The series concluded in 2013 with a satisfying finale that tied up loose ends and provided closure for characters viewers had followed for nearly a decade. A finale special followed two years later, seemingly putting a definitive end to the Scranton branch’s story. The paper company had finally closed its doors, metaphorically speaking, and fans were left with memories and endless rewatching opportunities. Now THE PAPER arrives on Peacock as something between sequel and spiritual successor. With an almost entirely new cast of characters but maintaining that familiar mockumentary workplace format, the series represents both continuity and evolution. It’s THE OFFICE returning without being THE OFFICE, a continuation of format and sensibility rather than character and location. The challenge facing this new iteration is substantial: how do you capture the magic of something beloved without simply repeating it? The streaming landscape of 2025 is vastly different from the network television environment that nurtured the original American THE OFFICE. Audiences have shorter attention spans, more viewing options, and different expectations for workplace comedy. The mockumentary format, once fresh and innovative, has become familiar territory. THE PAPER must prove that the format still has stories worth telling and that workplace comedy can evolve while maintaining its essential appeal. The lineage from Slough to Scranton to streaming represents more than just adaptation and continuation—it reflects television’s remarkable ability to reinvent itself while honoring what came before. Each iteration has built upon its predecessor while responding to its own cultural moment. The British THE OFFICE emerged from a specific time and place, capturing post-millennial British workplace culture with surgical precision. The American version expanded and Americanized those themes, creating something that honored the original while speaking to different cultural sensibilities. THE PAPER now faces the challenge of proving that this format has more to offer, that workplace comedy can continue evolving and finding new ways to make us laugh at our professional lives while recognizing the humanity in our daily struggles. Whether it succeeds will determine not just its own fate but the future of a format that has already proven remarkably resilient and adaptable across cultures and decades. Instagram Youtube [...]
September 8The streets of 19th-century Dublin are about to run dark with more than just porter. Netflix’s HOUSE OF GUINNESS, premiering September 25, promises to pour out the untold story of Ireland’s most famous brewing dynasty in a potent blend of family drama, political intrigue, and blood-soaked ambition that could only come from the mind behind PEAKY BLINDERS. Steven Knight, the mastermind who gave us the razor-wielding Shelby family and is currently crafting the next James Bond film, has turned his attention to another empire built on vice and violence. But this time, instead of Birmingham’s smoky backstreets, we’re transported to the cobblestones of Dublin and the bustling avenues of New York, where the Guinness legacy was forged in fire and foam. The saga begins with death, as all great family dramas should. Sir Benjamin Guinness, the architect of the brewery’s extraordinary success, has breathed his last, leaving behind not just barrels of black gold but a powder keg of family tensions ready to explode. His children – Arthur, Edward, Anne, and Ben – suddenly find themselves thrust into a world where business is personal and loyalty is measured in pints and pounds. James Norton steps into the role of Sean Rafferty, while the Guinness heirs come alive through Anthony Boyle, Louis Partridge, Emily Fairn, and Fionn O’Shea. The supporting cast reads like a who’s who of Irish and British talent, with Derva Kirwan, Jack Gleeson, and Niamh McCormack adding their considerable gravitas to what promises to be an ensemble piece of epic proportions. The first trailer alone delivers everything Knight’s fans have come to expect: the reading of Benjamin Guinness’ will becomes a catalyst for chaos, with scenes of violence, gore, and romance bleeding into one another like ingredients in a deadly recipe. This isn’t just the story of how a beverage conquered the world – it’s about the cost of empire, the price of power, and the bitter aftertaste left behind when family becomes business and business becomes war. When HOUSE OF GUINNESS arrives on September 25, viewers won’t just be watching the rise of a brewing empire – they’ll be witnessing the birth of a legend. Instagram Youtube [...]
September 4Twenty years after THE OFFICE first graced our screens, Domhnall Gleeson proves he’s the perfect leading man for television comedy’s most anticipated spin-off. In THE PAPER, Gleeson transforms from the supporting player we’ve watched evolve through films like ABOUT TIME and STAR WARS into a commanding comedic presence who anchors this brilliant new series with both intelligence and heart. Gleeson’s Ned Sampson is a revelation—a newspaper editor who dreamed of being Clark Kent rather than Superman because it seemed “much more noble and much more achievable.” What makes Gleeson’s work in THE PAPER so compelling is how he avoids the trap of simply recreating Steve Carell’s Michael Scott or Ricky Gervais’s David Brent. His Ned is more intelligent, less blundering, yet still endearingly naive—qualities that mirror Gleeson’s own evolution as a performer. The Irish actor brings a warmth and sincerity that transforms what could have been another bumbling boss into someone genuinely worth rooting for. When Ned arrives bright-eyed at The Toledo Truth Teller only to be asked whether he’s there for the newspaper or toilet paper division, Gleeson’s reaction perfectly captures both the character’s optimism and the crushing reality of modern journalism. For Gleeson, THE PAPER represents the culmination of years of steady, intelligent career choices. From his early work in Irish theatre to his breakthrough in ABOUT TIME, from his stint in the STAR WARS galaxy to his memorable turns in films like EX MACHINA, he’s built a reputation as one of the most reliable and versatile actors of his generation. THE PAPER allows him to synthesize all of that experience into a performance that feels effortless while carrying the weight of an entire series. Domnhall sat down with SNL legend Seth Myers on his late show to discuss the new series. THE PAPER is streaming now on Peacock. Instagram Youtube [...]
September 3Irish Film and Television Academy award-winning actress Bríd Brennan is stepping into the magical world of Hogwarts as Madam Poppy Pomfrey in HBO’s highly anticipated HARRY POTTER television series, marking another significant milestone in a career that has consistently elevated both intimate character studies and grand cinematic narratives. The Belfast-born performer brings decades of acclaimed work to this iconic role, having most recently captivated audiences in the Oscar-shortlisted short film ROOM TAKEN, which was executive produced by Colin Farrell. This latest project showcases Brennan’s continued relevance in contemporary cinema, demonstrating her ability to collaborate with A-list talent while maintaining her reputation for choosing compelling, character-driven stories that resonate with both critics and audiences. Brennan’s recent filmography reflects an artist at the height of her powers, building upon a foundation established through memorable performances in BROOKLYN in 2015, where she brought nuanced depth to Saoirse Ronan’s immigrant story, and the politically charged thriller SHADOW DANCER in 2012. These roles have positioned her as one of Ireland’s most versatile performers, equally comfortable in period pieces and contemporary dramas, always bringing an authenticity that stems from her deep understanding of human complexity. Her casting as the Hogwarts matron represents a fascinating evolution from her breakout role in DANCING AT LUGHNASA back in 1998, where she first demonstrated her ability to inhabit characters with both strength and vulnerability. The transition from playing one of the Mundy sisters in that beloved adaptation to becoming the caring medical authority at wizarding school’s most famous institution speaks to Brennan’s range and the trust that casting directors place in her ability to embody maternal figures who are far more complex than they initially appear. What makes this casting particularly intriguing is how Brennan will reinterpret a role originally brought to life by Gemma Jones in the film series. While Jones established Madam Pomfrey as a competent, no-nonsense healer, Brennan’s proven ability to find unexpected emotional depths in seemingly straightforward characters suggests she will bring new dimensions to the character when the series debuts on HBO and HBO Max in 2027. The HBO series, currently in production under the guidance of writer and executive producer Francesca Gardiner and director Mark Mylod, promises to expand beyond the constraints of the original film adaptations, exploring storylines that the movies couldn’t accommodate. This expanded canvas seems perfectly suited to Brennan’s talents, as her recent work has consistently demonstrated her skill at finding the extraordinary within the ordinary, the profound within the practical. For Brennan, stepping into the halls of Hogwarts represents not just another role, but a testament to a career built on consistent excellence and an unwavering commitment to bringing truth to every character she portrays, whether they exist in the kitchen of a Donegal cottage, the streets of 1950s Brooklyn, or the magical corridors of the world’s most famous wizarding school. Instagram Youtube [...]
September 2The champagne corks are popping in the Cotswolds as Disney+ officially greenlights RIVALS for a second season, with cameras already rolling as of May 2025. Jilly Cooper’s scandalous adaptation proved irresistible to viewers, transforming from a modest eight-episode debut into an expanded twelve-episode sophomore season that promises even more backstabbing, bedroom politics, and British upper-class debauchery. The timing couldn’t be more perfect for the show’s breakout star. After years of bouncing between supporting roles in films like THE GENTLEMEN and television appearances that never quite captured the public imagination, this Cotswolds romp has become the career-defining moment that fans have been waiting for. The razor-sharp wit and aristocratic charm that made him a household name decades ago now feels perfectly calibrated for the ruthless world of 1980s British television, where power brokers circle like sharks in Savile Row suits. Season one’s explosive finale left Lord Tony Baddingham’s fate hanging in the balance, while the simmering tension between Rupert Campbell Black and Taggie O’Hara reached a fever pitch that had viewers refreshing their Disney+ feeds for renewal news. The show’s success lies not just in its lavish period detail or the rolling hills of its countryside setting, but in how it captures the particular brand of cruelty that only the British elite can perfect, wrapped in enough sexual tension to steam up a Bentley’s windows. The casting coup continues with Hayley Atwell and Rupert Everett joining as Helen and Malise Gordon, adding fresh blood to an already intoxicating mix of ambition and betrayal. These aren’t mere additions to fill episode time; they’re strategic moves that promise to deepen the show’s exploration of how power corrupts and how the wealthy play games with other people’s lives as their favorite pastime. What started as a nostalgic trip back to shoulder pads and excess has evolved into something more substantial, a meditation on class, privilege, and the particular way that British society packages its cruelties in good manners and better tailoring. The show understands that behind every perfectly manicured estate lies a web of secrets that could destroy reputations, marriages, and entire empires with a single well-placed whisper at the right dinner party. With filming underway and an early 2026 release window taking shape, RIVALS has positioned itself as the prestige drama that doesn’t apologize for being entertaining, proving that sometimes the most revealing stories about power come wrapped in silk scarves and served with a perfectly chilled glass of champagne. The second season won’t just continue where the first left off; it will dig deeper into the moral quicksand that lies beneath every perfectly pruned hedge in this glittering world where everyone has something to hide. Instagram Youtube [...]
September 1The ancient stones of Slane Castle have witnessed centuries of Irish history, but nothing quite like what unfolded when twenty-four strangers gathered within its walls for THE TRAITORS IRELAND this past Sunday. In a dramatic shift from her beloved role as the sharp-tongued Sister Michael in DERRY GIRLS, BAFTA-winning actress Siobhán McSweeney has traded her nun’s habit for the role of puppet master, orchestrating a game where paranoia reigns supreme and trust is the deadliest currency. McSweeney’s journey to hosting THE TRAITORS IRELAND represents a fascinating evolution in her recent career trajectory. Since January 2021, she has been the presenter on The Great Pottery Throw Down on Channel 4, proving her hosting chops in an entirely different arena where creativity flows through clay rather than deception. The transition from guiding amateur potters through their artistic challenges to overseeing psychological warfare among strangers showcases McSweeney’s remarkable range as a presenter. Her work on THE GREAT POTTERY THROW DOWN, where she nurtures contestants through their creative struggles, provides the perfect counterpoint to her new role presiding over deliberate betrayal and calculated manipulation. McSweeney’s most recent venture, however, has taken her behind the camera. She’s made her directorial debut with Spud (2024), a short comedy film for the BBC, demonstrating her expanding creative ambitions beyond both acting and presenting. This directorial work, combined with her hosting duties and her continued presence in the entertainment landscape, positions her as one of Ireland’s most versatile performers, equally comfortable commanding attention from behind the camera as she is in front of it. The setting itself becomes a character in this Irish edition of the international phenomenon. Slane Castle in County Meath, with its Gothic towers and ancient secrets, provides the perfect backdrop for a game built on hidden identities and midnight eliminations. Within these walls, contestants from across Ireland – from Cork to Donegal, from Dublin to Waterford – must navigate a psychological minefield where the Traitors, chosen in secret during the opening episode, work to systematically eliminate the Faithful while maintaining their cover. The stakes could not be higher, with a prize pot of up to €50,000 awaiting those clever enough to outwit, outlast, and outmaneuver their fellow competitors. But in THE TRAITORS IRELAND, money is secondary to survival, and survival depends entirely on reading the room, interpreting glances, and deciphering whether that friendly smile conceals a knife poised to strike. What makes McSweeney’s casting particularly inspired is how her natural authority, honed through years of commanding stages and television screens, translates perfectly to this role of orchestrating chaos. She brings the same commanding presence that made Sister Michael unforgettable in DERRY GIRLS, but now that authority serves a different purpose – overseeing a game where deception is not just encouraged but essential for victory. The producers’ promise that this Irish edition will deliver all the paranoia, twists, and shocking revelations that have made THE TRAITORS an international sensation feels entirely credible with McSweeney at the helm. As THE TRAITORS IRELAND premiered Sunday evening at 9:30pm on RTÉ One and RTÉ Player, viewers witnessed the beginning of what promises to be a masterclass in psychological manipulation wrapped in the elegant brutality that only Irish storytelling can deliver. The game of lies, loyalty, and lethal betrayals has officially begun, and with Siobhán McSweeney presiding over the proceedings, audiences can expect nothing less than television that cuts as deep as the Irish wit that guides it. Instagram Youtube [...]
August 29At 72, Pierce Brosnan moves between his homes in Hawaii and Malibu with the easy grace of a man who has found his rhythm in life’s later acts. His latest venture brings him to London for THE THURSDAY MURDER CLUB, where he trades the tuxedos and martinis of his Bond years for the cardigans and tea cups of Richard Osman’s beloved cosy crime adaptation. Alongside Helen Mirren, Ben Kingsley, and Celia Imrie, Brosnan embodies a retirement-home sleuth whose weekly hobby of solving cold cases takes a decidedly deadly turn when fresh corpses begin appearing. This career pivot speaks to something remarkable about Brosnan’s enduring appeal. While many actors struggle to escape the shadow of iconic roles, he has embraced reinvention with characteristic charm. His Bond tenure, spanning from the triumphant GOLDENEYE in 1995 to the widely panned DIE ANOTHER DAY in 2002, carried unique weight in the franchise’s evolution. Brosnan’s 007 became the first to grapple seriously with the character’s chauvinistic legacy, balancing classic heroism with moments of necessary humility as the world around Bond—and cinema itself—began demanding accountability from its heroes. The seeds of his Bond connection were planted long before he donned the role, during a childhood cinema trip to see GOLDFINGER at London’s ABC Putney in September 1964. That month marked his reunion with his mother after years living with relatives in Ireland while she completed nursing training in London. In one of those curious coincidences that seem to thread through destiny, Ian Fleming died that same August, just as eleven-year-old Brosnan arrived in the city that would shape his future. When Roger Moore finally stepped down in the late 1980s, the role seemed Brosnan’s for the taking. Instead, contractual obligations to his American television success REMINGTON STEELE—where his portrayal of a charming conman-turned-detective had already showcased the suave sophistication that would define his Bond—kept him bound. Timothy Dalton stepped into the breach, though fate would eventually circle back to give Brosnan his moment. Now, as he strolls through the north London streets where he once cut his teeth as a young actor, Brosnan embodies something increasingly rare in contemporary celebrity: genuine contentment with the passage of time. THE THURSDAY MURDER CLUB represents not a desperate grasp for relevance but a confident actor’s choice to explore new territories. In trading international espionage for genteel English murder mysteries, he demonstrates that true star power lies not in clinging to past glories but in the wisdom to know when to reinvent yourself—and the skill to make that reinvention look effortless. Click here to read the full interview. Instagram Youtube [...]
August 28The documentary cameras that once captured the mundane chaos of Dunder Mifflin are rolling again, but this time they’ve traded paper sales for newspaper headlines. Greg Daniels, the mastermind behind THE OFFICE, has partnered with Michael Koman of NATHAN FOR YOU fame to deliver The Paper, a ten-episode comedy series that promises to recapture the mockumentary magic that made us fall in love with workplace dysfunction. Set to drop all episodes at once on Peacock this September 4th, THE PAPER transports viewers to Toledo, Ohio, where the struggling Truth-Teller newspaper becomes the latest subject of our familiar documentary crew. At the center of this journalistic trainwreck is Ned Sampson, played by Domhnall Gleeson, whose previous work in EX MACHINA and ABOUT TIME showcased his ability to blend vulnerability with determination—qualities that seem perfectly suited for a man tasked with reviving a dying newspaper in America’s heartland. The recently released sneak peek offers a tantalizing glimpse into the series’ comedic DNA. Gleeson’s Ned orchestrates a painfully staged meeting, coaching his bewildered staff on their responses while mysterious suited figures observe through glass conference room walls. It’s a moment that perfectly encapsulates the performative desperation of modern media, where appearances matter more than substance, and everyone’s playing a role they barely understand. What makes THE PAPER particularly intriguing is its stellar ensemble cast, anchored by Tony Award winner Alex Edelman, who not only stars but also writes for the series. Edelman, fresh off his Special Tony Award win for the one-man show Just for Us, brings a sharp comedic sensibility that should complement the series’ satirical edge. The supporting cast reads like a who’s who of character actors: Sabrina Impacciatore, Chelsea Frei, Melvin Gregg, Gbemisola Ikumelo, Ramona Young, and Tim Key, with Oscar Nuñez reprising his beloved role as Oscar Martinez—a delightful bridge connecting this new world to the Scranton we know and love. The guest star roster elevates expectations even higher, featuring Broadway veterans Tracy Letts and Molly Ephraim. Letts, whose Tony-winning work includes AUGUST: OSAGE COUNTY and WHO’S AFRAID OF VIRGINIA WOOLF?, brings gravitas and theatrical timing that could prove essential in grounding the series’ more absurd moments. Ephraim, known for her Broadway turns in INTO THE WOODS and FIDDLER ON THE ROOF, adds another layer of stage-trained precision to the proceedings. Originally planned as a weekly release, Peacock’s decision to drop all episodes simultaneously suggests confidence in the show’s binge-worthy potential. This format allows viewers to fully immerse themselves in the Toledo Truth-Teller’s world without the weekly wait that might disrupt the mockumentary’s naturalistic flow. It’s a smart move that acknowledges how audiences consume comedy today while respecting the show’s narrative rhythm. Instagram Youtube [...]
August 20The foggy streets of Birmingham are behind us now. Steven Knight, the mastermind who gave us PEAKY BLINDERS, is trading razor-blade caps and cigarette smoke for something far more intoxicating: the dark, frothy legacy of Ireland’s most notorious brewing dynasty. When HOUSE OF GUINNESS premieres on Netflix this September 25, audiences won’t just be witnessing another lavish period drama about wealth and power—they’ll be diving headfirst into the shocking true story of a family whose scandals, betrayals, and generational secrets have somehow managed to stay buried beneath centuries of perfectly poured pints. This is the story that Ireland never wanted told, the one that transforms your casual pub visit into something far more sinister. Set against the backdrop of 1860s Dublin and New York, the eight-part series zeroes in on one of the most explosive moments in brewing history: the death of Sir Benjamin Guinness in 1868 and the catastrophic aftermath of his will reading. Benjamin wasn’t just another wealthy industrialist—he was the grandson of Arthur Guinness himself, the visionary who famously signed that audacious 9,000-year lease on St. James’s Gate Brewery in 1759, essentially betting on eternity. Under Benjamin’s iron grip, the family business had evolved from a local Dublin operation into a global empire, their signature black stout flowing through the veins of the British Empire and beyond. But empires built on liquid gold are particularly vulnerable to family poison, and Benjamin’s death ignited a feud that would make the Peaky Blinders look like choirboys. The series follows his four adult children—Arthur, Edward, Anne, and Ben—as they navigate the treacherous waters of inheritance, ambition, and sibling rivalry. Anthony Boyle, Louis Partridge, Emily Fairn, and Fionn O’Shea embody these young heirs who suddenly find themselves custodians of “black gold,” facing the terrifying prospect of either expanding their grandfather’s legacy or watching it crumble under the weight of their own desires. Knight describes his fascination with this “naturally wild” clan, particularly their “zest for life—their lust for life, often literally.” It’s this raw, unapologetic appetite that drives the narrative, transforming what could have been a dry historical chronicle into something visceral and immediate. The recently released photos reveal siblings caught between ecstatic highs and heartbreaking lows, their faces reflecting the intoxicating burden of being born into greatness while simultaneously being capable of destroying it. What makes HOUSE OF GUINNESS particularly compelling is how it illuminates the human cost of building an empire. These aren’t just wealthy heirs playing with their inheritance—they’re young people grappling with impossible expectations, their every decision capable of toppling a dynasty that took generations to build. Knight’s genius lies in recognizing that the most interesting stories aren’t about the creation of empires, but about their potential destruction from within. The series promises to explore not just the family dynamics, but the broader ecosystem that sustained the Guinness phenomenon—the workers, the politicians, the hangers-on, and the countless Dublin characters whose lives became intertwined with the brewery’s success. This is Ireland during a period of massive transformation, when old ways were dying and new opportunities were emerging for those bold enough or ruthless enough to seize them. For Knight, who earned an Oscar nomination for his previous work, this represents a natural evolution from the grimy streets of post-war Birmingham to the equally complex but more opulent world of Victorian Dublin. The themes remain consistent—family loyalty, the corruption of power, the price of ambition—but the stakes feel even higher when your family name is literally synonymous with Ireland itself. HOUSE OF GUINNESS arrives at a moment when audiences are hungry for stories that blend historical authenticity with contemporary relevance. This isn’t just about understanding how a brewery became a global brand; it’s about examining how families navigate the impossible pressure of living up to legendary legacies while dealing with very human flaws and desires. The Guinness name may be on every pub wall across the world, but the family behind it has remained mysteriously private—until now. Instagram Youtube [...]
August 16Cillian Murphy is having a moment. Fresh off his Oscar win for OPPENHEIMER, the Irish actor could easily coast on blockbuster offers and prestige projects. Instead, he’s doubling down on intimate, challenging material that showcases his evolution from magnetic screen presence to thoughtful producer-star committed to meaningful storytelling. His latest venture, STEVE, premieres at the Toronto Film Festival before hitting select theaters September 19 and landing on Netflix October 3. This isn’t your typical post-Oscar victory lap—it’s Murphy leaning into the kind of raw, uncompromising drama that originally caught Christopher Nolan’s attention years before BATMAN BEGINS launched his Hollywood trajectory. Set in the mid-1990s, STEVE follows a pivotal day at a last-chance reform school where Murphy’s titular headteacher battles to save his institution while wrestling with his own deteriorating mental health. The drama unfolds against the backdrop of a documentary crew interviewing students and faculty, creating a voyeuristic tension that mirrors our current obsession with performative authenticity. It’s adapted from Max Porter’s 2023 novella “Shy,” reimagined for the screen by Porter himself—continuing a creative partnership that began when Murphy starred in the stage adaptation of Porter’s “Grief Is the Thing with Feathers.” This collaboration exemplifies Murphy’s current creative strategy: surrounding himself with trusted voices while expanding his influence behind the camera. Through Big Things Films, the production company he founded with partner Alan Moloney, Murphy is curating a distinctly European sensibility that stands apart from Hollywood’s franchise machinery. Their debut feature, SMALL THINGS LIKE THESE, established the company’s commitment to literary adaptations that prioritize character over spectacle. The ensemble Murphy has assembled for STEVE reflects his knack for inspired casting. Tracey Ullman delivers what’s being described as a stunning dramatic turn, while Top Boy’s Simbi Ajikawo and Oscar nominee Emily Watson round out a cast that blends established talent with emerging voices like Jay Lycurgo, who plays the troubled teen Shy. Lycurgo, notably, will also appear in the upcoming PEAKY BLINDERS feature film, suggesting Murphy’s growing influence in shaping the next generation of British talent. Director Tim Mielants brings a visual sensibility honed on PEAKY BLINDERS’ third season and refined through his work with Murphy on SMALL THINGS LIKE THESE. This continuity of collaborators isn’t coincidence—it’s Murphy consciously building a creative ecosystem where trust allows for greater artistic risk-taking. Instagram Youtube [...]
August 8Domhnall Gleeson is stepping into uncharted comedic territory with Peacock’s upcoming workplace series THE PAPER, marking a fascinating pivot in a career that has seen him traverse galaxies far, far away and navigate the corridors of both indie darlings and major studio blockbusters. The Irish actor, who has built a reputation as one of cinema’s most versatile performers, takes on the role of Ned Sampson, the optimistic new editor-in-chief of a failing Ohio newspaper in this quasi-spinoff of THE OFFICE. The casting represents an intriguing choice for Gleeson, whose recent filmography reads like a masterclass in genre diversity. Fresh off his haunting performance in THE PATIENT, where he delivered a career-defining turn as a captive therapist, Gleeson has proven his dramatic chops time and again. His work in FRANK showcased his ability to find humor in darkness, while his roles in the STAR WARS sequel trilogy as General Hux demonstrated his capacity for both menace and unexpected comic relief. More recently, his appearances in RUN and his continued collaboration with directors like Lenny Abrahamson have solidified his status as an actor unafraid to take creative risks. The ensemble surrounding Gleeson includes Sabrina Impacciatore, Chelsea Frei, Melvin Gregg, and THE OFFICE veteran Oscar Nuñez, suggesting the show will blend fresh faces with familiar comedic sensibilities. For Gleeson, this represents his most prominent television role in years, a strategic move that allows him to explore the kind of sustained character development that his film work, while excellent, rarely affords. What’s particularly fascinating about Gleeson’s career trajectory is how he has managed to remain both critically respected and commercially viable without ever seeming to chase trends or make obvious career moves. THE PAPER continues this pattern, offering him the chance to work within an established comedic framework while creating something genuinely new. The trailer’s glimpses of newspaper office dynamics suggest the show will mine humor from the particular pressures of local journalism in an era of media consolidation and digital disruption. For viewers, THE PAPER represents the rare opportunity to see a proven dramatic actor stretch his comedic muscles in an extended format. Gleeson’s natural intensity and emotional intelligence could provide the perfect counterbalance to the mockumentary style that made THE OFFICE such a cultural phenomenon. Whether he can capture lightning in a bottle twice remains to be seen, but his track record suggests he’s exactly the kind of actor who thrives when given the space to surprise audiences with his range and commitment to character. Instagram Youtube [...]
July 29Daryl McCormack is stepping into the elegant world of Regency England as Mr. Bingley in Netflix’s highly anticipated six-part adaptation of PRIDE AND PREJUDICE, marking another significant milestone in the Irish actor’s rapidly ascending career. The casting represents a perfect alignment of McCormack’s established dramatic range with one of literature’s most beloved romantic characters, bringing his nuanced performance style to Jane Austen’s timeless social comedy. Following his breakthrough performance opposite Emma Thompson in GOOD LUCK TO YOU, LEO GRANDE, where he delivered a masterclass in vulnerability and emotional intelligence as a sex worker helping a widow explore her sexuality, McCormack has consistently chosen projects that showcase his ability to navigate complex human relationships with remarkable sensitivity. His portrayal of the charming, wealthy, and genuinely good-hearted Mr. Bingley feels like a natural evolution of his screen persona, allowing him to explore the lighter, more romantic side of his acting repertoire while maintaining the depth that has become his trademark. The Netflix series, written by Dolly Alderton and directed by Euros Lyn, promises to be a faithful yet vibrant reimagining that brings Austen’s sharp social observations and romantic tensions to contemporary audiences. McCormack joins an extraordinary ensemble cast that reads like a who’s who of British talent: Emma Corrin leads as Elizabeth Bennet, with Jack Lowden as the brooding Mr. Darcy and Olivia Colman bringing her distinctive energy to Mrs. Bennet. Fiona Shaw, McCormack’s fellow Irish actor, takes on the formidable Lady Catherine de Bourgh, while the supporting cast includes Rufus Sewell, Louis Partridge, Jamie Demetriou, and Freya Mavor. For McCormack, this role represents a strategic career move that builds on his recent momentum while expanding his range into period drama. His ability to convey genuine warmth and sincerity, qualities that made his performance in GOOD LUCK TO YOU, LEO GRANDE so compelling, will serve him well in bringing Bingley’s openness and optimism to life. Unlike the more tortured romantic leads McCormack has tackled in recent projects, Bingley offers him the opportunity to explore uncomplicated goodness, a character whose joy and enthusiasm provide the perfect counterpoint to Darcy’s initial aloofness. The production, currently filming across the UK, benefits from Alderton’s fresh perspective on Austen’s material, promising to honor the source material while infusing it with contemporary energy. Lyn’s direction, honed on successful series like HEARTSTOPPER, suggests an approach that will resonate with both Austen purists and newcomers to the story. With Corrin also serving as co-producer alongside her starring role, the project demonstrates a collaborative creative vision that should allow McCormack and his fellow cast members to bring new dimensions to these iconic characters. As McCormack continues to build his reputation as one of Ireland’s most promising dramatic actors, his turn as Mr. Bingley positions him perfectly for the kind of romantic leading roles that could define the next phase of his career. With the series expected to premiere in late 2025 or early 2026, audiences won’t have to wait long to see how McCormack’s particular brand of emotional honesty and natural charisma translates to Austen’s world of wit, romance, and social intrigue. Instagram Youtube [...]
July 28Sarah Bolger is stepping into the dangerous world of 1980s Hell’s Kitchen as she joins the cast of MGM+’s highly anticipated crime series THE WESTIES. The Irish actress, who has been building an impressive resume in recent years through standout performances in MAYANS MC and films like A GOOD WOMAN IS HARD TO FIND, is set to bring her dramatic prowess to this gritty new project from Narcos creator Chris Brancato. The 34-year-old actress will portray Bridget Walsh, a steely and calculating IRA operative with a troubled past who becomes entangled in the violent world of New York’s most notorious Irish gang. Her character serves as the girlfriend of Jimmy Roarke and is described as passionate about saving Ireland from British oppression, adding layers of political complexity to an already volatile narrative. Bolger joins an impressive ensemble cast led by Oscar winner J.K. Simmons, who takes on the role of crime boss Eamonn Sweeney, alongside Tom Brittney, Titus Welliver, and Jessica Frances Dukes. This casting represents a significant career moment for Bolger, who has been steadily ascending in Hollywood’s ranks following her breakout role in Jim Sheridan’s 2002 film IN AMERICA. Her recent work has showcased remarkable range, from her compelling turn as Emily Thomas in the FX series MAYANS MC to her powerful performance in the thriller A GOOD WOMAN IS HARD TO FIND. She’s also demonstrated versatility across genres with appearances in COUNTERPART, ONCE UPON A TIME, INTO THE BADLANDS, and films like DESCENDANT and END OF SENTENCE. Set against the backdrop of early 1980s New York, THE WESTIES explores the true story of Hell’s Kitchen’s infamously brutal Irish gang during a pivotal moment in their history. The construction of the Jacob Javitz Convention Center on their home turf promises unprecedented financial opportunities, but the Westies find themselves navigating treacherous waters. Despite being vastly outnumbered by the Five Families of the Italian Mafia, their legendary brutality and cunning have earned them a place at the table through a fragile détente that threatens to shatter at any moment. The series promises to deliver the same gritty authenticity that made Brancato’s previous work on NARCOS and NARCOS: MEXICO so compelling. Internal conflicts between the old guard and ambitious younger members create a powder keg situation that inevitably draws the attention of federal investigators already deep into probing Italian organized crime. This volatile mix of ambition, loyalty, and power provides the perfect backdrop for Bolger to showcase the dramatic intensity she’s been honing throughout her recent career. For Brancato, who serves as executive producer and showrunner, THE WESTIES represents a passion project years in the making and his third collaboration with MGM+ following the critical success of GODFATHER OF HARLEM and the crime thriller HOTEL COCAINE. The eight-episode series has already begun production in Toronto, positioning itself as another potentially groundbreaking entry in the crime drama genre. Bolger’s involvement in THE WESTIES signals her continued evolution as one of Ireland’s most promising international talents. Her ability to embody complex, morally ambiguous characters has become her calling card, making her an ideal fit for a series that promises to explore the darker corners of Irish-American identity and the brutal realities of organized crime. As she steps into the role of Bridget Walsh, audiences can expect another nuanced performance from an actress who has consistently chosen projects that challenge both herself and viewers’ expectations. Instagram Youtube [...]
July 24The streaming landscape is about to witness a powerful reminder of why Paul Mescal became one of the most compelling actors of his generation. This August, Netflix will welcome NORMAL PEOPLE to its platform, bringing the acclaimed BBC adaptation back into the spotlight just as Mescal’s star continues its meteoric rise through Hollywood. For those who discovered Mescal through his recent powerhouse performances in AFTERSUN and GLADIATOR II, NORMAL PEOPLE offers a fascinating glimpse into the raw talent that first captivated audiences worldwide. The series, which originally aired in 2020, showcases Mescal as Connell Waldron, a sensitive young man navigating the complexities of love, identity, and mental health alongside Daisy Edgar-Jones’s Marianne Sheridan. The story unfolds across the landscapes of Ireland and beyond, following two souls bound by an inexplicable connection despite their vastly different social backgrounds. From the fictional town of Carricklea in County Sligo through the hallowed halls of Trinity College Dublin, we witness a relationship that shifts between friendship and romance, intimacy and distance, understanding and miscommunication. Their journey extends to Sweden during Marianne’s studies abroad and to a sun-drenched Italian villa, each location serving as a backdrop for their evolving dynamic. What makes NORMAL PEOPLE particularly striking is how it captures the universal experience of young love while remaining deeply rooted in its Irish setting. The production team filmed extensively throughout Ireland, using Tubbercurry in County Sligo to represent Carricklea and capturing the wild beauty of Streedagh Point for the series’ memorable beach scenes. The authenticity extends to the university sequences, shot at the actual Trinity College Dublin with real students populating the background, lending an organic quality to the academic environment where much of Marianne and Connell’s relationship develops. The series doesn’t shy away from difficult themes. As Marianne finds herself trapped in abusive relationships and Connell battles anxiety and depression, their connection becomes both a source of comfort and confusion. It’s this emotional honesty that allows NORMAL PEOPLE to transcend typical romantic drama, offering instead a meditation on how we shape and are shaped by the people we love. For Mescal, NORMAL PEOPLE served as the launching pad for a career that has since seen him earn an Oscar nomination for AFTERSUN and take on the iconic role of Lucius in Ridley Scott’s GLADIATOR II. His portrayal of Connell revealed an actor capable of conveying profound vulnerability and strength, often within the same scene. The naturalistic performance style that would later make him such a compelling presence in A24’s intimate character study was already fully formed in this breakout role. The series’ arrival on Netflix couldn’t be more perfectly timed. As Mescal continues to choose projects that challenge both himself and audiences, NORMAL PEOPLE reminds us of the foundation of emotional intelligence and authentic performance that underpins his most celebrated work. Whether you’re discovering it for the first time or revisiting Marianne and Connell’s story, prepare for an experience that will leave you emotionally raw and deeply moved. The production’s attention to detail extends even to the Italian sequences, where the villa Il Casale on Tenuta di Verzano in Lazio doubled for Marianne’s family retreat, creating a dreamlike escape that contrasts beautifully with the more grounded Irish settings. Every location choice serves the story’s emotional arc, creating a visual journey that mirrors the characters’ internal growth. NORMAL PEOPLE stands as more than just the series that introduced Paul Mescal to the world. It’s a masterclass in adaptation, transforming Sally Rooney’s beloved novel into something that feels both literary and cinematic. As audiences prepare to fall in love with Marianne and Connell once again, they’ll also be witnessing the birth of one of contemporary cinema’s most exciting talents. Instagram Youtube [...]
July 16The Irish are coming to Hollywood, and they’re bringing their A-game to the 2025 Emmy Awards. When the nominations were announced this week at a ceremony hosted by Harvey Guillén and Brenda Song, three powerhouse Irish performers found themselves in the running for television’s most coveted prizes. Colin Farrell leads the charge with his transformative performance in THE PENGUIN, earning him a nomination for Lead Actor in a Limited or Anthology Series or Movie. The Castleknock native disappeared completely into the role of Oz Cobb, becoming virtually unrecognizable as he clawed his way to the top of Gotham City’s criminal underworld. This nomination adds to an already impressive collection of accolades for the performance, including an IFTA, SAG Award, Critics’ Choice Award, Golden Globe, and Satellite Award.  Sharon Horgan brings her signature dark brilliance to the Outstanding Lead Actress in a Drama Series category for BAD SISTERS, the critically acclaimed series she both created and stars in. Filmed on Irish soil, the show has captivated audiences worldwide with its blend of black comedy and family drama, showcasing Horgan’s ability to mine humor from the darkest corners of human experience. Her nomination represents not just personal recognition but a triumph for Irish storytelling on the global stage. Completing the Irish trio is Ruth Negga, whose nuanced performance as Barbara Sabich in the legal thriller PRESUMED INNOCENT has earned her a nomination for Outstanding Supporting Actress in a Limited or Anthology Series or Movie. Working alongside Jake Gyllenhaal in the series, Negga demonstrates once again why she’s considered one of the most versatile actors of her generation. Beyond the acting categories, Ireland’s creative influence extends to the technical craft of television, with John Conroy receiving a nomination for Outstanding Cinematography in a Limited or Anthology Series or Movie for his work on ZERO DAY. The filmmaker’s visual storytelling adds another dimension to Ireland’s Emmy presence. The ceremony itself will unfold on September 14 in Los Angeles, where these Irish talents will compete on television’s biggest night. With such a strong showing across multiple categories, from lead performances to supporting roles to behind-the-camera excellence, Irish artists are proving their storytelling prowess translates seamlessly to American television’s highest honors. Whether it’s Farrell’s complete physical transformation, Horgan’s masterful balance of comedy and tragedy, or Negga’s subtle supporting work, each nomination represents the kind of fearless, authentic performance that makes great television unforgettable. Instagram Youtube [...]
July 15Domhnall Gleeson is making a bold leap into American television with Peacock’s upcoming mockumentary series THE PAPER, marking a significant pivot in a career that has masterfully balanced blockbuster franchises with intimate character studies. The Irish actor, who captivated audiences as the conflicted Hux in the recent STAR WARS trilogy and broke hearts as Tim in ABOUT TIME, now finds himself at the center of a comedy series that carries the substantial weight of following in THE OFFICE’s footsteps.Set to premiere September 4 with a generous four-episode drop, THE PAPER represents more than just another streaming series launch—it’s Gleeson’s most prominent foray into the distinctly American art of workplace comedy. The series follows the same documentary crew that immortalized Dunder Mifflin’s Scranton branch as they discover a historic Midwestern newspaper and the publisher desperately trying to revive it. That publisher is Gleeson, stepping into territory that feels both familiar and entirely new for an actor who has spent recent years navigating the complexities of science fiction epics and British period pieces. The timing couldn’t be more intriguing for Gleeson’s career trajectory. Following his memorable turn as the increasingly unhinged General Hux across THE FORCE AWAKENS, THE LAST JEDI, and THE RISE OF SKYWALKER, the actor has been deliberately seeking projects that showcase his range beyond the confines of galactic villainy. His recent work has demonstrated a particular gift for characters caught between ambition and vulnerability—a skill that should serve him well as a newspaper publisher fighting against the tide of modern media. Created by Greg Daniels, who developed the American version of THE OFFICE, and Michael Koman, co-creator of NATHAN FOR YOU, THE PAPER arrives with impressive comedic pedigree. The series promises to capture the lightning-in-a-bottle formula that made THE OFFICE a cultural phenomenon, but with Gleeson’s particular brand of earnest intensity anchoring the proceedings. His ability to find genuine emotion within comedic situations—evident in films like EX MACHINA and FRANK—suggests he’s uniquely positioned to navigate the mockumentary format’s delicate balance between humor and heart. The supporting cast, including Sabrina Impacciatore, Chelsea Frei, and Oscar Nuñez reprising his role from THE OFFICE, creates an ensemble that should allow Gleeson to explore the collaborative comedy style that has become his recent calling card. After years of carrying dramatic weight in films like THE REVENANT and BROOKLYN, this represents a chance for audiences to see a different side of an actor who has consistently chosen projects that challenge both himself and viewer expectations.With new episodes dropping every Thursday through September 25, THE PAPER offers Gleeson the rare opportunity to develop a character across multiple episodes rather than the single-film format that has defined much of his recent work. For an actor who has proven equally capable of commanding the screen in intimate character studies and massive franchise installments, this television venture represents the next logical evolution in a career defined by thoughtful risk-taking and genuine artistic curiosity. Instagram Youtube [...]
July 8When 21-year-old Katie Simpson died unexpectedly in August 2020, the tight-knit showjumping community in County Londonderry, Northern Ireland, accepted what seemed like a tragic but straightforward conclusion: the promising young jockey had taken her own life. But one local journalist wasn’t satisfied with the official narrative, and her persistent questioning would eventually expose a horrifying truth that shattered the veneer of a seemingly perfect sporting world. The new Sky Original documentary DEATH OF A SHOWJUMPER, streaming from July 16, tells the shocking story of Katie’s murder in three gripping 45-minute episodes. What emerges is a disturbing tale of violence, coercive control, and the systematic abuse of a young woman who should have been protected by those closest to her. Katie’s death initially appeared straightforward enough. On August 3, 2020, Jonathan Creswell – an influential champion showjumper, jockey, and horse trainer who was also her sister’s partner – drove an unresponsive Katie partway to Altnagelvin Hospital before transferring her to an ambulance. He told paramedics and police officers that Katie had attempted suicide, explaining the bruising on her body as injuries from a recent fall from a horse. Katie died in hospital seven days later without regaining consciousness. But the local court reporter Tanya Fowles couldn’t shake the feeling that something was wrong. Katie’s case triggered memories of an old story she had covered – one with too many disturbing similarities to ignore. Her suspicions centered squarely on Creswell, whose position of influence within the showjumping community had seemingly protected him from scrutiny. In February, Justice Minister Naomi Long announced an independent review into the case, acknowledging the serious questions raised about how the investigation was initially handled. The documentary arrives at a time when these institutional failures are still being examined and when Katie’s family continues to seek answers about what went wrong. Directed by Niamh Kennedy and produced by Natalie Maynes, DEATH OF A SHOWJUMPER is a Walk On Air and Sky Studios production in association with Northern Ireland Screen. The series serves as both a tribute to Katie Simpson’s memory and a stark reminder of how domestic abuse can flourish in environments where power, privilege, and reputation provide cover for predatory behavior. The three-part series streaming on Sky Documentaries offers viewers a disturbing glimpse into a world where appearances can be fatally deceiving. It’s a story that demands to be told, not just for Katie’s sake, but for all the young women who find themselves trapped in similar situations, hoping someone will finally listen and act before it’s too late. DEATH OF A SHOWJUMPER will premiere July 16 on SKY. Instagram Youtube [...]
July 7On a crisp October evening in 1984, Bob Geldof sat in his London home, preparing for another glittering Mayfair party. The Boomtown Rats frontman had been invited to celebrate the launch of Peter York’s latest book, a glamorous affair promising champagne and the kind of privileged conversation that filled London’s most exclusive circles. But before leaving, Geldof switched on the BBC evening news and witnessed something that would forever alter not just his own trajectory, but the entire landscape of celebrity activism. Michael Buerk’s devastating report from Ethiopia flickered across the screen, revealing images of skeletal children and desperate families caught in the grip of an unimaginable famine. The footage was apocalyptic in its starkness, a vision of human suffering so profound that it seemed to demand immediate action from anyone with a conscience. Geldof, transfixed, absorbed every horrific detail before reluctantly heading to his social engagement. What happened next would become one of the most remarkable moments in the intersection of entertainment and humanitarianism. The recording session on November 25, 1984, brought together virtually every major British pop star of the era but it was the Irish contingent that would prove most crucial to the project’s emotional resonance. Bono, already establishing himself as U2’s charismatic frontman, understood instinctively what the song needed when handed its most challenging lyric. “Well tonight thank God it’s them, instead of you” could have been sung as a throwaway line, a moment of uncomfortable acknowledgment buried in the mix. Instead, Bono elevated it to the top of his register, shifting it up an octave and transforming it into the song’s most devastating moment. His delivery carried the weight of someone who understood suffering not as an abstract concept but as a lived reality passed down through generations of Irish storytelling. Years later, Bono would reflect on this moment with characteristic intensity, speaking of how he and Geldof shared “the folk memory of famine” that connected them viscerally to the Ethiopian crisis. While such statements might seem grandiose, they reveal something deeper about the Irish contribution to LIVE AID: a cultural understanding of hunger and desperation that transcended mere celebrity participation. Geldof himself embodied this connection in ways that went far beyond his organizational genius. His transformation from musician to activist was complete and irreversible, driven by an almost manic energy that colleagues would later describe as both inspiring and exhausting. He confronted world leaders with the same directness he brought to his music, famously ambushing Margaret Thatcher over her government’s insistence on collecting VAT from every record sold. In a moment that could have easily resulted in political embarrassment, Geldof instead delivered a masterclass in moral authority, dismantling her defense of Western inaction with the kind of eloquence that only comes from genuine conviction. But perhaps the most profound moment in this entire saga occurred not on stage but in the Ethiopian desert, where Geldof found himself months later, surveying the very landscape he had committed to helping. As he stood among the refugees and aid workers, his radio crackled to life with the familiar opening notes of “DO THEY KNOW IT’S CHRISTMAS?” The synchronicity was almost too perfect to believe, yet there it was: the song that had emerged from his guilt and determination now soundtrack to the reality it had been created to address. When Bono’s voice emerged from the static, delivering that same octave-shifted line about being grateful it was “them instead of you,” Geldof found himself face-to-face with the actual “them” the song referenced. The emotional impact was overwhelming. Decades later, recounting this moment, the typically composed Geldof would break down entirely, overcome by what he described as “all the rage, all the shame” that had driven him from the beginning. The success of LIVE AID raised over $127 million for Ethiopian famine relief, but its impact extended far beyond mere fundraising. It established a template for celebrity activism that would influence decades of humanitarian efforts, from LIVE 8 to countless other star-studded charity events. More importantly, it demonstrated that artists could leverage their platforms for purposes that transcended entertainment, that the same voices that sold records could also move governments and shift public opinion. The Irish heart of LIVE AID beat strongest in those moments when the gap between performer and cause collapsed entirely. When Geldof broke down in that Ethiopian desert, when Bono transformed a difficult lyric into something transcendent, when both men spoke with the authority of people who understood that hunger and desperation were not distant abstractions but lived realities that demanded immediate response. Their contribution to LIVE AID wasn’t just organizational or artistic; it was spiritual, connecting the suffering of Ethiopia to the broader human experience of vulnerability and resilience. Forty years later, as new documentaries revisit this extraordinary moment in cultural history, the Irish contribution to LIVE AID remains its most emotionally resonant element. Not because Irish artists were more talented or more committed than their British counterparts, but because they brought to the project a particular understanding of what it means to fight for survival in an indifferent world. In channeling that understanding into action, they helped create something that transcended both music and activism, becoming instead a testament to the power of empathy to move mountains, or at least to move enough people to try. LIVE AID AT 40: WHEN ROCK N ROLL TOOK ON THE WORLD is now streaming on the BBC iPLAYER. Instagram Youtube [...]
July 5Andrew Scott continues his remarkable hot streak with a cameo role in Netflix’s upcoming romantic comedy-drama TOO MUCH, cementing his status as one of Britain’s most sought-after actors. The star of ALL OF US STRANGERS joins an absolutely stacked ensemble cast in Lena Dunham’s latest creation, which premieres July 10th on the streaming platform. Fresh off his critically acclaimed performance in ALL OF US STRANGERS, where he delivered a haunting portrayal of a man reconnecting with his deceased parents, Scott shows no signs of slowing down. His inclusion in TOO MUCH represents another smart career move, aligning himself with a project that brings together some of the most exciting talent working today. The series, created by Girls’ Lena Dunham alongside her husband Luis Felber, follows New York workaholic Jessica, played by Megan Stalter, as she flees to the UK after a devastating breakup and discovers an unexpected connection with musician Felix, portrayed by Will Sharpe from THE WHITE LOTUS. The supporting cast reads like a who’s who of contemporary entertainment, with Scott appearing alongside Kit Harington, Jessica Alba, Rita Ora, and Jennifer Saunders. The ensemble doesn’t stop there, featuring Stephen Fry, Richard E Grant, Adèle Exarchopoulos, Emily Ratajkowski, Dean-Charles Chapman, and Daisy Bevan. It’s the kind of cast that signals serious ambition and quality, the type of project that attracts talent of Scott’s caliber. Dunham’s approach to assembling this cast speaks to the collaborative spirit that seems to define Scott’s recent work. “There were so many actors that I respect that I was like, ‘Even if the character is in one episode or four episodes, I want to give them something to grab onto,'” she explained. This philosophy aligns perfectly with Scott’s recent trajectory, where he’s been selective about projects that offer meaningful creative opportunities, regardless of screen time. The series promises to subvert romantic comedy expectations, with Sharpe noting that Dunham has incorporated “rougher edges” into the tested formula. For Scott, this represents another opportunity to work within familiar genres while bringing his distinctive intensity and emotional depth to the material. His recent career has been defined by this ability to elevate projects through his presence, whether in leading roles or memorable supporting turns. TOO MUCH arrives at a pivotal moment in Scott’s career, following his breakout performance in ALL OF US STRANGERS and his iconic turn as the “hot priest” in FLEABAG. The Netflix series represents his continued evolution as an actor willing to take risks and collaborate with visionary creators. With Working Title behind the production, the same company responsible for classic romantic comedies, Scott finds himself part of a project that honors the genre’s legacy while pushing it in new directions. The series debuts July 10th, offering audiences another chance to see Scott bring his unique blend of vulnerability and charisma to a new character. As his star continues to rise, TOO MUCH serves as both a showcase for his talents and a testament to his growing influence in the industry. In an era where streaming platforms are hungry for prestige content, Scott’s involvement signals that TOO MUCH has the star power and creative vision to cut through the noise. Instagram Youtube [...]
June 15BAD SISTERS creator and star Sharon Horgan appeared on Wednesday’s THE TOMMY TIERNAN SHOW on RTÉ One where she spoke about navigating the entertainment industry as a woman, as well as finding a balance between her career and home lives. Horgan’s influence on contemporary comedy is undeniable, a testament to her sharp wit and a writer’s instinct for the painfully funny truths of modern life. From the raw, unflinching honesty of PULLING, which she co-wrote and starred in, to the critically acclaimed CATASTROPHE, a series that redefined the romantic comedy by injecting it with a healthy dose of grim reality alongside co-writer and co-star Rob Delaney, Horgan has consistently crafted narratives that resonate deeply. Her work on MOTHERLAND further cemented her reputation for exploring the unvarnished realities of womanhood, relationships, and parenthood, creating characters that are flawed, relatable, and utterly hilarious. She possesses a unique ability to weave uncomfortable truths into comedic gold, making us laugh while simultaneously wincing in recognition. Her ventures into production with Merman have also empowered other distinct voices, showcasing a commitment to expanding the landscape of intelligent, character-driven comedy beyond her own brilliant output. Meanwhile, Tommy Tiernan has carved out a unique space in the crowded world of television hosting, particularly with THE TOMMY TIERNAN SHOW. What sets him apart is his audacious, and indeed brilliant, decision to interview guests without any prior knowledge of their identity or background. This unconventional approach transforms each episode into an unscripted, often profoundly intimate, and always unpredictable conversation. Tiernan’s innate curiosity, his genuine empathy, and his masterful ability to listen and react in the moment elevate these exchanges beyond typical chat show banter. He creates an atmosphere where vulnerability is encouraged, leading to moments of surprising honesty, profound insight, and often, uproarious laughter. It’s a high-wire act of improvised television, relying entirely on his quick thinking, his vast general knowledge, and his deep well of human understanding. The result is a viewing experience unlike any other, proving that authentic connection, rather than meticulously researched questions, is the bedrock of truly compelling television. Instagram Youtube [...]
May 31Colin Farrell continues his impressive career evolution with his latest project, lending his distinctive voice to narrate FROM THAT SMALL ISLAND – THE STORY OF THE IRISH a groundbreaking four-part documentary series premiering on RTÉ One this June. This ambitious undertaking represents another thoughtful career choice for the Irish actor, who has increasingly gravitated toward meaningful projects that showcase his versatility beyond his early Hollywood blockbuster days. The series, beginning Sunday, June 8th at 6:30pm on RTÉ One and RTÉ Player, tackles an extraordinary scope of Irish history, tracing the journey from the island’s very first inhabitants to the present-day global diaspora of over 80 million people who claim Irish heritage. Shot across 17 countries worldwide, the documentary explores fundamental questions about Irish identity and belonging in our globalized world. Why does the entire world turn green on St. Patrick’s Day? What can the Irish experience of migration teach us about contemporary issues of identity and displacement? The series promises fascinating revelations, including the television debut of ‘Rathlin Man,’ a 4,000-year-old ancestor whose face has been reconstructed using cutting-edge DNA technology. Audiences will discover forgotten Irish explorers who sailed with Columbus in 1492, a Mayo-born general who commanded the Argentinian army, and touching human stories like a baby with Down Syndrome who was lovingly cared for over 5,000 years ago at the ancient Céide Fields. The documentary doesn’t shy away from darker chapters, addressing Irish involvement in the transatlantic slave trade alongside celebrations of cultural achievements. This project represents a natural progression for Farrell, whose recent career has been marked by sophisticated choices following acclaimed performances in THE KILLING OF A SACRED DEER, IN BRUGES, THE BANSHEES OF INISHERIN, and THE BATMAN. For an actor whose own journey from Dublin to Hollywood mirrors the migration patterns explored in the documentary, this offers an opportunity to contribute his voice to telling the story of his own people. Created by writer Bríona Nic Dhiarmada and produced by the award-winning team behind “1916: The Irish Rebellion,” the series spans millennia of Irish history with an original score by Colm Mac Con Iomaire. As global audiences grapple with questions of migration and identity, “From That Small Island” offers the Irish experience as both mirror and lens for understanding these universal human challenges, guided by one of Ireland’s most compelling contemporary voices as Farrell continues to establish himself as one of his generation’s most thoughtful performers. [...]
May 29Michael Fassbender is experiencing a remarkable career renaissance, and his latest triumph proves that reinvention remains his greatest strength. After years of selective project choices following his intense run through the X-Men franchise and acclaimed performances in films like STEVE JOBS and MACBETH, the Irish-German actor has found his perfect vehicle in Paramount+’s THE AGENCY, which has just begun filming its highly anticipated second season in London. The spy thriller, adapted from the critically lauded French series LE BUREAU DES LÉGENDES, represents everything Fassbender does best: complex character work wrapped in high-stakes storytelling. As CIA agent Martian, he inhabits a man living undercover in his own life, walking a knife’s edge between mission, love, and survival. The role allows Fassbender to showcase the psychological depth that made him a standout in films like SHAME and THE LIGHT BETWEEN OCEANS, while operating within the addictive framework of espionage drama. The overwhelming success of THE AGENCY‘s first season speaks to both the quality of the source material and Fassbender’s magnetic screen presence. Paramount+ wasted no time announcing the second season in December 2024, a testament to the show’s immediate impact and Fassbender’s drawing power as both star and executive producer. The series has assembled an impressive ensemble including Jeffrey Wright, Jodie Turner-Smith, Katherine Waterston, and Richard Gere, but it’s Fassbender’s tortured agent at the center that anchors every frame. What makes this project particularly significant in Fassbender’s recent trajectory is how it combines his penchant for challenging material with mainstream appeal. After taking a step back from blockbuster filmmaking, THE AGENCY allows him to work with prestigious collaborators like George Clooney and Grant Heslov’s Smokehouse Pictures while maintaining the artistic integrity that has defined his most memorable performances. The series, with its origins in French television excellence, offers the kind of sophisticated storytelling that Fassbender has always gravitated toward. The second season’s central premise, following Martian’s desperate attempts to save his imprisoned lover Samia played by Jodie Turner-Smith, promises to push Fassbender into even more emotionally fraught territory. His character must navigate treachery and moral compromise, themes that have consistently brought out his best work throughout his career. The actor’s ability to convey internal conflict through subtle physical performance makes him ideally suited for the series’ exploration of identity and deception. As production continues in London with the Butterworth brothers returning as writers and executive producers, THE AGENCY represents more than just another successful series for Fassbender. It’s a career pivot that demonstrates how established actors can find new creative energy by embracing the evolving landscape of premium television. The show’s international co-production model and distribution through both Paramount Global and Federation Studios also positions Fassbender at the center of the kind of globally-minded storytelling that defines contemporary entertainment. With THE AGENCY proving that his instincts for compelling material remain sharp, Michael Fassbender has once again positioned himself as one of the most compelling actors of his generation, proving that sometimes the best way forward is to go deeper into the shadows. [...]
May 23Cameras are rolling once again in Rutshire as RIVALS season 2 officially begins production, and Disney+ has given fans their first tantalizing glimpse behind the scenes with newly released images that showcase the stellar cast diving back into Dame Jilly Cooper’s world of scandal, ambition, and sexual intrigue. The production photos, shared across Disney’s social media channels, capture the energy and anticipation surrounding the show’s return, with Aidan Turner prominently featured alongside Alex Hassell, Nafessa Williams, and newcomer Bella Maclean. Turner’s presence in these behind-the-scenes glimpses signals his continued central role in what promises to be an even more explosive installment of the power-hungry drama that took audiences by storm. The returning ensemble cast reads like a who’s who of British television talent, with Aidan Turner’s return being particularly significant for fans who have followed his career trajectory from BEING HUMAN to POLDARK and now to RIVALS. Turner, who has established himself as one of Britain’s most compelling leading men, brings his trademark intensity and charisma to the morally complex world of 1980s power plays. His presence alongside David Tennant, Katherine Parkinson, Alex Hassell, and Nafessa Williams ensures continuity in the intricate web of relationships that drive the narrative. Turner’s ability to navigate both romantic tension and political intrigue made him a standout in the first season, and his prominent placement in the new behind-the-scenes imagery suggests his character will continue to be at the heart of the show’s most compelling storylines. RIVALS season 1 is available to stream on Disney+. [...]
May 21In a captivating evolution of her already impressive career, Niamh Algar takes center stage in Sky’s new Italian-set thriller, THE IRIS AFFAIR. Following her acclaimed performances in projects like CALM WITH HORSES and RAISED BY WOLVES, Algar now embodies Iris Nixon, a complex genius whose life transforms from mundane to extraordinary in this “unapologetically exciting” adventure created by Luther mastermind Neil Cross. The eight-part series, currently filming in Sardinia, showcases Algar’s remarkable versatility as she portrays a character Cross describes as unlike any we’ve seen before on television. By day, Algar’s Iris flags harmful content for a social media platform, but her nights are spent navigating internet forums and solving intricate puzzles. When her exceptional intelligence leads her to crack a string of complex online riddles, she finds herself in Florence, face-to-face with charismatic entrepreneur Cameron Beck, played by Tom Hollander. Beck recruits her to unlock powerful technology, but upon discovering its dangerous potential, Iris steals crucial information and vanishes. Reinventing herself as Ms. Brooks, a tutor to a wealthy family’s daughter on the Sardinian coast, Algar’s character becomes the focus of a high-stakes pursuit spanning from remote Sardinian cabins to Rome’s bustling streets. This performance marks another significant milestone in Algar’s rising trajectory, as she continues to select challenging, nuanced roles that showcase her exceptional talent. With Terry McDonough’s direction complementing Algar and Hollander’s dynamic performances, this “sun-drenched chase thriller” promises to deliver the perfect escapist viewing experience when it arrives on Sky and NOW streaming service later this year. The burning question that will drive viewers through this Mediterranean adventure: can Iris decipher what the mysterious code could unleash before she’s found? [...]
May 19Domhnall Gleeson’s impressive career trajectory continues its upward climb as the Irish actor steps into the beloved universe of THE OFFICE this fall. After captivating audiences in blockbuster franchises like STAR WARS and HARRY POTTER, Gleeson is now bringing his considerable talents to Peacock’s highly-anticipated series THE PAPER where he’ll portray an optimistic publisher fighting to save a dying Midwestern newspaper. The announcement comes after years of speculation about a potential spinoff from THE OFFICE with NBC finally confirming that the same fictional documentary crew that once chronicled the everyday chaos of Dunder Mifflin will now turn their cameras on The Truth Teller, a struggling newspaper in Toledo, Ohio. Gleeson, whose recent work has showcased his remarkable range across genres, from sci-fi epics to intimate dramas, seems perfectly cast as the determined publisher with “unwavering optimistic belief” that he can restore The Truth Teller to its former glory. At a recent NBCUniversal upfront presentation, Gleeson himself described the series as featuring “a wonderful ensemble cast of underdog characters that are banding together to keep journalism alive.” He’ll be joined by Sabrina Impacciatore of THE WHITE LOTUS fame and, in a delightful callback to the original series, Oscar Nuñez reprising his role as accountant Oscar Martinez. Though Gleeson has consistently demonstrated his dramatic prowess in films like EX MACHINA and THE REVENANT, THE PAPER will give viewers a chance to see his comedic abilities in full force, working under the guidance of THE OFFICE creator Greg Daniels and NATHAN FOR YOU creator Michael Koman. This partnership promises to maintain the mockumentary style and awkward humor that made the original series a cultural phenomenon while exploring entirely new territory. For Gleeson, whose career has been marked by thoughtful role selection and memorable performances across independent and major studio productions alike, THE PAPER represents an exciting venture into episodic comedy. As NBCUniversal Entertainment President Lisa Katz noted, the newspaper setting is “ripe for comedic storytelling” – and with Gleeson at the helm as the idealistic publisher, viewers can expect a fresh yet familiar take on workplace dynamics when the series premieres on Peacock in September 2025. The role seems tailor-made for Gleeson, who has consistently brought depth and humanity to his characters, suggesting his publisher might become as endearing and complex as the beloved personalities from the original Scranton branch. Watch the trailer below. [...]
April 24After carving out an impressive cinematic legacy with two Oscar nominations and starring roles in blockbuster franchises like X-MEN and ALIEN, alongside acclaimed performances in 12 YEARS A SLAVE, STEVE JOBS, INGLOURIOUS BASTERDS, SHAME, and NEXT GOAL WINS, Michael Fassbender has made a surprising career pivot. The actor who once commanded the big screen has returned to television as the lead in Paramount+’s espionage thriller THE AGENCY playing a seasoned spy reintegrating into London headquarters after years in the field. This calculated career move marks a full-circle moment for Fassbender, who began his career in television before Hollywood beckoned. The project’s irresistible appeal becomes clear when examining its pedigree: a stellar ensemble featuring fellow film luminaries Richard Gere, Jeffrey Wright, Jodie Turner-Smith, and John Magaro; the producing might of George Clooney, Grant Heslov, and Yellowstone’s 101 Studios; direction from Joe Wright; and writing from Tony Award winners Jez and John Henry Butterworth. Fassbender’s recent work reveals a particular affinity for the espionage genre. Alongside THE AGENCY which begins filming its second season next month across London and international locations, he stars opposite Cate Blanchett in Steven Soderbergh’s critically acclaimed spy thriller BLACK BAG. When asked about playing James Bond—a role he once discussed with producers before Daniel Craig secured it—Fassbender expressed contentment with his current spy characters, which offer greater complexity than the iconic 007 role. His recent career choices suggest an actor increasingly drawn to nuanced, challenging material rather than mainstream fare. Fassbender has expressed interest in exploring more comedic roles following his experience with Taika Waititi’s NEXT GOAL WINS, revealing a desire to expand his already versatile range. His artistic ambitions extend beyond film—he’s adapted a Quentin Tarantino work for the stage, showcasing his commitment to storytelling across different mediums. This thoughtful evolution of Fassbender’s career demonstrates an actor prioritizing creative fulfillment over traditional Hollywood trajectories—choosing projects that challenge him while collaborating with premier talent, regardless of whether they appear on streaming platforms or in theaters. [...]
April 22Thirty years ago, on April 21st, 1995, FATHER TED first aired, introducing viewers to the misadventures of three Irish priests exiled to the fictional Craggy Island off Ireland’s west coast. By the time the final episode aired on May 1st, 1998, the series had transcended its modest beginnings to become one of the most beloved sitcoms ever created – distinctly Irish in character yet universally appealing. Few could have predicted the cultural phenomenon that would emerge from this unlikely premise. Even Ardal O’Hanlon, who brilliantly portrayed the endearingly dim-witted Father Dougal McGuire, initially harbored doubts. “I thought it was a sh*t idea,” O’Hanlon confessed. “Who in England is going to want to watch a sitcom about Irish priests?” This skepticism seems almost comical in retrospect, as FATHER TED’s memorable lines have since become catchphrases and memes, with the show’s 25 episodes continually rebroadcast and converting new generations of fans. The mid-1990s marked an exciting period in British cultural life – the Blair years brought prosperity, optimism, and what O’Hanlon describes as “a cultural renaissance, Cool Britannia, Britpop.” Comedy was thriving, with stand-up performers regularly transitioning to television. O’Hanlon himself was in such demand that on the very day of his FATHER TED audition, he was also asked to audition for a role on THE BIG BREAKFAST. Despite initially viewing the show as a “distraction” from his stand-up career, O’Hanlon found himself naturally slipping into the character of Dougal. “It sounded so natural in my voice. It matched my sensibility exactly,” he recalled of the audition process. The character embodied “a naivety, one of those south Co Dublin airheads, someone who has no self-awareness.” This intuitive understanding of the material speaks to the regional sensibility shared by O’Hanlon and co-creator Arthur Mathews, both from Ireland’s northeast, characterized by “that same droll, deadpan, dark comedy.” The show’s creative team, writers Graham Linehan and Arthur Mathews, had spotted O’Hanlon’s potential through a combination of his stand-up performances and a small role in Ferdia Mac Anna’s “Hamlet and Her Brothers” for RTÉ. Along with O’Hanlon, the show featured Dermot Morgan as the titular Father Ted Crilly, Frank Kelly as the foul-mouthed alcoholic Father Jack Hackett, and Pauline McLynn as their perpetually tea-offering housekeeper Mrs. Doyle. Critics and scholars have noted how the series masterfully subverts expectations, using seemingly low-brow humor to explore deeper themes of loneliness, agnosticism, existentialism, and purgatory experienced by its title character. This layered approach earned FATHER TED several British Academy Television Awards, including twice for Best Comedy Series. In a 2001 Channel 4 poll, Dougal was ranked fifth on their list of the 100 Greatest TV Characters, and in 2019, the show was named the second-greatest British sitcom (after FAWLTY TOWERS) by a panel of comedy experts for Radio Times. Three decades later, FATHER TED remains a cultural touchstone that proved Irish comedy could resonate far beyond its shores while maintaining its distinctive voice and perspective. The show’s ability to blend absurdist humor with genuine character development created a template for future Irish comedy series, demonstrating that the most parochial settings could, paradoxically, provide the foundation for universally appealing storytelling. [...]
April 11Television icon Graham Norton is trading his familiar red chair for a trip in the TARDIS, bringing his Eurovision expertise to the world of DOCTOR WHO. The beloved host and comedian will appear in the sixth episode of the new season, centered around the “Interstellar Song Contest” – a cosmic version of the Eurovision competition Norton has famously provided commentary for since 2009. This special appearance isn’t just a brief cameo – showrunner Russell T Davies has confirmed Norton will have “a whole plot twist all to himself” in what Davies describes as “the wildest episode of all.” The Eurovision connection makes Norton a perfect fit for this cosmic singing competition where planets from across the universe compete for the grand prize. Norton joins Ncuti Gatwa’s 15th Doctor and new companion Belinda Chandra (played by Varada Sethu) as they find themselves at the 803rd Interstellar Song Contest. The star-studded episode also features guests including Freddie Fox from SLOW HORSES, broadcaster Rylan, FLEABAG’s Kadiff Kirwan, CORONATION STREET’s Charlie Condou, and Miriam Teak-Lee from & JULIET. This guest role represents another interesting career move for Norton, who has evolved from stand-up comedian to Britain’s premier talk show host on THE GRAHAM NORTON SHOW. While maintaining his position as the “King of Eurovision,” Norton has expanded his creative portfolio in recent years, publishing several novels and becoming a fixture of British entertainment culture. In an interview with The Hollywood Reporter, Sethu described how her character Belinda brings a fresh dynamic to the series: “She holds him accountable. She calls him out when his etiquette slips.” Unlike many companions who put the Doctor on a pedestal, “Belinda doesn’t do that. She sees him as a friend, a partner in getting through this,” creating what Sethu calls “a much more balanced and healthy relationship.” The new season of DOCTOR WHO premieres April 12, with Norton’s “Interstellar Song Contest” episode airing May 17 on BBC One and BBC iPlayer in the UK, and globally on Disney+. The series is produced by Bad Wolf with BBC Studios for the BBC and Disney Branded Television, marking a new era for the iconic science fiction franchise with its combination of familiar British talent and global distribution. [...]
April 4Pierce Brosnan has traded his suave spy persona for something far grittier in Paramount+’s record-breaking crime drama MOBLAND. The series, which debuted on March 30, 2025, garnered an impressive 2.2 million global viewers on its premiere day, making it the streaming service’s most successful original series launch ever. At the center of this gritty narrative stands Brosnan as Conrad Harrigan, the ruthless patriarch of one of London’s most feared crime families. The Irish actor embraces this complex character with evident relish. “He’s thuggish, brutal, instinctive. He’s an animal,” Brosnan reveals about his role, describing Conrad as “a psychopath in some regards.” This darker character represents a significant departure from his more polished screen personas, allowing Brosnan to reclaim his Irish accent and dive into unexplored dramatic territory. He practiced the accent at home, amusing those around him with his “cod Irish character.” MOBLAND revolves around the Harrigan family’s power struggles within a global crime syndicate, with Helen Mirren starring as Conrad’s wife, Maeve. Their on-screen partnership evokes Shakespearean dynamics. “Well, yes, she certainly has that Lady Macbeth quality to her—and we did discuss that,” Brosnan notes. While he portrays the overt crime boss, Maeve is constantly there, whispering in his ear, creating a fascinating power dynamic at the heart of the series. The production marks a significant reunion for Brosnan and Mirren, who first worked together in the 1980 film THE LONG GOOD FRIDAY, which was Brosnan’s first movie role playing “Killer Number 1.” Their collaboration on MOBLAND came about naturally after they previously worked together on THE THURSDAY MURDER CLUB. When the opportunity arose to return to London and work with acclaimed director Guy Ritchie, both actors jumped at the chance. The impressive ensemble cast extends beyond these two veterans, featuring Tom Hardy as the family’s new “fixer,” alongside Paddy Considine, Joanne Froggatt, and Anson Boon as Brosnan’s grandson. Under Guy Ritchie’s direction, who helmed the pilot and serves as executive producer, the series benefits from the sharp writing of Ronan Bennett and Jez Butterworth, who “really enhanced the drama,” according to Brosnan. When asked about the enduring appeal of morally ambiguous characters like the Harrigans, Brosnan offers a thoughtful reflection: “It’s a good question. I’m not sure if it’s easily answered. But look at any dramas from Shakespeare or Jacobean tragedies, you have these devious families. They’re sexy. They’re dangerous. And people like sex, violence, and good drama. And when it’s wrapped up by Guy and his team, it’s watchable. People want to be turned on by it! And this is a show that really moves fast.” At the MOBLAND premiere, Brosnan appeared effortlessly elegant in a navy suit, his presence underscoring his status as a seasoned performer taking on new artistic challenges. In a playful moment during press interviews, he addressed speculation about potentially returning to the James Bond franchise—not as 007, but as a villain. His response was characteristically charming: “Could be. I mean, why not? It’s entertainment. People would love it.” His MOBLAND co-star Anson Boon enthusiastically supported the idea: “I’d watch it!” As Brosnan continues to embrace increasingly complex roles, he remains a beloved figure both in Hollywood and among fans worldwide. With MOBLAND now available for streaming on Paramount+, audiences can witness the actor’s latest transformation into a character that is as captivating as it is chilling—further cementing his status as one of the industry’s most versatile and enduring talents. [...]
March 29Disney+’s sultry period drama RIVALS has captivated audiences with its delicious blend of 1980s nostalgia and steamy storytelling, with confirmation of a second season sending fans into a frenzy. The adaptation of Dame Jilly Cooper’s beloved 1988 novel has proven to be the “bonkbuster” of the year, aching with old-fashioned small screen sex appeal that viewers simply can’t get enough of. At the heart of the series stands Aidan Turner as the dishy Irish TV presenter Declan O’Hara, who found himself entangled in the cutthroat world of independent television during the Thatcher era when recruited by the scheming Lord Baddingham, portrayed with delightful menace by David Tennant. Turner’s career renaissance continues with this role, following his critically acclaimed performances in POLDARK and LEONARDO, cementing his status as television’s go-to leading man for period dramas that combine substance with smoldering intensity. The excitement for RIVALS‘ return recently amplified when series star Danny Dyer, who plays self-made businessman Freddie Jones, shared a promising production update during the Royal Television Society Programme Awards. “We’re on the eve of starting the second series,” Dyer revealed on March 25, humorously adding details about improvements to his character’s appearance: “The old ‘tache is on its way back. I’ve got a better wig which I’m excited about.” His co-star Katherine Parkinson echoed this enthusiasm, noting that with the second series, ” had some more money spent on him.” This production update follows executive producer Dominic Treadwell-Collins’ January confirmation that writing for the new season was officially underway, sharing a photo of himself with fellow producers posing alongside a cardboard cutout of Turner. While specific plot details remain scarce, fans can anticipate resolution to Tony’s fate—the only character whose storyline was left dangling at the first season’s conclusion. Turner is expected to return alongside the impressive ensemble cast including Dyer, Parkinson, Tennant, Victoria Smurfit, Nafessa Williams, Bella Maclean, Claire Rushbrook, Emily Atack, Catriona Chandler, Oliver Chris, Rufus Jones, Lisa McGrillis, and Luke Pasqualino. Williams’ character, the glamorous American TV producer Cameron Cook, provided an intriguing foil to Turner’s O’Hara in the first season, with their initial antagonism developing into a more complex dynamic. Dame Jilly Cooper herself, serving as executive producer, expressed unbridled enthusiasm about the renewal: “I’m orgasmic with excitement and cannot wait for the return of my superhero Rupert Campbell-Black and the rest of the characters in season two.” While no premiere date has been announced, production appears to be moving forward with momentum that mirrors the show’s passionate fanbase. For Turner, RIVALS represents another triumph in a career trajectory that has skillfully balanced commercial appeal with artistic integrity. His portrayal of O’Hara—passionate, principled, yet flawed—has added another memorable character to his increasingly impressive portfolio, further establishing him as one of the most compelling actors of his generation. As cameras prepare to roll on season two, all eyes will be on Turner to see how he further develops this character within Cooper’s deliciously decadent world of ambition, revenge, and desire. [...]
March 28The Irish entertainment scene is setting the stage ablaze with an extraordinary sweep of nominations at the upcoming BAFTA TV Awards. This year’s ceremony promises to be a celebration of exceptional Irish talent, with stars from across the Emerald Isle making their mark on the prestigious event. Leading the charge is DERRY GIRLS alum Nicola Coughlan, who has scored her first BAFTA TV Awards nomination in the Female Performance In A Comedy category for her compelling role in the acclaimed Channel 4 series BIG MOOD. Her nomination is a testament to her growing versatility as an actress and her ability to captivate audiences with nuanced performances. Belfast native Lola Petticrew is also making waves, securing a nomination in the Leading Actress category for their powerful portrayal of Dolours Price in the Troubles-set series SAY NOTHING. The show itself has further cemented Irish representation by being nominated in the International award category, showcasing the global appeal of Irish storytelling. The Belfast-based cop show BLUE LIGHTS has added to the Irish triumph, earning a well-deserved nomination in the Drama Series category. Meanwhile, the beloved Graham Norton continues his remarkable run with another nomination in the Entertainment Performance category for THE GRAHAM NORTON SHOW – marking an impressive 18th BAFTA nomination with eight previous wins. Adding another layer of artistic brilliance, Siobhán McSweeney from DERRY GIRLS has stepped behind the camera with her directorial debut, SPUD, which has been nominated in the Short Form category. This achievement highlights the multifaceted talents of Irish performers who continue to push creative boundaries. The success isn’t limited to television. The unstoppable Colin Farrell has been collecting awards left, right, and centre, while the music and film group Kneecap are dominating their respective fields. This nomination spree is more than just a moment – it’s a powerful statement about the extraordinary depth of Irish talent in the entertainment industry. As the BAFTA TV Awards approach on Sunday, May 11th, the Irish flag is poised to fly high. These nominations are a celebration of storytelling, performance, and the unique creative spirit that continues to emerge from Ireland, proving once again that talent knows no boundaries. [...]
March 26Pierce Brosnan is making a thunderous return to the crime genre with MOBLAND, Guy Ritchie’s highly anticipated Paramount+ series that promises to deliver a gritty, pulse-pounding exploration of London’s criminal underworld. Set to premiere on March 30, the show reunites Brosnan with the kind of razor-sharp narrative that made his James Bond era so memorable, this time trading international espionage for the brutal landscape of warring crime families. In MOBLAND, Brosnan portrays Conrad Harrigan, a crime boss whose character drips with menace and charisma. Alongside a stellar cast including Tom Hardy and Helen Mirren, Brosnan seems to have found a role that perfectly captures his evolving on-screen persona – a far cry from his polished James Bond days, but equally magnetic. The trailer teases a performance that’s equal parts charming and terrifying, with Brosnan delivering lines like “Power is a hungry thing, and there’s always a rat bastard looking to take what’s mine” with a gravitas that suggests he’s fully embracing this darker chapter of his career. The series represents an exciting evolution for Brosnan, who has consistently reinvented himself since hanging up Bond’s tailored tuxedo. From romantic comedies like MAMMA MIA! to serious dramatic roles in films like THE LAST RIFLEMAN, Brosnan has proven himself to be an actor of remarkable range. MobLand appears to be another bold step in a career defined by unexpected choices and nuanced performances. Originally conceived as a British spinoff of RAY DONOVAN, the series has transformed into a standalone narrative that promises the kind of stylized violence and dark humor typically associated with Guy Ritchie’s distinctive filmmaking. With an ensemble cast that includes Paddy Considine, Joanne Froggatt, and Lara Pulver, MOBLAND seems poised to be more than just another crime drama – it’s a complex study of family, power, and survival in London’s most dangerous circles. As Brosnan continues to demonstrate his ability to captivate audiences across genres, MOBLAND looks set to be another compelling chapter in a career that has consistently defied expectations. Whether playing a suave secret agent, a charming thief, or now a ruthless crime boss, Pierce Brosnan remains a true master of reinvention. [...]
March 19Fresh off her triumph with IFTA Best Drama winner BAD SISTERS, Sharon Horgan is making a triumphant return to HBO with a bold new comedy series that mines the rich territory of midlife crisis. The celebrated Irish writer-actress has inked a two-year first-look television deal between her production company Merman and HBO, cementing their creative partnership that previously yielded the acclaimed comedy drama DIVORCE starring Sarah Jessica Parker and Thomas Haden Church. This new untitled project finds Horgan not only writing and executive producing, but also stepping in front of the camera to portray a 50-year-old divorcee navigating the complexities of dating and sexuality while sandwiched between caring for aging parents and a son who refuses to fully launch into adulthood. The series promises to deliver Horgan’s signature blend of unflinching honesty and razor-sharp wit that has made shows like CATASTROPHE and PULLING cult favorites among viewers craving authentic storytelling. HBO executive Amy Gravitt praised Horgan’s distinctive voice, noting that “her willingness to offer up her own experiences through the characters she creates makes us all feel a little less lonely,” adding that the network looks forward to the fresh talent Horgan will bring to HBO through this partnership. Horgan herself expressed excitement about continuing her relationship with HBO, acknowledging the network’s legacy of iconic television. With this new deal, Horgan firmly establishes herself as one of television’s most vital creative forces, seamlessly blending her roles as writer, producer, and performer while consistently delivering stories that resonate with uncomfortable truth and redemptive humor. As her star continues to rise following BAD SISTERS‘ critical acclaim, this HBO partnership signals an exciting new chapter in a career defined by fearless authenticity and brilliant comedic insight. [...]
March 3Irish charm meets culinary conversation in the world of Chris O’Dowd, whose path from County Roscommon to Hollywood stardom reveals a man as complex as the characters he portrays. The Emmy-winning actor, who first captured audiences as Roy Trenneman in Channel 4’s beloved series THE IT CROWD, has since crafted a career that seamlessly blends his Irish roots with international acclaim. After studying politics at University College Dublin and honing his craft at the London Academy of Music and Dramatic Art, O’Dowd’s Hollywood breakthrough came with his scene-stealing performance in BRIDESMAIDS, where his natural warmth and comedic timing endeared him to global audiences. O’Dowd’s creative vision truly came to life when he created and starred in the semi-autobiographical series Moone Boy, drawing inspiration from his childhood in Boyle. The series not only won an Emmy but established O’Dowd as a multifaceted storyteller capable of transforming personal experience into universal narratives. Now, his latest venture, SMALL TOWN, BIG STORY, continues this tradition of authentic storytelling, featuring an impressive cast including Christina Hendricks and Paddy Considine. Between sips of whisky and bites of Keogh’s crisps—a nod to his Irish heritage—O’Dowd recently shared stories about his creative process while Angela prepared sticky pulled pork complemented by a quick-pickled shredded salad. The meal, expertly paired with a Calmel & Joseph organic pinot noir by Waitrose specialists, provided the perfect backdrop for O’Dowd’s entertaining tales about his pet tortoise and reflections on his family’s time in Los Angeles. His conversation naturally flowed to the inspirations behind SMALL TOWN, BIG STORY, revealing how his cultural background continues to influence his work. Throughout the evening, the discussion turned to the importance of involving children in cooking traditions, though with the gentle reminder that younger kitchen enthusiasts should always have adult supervision when using equipment like air fryers. This conversation highlighted not just O’Dowd’s connection to Irish food culture but his understanding of how culinary traditions shape family dynamics—themes that often resurface in his storytelling. As his career evolves, O’Dowd continues to bring the warmth and complexity of his Irish heritage to audiences worldwide, seasoning his work with the same authenticity that makes his on-screen presence so compelling. [...]
February 25In a candid conversation on THE LATE LATE SHOW, acclaimed actor Fiona Shaw offered rare insights into her collaborative process with some of television’s most innovative creators while reflecting on her connection to her Cork roots. Fresh from the Dublin premiere of PARK AVENUE at the Dublin International Film Festival, Shaw painted a vivid picture of working alongside Sharon Horgan on the hit Apple TV+ series BAD SISTERS. Shaw, who portrays Angelica, an old acquaintance of Grace (played by Anne-Marie Duff) in the show’s second season, described Horgan as “a superwoman” whose creative process is as dynamic as it is effective. “What was really unusual about it is that Sharon turns up every morning with her laptop and she just types and fixes,” Shaw told host Patrick Kielty. “She’s probably writing ten other shows as well.” The actor revealed how scenes would continuously evolve through collaboration between herself, Horgan, and director Dearbhla Walsh, creating an environment where the written material served as just a starting point for further creative development. The Cork native recalled Horgan’s energetic pitch for the show with amusement. “They asked me for coffee and I’d read one episode, and I said to Sharon: ‘What’s the rest of the story about?’ and she took off like a Harley-Davidson: ‘And then this happens, and then this happens’ and I didn’t know what she was saying half the time!” Despite the “garbled” explanation, Shaw was already hooked. Her admiration extends to Phoebe Waller-Bridge, creator of FLEABAG and KILLING EVE, whom Shaw described as “the most astonishing talent” with “so many gifts” and “a very kind heart.” These collaborations have clearly shaped Shaw’s recent career renaissance, building upon her already impressive portfolio that includes beloved roles in the HARRY POTTER franchise and MY LEFT FOOT. Despite her international success, Shaw maintains strong ties to her hometown of Cobh, where she frequently returns to visit her 99-year-old mother. “I’m there a lot because my mother is very old now,” she explained, adding that her busy career often made her feel “like a tourist” when visiting Ireland. “I was away, I was often in the theatre and therefore away or on tour so often. I mean, I was always back for Christmas, but I’m getting to know Cork and West Cork and if ever I can escape up west.” Shaw even revealed how local influences shaped her performances, including basing her character in THREE MEN AND A BABY on her Cork headmistress who was “always rummaging down her chest.” She noted with amusement that “generations of schoolchildren at Scoil Mhuire knew I had based it on that particular woman,” calling it “quite a local performance—don’t sweat the big stuff, just do what you know.” This interweaving of international stardom with deeply personal connections to home exemplifies Shaw’s approach to her craft—drawing from authentic experiences while collaborating with contemporary storytelling visionaries, continuing to captivate audiences across generations and genres. [...]
February 24In a heartwarming and memorable moment at this year’s Screen Actors Guild Awards, Colin Farrell clinched his first-ever SAG award, though the victory came with an unexpected twist. The Irish actor, recognized for his transformative role in Max’s Batman spinoff THE PENGUIN, received his award for best actor in a limited series from Jamie Lee Curtis, star of THE LAST SHOWGIRL, who playfully called him out for a previous viral moment. “And the Actor goes to… the man who gave me COVID at the Golden Globes: Colin Farrell,” Curtis announced to a laughing audience. Farrell, ever the charmer, accepted the accusation with good humor, though he was quick to pass the blame to his THE BANSHEES OF INISHERIN co-star Brendan Gleeson. The acceptance speech that followed revealed the depth of emotion and gratitude that has marked Farrell’s remarkable career. Speaking with genuine wonder about his fellow actors, Farrell reflected on the ethereal nature of their craft: “It’s just unquantifiable; it’s playtime. You don’t get to fully grow up, you get to keep the dream of a child alive as you try and figure out what it is to be human.” The 48-year-old actor’s words resonated deeply with the audience as he acknowledged both the successes and failures that come with the artistic journey. In a particularly touching moment, Farrell took time to recognize his family’s crucial role in his success. He gave special recognition to his sister Claudine, his partner of 22 years in the industry, emphasizing her role as a producer rather than merely his assistant. He also celebrated his sister Catherine, the family’s pioneer in acting, and his pajama-clad brother Eamon, who stayed up to watch the ceremony on Netflix. Most movingly, he praised his sons James and Henry, aged 21 and 15, for bringing unprecedented joy and meaning to his life. Farrell’s winning performance in THE PENGUIN required an extraordinary physical transformation, one that profoundly impacted his sense of self. Reflecting on the experience at the HBO series premiere in September, he shared how the dramatic makeup and costumes altered his self-perception: “It’s not like I ever fully lost sense of myself, but it was a very powerful thing to know yourself a certain way for 45 years and to see a reflection.” This transformation proved to be more than skin-deep, offering him a unique creative freedom that he described as both hypnotic and powerful, allowing him to approach his character with a truly blank slate. More Colin Farrell Colin Farrell on SUGAR Farrell wins Critics Choice Award Farrell’s Golden Globe glory Farrell’s indie film round-up [...]
February 18In a delightful convergence of Irish and international talent, County Roscommon’s own Chris O’Dowd is set to grace RTÉ’s THE LATE LATE SHOW alongside an impressive lineup of guests, bringing with him a treasure trove of stories that perfectly capture his journey from small-town Ireland to global stardom. The Boyle native, known for his role in MOONE BOY, will be joined by Hollywood star Christina Hendricks to discuss their latest collaboration, SMALL TOWN, BIG STORY, a series that brings O’Dowd back to his roots in rural Ireland. The timing of this appearance feels particularly poignant, as O’Dowd recently shared an extraordinary tale from his first-ever Late Late Show experience. Back in 1998, as a UCD student plucked from the campus bar to fill the audience, he received an unexpected gift from then-host Gay Byrne – ferry tickets to Cherbourg. What started as a simple “booze cruise” turned into a four-month French adventure for the former Roscommon minor goalkeeper, who found himself seduced by French bread and the excitement of the 1998 World Cup while his friends returned home. This full-circle moment showcases O’Dowd’s enduring connection to his hometown of Boyle, where he and his wife Dawn O’Porter recently returned to open the town’s beloved Arts Festival. The show’s stellar lineup also includes Steve Coogan, O’Dowd’s MOONE BOY co-star, who will discuss bringing DR. STRANGELOVE to Dublin’s Bord Gáis Energy Theatre and reflect on his iconic Alan Partridge character, along with his recent acquisition of an Irish passport. Adding to the evening’s entertainment, comedian Katherine Ryan will share her own Irish heritage story and the romantic tale of marrying her high school sweetheart after a twenty-year intermission. The night will culminate with a performance by 90s icon Gabrielle, known for hits like “Dreams” and “Rise,” ahead of her anticipated 3Arena concert. The gathering of these diverse talents on THE LATE LATE SHOW represents a beautiful blend of local charm and international appeal, proving that even as Irish talent conquers the global stage, the pull of home remains irresistible. For O’Dowd, it’s a reminder that sometimes the most extraordinary journeys begin in the most ordinary places – be it a college bar in Dublin or a small town in Roscommon. [...]
February 17Netflix has set hearts aflutter with the first glimpse of BRIDGERTON‘s fourth season, treating fans to an intimate behind-the-scenes look at what promises to be another enchanting chapter in the beloved series. The newly released sneak peek, which dropped on Valentine’s Day 2025, offers tantalizing glimpses of the show’s next romantic adventure, centered around the free-spirited Benedict Bridgerton, portrayed by Luke Thompson. Taking its cues from Julia Quinn’s AN OFFER FROM A GENTLEMAN, the season weaves a spellbinding romance that Thompson describes as a “twist on Cinderella,” following Benedict’s unexpected encounter with a mysterious Lady in Silver at his mother’s masquerade ball. The fresh footage reveals returning fan favorites, including Nicola Coughlan‘s Penelope Featherington, who appears in two pivotal scenes – one intimate moment with her husband Colin Bridgerton, and another alongside the formidable Queen Charlotte at the masquerade ball. Adding to the excitement, showrunner Jess Brownell confirmed at the BRIDGERTON: SEASON OF LOVE 2025 Fan Event that season two’s beloved couple, Kate and Anthony Bridgerton, will return, with Johnny Bailey and Simone Ashley reprising their roles, promising glimpses of their marital bliss and new journey into parenthood. Perhaps most intriguingly, the season introduces newcomer Yerin Ha as Sophie Baek, who steps into the glittering world of the ton as Benedict’s love interest. The production, which began rolling cameras in September 2024, is set to conclude filming in April 2025, though eager fans will need to exercise patience – Netflix isn’t expected to premiere this latest installment until 2026. This continuation of the BRIDGERTON saga promises to maintain the series’ signature blend of romance, drama, and societal intrigue, while exploring new territories through Benedict’s artistic soul and his reluctance to follow his brothers into matrimonial bliss. With its stellar cast and creative team hard at work, including veteran stunt professional Mark Vanselow at the helm, and the addition of acclaimed actors like Academy Award winner Marisa Tomei, Ving Rhames, and Michael Chiklis, the fourth season appears poised to captivate audiences once again with its unique blend of period romance and modern sensibilities. [...]
February 16The 2025 Irish Film and Television Awards transformed Dublin into a constellation of stars on Friday evening, with SMALL THINGS LIKE THESE emerging as the night’s biggest winner. The intimate drama secured both Best Film and Best Actor for Cillian Murphy, who delivered a memorable acceptance speech apologizing to his fellow nominees from hip-hop group Kneecap: “Sorry Kneecap. You had me outnumbered.” The evening proved particularly triumphant for Saoirse Ronan, who demonstrated her versatility by claiming two major awards. She won Best Actress for her compelling performance in THE OUTRUN, where she portrayed a young woman grappling with alcoholism – a project she created alongside her husband Jack Lowden. “I got to make this film with the love of my life,” Ronan shared emotionally from the stage. She also secured Best Supporting Actress for her role in the World War II drama BLITZ, during which she graciously acknowledged the team from ATONEMENT, the film that launched her Oscar-nominated career. The ceremony highlighted the growing international appeal of Irish cinema, with Colin Farrell winning Best Lead Actor in a TV Drama for his transformation in THE PENGUIN. The gritty drama SAY NOTHING garnered multiple honors, including Lead Actress in a Drama Series for Lola Petticrew’s powerful portrayal of Dolours Price. The series also earned Anthony Boyle the Rising Star award for his depiction of Brendan Hughes, while Tom Vaughan-Lawlor and Hazel Doupe secured supporting actor awards. In a particularly poignant moment, director Rich Peppiatt accepted his Best Director award for KNEECAP with news that carried special weight: he had become an Irish citizen just hours before the ceremony. Holding up an Irish flag badge, he declared, “I became an Irish citizen earlier today, only about two hours ago, just in time.” The film itself, predominantly in Irish, represents a bold celebration of language and culture, with its creators insisting on authenticity in their storytelling. BAD SISTERS continued its successful run with Sharon Horgan taking home the award for Script Writing. Horgan tantalized fans with hints about a potential third season, expressing interest in casting Sebastian Stan or Andrew Scott as the show’s next antagonist. The series’ acclaim underscores the growing global appetite for Irish storytelling. Industry veteran Colm Meaney received the Lifetime Achievement Award, approaching the honor with characteristic humor: “It means a thing about yay size, very heavy. It’s a wonderful award, it’s very special, and to get it from my home town and from my peers too.” The evening served as a powerful reminder of Ireland’s flourishing film industry, with Andrew Scott capturing the sentiment perfectly: “We have incredible crews here, and the standard of our work is going from strength to strength. I just hope that we continue making films that are authentically Irish and what it means to be Irish. There is a real international audience for not just the actors who are doing well at the moment, but all types of filmmakers. It’s a really incredibly exciting time.” Indeed, as the credits rolled on another spectacular IFTA ceremony, it was clear that Irish cinema isn’t just finding its voice – it’s commanding the global stage with stories that resonate far beyond its shores. More Cillian Murphy Cillian Murphy: Oscar 2025 presenter 28 YEARS LATER begins filming Murphy in BLOOD RUNS COAL Murphy on SMALL THINGS LIKE THESE [...]
February 14The glittering heart of Ireland’s entertainment industry is set to pulse through Dublin this Valentine’s Day as a constellation of stars descends upon the Royal Convention Centre for the prestigious Irish Film and Television Academy (IFTA) Awards. Hosted by the charismatic Kevin McGahern, this year’s ceremony promises to be an extraordinary celebration of Irish creative talent, with veteran actor Colm Meaney taking center stage to receive the coveted IFTA Lifetime Achievement Award. The guest list reads like a who’s who of Irish entertainment, featuring Oscar nominee Cillian Murphy, fresh from his role in SMALL THINGS LIKE THESE, alongside fellow luminaries Saoirse Ronan of THE OUTRUN and BLITZ, Andrew Scott of RIPLEY, and Ruth Negga, starring in PRESUMED INNOCENT. The ceremony will also welcome BRIDGERTON star Nicola Coughlan, BAD SISTERS creator Sharon Horgan, and the dynamic trio from KNEECAP: J.J. Ó Dochartaigh, Liam Óg Ó hAnnaidh, and Naoise Ó Cairealláin. The star power continues with appearances from Liam Cunningham of 3 BODY PROBLEM, Eva Birthistle from KATHLEEN IS HERE, and rising star Alisha Weir of ABIGAIL. Adding to the glamour are HOUSE OF THE DRAGON’s Clinton Liberty, Chris O’Dowd showcasing his new series SMALL TOWN, BIG STORY, and OUTLANDER sensation Caitriona Balfe. SALTBURN and CONVERSATIONS WITH FRIENDS star Alison Oliver will join DEXTER: ORIGINAL SIN’s Patrick Gibson among the distinguished attendees. Meaney, the man of the hour, expressed genuine surprise at his selection for the Lifetime Achievement Award. “To say I was surprised when I got the news that IFTA wanted to give me this award would be an understatement,” he remarked with characteristic humility. “I was truly shocked. To be asked to join this long list of very illustrious previous recipients is a huge honour.” For those unable to attend, TikTok star Eric Roberts will be bringing the red carpet glamour directly to fans through IFTA’s Official TikTok Account, with coverage beginning at 5pm. The entire ceremony will be broadcast on RTE One at 10.55pm on Saturday, February 15, allowing viewers nationwide to share in this celebration of Irish creative excellence. The event, supported by Screen Ireland and Coimisiún na Meán, with key sponsors including RTE, Don Julio, IFTN, TikTok, Canon, and Sculpted by Aimee, stands as a testament to the flourishing Irish entertainment industry and its growing influence on the global stage. [...]
February 9THE TOMMY TIERNAN SHOW continues to captivate audiences with its unique format and intimate conversations, offering viewers a refreshing departure from traditional chat show interviews. The show’s distinctive approach – where the host meets his guests without any prior knowledge of their identity – has led to some remarkably authentic moments in recent episodes. In a particularly engaging segment, fellow comedian Jimmy Carr brought his characteristic wit to the show, sharing candid insights into his life as a new parent. After his stand-up shows in England, Carr revealed, he often drives home, and in one touching moment, he described returning late only to spend an hour discussing Transformers with his young child through the baby monitor, still buzzing from his performance energy. The show recently welcomed Hollywood actor Paul Giamatti, in what viewers described as a “gentle” conversation that went far deeper than typical promotional interviews. Social media lit up with observations about the uncanny similarities between host and guest, with one viewer noting, “I thought we were finally getting an interview between quiet Tommy Tiernan and loud Tommy Tiernan!” The interview stood in stark contrast to traditional chat show formats, with one viewer pointing out that while Giamatti might discuss his latest film on THE GRAHAM NORTON SHOW, here he opened up about his personal life in a more meaningful way. The show’s ability to elicit powerful emotional responses was particularly evident in an episode featuring writer and actor Seamus O’Rourke. His moving reading from his book “Leaning on Gates,” exploring the complex relationship between fathers and sons, left viewers “bawling their eyes out.” O’Rourke’s honest reflection on never having hugged his late father resonated deeply with the audience, with many sharing their own experiences of similar parent-child dynamics. The show’s diverse guest list has also included mixed media artist Aaron Sunderland Carey, whose socially engaged projects earned him praise as an “inspiring” and “incredible” young man, and Irish musician Doireann Ní Ghlacáin, known for her fiddle playing and TG4 presenting work. These episodes, alongside appearances by Emma Doran and Fern Brady, showcase the show’s commitment to featuring voices from various walks of life, from A-list celebrities to local artists and academics. Through its unconventional format and Tiernan’s skillful interviewing style, the show continues to deliver what viewers have come to describe as “pure, raw and naturally funny” conversations that go beyond surface-level celebrity chat to explore the deeper aspects of human experience. WATCH NOW ON RTE PLAYER. [...]
February 8In a moving display of gratitude and humility, Irish actor Colin Farrell captured hearts at the 2025 Critics Choice Awards, taking home the prestigious Best Actor award for his remarkable performance in THE PENGUIN, the gripping spin-off series from THE BATMAN universe. The Friday night ceremony at The Barker Hangar in Santa Monica became a platform for more than just artistic recognition, as Farrell used his moment in the spotlight to shine a light on true heroism. “Well, thank you, critics – and I haven’t always felt that!” Farrell quipped with his characteristic charm, before the tone of his acceptance speech shifted to something more profound. In a year marked by devastating fires in Los Angeles, the Dublin native seized the opportunity to pay tribute to the city’s first responders and fire department, some of whom were present as honored guests at the ceremony. With genuine emotion, Farrell reflected on the often-overlooked sacrifices of emergency services: “It’s so easy to forget what first responders and the fire department do every day, every week, every month, every year, until these fires come and lives are in jeopardy.” His words carried particular weight as he acknowledged the lives and property lost, while praising the tireless, selfless efforts of these everyday heroes who, in his words, demonstrate true civic duty in an increasingly divided world. The victory adds to Farrell’s growing collection of accolades, including a Golden Globe for the same role. His win came alongside that of his THE PENGUIN co-star Cristin Milioti, who secured Best Actress in a Limited Series for her portrayal of Sofia Falcone. The actor made sure to acknowledge the creative forces behind the series, praising the directors who “took the tone of this show and brought it forward and did it in a seamless way.” The night also highlighted Irish talent beyond Farrell, with fellow countrymen Andrew Scott (RIPLEY), Caitríona Balfe (OUTLANDER), and young Alisha Weir (ABIGAIL) among the nominees. In a lighthearted moment concluding his speech, Farrell playfully searched the room for fellow winner Kathy Bates, promising to “be over there in a minute!” The ceremony, hosted by Chelsea Handler, represented the collective voice of over 525 media critics and entertainment journalists from the Critics’ Choice Association, celebrating excellence across film and television. Yet it was Farrell’s heartfelt tribute to real-life heroes that transformed a typical awards show moment into a powerful reminder of the true meaning of service and community. More Colin Farrell Colin Farrell on SUGAR Farrell in THE BALLAD OF A SMALL PLAYER Farrell’s Golden Globe glory Farrell’s indie film round-up [...]
February 3In a delightful twist of art imitating life, SALTBURN star Barry Keoghan has teamed up with Squarespace for their latest Super Bowl campaign, bringing a touch of Irish charm and Hollywood aspiration to the world of website building. The heartwarming short film follows Keoghan as he mentors an ambitious donkey named Don Mosley, who dreams of making it big in Tinseltown – a narrative that playfully echoes Keoghan’s own experience with his four-legged co-star in THE BANSHEES OF INISHERIN. Set in the picturesque Irish countryside, the campaign captures the intimate moment of two artists – one established, one aspiring – navigating the modern demands of showbusiness. As they huddle over a laptop, Keoghan guides Mosley through the process of creating his professional website, complete with the perfectly personalized domain name “donmosley.com.” The Dublin native’s authentic charm shines through as he playfully struggles with pronouncing “theatre” while helping his companion craft an impressive acting résumé. The short film masterfully balances humor with subtle commentary on the entertainment industry’s challenges, particularly for Irish talents seeking to break into the American market. While poking fun at Don’s limited acting range, the advertisement cleverly draws parallels to Keoghan’s own journey from Dublin to Hollywood stardom. Created in-house by Squarespace, the campaign showcases how even the most unlikely of performers – be they Irish actors or ambitious donkeys – can establish their digital presence and pursue their dreams. As this teaser builds anticipation for Squarespace’s Super Bowl LIX commercial, it’s clear that Don Mosley has already secured his first big break. With a professional website now featuring his talents, booking information, and headshots, this determined donkey seems poised to follow in the hoofsteps of Jenny from THE BANSHEES OF INISHERIN – though perhaps with a more strategic approach to career management. Through this charming collaboration, Squarespace not only highlights their user-friendly platform but also captures the universal story of dreamers taking their first steps toward stardom, one website at a time. More Barry Keoghan Barry Keoghan PEAKY BLINDERS update CALM WITH HORSES on Netflix Barry Keoghan in BIRD MASTERS OF THE AIR on Apple TV+ [...]
January 30The Irish film industry’s next generation of talent takes center stage as the Irish Film & Television Academy (IFTA) unveils its prestigious Rising Star nominees for 2025, spotlighting four remarkable talents who exemplify the nation’s thriving creative spirit. Among the nominees is Alisha Weir, who captured hearts worldwide in ROALD DAHL’S MATILDA THE MUSICAL and has since impressed audiences in ABIGAIL and WICKED LITTLE LETTERS. Joining Weir in this distinguished cohort is Anthony Boyle, whose versatility shines through performances in SAY NOTHING, MASTERS OF THE AIR, HOUSE OF GUINNESS, and MANHUNT. The nominations also recognize writer-director Aislinn Clarke, known for FREWAKA, THE DEVIL’S DOORWAY, and EYE EXAM, alongside actor Clinton Liberty, whose powerful performances in HOUSE OF THE DRAGON, HOLDING, RED ELECTION, and NORMAL PEOPLE have marked him as one to watch. This unique award, sponsored by Fís Éireann/Screen Ireland and selected by a special jury, has historically identified Ireland’s most promising creative talents, with past recipients including luminaries such as Saoirse Ronan, Michael Fassbender, Nicola Coughlan, Domhnall Gleeson, Siobhán Cullen, and Jamie Dornan, all of whom have gone on to achieve international acclaim. IFTA Chief Executive Áine Moriarty emphasizes the significance of these nominations, noting that these four artists represent the vanguard of Ireland’s homegrown industry making waves on the global stage. The winner will be revealed at the 2025 IFTA Awards Ceremony, set to take place at the Dublin Royal Convention Centre on February 14, marking another milestone in Ireland’s remarkable year of world-class film and television production. This prestigious recognition not only celebrates individual talent but also underscores Ireland’s continuing prominence in the global entertainment landscape, as these rising stars carry forward the torch of Irish storytelling excellence. As social media buzzes with excitement over this unexpected collaboration, fans have been expressing their enthusiasm for what promises to be a remarkable fusion of musical and theatrical talent. The partnership between Fender’s emotionally charged songwriting and Scott’s renowned ability to convey complex emotions suggests that the upcoming music video will be nothing short of extraordinary, offering viewers a unique artistic experience that bridges the worlds of music and cinema.   [...]
January 29In an electrifying announcement that has sent fans into a frenzy, acclaimed Irish actor Andrew Scott has been revealed as the star of Sam Fender’s upcoming music video for PEOPLE WATCHING. The Geordie musician, who made his triumphant return to the music scene last November, took to Instagram this week to share a tantalizing glimpse of the BAFTA-winning actor running down a street, confirming the unexpected yet thrilling collaboration. The teaser for PEOPLE WATCHING, the title track from Fender’s highly anticipated third album, marks a significant moment for both artists. While fans have been eagerly awaiting new content since the song’s initial release, which was accompanied only by a lyric video, the addition of Scott to the project has elevated expectations to new heights. The Dublin native, widely recognized for his versatile acting career, brings his profound emotional depth to what promises to be a compelling visual narrative. Scott’s involvement comes on the heels of his critically acclaimed performance in ALL OF US STRANGERS alongside fellow Irishman Paul Mescal, adding another fascinating chapter to his already impressive career. His portfolio boasts numerous prestigious accolades, including a BAFTA, two Olivier Awards, and nominations from both the Emmys and Golden Globes, making his participation in Fender’s music video an artistic coup that has captivated audiences across both the music and film industries. As social media buzzes with excitement over this unexpected collaboration, fans have been expressing their enthusiasm for what promises to be a remarkable fusion of musical and theatrical talent. The partnership between Fender’s emotionally charged songwriting and Scott’s renowned ability to convey complex emotions suggests that the upcoming music video will be nothing short of extraordinary, offering viewers a unique artistic experience that bridges the worlds of music and cinema.   More Andrew Scott IFTV-Blog-16-180×180 Scott earns Golden Globes nomination Andrew Scott in BACK IN ACTION RIPLEY now on Netflix [...]
January 23Rising Irish actor Éanna Hardwicke is set to receive the prestigious “Wilde Card” Award at the 19th annual Oscar Wilde Awards, continuing a legacy of recognition for emerging Irish talent. At 28, Hardwicke has already carved an impressive path in the entertainment industry, with a career that began in youth theatre and has rapidly blossomed into a series of compelling performances across film and television. His journey into acting started early, participating in youth programs at the Gaiety School of Acting and National Association of Youth Drama. Hardwicke’s breakthrough came with a child actor role in Conor McPherson’s horror film THE ECLIPSE, and he later graduated from The Lír, Ireland’s National Academy of Dramatic Art at Trinity College Dublin. Just before graduating, he landed a significant role in the critically acclaimed film VIVARIUM, which premiered at Cannes in 2019, sharing the screen with Imogen Poots and Jesse Eisenberg. Since then, Hardwicke has become a versatile performer, appearing in notable productions like NORMAL PEOPLE, FATE: THE WINX SAGA, and THE SIXTH COMMANDMENT, for which he received several awards. His recent projects showcase his range, from A VERY ROYAL SCANDAL to the upcoming SAIPAN, where he portrays Irish football legend Roy Keane opposite Steve Coogan. Currently, he’s filming NO ORDINARY HEIST with Eddie Marsan, further solidifying his reputation as a rising star. Hardwicke’s creativity extends beyond acting. His short film AT ARM’S LENGTH, co-written with Tom Monahan, was funded through Screen Ireland’s Actor as Creator scheme and premiered at the Galway Film Fleadh in 2022. His selection as one of Screen International’s inaugural Rising Stars Ireland highlights the industry’s recognition of his potential. The Oscar Wilde Awards, to be held on February 27th, 2025, at the Ebell of Los Angeles, will honor Hardwicke alongside actor John C. Reilly. Sponsored by Fís Éireann/Screen Ireland and Northern Ireland Screen, the event celebrates the vibrant connection between Irish and American entertainment, with Hardwicke representing the exciting new generation of Irish acting talent.   [...]
January 17Fresh off his acclaimed performance as Tom Ripley in Netflix’s psychological thriller RIPLEY, Andrew Scott continues his streaming success with the upcoming action-comedy BACK IN ACTION, set to premiere on Netflix on January 17, 2025. Scott’s recent filmography showcases his remarkable range. In 2023, he received widespread praise for his transformative lead role in Andrew Haigh’s ghost story ALL OF US STRANGERS, where he starred opposite Paul Mescal. His emotionally charged performance in RIPLEY (2024) further solidified his status as one of today’s most versatile actors, following his earlier successes in CATHERINE CALLED BIRDY (2022) and the war drama 1917 (2019). In BACK IN ACTION, Scott joins Hollywood veterans Cameron Diaz and Jamie Foxx in what marks Diaz’s first film role since 2014’s ANNIE. The plot centers around a seemingly ordinary couple (Diaz and Foxx) whose quiet suburban life masks their former careers as elite secret agents. When their past catches up with them, they’re thrust back into the high-stakes world of international espionage. This action-packed comeback vehicle for Diaz represents another significant addition to Scott’s increasingly diverse portfolio, bridging his acclaimed dramatic work with more commercial fare.  Watch BACK IN ACTION on Netflix.   More Andrew Scott IFTV-Blog-16-180×180 Scott earns Golden Globes nomination Andrew Scott: Actors on Actors RIPLEY now on Netflix [...]
January 13ITV has announced a third and final series of the BAFTA-nominated comedy-drama THE DRY. The series stars Belfast actress Roisin Gallagher as Shiv, a recovering alcoholic who returned to Dublin after spending a decade in London. The show’s previous seasons featured an accomplished cast including GAME OF THRONES veterans Ciarán Hinds and Michael McElhatton, alongside Siobhán Cullen (THE LIMEHOUSE GOLEM), Moe Dunford (VIKINGS), and Sam Keeley (IN THE HEART OF THE SEA). In the upcoming final series, the Sheridan family will confront their greatest challenge yet when a significant family secret comes to light. As they grapple with inevitable change and the betrayals of the past, destructive patterns begin to surface. Shiv, who has typically blamed others for her problems – her family, her ex, and alcohol – must finally confront a difficult question: could she be the real source of her own troubles? The series will conclude with a family gathering where these tensions come to a head, forcing Shiv to face some uncomfortable truths about herself. Watch THE DRY on Apple TV here. More THE DRY IFTV-Blog-20-180×180 IFTV-Blog-14-180×180 MD1-180×180 D1-180×180 [...]
January 9Three Irish stars have earned nominations for the 2025 Screen Actors Guild Awards, building on their recent awards season momentum. Nicola Coughlan received recognition in the Outstanding Performance by a Female Actor in a Drama Series category for her role in BRIDGERTON. The actress shared her reaction on Instagram, expressing shock and gratitude for the nomination. In the Outstanding Performance by a Male Actor in a Television Movie or Limited Series category, both Colin Farrell and Andrew Scott secured nominations for their respective performances in THE PENGUIN and RIPLEY. Farrell’s nomination comes fresh off his Golden Globe win for the DC Comics series, while Scott was also a contender in the same Golden Globes category. The 31st annual SAG Awards ceremony will stream live on Netflix from The Shrine Auditorium & Expo Hall in Los Angeles on February 23, with Kristen Bell serving as host. [...]
January 6Colin Farrell claimed his third Golden Globe victory at the 2025 awards ceremony on Sunday night, winning Best Male Actor in a Limited or Anthology Series for his portrayal of Oswald Cobblepot in THE PENGUIN. The Max series features Farrell reprising his role as the notorious Gotham gangster, a character he first brought to life in Matt Reeves’s 2022 film THE BATMAN. His transformation into the iconic villain required an extensive three-hour daily makeup process. During his acceptance speech, Farrell playfully quipped, “No one to thank on this one. I did it all by myself… Just a raw, paired away performance.” He then acknowledged makeup artist Michael Marino, who designed the Penguin’s distinctive look, and praised his “extraordinary” team. Describing his morning routine in the makeup chair, Farrell shared, “I drank black coffee, listened to ’80s music, and I became a canvas for that team’s brilliance.” He concluded his speech with a humorous observation about his future career path: “I guess it’s prosthetics for here on out.” More Colin Farrell Colin Farrell on SUGAR Farrell in THE BALLAD OF A SMALL PLAYER Farrell in A BIG BOLD BEAUTIFUL JOURNEY Farrell’s indie film round-up [...]
January 2BELFAST star Caitríona Balfe rose to international fame through her starring role in the STARZ historical drama series OUTLANDER, which premiered in 2014. In the series, Balfe portrays Claire Randall, a World War II nurse who mysteriously travels back in time to 1743 Scotland. Her character becomes romantically involved with Highland warrior Jamie Fraser (Sam Heughan), and together they navigate the historical turmoil of the Jacobite risings. Based on Diana Gabaldon’s novel series, OUTLANDER has become Balfe’s defining television role. The series’ seventh season, adapted from AN ECHO IN THE BONE, is currently airing on STARZ, having premiered in June 2023. The second half of Season 7 began airing on November 22, 2024, with the final episode scheduled for January 17, 2025. As OUTLANDER approaches its conclusion, Balfe has been open about the emotional impact of filming the eighth and final season. In an interview with COLLIDER, she described the intensity of shooting the series’ final moments: “The leading up to it was the hardest part,” she revealed, adding that the anticipation led to significant anxiety and “a lot of ugly crying on my behalf.” The series finale, which recently completed filming, adapts material from WRITTEN IN MY OWN HEART’S BLOOD and GO TELL THE BEES THAT I AM GONE, the final books in Gabaldon’s series. While the release date for Season 8 remains unannounced, Balfe’s portrayal of Claire Randall Fraser has spanned nearly a decade of television, establishing her as one of the most recognizable faces in historical drama. [...]
December 29PLAYING NICE stars Niamh Algar alongside James Norton in a gripping new psychological drama from ITV, STUDIOCANAL, and Rabbit Track Pictures. Algar portrays Maddie, a mother whose life is shattered when she discovers her toddler was switched at birth with another child. The four-part series follows Maddie and her partner Pete (Norton) as they confront this devastating revelation, leading them into the lives of Miles (James McArdle) and Lucy (Jessica Brown Findlay) – the parents raising their biological child. While an initial agreement seems promising, sinister undercurrents begin to surface. Adapted from JP Delaney’s novel for television by Grace Ofori-Attah, PLAYING NICE represents a major acquisition for STUDIOCANAL at MIPCOM. The series comes from Norton and Kitty Kaletsky’s Banijay-backed Rabbit Track Pictures, with Norton himself describing it as “a psychological thriller, and more psychological than thriller.” The Irish actress Algar, known for her powerful performances in HAPPY VALLEY and RAISED BY WOLVES, takes on this complex maternal role in what promises to be an intense exploration of parental bonds and moral dilemmas. PLAYING NICE premieres on ITV on Sunday, January 5th at 9pm.   [...]
December 13On December 29th at 20:30, TG4 will premiere BRENDAN GLEESON’S FAREWELL TO HUGHES’S, a deeply personal documentary celebrating the iconic Dublin pub that profoundly shaped traditional Irish music. Hughes’s was more than just a neighborhood establishment—it was a cultural landmark. For over 35 years, the pub served as a vibrant hub for musicians, dancers, and music enthusiasts, creating an unparalleled sanctuary for traditional Irish musical expression. Oscar-nominated actor Brendan Gleeson, who frequently performed at Hughes’s, brings an intimate perspective to this tribute. After the pub’s closure in 2021 following the passing of its beloved owner, Gleeson embarked on a heartfelt project to preserve its legacy. The documentary weaves together a rich tapestry of personal stories, capturing the essence of Hughes’s through interviews with musicians, dancers, and loyal patrons. It offers a profound exploration of the pub’s significant contribution to Ireland’s musical heritage. The film is a collaborative labor of love, directed and produced by acclaimed filmmaker and fiddle player Ciarán Ó Maonaigh. Gleeson serves as executive producer alongside Liam O’Connor, with exceptional cinematography by Ray Mac Donnacha and a compelling sound mix by Brendan Rehill. Following successful screenings at the Dublin International Film Festival and select cinemas in Dublin and Galway, BRENDAN GLEESON’S FAREWELL TO HUGHES’S will now reach a nationwide audience through TG4, ensuring the pub’s remarkable story continues to inspire and resonate with viewers.   [...]
Instagram Youtube

Irish Television

, , ,

IRISH FILM NEWS

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 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 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 9Paul Mescal has become something more than an actor in these few short years, something closer to a collective hallucination we’ve all agreed to participate in. You know him, or think you do—the shoes, the jewellery, that mini mullet, the Met Gala memes that ricocheted across the internet until they stopped meaning anything except themselves. These images have calcified into mythology, each one a mirror we hold up to project our own ideas about grief, lust, longing, masculinity, vulnerability, whatever we need him to carry for us in that particular moment. He’s become a vessel, and we’ve been filling him with whatever we lack or crave or fear, watching this first act unfold with the curious fascination of people who sense they’re witnessing the birth of a leading man who refuses the old blueprint entirely. The Paul Mescal experiment, if you’re keeping score, has been a resounding success by any measure that matters. What began as a damn good performance in NORMAL PEOPLE, a quiet BBC drama that was supposed to stay quiet, detonated into cultural obsession and launched a career trajectory that reads like someone made brilliant choices at every turn. The filmography he’s assembled is impeccably curated, each project carrying the unmistakable scent of high taste and intentionality—Andrew Haigh’s fantasy romance ALL OF US STRANGERS, which let him excavate emotional depths that would break lesser actors, and AFTERSUN, that small wonder of a film so devastating and precise it earned him his first Oscar nomination and announced him as someone capable of carrying grief on screen without ever begging you to notice. Then came the real test, the one that would answer whether this hunky indie darling could actually command a blockbuster, whether he possessed whatever alchemy transforms art house credibility into genuine movie stardom. GLADIATOR II, that long-awaited sequel nobody asked for but everyone was curious about, the one without Russell Crowe, pulled in half a billion dollars worldwide with Mescal stepping into the arena and proving, definitively, that he could hold the center of a spectacle without disappearing into it. Now he’s been handed the role of Paul McCartney in Sam Mendes’ dizzyingly ambitious four-part Beatles cinematic anthology, which feels less like casting and more like coronation, the industry placing its bets on who gets to shape cinema’s next chapter. He stubs out the cigarette and steps inside the house, and we follow, because at this point, we can’t help ourselves. Read more in the full British GQ interview HERE. 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 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 14Daniel Craig slips back into the linen suits and lazy drawl of Benoit Blanc for WAKE UP DEAD MAN, the latest mystery from Rian Johnson that promises to be the detective’s most perilous investigation yet. This time the southern sleuth finds himself untangling a web of deception at a parish in upstate New York, where Josh O’Connor’s Father Jud Duplenticy becomes the thread that unravels everything. The roster of suspects reads like a who’s who of contemporary talent: Glenn Close, Josh Brolin, Mila Kunis, Jeremy Renner, Kerry Washington, Andrew Scott, Cailee Spaeny, and Thomas Haden Church all circle the crime, each harboring their own secrets. Among them lurks Eric McCormack’s Cy, a fallen political figure who’s reinvented himself as a YouTuber, weaponizing Christianity for clicks and clout. McCormack describes his character as someone who discovered that faith makes excellent fuel for rage-baiting, a man whose spiritual posturing masks nothing but naked ambition and greed, a type we’ve all encountered scrolling through our feeds at three in the morning. It’s the kind of role that lets an actor sink their teeth into the rot of modern influence culture, where belief systems become content strategies and moral authority is just another path to monetization. From the morally bankrupt halls of internet celebrity, McCormack has pivoted to the drawing rooms of Regency England, having just completed Netflix’s adaptation of PRIDE AND PREJUDICE penned by Dolly Alderton. He plays Mr. Bingley opposite Jack Lowden’s Mr. Darcy in a production that’s assembled a murderer’s row of British talent including Emma Corrin, Olivia Colman, Rufus Sewell, Louis Partridge, Fiona Shaw, Jamie Demetriou, Freya Mavor, Rhea Norwood, and Siena Kelly. The whiplash between projects couldn’t be more extreme, trading the cynical manipulation of digital platforms for the elegant social machinations of Jane Austen’s most beloved romance, swapping YouTube thumbnails for horseback riding with Lowden across the English countryside. It’s the kind of range that keeps an actor sharp, moving from a character who exploits faith for followers to one who embodies the genteel optimism of Austen’s most amiable bachelor, proving that sometimes the best career move is simply to zigzag wildly between centuries and moral universes. 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 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 [...]
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 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 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 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 3Pierce Brosnan has carved out a compelling new chapter in his career, moving far beyond his Bond legacy to embrace complex dramatic roles that showcase his range as a character actor. In CURTAIN CALL, arriving on digital platforms November 10, 2025, Brosnan joins Jessica Lange in a devastating exploration of artistic decline and the cruel erosion of memory. Lange stars as Lillian Hall, a Broadway icon who has never once missed a performance across her illustrious decades-long career, a woman whose entire identity is built on the bedrock of consistency and mastery. But during rehearsals for a new production, everything she has taken for granted begins to slip through her fingers like water. This isn’t just another aging actress story—it’s a meditation on what happens when the very thing that defines you becomes the thing you can no longer access. The film follows Hall as she prepares for what may be her final role, rehearsing Chekhov’s THE CHERRY ORCHARD while dementia begins its insidious work, stealing lines from her memory and moments from her awareness. What makes CURTAIN CALL particularly resonant is how it layers its central tragedy with a sharp commentary on Hollywood’s disposability of women past a certain age. There’s a producer circling the production like a vulture, pushing the director to replace this legendary actress with her younger understudy, revealing how quickly the industry discards those who can no longer deliver on command. The film doesn’t shy away from showing Hall forgetting her lines mid-rehearsal, losing track of staging she’s executed flawlessly a hundred times before, watching her confidence—that essential armor every performer needs—crack and crumble. For Brosnan, this represents the kind of mature, emotionally demanding work he’s increasingly drawn to in recent years. After four films as James Bond that cemented his place in popular culture, he’s deliberately sought out projects that ask more of him than charm and physical prowess, roles that explore vulnerability, loss, and the complexities of relationships under strain. His presence in CURTAIN CALL alongside an actress of Lange’s caliber signals his commitment to serious dramatic work, the kind that doesn’t rely on spectacle but on the small devastations that accumulate in quiet moments. The trajectory of his recent career suggests an actor no longer interested in being the hero who saves the day but in portraying men who struggle, who fail, who face impossible situations without easy answers. Previously released as THE GREAT LILLIAN HALL on HBO, the film joins a growing collection of works examining dementia not as a distant medical condition but as an intimate catastrophe that reshapes identities and relationships. What distinguishes CURTAIN CALL from other entries in this emerging subgenre is its theatrical setting, where memory isn’t just personal but professional, where forgetting doesn’t just affect private life but public performance. For someone like Lillian Hall, who has built an entire life on never missing a performance, never failing an audience, the loss of cognitive function isn’t just tragic—it’s existential. The stage demands perfection in real time, offers no second takes, no editing room to hide mistakes. When your mind betrays you in that arena, there’s nowhere to hide. The film raises questions it doesn’t pretend to answer neatly. Can Lillian continue with the production as her symptoms progress, or will the industry that once celebrated her now cast her aside? How do you hold onto dignity when your most fundamental abilities are disappearing? What does it mean to be a performer when you can no longer trust your own performance? Brosnan and Lange navigate these murky waters together, two actors at the peaks of their powers exploring what happens when power itself becomes an illusion. For audiences, CURTAIN CALL offers not just a story about dementia but a meditation on art, aging, and the brutal economics of an industry that values youth and reliability above legacy and loyalty. Instagram Youtube [...]
November 2A new film arrived on streaming this week, and it’s sparking conversation across social media as viewers weigh in on what turns out to be a visually stunning but narratively divisive experience. Directed by Edward Berger, the adaptation of Lawrence Osborne’s 2014 novel—itself hailed as a “masterpiece”—features a script by Rowan Joffé, known for his work on films like 28 WEEKS LATER and THE AMERICAN. At its center is Colin Farrell, delivering what many are calling an intensely captivating performance as a professional gambler known as Lord Doyle, a man spiraling through his days in Macao’s neon-lit gambling paradise, drowning in alcohol and debt until a mysterious kindred spirit appears, offering what might be his only chance at redemption. Berger brings his signature visual artistry to the project, collaborating once again with cinematographer James Friend to create what’s undeniably a feast for the eyes—vibrant colors and neon-drenched frames that capture the intoxicating atmosphere of Macao’s streets and decadent casinos. The German director has built a reputation for transforming literary works into powerful cinema, with the Oscar-winning ALL QUIET ON THE WESTERN FRONT and CONCLAVE among his recent triumphs. Farrell, an Oscar-nominated actor celebrated for his work in IN BRUGES and THE PENGUIN, proves magnetic in the role, inhabiting Lord Doyle with an intensity that many viewers cite as the film’s primary draw. Social media reactions have been enthusiastic about certain elements, with viewers praising what they see as brilliant storytelling and performances. One viewer posted that the film delivered “brilliant story, brilliant acting and great music. A must watch!” while another noted that “the main draw for this one will be the amazingly intense performance of Colin Farrell. The story did hold my interest and the Macau backdrop was beautiful. Very well made film overall.” Yet the critical reception tells a more complicated story, reflected in its 50 percent Rotten Tomatoes score. Critics have found themselves caught between admiration for the film’s stunning visual craft and Farrell’s compelling work, and frustration with what they perceive as narrative shortcomings. THE GUARDIAN awarded it three stars, while THE NEW YORK TIMES suggested it “contains a great story, but it’s bogged down by its trappings.” Perhaps most damning, THE IRISH INDEPENDENT described how the story “builds and builds before fizzling out in dreary, underwhelming fashion,” pointing to a fundamental disconnect between the film’s atmospheric promise and its ultimate delivery. What emerges is a film that dazzles the eye and showcases a powerhouse performance, yet struggles to fully realize the dramatic potential of its source material, leaving audiences divided over whether its artistry compensates for its storytelling stumbles. Instagram Youtube [...]
October 27Daniel Day-Lewis emerges from retirement with ANEMONE, an Irish drama directed by his son Ronan that stands as one of the most quietly devastating films of the year. After walking away from acting in 2017, Day-Lewis returns with a performance so searingly intimate that it has immediately thrust him back into awards consideration, reminding audiences why his absence left such a void in cinema. This is not a comeback built on spectacle or noise, but on the kind of raw, unadorned humanity that only an actor of his caliber can summon. ANEMONE unfolds as a meditation on isolation and the human cost of self-imposed exile. The film centers on Ray, a man who has spent years living alone on the fringes of society, and the small constellation of people whose lives orbit his absence. There’s Jem, whose curiosity about this reclusive figure drives much of the film’s gentle forward momentum, and Nessa, Ray’s former partner, who carries her heartbreak with a somber acceptance that never quite extinguishes hope. Then there’s Brian, their son, a young man consumed by rage at a father who chose to disappear, yet who still finds himself throwing punches to defend Ray’s name. The film lives in these contradictions, in the space between abandonment and loyalty, between judgment and grace. What makes ANEMONE so achingly effective is how it understands that human connection isn’t just meaningful but necessary for survival itself. Brian’s fury masks a desperate need for the father who left him, and his volatile grief finds its only softening in the presence of Hattie, a friend whose quiet empathy breaks through his armor in one of the film’s most genuinely moving moments. Nessa, despite her pain, surrounds herself with others when catastrophe strikes in the form of a devastating hailstorm, finding strength in community even as she mourns what was lost. Jem approaches Ray with a faith that remains unshaken by the older man’s profanity and bitterness, refusing to surrender hope for someone most would have written off entirely. At the film’s emotional core is Ray’s painful journey back to recognizing his own humanity. He committed an act so terrible that it drove him to the margins, an act the film reveals with devastating precision as it builds toward its climax. But ANEMONE understands that guilt itself is proof of humanity, that the very fact Ray is haunted by memory means he hasn’t abandoned his soul, only tried desperately to outrun it. This realization, when it finally arrives, is what propels him toward the meeting with Brian that the entire film has been moving toward. The ending is neither loud nor melodramatic, but it carries the weight of years of silence finally breaking. Day-Lewis plays these moments with such delicate restraint that you can feel the accumulated grief and longing in every glance, every hesitation. ANEMONE builds its power through imagery and theme rather than explanation, trusting its audience to feel what its characters cannot always articulate, and in doing so, it creates something genuinely heartwrenching. Instagram Youtube [...]
October 25Barry Keoghan has firmly established himself as one of the most compelling actors of his generation, and his latest role in CRIME 101 places him squarely alongside Hollywood’s elite. The Irish actor stars in this crime action thriller opposite Chris Hemsworth and Mark Ruffalo, trading the gritty streets of Dublin for a high-stakes world of heists and hardboiled detectives. Keoghan plays Orman, a rival thief whose methods skew toward the disturbing, setting him on a collision course with Hemsworth’s Davis during a planned heist. On the opposite side of the law, Ruffalo’s Detective Lou Lubesnick is determined to bring both criminals down, creating a tense cat-and-mouse game that promises to keep audiences on the edge of their seats. The trailer dropped on Thursday and immediately generated buzz, with fans expressing genuine excitement about the star-studded cast. One viewer noted that the combination of A-list actors who clearly enjoy working together was reason enough to buy a ticket, while another simply stated this was a movie they were actually interested in seeing. Directed by Bart Layton and adapted from Don Winslow’s novella of the same name, CRIME 101 showcases Keoghan’s range as he continues to choose projects that challenge him and expand his profile. For the role, he debuted a dramatic blonde look that coincided with his split from Sabrina Carpenter, a change that sparked plenty of conversation even if not everyone was convinced by the new style. But CRIME 101 is just the beginning of what promises to be a remarkable year for the Dubliner. Keoghan will next appear in the highly anticipated Beatles biopics, starring alongside fellow Irishman Paul Mescal, BABYGIRL’s Harris Dickinson, and STRANGER THINGS actor Joseph Quinn. The project will see the four actors bringing the legendary band to life across separate films, each focusing on a different Beatle. It’s a role that will demand both musical and dramatic chops, and if Keoghan’s recent work is any indication, he’s more than ready for the challenge. From rubbing shoulders with Marvel superheroes to embodying one of music’s most iconic figures, Keoghan’s trajectory shows no signs of slowing down, and audiences are here for every moment of it. Instagram Youtube [...]
October 24Colin Farrell sits across from his BALLAD OF A SMALL PLAYER co-star Fala Chen, and when the conversation turns to career-defining gambles, he tells a story that still seems impossible. There was a moment, right at the beginning, when he had to choose between security and the dream, between a guaranteed paycheck on a hit television show and a one-in-a-million shot at making it in Hollywood. Everyone around him thought he’d lost his mind. His friends told him he was crazy. His family couldn’t understand it. Here was steady work, good money, the kind of opportunity most actors would kill for, and he was going to walk away from it to chase something with no guarantees whatsoever. But Farrell did it anyway. He turned down the money, left the show, and took the leap. It’s the kind of decision that either launches a career or ends it before it really begins, and for years afterward, that choice has defined everything that came after. Looking at where he is now, fresh off his transformation in THE BATMAN and his revelatory work in THE BANSHEES OF INISHERIN that earned him an Oscar nomination, it’s easy to forget how easily it all could have gone the other way. One different choice, one moment of hesitation, and Colin Farrell as we know him might not exist at all. In BALLAD OF A SMALL PLAYER, which hit select UK and Ireland cinemas on October 17th before arriving on Netflix on October 29th, Farrell plays a man who’s betting everything on games of chance in Macau’s glittering casinos, a character who understands something about risk that most people never grasp. During the interview, he and Chen discuss the film’s striking costumes, their personal good luck charms, and the greatest plot twists in cinema history, but it all circles back to that original gamble, the one he made decades ago when he was nobody and had everything to lose. That decision reverberates through his entire career, through every bold choice and unexpected turn he’s taken since, from PHONE BOOTH to IN BRUGES to his recent renaissance playing Penguin in Matt Reeves’ Gotham and a grieving man on a remote Irish island in Martin McDonagh’s dark masterpiece. Sometimes the craziest decisions are the only ones worth making, and sometimes betting on yourself when everyone else thinks you’ve lost the plot is exactly what separates the ones who make it from the ones who always wonder what might have been. Instagram Youtube [...]
October 23Andrew Scott has become one of the most fascinating actors working today, moving seamlessly from his breakout turn as the “Hot Priest” in FLEABAG to his mesmerizing lead performance in ALL OF US STRANGERS, and now he’s bringing his particular brand of wounded intensity to BLUE MOON as composer Richard Rodgers. The film, arriving in theaters Friday, reunites Scott with Ethan Hawke and Bobby Cannavale in a story about legendary songwriter Lorenz Hart, and the three actors discuss aging into different types of roles and the importance of selfless collaboration in their craft. Scott’s recent trajectory has been remarkable—he’s carved out a space for himself playing men grappling with complicated emotions and buried pain, and his Rodgers fits perfectly into that continuum, a creative partner watching his longtime collaborator navigate success and struggle while moving forward with new creative partnerships. BLUE MOON opens on March 31, 1945, as Hart (Hawke) watches the opening night performance of OKLAHOMA!, co-written by his former partner Rodgers and new collaborator Oscar Hammerstein (Simon Delaney). At a bar after the show, Hart eagerly awaits the arrival of a young woman named Elizabeth (Margaret Qualley) as Rodgers arrives, setting up a compressed narrative that unfolds over a single evening. The choice to pack everything into one dramatized night creates an intimate chamber piece reminiscent of ONE NIGHT IN MIAMI, focusing on a pivotal moment rather than sprawling across decades. Hawke captures Hart’s wit and lyricism beautifully, while the production design uses oversized suits and carefully scaled sets to recreate the physical presence of the five-foot-tall songwriter, with the five-foot-ten-inch Hawke transforming into the diminutive Hart through meticulous visual choices. For Scott, who also discussed upcoming projects including the new MAN ON FIRE series, BLUE MOON represents another opportunity to explore the complicated dynamics between creative partners, the jealousies and dependencies that fuel great art. His performance captures Rodgers at a crossroads, torn between loyalty to an old friend and the pull of new creative possibilities. The film joins a growing body of work that showcases Scott’s ability to embody complex men at turning points in their lives, and his chemistry with Hawke creates a portrait of artistic partnership that feels both specific to the Rodgers and Hart story and universal in its emotional truth. Instagram Youtube [...]
October 20When Vertigo Releasing and Wildcard unveiled the official poster and full trailer for SAIPAN, they weren’t just promoting another sports movie—they were reigniting one of football’s most explosive controversies. This isn’t a film about triumph on the pitch or underdog victories; it’s a raw examination of ego, standards, and the devastating collision between two men whose mutual contempt became bigger than the beautiful game itself. At the heart of SAIPAN lies the infamous 2002 FIFA World Cup confrontation that shook Irish football to its core. Roy Keane, the Republic of Ireland’s legendary captain portrayed by BAFTA-nominated Éanna Hardwicke, and national team manager Mick McCarthy, brought to life by two-time Academy Award nominee Steve Coogan, found themselves locked in a battle that transcended tactical disagreements and crossed into deeply personal territory. What began as preparation for Ireland’s World Cup campaign in Japan and South Korea spiraled into what the film bills as one of the most fractious falling-outs in sporting history, a moment that gripped not just a nation but the entire sporting world. Award-winning filmmakers Lisa Barros D’Sa and Glenn Leyburn, known for their work on GOOD VIBRATIONS and ORDINARY LOVE, have taken on the challenge of bringing this incendiary story to the screen. Working from an original script by Paul Fraser, whose credits include HEARTLANDS and A ROOM FOR ROMEO BRASS, they’ve crafted what promises to be the definitive account of a feud that was ostensibly about professional standards but revealed itself to be something far more visceral. This was two strong personalities whose rivalry became so consuming that it ultimately surpassed their shared love of football, leaving careers damaged and a nation divided in its loyalties. The supporting cast amplifies the drama with Alice Lowe from SIGHTSEERS, Jamie Beamish of DERRY GIRLS fame, Alex Murphy known for THE YOUNG OFFENDERS, Harriet Cains from BRIDGERTON, and Peter McDonald who appeared in THE BATMAN. Their presence suggests a film that understands this wasn’t just about two men in a room—it was about the ripple effects of conflict, the teammates caught in the crossfire, and the wider Irish community watching their World Cup dreams threatened by internal combustion. SAIPAN promises to be thrilling not because of what happened on the football field, but because of the human drama that nearly derailed everything before a single match was played. Instagram Youtube [...]
October 16Row K’s acquisition of U.S. distribution rights for the CLIFFHANGER reboot might have made headlines just last month, but now there’s something concrete for audiences to mark on their calendars: August 28, 2026. That’s when Pierce Brosnan and Lily James will take moviegoers back to the treacherous peaks that made the original such a white-knuckle experience, though this time the story ventures into entirely new territory while honoring the spirit that made Sylvester Stallone’s 1993 thriller so memorable. Brosnan’s casting as Ray Cooper represents a fascinating evolution for an actor who’s spent decades proving he’s far more than just James Bond. Here he plays a seasoned mountaineer who’s traded the adrenaline of professional climbing for running a luxury chalet in the Dolomites alongside his daughter Naomi, a role that allows him to tap into the weathered gravitas and physical capability he’s demonstrated in recent years while adding layers of paternal protection and hard-won survival instincts. What begins as a routine weekend excursion with a billionaire’s son quickly descends into violence when kidnappers set their sights on the group, and it’s Brosnan’s Cooper who must draw on every ounce of his mountain expertise to protect those under his care. But the real story belongs to Naomi, who finds herself fleeing into the unforgiving mountains, forced to confront not only the armed pursuers hunting her down but also the psychological demons left behind by a tragic climbing accident that still haunts her. It’s a setup that transforms the franchise from a straightforward action spectacle into something more intimate and psychologically complex, with survival becoming as much an internal battle as an external one, and it positions Brosnan not as the invincible hero but as a father watching his daughter face impossible odds. The choice to center this reboot around Brosnan rather than casting a younger action star signals a deliberate shift in tone and approach. At this stage of his career, Brosnan brings a complexity and world-weariness that a conventional action lead couldn’t match, suggesting that Cooper’s mountain expertise comes with its own history of losses and near-misses. Director Jaume Collet-Serra brings his proven thriller instincts to a script crafted by Ana Lily Amirpour, Sasha Penn, Mark Bianculli, and Melanie Toast, and early reactions from the production suggest they’ve struck that delicate balance between honoring the original and forging their own path. James herself has expressed genuine enthusiasm about what they’ve created, noting during the editing process that while the reimagining takes unexpected turns, it preserves all the gripping glory that made audiences clutch their armrests the first time around. That confidence from someone inside the production is reassuring, especially for a franchise that carries significant nostalgic weight for action fans who remember the original’s impact, and it suggests that Brosnan’s presence elevates the material beyond simple spectacle. And that impact was considerable. The original CLIFFHANGER arrived at a crucial moment for Stallone, who desperately needed a win after the consecutive disappointments of OSCAR and STOP! OR MY MOM WILL SHOOT had left his box office credibility in question. The high-altitude action thriller delivered exactly what he needed, proving he could still command the screen in a physically demanding role while working with spectacular locations and death-defying stunts. The success was significant enough that a sequel immediately went into development, with plans for Stallone’s Gabe Walker to face off against terrorists who’d seized control of the Hoover Dam. But that follow-up languished in development hell for years, the concept never quite coming together, until the decision was finally made to reboot the entire franchise rather than continue the original storyline. Now, over three decades later, that reboot is finally ready to test whether modern audiences still crave the particular brand of vertigo-inducing terror that made the franchise a phenomenon in the first place, and whether Brosnan can bring the same kind of desperate intensity to the mountains that Stallone once did, albeit filtered through a very different kind of character and a very different moment in cinema history. Instagram Youtube [...]
October 15Brendan Gleeson brings warmth and depth to the role of Alisdair Macdonald in the 2025 biographical drama H IS FOR HAWK, a film that marks another significant chapter in the Irish actor’s recent career resurgence. Based on Helen Macdonald’s acclaimed 2014 memoir, the film stars Claire Foy as Helen and explores the profound bond between daughter and father through the lens of grief and memory. When Helen loses her beloved father suddenly, she turns to an unlikely source of solace: training a goshawk named Mabel. Through this unusual act of mourning, the film weaves together present-day scenes of Helen’s struggle with loss and tender flashbacks of Alisdair sharing his passion for nature and birding with his daughter, moments that Gleeson imbues with genuine tenderness. What makes Gleeson’s performance particularly resonant is the personal connection he brought to the material. During the film’s promotional tour, he opened up about how the role allowed him to portray something he felt had become increasingly rare in contemporary cinema: a father who is emotionally present, loving, and nurturing. Gleeson didn’t hold back in expressing his frustration with the current landscape of on-screen fatherhood, admitting he had grown tired of seeing fathers consistently depicted as toxic or emotionally stunted. His comments struck a chord with many viewers who recognized the same pattern, and he advocated passionately for more celebratory representations of fatherhood in film. For Gleeson, playing Alisdair wasn’t just another role but an opportunity to honor the kind of father he believes deserves to be seen more often on screen. This performance comes at a time when Gleeson has been carefully selecting projects that showcase his range beyond the intense, often darker characters that defined much of his earlier work. H IS FOR HAWK allows him to demonstrate the subtlety and emotional intelligence that have always been hallmarks of his craft, proving once again why he remains one of the most respected actors of his generation. The film itself has resonated with audiences precisely because of performances like Gleeson’s, which ground the story’s more fantastical elements in genuine human emotion. His Alisdair becomes not just a memory but a presence that lingers throughout the film, shaping Helen’s journey and reminding viewers of the lasting impact of paternal love. Instagram Youtube [...]
October 10Netflix has just dropped the trailer for BALLAD OF A SMALL PLAYER, and it promises to be a tense exploration of desperation and moral decay set against the neon-lit backdrop of Macau. Colin Farrell stars as Brendan Reilly, an Irish fugitive who has fled to what the film calls “the gambling capital of the universe,” where he’s reinvented himself under the alias Lord Doyle. The footage reveals a man living on borrowed time and borrowed identities, his past rapidly catching up with him in the form of Tilda Swinton’s steely investigator. She confronts him with accusations that cut straight to the bone: he’s stolen a substantial amount of money from her client, described pointedly as “a helpless old woman.” Swinton delivers what might be the film’s thesis statement when she tells Doyle, “What I see is a man way beyond any redemption,” a judgment that seems both brutal and accurate given what unfolds. Rather than face the consequences, Doyle plunges deeper into the very vice that likely contributed to his downfall, embarking on a frantic gambling spree in a desperate attempt to win enough to settle his mounting debts and those of his love interest, a casino employee played by Fala Chen. It’s a classic spiral, the kind where each attempt to escape only tightens the noose, and Netflix seems to be banking on Farrell’s ability to make us watch a man destroy himself in real time with the kind of intensity that makes you unable to look away. Instagram Youtube [...]
October 9Saoirse Ronan, fresh off her powerful performance in THE OUTRUN and her striking turn in Steve McQueen’s BLITZ, is reportedly set to take on one of the most intriguing supporting roles in what promises to be cinema’s most ambitious musical undertaking in years. Multiple sources have confirmed to Deadline that the four-time Oscar nominee will portray Linda McCartney in Sam Mendes’ audacious THE BEATLES – A FOUR-FILM CINEMATIC EVENT, reuniting her with Paul Mescal, her co-star from the sci-fi drama FOE, who will play Paul McCartney himself. Though Sony has remained tight-lipped about official confirmations, the casting represents a fascinating continuation of Ronan’s recent trajectory through increasingly complex, layered women who defy simple categorization. The timing couldn’t be more intriguing for Ronan, who has been on a remarkable creative tear following her career-defining work in LITTLE WOMEN and LADY BIRD. She recently led the dark comedy BAD APPLES, which premiered at the Toronto Film Festival to strong notices, and has already lined up another major project with Austin Butler in DEEP CUTS, a music drama adapted from Holly Brickley’s debut novel. Taking on Linda McCartney allows Ronan to inhabit yet another woman who existed at the intersection of art, activism, and intense public scrutiny, a photographer turned musician turned animal rights crusader who met Paul in 1967 and remained his partner until her death from cancer in 1998. Linda’s evolution from behind-the-camera artist to member of Wings to vegetarian cookbook author and successful food entrepreneur offers Ronan the kind of multidimensional character she’s consistently gravitated toward throughout her career. Mendes has been obsessed with cracking the Beatles story for years, finally landing on the revolutionary concept of four separate films, each following a different band member’s perspective on the same seismic cultural moment. Barry Keoghan will embody Ringo Starr, Joseph Quinn takes on George Harrison, and Harris Dickinson, riding high from acclaim for his directorial debut URCHIN, has called the prospect of playing John Lennon “frightening” in interviews. Ringo Starr himself has been involved in the process, meeting with Mendes to request script changes and recently stating he’s now “much more satisfied with how he’s depicted,” suggesting the project has the blessing of the surviving Beatles. The scripts are being crafted by a powerhouse trio of writers: Jez Butterworth, Peter Straughan, and Jack Thorne, each bringing their own distinctive sensibility to what Mendes has described as an epic story that still has “plenty left to explore” for a new generation. For Ronan, stepping into Linda’s world means portraying not just a musician’s wife but a creative force in her own right, someone who shaped Paul’s post-Beatles life as profoundly as the band shaped music itself. Instagram Youtube [...]
October 8Cillian Murphy is riding a remarkable wave of momentum that shows no signs of slowing down. With his latest film STEVE arriving on Netflix on October 3, Murphy has been making the rounds to promote the project, but it’s what he revealed about his next venture that has fans of a certain Birmingham gangster absolutely buzzing with anticipation. During a recent appearance on The Graham Norton Show, Murphy confirmed that THE IMMORTAL MAN, the highly anticipated Peaky Blinders spin-off film, has wrapped production and will hit screens in 2026. When Norton pressed him about exactly when the movie would be “in the world,” Murphy kept it simple but definitive: next year. The news marks a triumphant return for Murphy to the role that defined a generation of television, Tommy Shelby, the razor-blade-capped crime boss whose signature undercut haircut became a cultural phenomenon. Murphy didn’t hold back his feelings about that particular style choice, calling it “so disgusting, really,” and explaining that the harsh shave was historically rooted in practicality rather than fashion—specifically, it was done to prevent lice infestations among working-class men of the era. Despite Murphy’s distaste, the look became one of the most copied hairstyles of the 2010s, cementing the show’s influence beyond the screen. THE IMMORTAL MAN reunites Murphy with Peaky Blinders creator Steven Knight, who penned the screenplay, and assembles an impressive ensemble cast including Barry Keoghan, Stephen Graham, and Sophie Rundle. This film represents a crucial chapter in Murphy’s recent career trajectory, coming on the heels of his Oscar-winning performance in OPPENHEIMER and positioning him as one of the most compelling actors working today. The transition from prestige streaming drama to feature film demonstrates not only the enduring power of the Peaky Blinders franchise but also Murphy’s ability to command both intimate character studies and sprawling ensemble pieces with equal magnetism. Instagram Youtube [...]
October 6Cillian Murphy has never been one to chase the spotlight, but lately, the spotlight refuses to let him go. Fresh off his Academy Award win for OPPENHEIMER, the Irish actor is already deep into his next transformation, this time as a struggling teacher in Netflix’s reform school drama STEVE. It’s a deliberately unglamorous role, the kind Murphy gravitates toward when everyone else expects him to capitalize on his newfound Hollywood heat with something flashier, more commercial, more obvious. Murphy’s approach to his craft has always been about stripping away rather than adding on. Even after the cultural earthquake that was OPPENHEIMER, a film that dominated conversations from red carpets to college campuses and turned a three-hour historical drama about theoretical physics into an unlikely box office juggernaut, he remains fundamentally unchanged. That Christopher Nolan collaboration, their sixth together spanning over two decades, didn’t just earn Murphy his first Oscar; it cemented a creative partnership that has become one of modern cinema’s most fascinating ongoing experiments in trust and transformation. The director-actor relationship between Nolan and Murphy is built on something rare in an industry obsessed with brands and franchises: genuine artistic curiosity. From Murphy’s early days playing Scarecrow in BATMAN BEGINS to the haunted soldier in DUNKIRK, Nolan has consistently seen past the piercing blue eyes and sharp cheekbones to find something darker, more complex, more interesting. OPPENHEIMER was simply the fullest expression of that vision, giving Murphy the space to inhabit J. Robert Oppenheimer’s brilliance and moral anguish in ways that felt both intimate and epic. Now, with STEVE, Murphy returns to smaller-scale storytelling, playing an educator navigating the chaos and heartbreak of a last-chance British reform school. It’s the kind of role that asks him to be human-sized again, to find drama in classrooms and corridors rather than in the fate of nations. For an actor who started his journey in Cork, Ireland, dreaming of music careers before stumbling into theater, this oscillation between the monumental and the modest feels entirely natural. Murphy has never forgotten that acting, at its core, is about connection, about finding the universal in the specific, whether you’re playing the father of the atomic bomb or a teacher trying to reach troubled kids. The OPPENHEIMER phenomenon was something else entirely, though, a reminder that sometimes the right film arrives at exactly the right moment. It became more than a movie; it was a cultural event that sparked debates about science, morality, and responsibility, that had people reading biographies and revisiting history, that proved audiences still hunger for ambitious, intelligent cinema. Murphy rode that wave with characteristic grace, accepting his Oscar with quiet gratitude, never letting the noise distort who he is or what he values. What makes Murphy’s recent trajectory so compelling is his refusal to be defined by any single success. The Oscar sits on a shelf somewhere, sure, but he’s already moved on, already searching for the next character who will demand something different from him. STEVE represents that search, a deliberate pivot away from prestige and toward the messy, unglamorous work of portraying ordinary lives under extraordinary pressure. It’s Murphy reminding everyone that the work matters more than the recognition, that transformation is the point, not the podium. In an era when most actors leverage an Academy Award into franchises and paydays, Murphy is doing something quietly radical: he’s staying curious, staying hungry, staying true to the instincts that brought him from Cork music venues to Hollywood’s biggest stages. The partnership with Nolan will likely continue; their creative chemistry is too rare to abandon. But Murphy isn’t waiting around for the next prestige project to validate him. He’s already in the classroom with STEVE, already finding new ways to disappear into someone else’s skin, already proving that the best response to extraordinary success is simply to keep working, keep searching, keep becoming. Instagram Youtube [...]
September 26The Gothic revival is upon us, and Maggie Gyllenhaal is leading the charge with her most ambitious directorial effort yet. Five years after her acclaimed debut THE LOST DAUGHTER established her as a filmmaker to watch, Gyllenhaal returns with THE BRIDE!, a creature feature that promises to breathe new life into Mary Shelley’s immortal creation while exploring entirely uncharted territory in the Frankenstein mythology. Where countless adaptations have focused on the mad scientist or his monstrous creation, Gyllenhaal’s vision shifts the spotlight to perhaps the most intriguing character of all: the Bride herself. Drawing loose inspiration from James Whale’s 1935 masterpiece BRIDE OF FRANKENSTEIN, this bold reimagining transplants the story to 1930s Chicago, where Frankenstein’s monster seeks out Dr. Euphronious with a desperate request for companionship. The choice of setting is no accident—the Great Depression era provides the perfect backdrop for exploring themes of identity, transformation, and what it means to be human in a world that constantly reshapes itself. The journey to bring THE BRIDE! to life has been as tumultuous as the story itself. Originally slated for autumn 2025, the film weathered the storm of 2023’s industry-wide strikes, Netflix’s budget concerns, and a studio shuffle that ultimately landed the project at Warner Bros. Yet these delays may have been a blessing in disguise, allowing Gyllenhaal to realize her vision of shooting in New York City and craft what promises to be a more personal, intimate take on the classic tale. The film’s recently released trailer hints at a story that transcends typical monster movie tropes, suggesting a deeper examination of identity and belonging that resonates with contemporary anxieties. As the Bride awakens to consciousness, her journey of self-discovery mirrors the broader social upheaval of the 1930s, creating a compelling parallel between personal and societal transformation. With a March 6, 2026 release date now locked in, THE BRIDE! represents more than just another Gothic horror adaptation. It’s Gyllenhaal’s statement that classical literature still has profound things to say about modern life, filtered through the lens of a filmmaker unafraid to challenge both genre conventions and audience expectations. In an era saturated with franchise filmmaking and familiar formulas, THE BRIDE! promises to be that rare creature: something genuinely unexpected. Instagram Youtube [...]
September 22Cillian Murphy is on an unstoppable roll. The Irish actor has delivered three consecutive powerhouse performances that showcase not just his exceptional range, but his evolution into one of cinema’s most compelling character actors. From his Oscar-winning portrayal in OPPENHEIMER to the quietly devastating SMALL THINGS LIKE THESE, and now with his latest offering STEVE, Murphy has carved out a remarkable niche playing men wrestling with internal pressure and moral complexity. STEVE represents perhaps Murphy’s most intimate project yet, both as an actor and as a producer through his company Big Things Films. Adapted from Max Porter’s novella Shy, the film follows a head teacher at a last-chance school for young offenders, a man consumed by his mission to help troubled youth while battling his own deteriorating mental state. It’s a role that allows Murphy to explore themes of masculinity, mental health, and the weight of responsibility with his characteristic subtlety and emotional intelligence. What makes Murphy’s recent career trajectory so fascinating is how he’s surrounded himself with trusted collaborators, creating a creative ecosystem that consistently produces meaningful work. His partnership with author Max Porter began with the stage adaptation of Grief is the Thing with Feathers and has blossomed into multiple film projects. Director Tim Mielants, who helmed both SMALL THINGS LIKE THESE and STEVE, has become another key creative ally, while actors like Emily Watson have appeared across multiple Murphy productions. The decision to make Steve Irish rather than English, as written in Porter’s original novella, speaks to Murphy’s instinct for authentic storytelling. By removing what he calls “one other kind of veil,” Murphy creates space for a more naturalistic performance while highlighting the reality of Irish educators working throughout the UK. This choice reflects his growing confidence as both performer and producer in shaping narratives that resonate with personal truth. Murphy’s transition into producing has revealed another dimension of his artistic identity. Through Big Things Films, partnered with experienced producer Alan Moloney, he’s discovering a passion for the technical aspects of filmmaking that actors rarely experience. From grading to scoring to sound mixing, Murphy describes the post-production process as “magic dust,” finding particular satisfaction in bringing together talented collaborators and watching creative sparks fly. The personal resonance of STEVE runs deep for Murphy, whose family background in education only became apparent to him during the production process. As he reflects on his childhood surrounded by teachers and his own children’s school experiences, the project became a meditation on the profound impact educators have on young lives. This isn’t just professional growth for Murphy; it’s artistic maturation, where life experience informs creative choices in increasingly sophisticated ways. With THE IMMORTAL MAN, the upcoming Peaky Blinders film, on the horizon, Murphy shows no signs of slowing down. His recent work demonstrates an actor at the peak of his powers, choosing projects that challenge both himself and audiences while building a sustainable creative community around meaningful storytelling. In an industry often driven by spectacle and franchise thinking, Murphy’s approach feels refreshingly human-scaled and emotionally honest. STEVE arrives at a moment when Murphy has fully embraced his role as both interpreter and creator of complex narratives about modern masculinity and moral responsibility. It’s a film that earns its emotional impact through careful character work rather than dramatic flourishes, perfectly suited to an actor who has mastered the art of saying everything while appearing to say very little. This is Murphy at his finest, continuing a remarkable creative streak that positions him among the most essential actors of his generation. Instagram Youtube [...]
September 18The stage is set for another Irish triumph at the Academy Awards as HAMNET, starring powerhouse performers Jessie Buckley and Paul Mescal, claimed the coveted People’s Choice Award at the Toronto International Film Festival this week. This prestigious honor has historically served as a reliable predictor of Oscar success, with previous winners like CHARIOTS OF FIRE, THE PRINCESS BRIDE, and SLUMDOG MILLIONAIRE all going on to capture Academy Award nominations. Director Chloé Zhao has crafted something extraordinary in her adaptation of Maggie O’Farrell’s acclaimed 2020 novel, transporting audiences to 16th century England to witness one of literature’s most devastating personal tragedies. The film centers on the death of William Shakespeare’s 11-year-old son Hamnet, but this isn’t merely another biographical portrait of the Bard. Instead, Zhao has made the bold choice to focus the narrative through the eyes of Agnes, Shakespeare’s wife, brilliantly portrayed by Kerry native Jessie Buckley, who infuses the film with remarkable warmth and emotional depth. Paul Mescal, the Kildare-born actor who has rapidly become one of Ireland’s most compelling screen presences, takes on the formidable challenge of embodying Shakespeare himself. Yet as festival organizers noted, this Shakespeare isn’t presented as an untouchable literary genius but as a real man whose creative brilliance was fundamentally shaped by domestic tragedy and personal loss. The film boldly rejects the historical tendency to dismiss child mortality in the 16th century as commonplace, instead examining how such profound grief would have impacted both the playwright’s work and his marriage. What emerges is a deeply human story that challenges our understanding of one of history’s greatest writers while showcasing the extraordinary talents of two Irish actors at the height of their powers. Buckley, whose career has been marked by fearless performances across stage and screen, finds new depths in Agnes, a woman whose story has too often been overshadowed by her husband’s literary legacy. Meanwhile, Mescal continues his remarkable ascent following his breakthrough in NORMAL PEOPLE, proving his ability to inhabit complex historical figures with the same emotional authenticity that made him a household name. The Toronto victory positions HAMNET as a serious contender for the upcoming awards season, with both lead performances likely to generate significant buzz among Academy voters. As the film prepares for its November 27 theatrical release, it represents not just another potential Irish success story at the Oscars, but a thoughtful exploration of how personal tragedy can transform artistic genius, told through the lens of a marriage tested by unimaginable loss. Instagram Youtube [...]
September 17Paul Mescal strolls through London’s Highbury Fields with the easy confidence of someone who has found his rhythm in an industry notorious for grinding down its brightest stars. Sunglasses perched casually on his face, his signature mullet catching the afternoon light, he moves with an unhurried spring in his step that speaks to a man genuinely at peace with his meteoric rise. The 28-year-old Irish actor, fresh from his starring role in HAMNET, has just wrapped a candid conversation with Rolling Stone that reveals as much about his grounded perspective as it does about his soaring career trajectory. The meeting spot he chose—a pub called the Famous Cock—elicits a characteristic laugh from Mescal. “Ha! It’s pretty identifiable, isn’t it?” The choice feels emblematic of an actor who refuses to take himself too seriously despite now being considered one of Hollywood’s most promising talents. As he navigates the park paths, nodding respectfully to elderly gentlemen and playfully weaving around strollers, there’s something remarkably unaffected about his presence. This is a movie star who still finds joy in the simple act of walking through a neighborhood he’s grown to love. Since breaking through with his raw, emotionally devastating performance in NORMAL PEOPLE, Mescal has built a career defined by both artistic integrity and surprising versatility. His recent turn in HAMNET showcased his ability to inhabit complex historical narratives, while earlier roles in films like AFTERSUN proved his capacity for intimate, contemporary storytelling. Each project seems carefully chosen, reflecting an actor more interested in depth than breadth, substance over spectacle. But it’s his upcoming challenge that truly captures the scope of his ambition. Mescal is currently deep in rehearsals to portray Paul McCartney in Sam Mendes’ ambitious quartet of Beatles biopics, slated for release in 2028. The role represents not just a career pinnacle but a chance to embody one of his genuine heroes. “I’ve met him a couple of times. I adore him. I think he changed the world,” Mescal says of McCartney with an enthusiasm that transcends professional obligation. The preparation for such an iconic role has given Mescal something he didn’t expect to appreciate: structure. “It’s a version of a weird 9-to-5, and I thought I would hate that and I actually am loving that. I do like structure a lot. I like a plan. I like rehearsals.” For an actor who admits that “everybody—everybody?—wants to be in a musical,” the McCartney project represents the perfect convergence of his passions for music, performance, and storytelling. Mescal’s love affair with music runs deep, extending far beyond professional requirements. He speaks with genuine reverence about “music with a context,” Irish folk traditions, and the Beatles’ transformative impact on popular culture. This isn’t the casual name-dropping of a celebrity trying to appear cultured—it’s the sincere appreciation of someone who understands music as both art form and cultural force. Instagram Youtube [...]
September 16There’s something almost mystical about watching two actors discover their chemistry in real time. When Margot Robbie and Colin Farrell sat down to promote Kogonada’s latest romantic fantasy A BIG BOLD BEAUTIFUL JOURNEY at the Four Seasons in Beverly Hills last Thursday, the spark between them was undeniable—the kind of connection that transcends mere professionalism and enters the realm of pure creative magic. “I suspected we would have chemistry, but you never know until you’re actually acting,” Robbie confessed, her eyes lighting up as she recalled their first scenes together. “But I had a suspicion it would work.” That suspicion proved prophetic. The fire between these two performers burns bright throughout the film, creating an emotional landscape that feels both intimate and expansive. In A BIG BOLD BEAUTIFUL JOURNEY, Robbie and Farrell embody Sarah and David, two strangers whose lives intersect through the most unlikely of circumstances—a mysterious rental car agency that seems to operate outside the normal rules of reality. What begins as a simple transaction evolves into something far more profound when their talking GPS guides them through doorways that serve as portals to their past selves, forcing them to confront the pivotal moments that shaped who they’ve become. The premise might sound fantastical, but in Kogonada’s hands, it becomes a meditation on connection, memory, and the invisible threads that bind us to our histories and to each other. As Sarah and David journey backward through time to revisit their childhoods, they’re not just observers of their past—they’re active participants in understanding how those formative experiences created the adults they are today. Robbie and Farrell’s performances anchor this time-bending narrative with remarkable authenticity. Their chemistry isn’t just romantic—it’s deeply human, built on the shared vulnerability of two people brave enough to examine their deepest truths together. In a world where so many films rely on manufactured emotions and forced connections, A BIG BOLD BEAUTIFUL JOURNEY offers something increasingly rare: genuine intimacy born from two actors completely committed to the emotional journey their characters must take. Instagram Youtube [...]
September 13When Paul Mescal and Josh O’Connor sat down for Entertainment Weekly’s LIE vs LIE segment, what started as promotional fun for their new film THE HISTORY OF SOUND quickly spiraled into something far more revealing and uncomfortable than either actor likely anticipated. The premise was simple enough: two co-stars, a handful of prompts, and the challenge of weaving truth and fiction so seamlessly that even they couldn’t tell where reality ended and fabrication began. But when Mescal was asked to share a fan encounter that stuck with him, the Irish actor launched into a story that had O’Connor—and viewers—questioning not just its veracity, but its appropriateness for a lighthearted promotional game. Mescal painted the scene with uncomfortable precision: London’s stage door after a performance of A STREETCAR NAMED DESIRE, where he found himself posing for photos with fans, as actors do. Enter a woman in her fifties with her daughter, both enthusiastic about his work in NORMAL PEOPLE and his theatrical performance that evening. What happened next, according to Mescal’s account, crossed boundaries in a way that left him unsettled enough to remember it months later. The telling detail wasn’t just in Mescal’s words, but in his need to physically demonstrate the encounter, asking O’Connor’s permission before placing hands on him to recreate whatever inappropriate gesture this alleged fan had made. The moment crystallized the strange intimacy that actors develop while promoting films together—the way they become comfortable enough to use each other’s bodies as props for storytelling, yet still maintain enough respect to ask permission first. This blend of professional intimacy and personal boundaries runs through THE HISTORY OF SOUND itself, the romantic drama that brought these two actors together in the first place. Opening Friday, the film follows Lionel and David, two men whose connection deepens from their shared studies at the Boston Conservatory to an expedition collecting folk songs in rural Maine after World War I. It’s a story about artistic passion, emotional discovery, and the kind of profound male friendship that existed in an era when such relationships operated in spaces between spoken and unspoken understanding. The film premiered at Cannes in May to inevitable comparisons with BROKEBACK MOUNTAIN, a parallel that clearly frustrates Mescal. His dismissal of the comparison as “lazy” reveals an actor protective of his work’s unique identity, refusing to let it be reduced to surface similarities. As he pointed out in press conference footage, while both films feature men in outdoor settings, THE HISTORY OF SOUND moves in the opposite direction from BROKEBACK MOUNTAIN’s exploration of repression, instead celebrating openness and artistic expression. Perhaps that’s what makes Mescal’s fan encounter story so compelling within the context of promoting this particular film. Whether true or fabricated for the game, it speaks to the way public figures navigate inappropriate attention while trying to remain accessible to genuine admirers. The story becomes a small mirror of the film’s larger themes about connection, boundaries, and the courage required to be authentic in a world that doesn’t always know how to respond appropriately. O’Connor, for his part, had to sit there and determine whether his co-star was telling the truth or spinning an elaborate fiction, just as audiences will have to decide what they believe about the characters these actors bring to life in THE HISTORY OF SOUND. The real game wasn’t lie versus lie, but the more complex challenge of distinguishing between different kinds of truth—the literal and the emotional, the factual and the essential. In the end, whether Mescal’s fan story actually happened matters less than what it reveals about the strange territory actors occupy, somewhere between public and private, accessible yet vulnerable, always performing even when they’re supposedly just being themselves. Instagram Youtube [...]
September 11The moment Cillian Murphy’s name echoed through the Dolby Theatre at the 2024 Academy Awards, it marked the culmination of a remarkable career transformation that few could have predicted. The Irish actor, who had spent decades crafting nuanced performances in both independent films and mainstream blockbusters, finally received Hollywood’s highest honor for his devastating portrayal of J. Robert Oppenheimer in Christopher Nolan’s biographical masterpiece OPPENHEIMER. In this week’s conversation with Stephen Colbert, Murphy reflected on that surreal Oscar night experience, describing the disorienting sensation of hearing his name called after years of being considered one of the industry’s most underrated talents. The win wasn’t just personal vindication—it represented a seismic shift in how Hollywood recognizes complex, cerebral performances over traditional leading man heroics. Murphy’s journey to Oscar gold began long before OPPENHEIMER, but his recent career trajectory has been nothing short of extraordinary. His six-season run as Tommy Shelby in PEAKY BLINDERS established him as a magnetic screen presence capable of carrying a series through sheer intensity and charisma. The show’s global success on Netflix introduced Murphy to audiences who had previously known him primarily through his collaborations with Nolan in THE DARK KNIGHT trilogy, INCEPTION, and DUNKIRK. What makes Murphy’s recent ascendance so compelling is how he’s leveraged his newfound mainstream recognition while maintaining his commitment to challenging material. OPPENHEIMER demanded an actor capable of embodying both scientific brilliance and moral complexity, someone who could make the father of the atomic bomb simultaneously sympathetic and terrifying. Murphy’s gaunt frame and piercing blue eyes became the perfect vessel for Oppenheimer’s tortured genius. The timing of Murphy’s Oscar triumph coincides perfectly with his next project, STEVE, which arrives in select theaters on September 19th before streaming on Netflix October 3rd. This strategic release pattern reflects how the industry now recognizes Murphy as both a critical darling and a commercial draw, someone whose name alone can anchor a prestige project across multiple platforms. Murphy’s recent career renaissance proves that sometimes the most profound success comes to those who refuse to compromise their artistic integrity for easy wins. His Academy Award wasn’t just recognition for a single performance—it was Hollywood finally catching up to what discerning viewers have known for years: that Cillian Murphy represents the very best of contemporary screen acting. Instagram Youtube [...]
September 9Paul Mescal has become cinema’s most compelling young actor by choosing projects that blur the line between fiction and profound emotional truth. Fresh from his Oscar-nominated performance in AFTERSUN, Mescal is now stepping into the world of William Shakespeare with HAMNET, a film that he describes as feeling “almost like a documentary” despite being entirely fictional. Standing on the red carpet at the Toronto International Film Festival, Mescal spoke with the conviction of an actor who has found his artistic north star. HAMNET, based on Maggie O’Farrell’s bestselling novel and adapted by O’Farrell alongside director Chloé Zhao, tells the story of Shakespeare’s marriage to Agnes and the devastating death of their son Hamnet—the tragedy that would inspire the playwright to create HAMLET. It’s a narrative built on historical fragments and imaginative reconstruction, yet Mescal believes it captures something essential about the creation of one of literature’s greatest works. “This book and this script and this film is the closest thing to me that makes sense out of how we got the play HAMLET,” Mescal explained. “It’s fiction, but to me it feels like almost a documentary in terms of how do we make sense out where this piece of art came from.” This perspective reveals something crucial about Mescal’s approach to his craft—his ability to find documentary-like truth in fictional narratives, the same quality that made his portrayal of a grieving father in AFTERSUN so devastatingly authentic. The project came to life through Mescal’s own advocacy. After reading O’Farrell’s novel, originally published in Canada as “Hamnet and Judith,” he convinced Zhao to take on the adaptation. This kind of creative initiative marks Mescal as more than just a performer; he’s becoming a curator of meaningful cinema, someone who recognizes stories worth telling and has the clout to see them realized. HAMNET had its world premiere at the Telluride Film Festival before arriving at TIFF, where it’s already generating Oscar buzz. Much of that attention focuses on Jessie Buckley’s portrayal of Agnes, Shakespeare’s wife—a woman who has remained largely invisible in historical accounts despite being central to the playwright’s emotional life. Buckley, who has performed in multiple Shakespeare plays including THE TEMPEST, THE WINTER’S TALE, and ROMEO AND JULIET, brings a unique understanding to the role. “He’s such a potent spectre in a lot of our lives and never really has been explored to see who the woman might be behind his language and the world that he creates,” Buckley reflected. Her performance promises to illuminate the mysterious figure who lived alongside literature’s most celebrated writer, and she believes the role will influence any future Shakespearean work she undertakes: “Having touched the edges of what that might be, I think if I was ever to play another great female Shakespearean character, she’d definitely be in the bloodstream somewhere there.” For Mescal, HAMNET represents another bold choice in a career defined by emotional intelligence and artistic risk-taking. From the intimate grief of AFTERSUN to the epic scale of GLADIATOR II, and now to the intimate historical drama of HAMNET, he continues to seek projects that explore the deepest human experiences. His belief that HAMNET feels like a documentary speaks to his commitment to finding truth in storytelling, even when—perhaps especially when—the historical record remains silent. As scholars know, Shakespeare did have a son named Hamnet who died before HAMLET was written, but there’s no definitive record of how one influenced the other. That gap in history becomes fertile ground for imagination, and in Mescal’s hands, that imagination becomes a vehicle for exploring how art emerges from the most profound personal losses. It’s exactly the kind of project that suits an actor who has made his reputation by finding the universal in the deeply personal, turning every performance into an exploration of what it means to be human. Instagram Youtube [...]
September 6The strobing lights have dimmed, the bass has faded, but the journey for INTO THE SILENCE has only just begun. What started as a vision of Ireland’s transformative acid house movement has evolved into a powerful 10-minute and 59-second exploration of trauma, healing, and the redemptive power of music that’s now captivating audiences across the festival landscape. The film’s premiere at Windmill Studio on July 17th felt like the perfect crescendo to months of passionate work. With over 200 cast, crew members, and supporters filling the venue, the energy in the room was electric—reminiscent of the very rave culture the film celebrates. Seeing Daniel Soluns, Louis Martin, Conor Hackett, and Ruth Hayes watch their performances unfold on the big screen alongside the creative team was a moment that crystallized why we tell these stories in the first place. From there, INTO THE SILENCE found its way to the outdoor setting of the Mallow Arts Festival in July, where the film’s themes of music as sanctuary resonated under the open sky. There’s something poetic about screening a film that explores the healing power of creativity in a festival environment where art becomes communal experience, where strangers gather to share in something larger than themselves. Now, as we await responses from IndieCork, Waterford, Kerry, and other festivals, we’ve received confirmation that INTO THE SILENCE has been officially selected for the 16th Underground International Film Festival, running September 6th through 9th at the Royal Marine Hotel. The film will be featured in Shorts Program 5, placing it among a carefully curated selection of independent voices that dare to explore the complexities of human experience. At its core, INTO THE SILENCE follows Bastien, a young DJ navigating Ireland’s 1990s acid house scene, as he confronts the echoes of a life-altering event that threatens to silence his passion forever. But this isn’t just a story about music or rave culture—it’s about the intricate dance between trauma and healing, between the creative force that drives us and the darkness that sometimes seeks to extinguish it. The film deliberately explores how music becomes more than entertainment for Bastien; it transforms into a coping mechanism, a sanctuary, an ode to friendship lost and a bridge back to life itself. Through his journey, we witness the duality that defines so much of human experience—the passion of creation existing alongside the very real dangers of the world that inspires it, the healing power of art balanced against the chaos from which it emerges. What makes INTO THE SILENCE resonate isn’t just its authentic portrayal of Ireland’s underground music scene, but its universal exploration of how we rebuild ourselves after loss. Bastien’s story speaks to anyone who has ever used creativity as a lifeline, who has found in art the words they couldn’t speak, the emotions they couldn’t otherwise express. The film reveals how the act of creation—whether mixing tracks in a dimly lit club or crafting a story for the screen—can become a form of resurrection. As INTO THE SILENCE continues its festival journey, each screening becomes its own kind of performance, its own moment of connection between the story we’ve told and the audiences who receive it. The underground cinema scene, much like the rave culture the film explores, thrives on these intimate gatherings where art meets audience in spaces designed for discovery and transformation. The festival circuit represents more than just opportunities for recognition—it’s where independent films find their tribe, where stories that might otherwise remain unheard discover the communities that need them most. For INTO THE SILENCE, each festival becomes another venue where Bastien’s journey can resonate, where the themes of resilience, recovery, and the healing power of creativity can find new audiences ready to listen. Instagram Youtube [...]
September 5In a year when cinema often feels disconnected from reality’s urgent rhythms, Irish documentary filmmaker Gar O’Rourke has delivered something extraordinary with SANATORIUM, a Ukrainian-language film that has just been selected to represent Ireland at the 98th Academy Awards in the International Feature Film category. This isn’t just another festival darling or awards season contender—it’s a masterpiece of observational cinema that transforms what could have been tragedy tourism into something far more profound and necessary. What emerges over 90 riveting minutes is a film that defies every expectation about wartime documentaries. O’Rourke opens with a manager on the roof shouting into his phone, “Igor, where the f*** are you?!” and immediately establishes that SANATORIUM will be many things, but a downer isn’t one of them. Instead, it’s strange, funny, heart-warming, and cathartic in its moments of lived poignancy—above all, it’s a tribute to human resilience that feels both specifically Ukrainian and universally recognizable. The director’s instinct for character proves impeccable. There’s the perpetually hassled boss with his sharp wit, a young woman seeking fertility treatments who has found unexpected community, and a mother-son duo whose dynamic rivals any comedy partnership you know from home. These aren’t victims or symbols—they’re fully realized people navigating an impossible summer with dignity, humor, and an almost stubborn commitment to normalcy. O’Rourke has described his vision of Kuyalnik as capturing “an intangible aura and magic within this building,” and he’s bottled exactly that. The film’s most powerful image—people taking outdoor mud baths while smoke from distant bombs rises on the horizon—encapsulates both the absurdity and the profound logic of their situation. It’s a shot that will haunt you not because of its despair but because of its defiant insistence that life, indeed, goes on. This represents a significant moment for O’Rourke’s career, showcasing his ability to find the human story within geopolitical chaos without exploitation or sentimentality. Supported by Creative Europe MEDIA’s development funding, SANATORIUM demonstrates how Irish cinema can engage with global stories while maintaining its distinctive voice and perspective. The film’s Oscar selection marks more than just international recognition—it signals Irish cinema’s growing confidence in tackling complex, urgent subjects with the sophistication they deserve. O’Rourke has created something genuinely beguiling, a documentary that makes the case for cinema’s unique power to find hope in the most unlikely places. In a world that often feels like it’s falling apart, SANATORIUM reminds us that sometimes the most radical act is simply the decision to keep going, mud baths and all. Instagram Youtube [...]
August 31Paul Mescal’s meteoric rise from the sun-drenched shores of NORMAL PEOPLE to the brutal arenas of GLADIATOR II has positioned him as one of cinema’s most compelling young talents, and his latest venture promises to showcase yet another facet of his remarkable range. In HAMNET, Chloé Zhao’s highly anticipated adaptation of Maggie O’Farrell’s acclaimed novel, Mescal takes on perhaps his most challenging role yet: William Shakespeare himself. The film, set against the backdrop of plague-ravaged 1580s England, explores the untold love story that would eventually inspire HAMLET, with Mescal embodying the legendary playwright alongside Jessie Buckley’s Agnes Shakespeare. This casting represents a bold artistic choice that builds on Mescal’s proven ability to inhabit complex historical and literary figures, following his captivating performances in AFTERSUN and his upcoming turn as Lucius in Ridley Scott’s GLADIATOR II. The recently released teaser trailer offers tantalizing glimpses of Mescal’s interpretation of the Bard, capturing intimate moments between the couple that feel both deeply personal and mythically significant. When Shakespeare asks Agnes what she saw when she touched him, her response—”I saw a landscape… spaces, caves, tunnels and oceans, undiscovered countries, deep dark black void”—suggests the film will explore the mystical, almost supernatural connection between the couple that supposedly fueled Shakespeare’s greatest works. Zhao, fresh from her Oscar-winning triumph with NOMADLAND and the divisive Marvel spectacle ETERNALS, has chosen to ground this period piece in the kind of intimate, naturalistic storytelling that made her a critical darling. Co-writing the screenplay with O’Farrell herself, Zhao appears to be returning to the contemplative, character-driven approach that defined her earlier work, while Mescal’s casting signals her confidence in his ability to carry a prestige historical drama. For Mescal, HAMNET represents another strategic step in building a filmography that balances commercial appeal with artistic credibility. His journey from Irish theater stages to international stardom has been marked by careful role selection, and his willingness to tackle Shakespeare—even a reimagined version—demonstrates his commitment to challenging material. The film deliberately blends historical fact with creative interpretation, reimagining Shakespeare’s wife Anne Hathaway as Agnes and exploring how the tragic loss of their son Hamnet might have influenced the creation of HAMLET. With powerhouse producers Sam Mendes and Steven Spielberg backing the project, and Emily Watson and Joe Alwyn rounding out the cast, HAMNET carries significant awards season weight. The film’s premiere at the Toronto International Film Festival will likely serve as Mescal’s introduction to Oscar voters, potentially positioning him as a serious contender in a year when his GLADIATOR II performance will also be generating buzz. Focus Features’ strategic release plan—select theaters November 27 followed by wide release December 12—suggests confidence in the film’s commercial and critical potential. For Mescal, who has masterfully navigated the transition from television breakthrough to film stardom, HAMNET offers the opportunity to prove he can anchor a literary adaptation with the same magnetic presence he brought to contemporary stories like AFTERSUN. As O’Farrell noted in her Instagram post sharing the first images, the film is “a beauty, from start to finish”—words that could easily describe Mescal’s career trajectory as he continues to establish himself as one of his generation’s most essential actors. Instagram Youtube [...]
August 26Colin Farrell has been quietly building one of the most compelling careers in contemporary cinema, and his upcoming collaboration with visionary director Kogonada in A BIG BOLD BEAUTIFUL JOURNEY promises to be another fascinating chapter in his artistic evolution. Set for release on September 19th, this romance fantasy finds Farrell reuniting with the director who helped showcase his dramatic range in AFTER YANG, this time opposite Margot Robbie in what could be Sony Pictures’ most emotionally ambitious film of the year. Farrell’s recent trajectory has been nothing short of remarkable. His powerhouse performance in THE BANSHEES OF INISHERIN earned him an Academy Award nomination for Best Actor, cementing his place among cinema’s elite dramatic talents. The film’s eight Oscar nominations, including Best Picture, represented a career peak for an actor who has consistently chosen substance over spectacle. But Farrell hasn’t stopped there. His recent television work has been equally impressive, bringing depth and nuance to both the neo-noir series Sugar and the gritty Gotham underworld of THE PENGUIN, proving his range extends seamlessly across mediums. A BIG BOLD BEAUTIFUL JOURNEY, penned by THE MENU writer Seth Reiss, represents Kogonada’s highest-profile project yet, and it arrives at a fascinating moment for both its leads. For Robbie, it’s her first major role since the cultural phenomenon that was BARBIE, offering her a chance to showcase her dramatic chops in a more intimate setting. For Farrell, it continues his streak of choosing projects that challenge both him and audiences, working with directors who understand that the best fantasy films are ultimately about very human truths. The film’s stellar supporting cast—including Kevin Kline, Lily Rabe, Phoebe Waller-Bridge, and Billy Magnussen—suggests a project with serious dramatic ambitions wrapped in fantastical packaging. The concept of revisiting and potentially altering our past mistakes speaks to universal human desires and regrets, the kind of emotional territory that Farrell has become masterful at navigating. What makes Farrell’s current phase so compelling is his willingness to embrace vulnerability without sacrificing his natural charisma. Whether he’s delivering heartbreaking monologues in THE BANSHEES OF INISHERIN, exploring grief and memory in AFTER YANG, or diving into genre work with his television projects, he brings a rare combination of intensity and restraint that few actors can match. His collaboration with Kogonada in A BIG BOLD BEAUTIFUL JOURNEY promises to be another opportunity for this remarkable actor to surprise us, one doorway at a time. Instagram Youtube [...]
August 25Jessie Buckley has carved out one of the most compelling career trajectories in contemporary cinema, and her latest role in HAMNET promises to be her most emotionally demanding yet. Following her Oscar-nominated performance in THE LOST DAUGHTER and her haunting work in MEN, Buckley continues to seek out projects that push both herself and audiences into uncharted emotional territory. In Chloé Zhao’s adaptation of Maggie O’Farrell’s acclaimed novel, Buckley takes on Agnes Shakespeare, the grieving mother at the heart of this intimate portrait of loss and creation. The film explores the profound love story between William Shakespeare and his wife before and after the devastating death of their son Hamnet—the boy whose name would later echo in the playwright’s greatest tragedy. Zhao, fresh off her Oscar win for NOMADLAND, brings her signature fluid directorial approach to this deeply personal story, allowing the narrative to unfold organically through her actors’ discoveries and the natural rhythms of grief. The production culminated in an extraordinary sequence filmed within a painstakingly constructed replica of Shakespeare’s Globe theater, built to 70% scale and populated with hundreds of background actors. For Buckley, stepping into this recreation of theatrical history while carrying the weight of her character’s journey proved overwhelming. “For the first two days in the Globe, I was genuinely lost. I felt untethered,” she reveals. “You’re at the mecca of where Hamlet is born—everything that we’ve gone through was culminating to this point.” The moment captures something essential about Buckley’s approach to her craft: her willingness to be genuinely vulnerable, to risk losing herself in the service of authentic emotion. This vulnerability has become Buckley’s calling card throughout her recent career evolution. From her breakout in WILD ROSE through her mesmerizing turn opposite Olivia Colman in THE LOST DAUGHTER, she has consistently chosen roles that demand complete emotional exposure. Her collaboration with Alex Garland in MEN saw her navigate psychological horror with the same fearless commitment she brings to intimate drama, establishing her as an actor unafraid of challenging material. Working alongside Paul Mescal’s William Shakespeare and supported by a cast including Joe Alwyn, Emily Watson, and Jacobi Jupe as the ill-fated Hamnet, Buckley anchors HAMNET with what Zhao describes as the film’s emotional core. The director’s faith in her improvisational process, combined with Max Richter’s evocative score, ultimately helped Buckley find her way through the character’s darkest moments. It’s this combination of artistic trust and emotional courage that has made her one of the most sought-after actors of her generation. When HAMNET arrives in theaters this November via Focus Features, expanding wide in December, audiences will witness another chapter in Buckley’s remarkable ascent. Her ability to inhabit grief, love, and resilience with equal measure suggests an actor at the height of her powers, unafraid to explore the deepest wells of human experience. In an industry often focused on surface spectacle, Buckley continues to remind us why authentic emotional storytelling remains cinema’s greatest gift. Instagram Youtube [...]
August 23After eight years of silence from one of cinema’s most revered figures, Daniel Day-Lewis is stepping back into the spotlight with ANEMONE, a deeply personal project that marks both his return to acting and a remarkable creative collaboration with his son, Ronan. The first trailer has arrived, offering our first glimpse of what promises to be one of the most compelling comebacks in recent memory. What makes ANEMONE so extraordinary isn’t just Day-Lewis’s return, but the intimate nature of the project itself. The film represents the feature debut of his 27-year-old son Ronan, who has spent his career primarily as a painter with only two short films to his credit. Together, father and son have crafted a screenplay that distributors describe as exploring “the complex and profound ties that exist between brothers, fathers, and sons.” The meta-textual implications are impossible to ignore. Set against the stark landscape of Yorkshire in the late 1980s, ANEMONE tells the story of two brothers whose lives remain haunted by their service as British paramilitaries in Northern Ireland two decades prior. It’s a premise that feels tailor-made for Day-Lewis, whose career has been defined by his ability to inhabit characters wrestling with historical trauma and moral complexity. From his Oscar-winning turns in MY LEFT FOOT, LINCOLN, and THERE WILL BE BLOOD to his unforgettable performances in THE AGE OF INNOCENCE, MY BEAUTIFUL LAUNDRETTE, and THE LAST OF THE MOHICANS, Day-Lewis has consistently chosen projects that demand both physical and emotional transformation. There’s something particularly poetic about Day-Lewis returning to acting through a project that explores father-son relationships. His own artistic legacy includes THE BALLAD OF JACK AND ROSE, a 2005 film directed by his wife Rebecca Miller, Ronan’s mother. Now, the creative circle completes itself as the family that has long kept their private lives separate from Day-Lewis’s public persona comes together for what feels like their most vulnerable work yet. For audiences who have spent nearly a decade wondering if they’d ever see Day-Lewis on screen again, ANEMONE represents more than just another film. It’s a meditation on legacy, family, and the bonds that both bind and burden us. In choosing to return through a story about brothers haunted by their past, Day-Lewis seems to be grappling with his own relationship to a career that brought him unparalleled acclaim but also, apparently, profound emotional cost. Instagram Youtube [...]
August 21Edward Berger doesn’t make small movies. The Austrian filmmaker has carved out a reputation for creating visually stunning, emotionally complex films that demand attention from both audiences and awards voters. His last film, CONCLAVE, swept through award season like a papal decree, claiming the SAG ensemble award (essentially their best picture), the BAFTA for Best Film, and eight Oscar nominations including a win for Best Adapted Screenplay. Before that, his haunting war epic ALL QUIET ON THE WESTERN FRONT captured the Oscar for Best International Feature Film. The Academy knows Berger’s name, and when a filmmaker of his caliber releases new work, the industry takes notice. Enter BALLAD OF A SMALL PLAYER, Berger’s latest venture that trades Vatican corridors and WWI trenches for the neon-soaked gambling dens of Macau. The first trailer, released this week, reveals a filmmaker stretching his visual muscles in entirely new directions. From the battlefield to the Vatican and now to the casino floor, Berger demonstrates an almost chameleon-like ability to adapt his aesthetic to serve story. If you’ve witnessed the breathtaking umbrella scene in CONCLAVE or the mud-caked horror of ALL QUIET ON THE WESTERN FRONT, you understand that Berger doesn’t just make films—he crafts visual experiences that linger long after the credits roll. The casting feels equally deliberate and inspired. Colin Farrell leads as the titular small player, riding high on a career renaissance that shows no signs of slowing. Fresh off his Golden Globe and SAG wins for THE PENGUIN, and positioned as an Emmy frontrunner, Farrell appears to be in the midst of a creative hot streak that’s seen him take increasingly bold professional swings over the past five years. The trailer suggests he’s bringing that same fearless energy to Berger’s character study, diving deep into what promises to be another transformative performance. With Kogonada’s A BIG BOLD BEAUTIFUL JOURNEY also arriving this September, this fall could serve as Farrell’s personal talent showcase. Supporting him is Oscar winner Tilda Swinton, whose mere presence elevates any project, and Hong Kong legend Deanie Ip, who made history in 2011 as the first Hong Kong actor to win the Volpi Cup for Best Actress at Venice for A SIMPLE LIFE. It’s a cast that signals serious artistic ambition while honoring the cultural specificity of the story’s setting. That setting—Macau, often called the Vegas of the East—represents more than just exotic backdrop. Working alongside world-class cinematographer James Friend, Berger appears to have crafted what the trailer suggests is a sensory feast that captures both the glamour and the underlying desperation of high-stakes gambling culture. The visuals promise the kind of sensory overload that mirrors the addictive rush of the casino floor, where fortunes change with each roll of the dice and every hand dealt. There’s something particularly compelling about watching a Western filmmaker of Berger’s caliber interpret this distinctly Eastern gambling mecca through his lens. The film represents a fascinating cultural exchange, a character study that could offer fresh perspectives on themes of addiction, chance, and human nature against a backdrop rarely given such serious cinematic treatment by international auteurs. The film’s Canadian premiere at TIFF strongly suggests a Telluride debut, which traditionally serves as the launching pad for serious awards contenders. Given Berger’s track record, Farrell’s current momentum, and the film’s apparent visual ambition, BALLAD OF A SMALL PLAYER could emerge as this fall’s dark horse in the awards conversation. Sometimes the biggest gambles pay off the most handsomely, and Berger seems to understand that better than most. We’ll know very soon whether his latest bet hits the jackpot. Instagram Youtube [...]
August 19In the unforgiving landscape of Irish social realism, where stories often gravitate toward inevitable tragedy, CHRISTY emerges as something altogether more hopeful—a film that finds profound beauty in the struggle to belong. This is the story of seventeen-year-old Christy, cast adrift from his suburban foster home and thrust into the working-class reality of Cork’s north side, where his estranged older brother Shane reluctantly takes him in. Director Brendan Canty, expanding from his own 2019 short film, has crafted something remarkable here—a social-realist drama that pulses with genuine warmth rather than manufactured sentiment. Working alongside screenwriter Alan O’Gorman, Canty understands that authentic emotion emerges not from manipulation but from honest observation of human nature. The result is a film that earns every moment of tenderness through unflinching honesty about the complexities of family, community, and the magnetic pull of home. At the heart of CHRISTY lies a beautiful contradiction: this is a young man discovering he has talents beyond the fighting that has defined his troubled past. His unexpected gift for cutting hair becomes a neighborhood sensation, particularly after he transforms local kid Robot (played with natural charisma by real-life Cork rapper Jamie “the King” Forde). These moments of discovery and community acceptance provide the film’s emotional center, even as the threat of his dangerous cousins lurks perpetually in the background. Perhaps most impressively, CHRISTY manages to convey something extraordinarily difficult to achieve without descending into sentimentality: genuine love for one’s hometown. This isn’t blind nostalgia or romanticized poverty tourism, but an honest reckoning with the way place shapes identity, the way community can be both salvation and trap, the way home can be simultaneously the source of our deepest wounds and our greatest strength. The film builds to a cheeky hip-hop sequence over the closing credits that serves as both celebration and release—a moment of pure joy that feels completely earned after everything that’s come before. It’s the perfect capstone to a film that understands that even in the midst of struggle, there’s room for sweetness, for fun, for the kind of communal celebration that makes survival feel like victory. CHRISTY premiered at the Edinburgh Film Festival before its Irish and Northern Irish release on August 29th and wider UK release on September 5th. It stands as proof that social realism doesn’t have to sacrifice heart for authenticity, that stories about working-class life can be both unflinchingly honest and deeply moving. In a cinematic landscape often divided between gritty pessimism and manufactured optimism, CHRISTY charts a third path—one that finds genuine hope in the simple act of coming home. Instagram Youtube [...]
August 18Colin Farrell is riding an extraordinary wave of career-defining performances, and his latest venture promises to be another masterclass in psychological complexity. BALLAD OF A SMALL PLAYER, the upcoming Netflix thriller from Oscar-winning director Edward Berger, positions the Irish actor in yet another morally ambiguous role that seems tailor-made for this remarkable chapter of his artistic journey. Fresh off his tour-de-force performance as the grotesque yet surprisingly sympathetic Penguin in THE BATMAN franchise and his Oscar-nominated turn in THE BANSHEES OF INISHERIN, Farrell has transformed himself from the Hollywood heartthrob of the early 2000s into one of cinema’s most compelling character actors. His ability to disappear completely into roles—whether beneath layers of prosthetics as Gotham’s crime boss or as the wounded, desperate Pádraic on a remote Irish island—has redefined what audiences expect from him. In BALLAD OF A SMALL PLAYER, Farrell takes on Lord Doyle, an obsessive traveling gambler seeking refuge in the neon-soaked casinos of Macau, China, where his dark past threatens to destroy his carefully constructed exile. The first images from the film reveal Farrell in his element: haunted, desperate, and utterly consumed by the psychological weight of his character’s circumstances. It’s a role that feels like a natural evolution of the damaged men he’s been portraying with such devastating effectiveness. Edward Berger, whose ALL QUIET ON THE WESTERN FRONT earned him an Oscar and whose recent CONCLAVE garnered critical acclaim, brings his signature psychological intensity to Lawrence Osborne’s 2014 source novel. With Rowan Joffé adapting the screenplay -the same writer behind 28 WEEKS LATER and THE AMERICAN – the project assembles a creative team known for exploring the darker corners of human nature. Tilda Swinton rounds out the cast as the relentless detective pursuing Doyle, setting up what promises to be a cat-and-mouse thriller with serious dramatic weight. What makes this project particularly exciting is how it continues Farrell’s recent pattern of choosing roles that challenge both him and his audience. Gone are the days of conventional leading-man parts; instead, he’s gravitating toward characters who exist in moral gray areas, men struggling with addiction, obsession, and self-destruction. BALLAD OF A SMALL PLAYER appears to be another entry in this fascinating catalog of broken souls brought to vivid life by an actor at the peak of his powers. The film’s journey to audiences reflects the prestige surrounding the project. After its world premiere at the Toronto International Film Festival on September 9, 2025, BALLAD OF A SMALL PLAYER will receive a limited theatrical release in the United States on October 15 and the United Kingdom on October 17, before arriving on Netflix on October 29. Instagram Youtube [...]
August 14Daniel Day-Lewis is back, and the world should take notice. Eight years after declaring his retirement from acting with the finality of a man who seemed to mean it this time, the three-time Oscar winner has emerged from his self-imposed exile with ANEMONE, a deeply personal project that marks not just his return to the screen, but a profound collaboration with his son, Ronan Day-Lewis, who makes his feature directorial debut. The announcement comes with all the gravitas we’ve come to expect from Day-Lewis—a single, haunting image that immediately reminds us what we’ve been missing. There’s an intensity in his gaze that speaks to the eight-year absence, a weight that only an actor of his caliber can carry. This isn’t just another comeback; this is Daniel Day-Lewis choosing to break his own artistic sabbatical for something that clearly demanded his return. ANEMONE, which will world premiere at the 63rd New York Film Festival before opening in limited release on October 3, represents something entirely new in Day-Lewis’s career. For the first time, he’s working with family in the most literal sense, co-writing the screenplay with his son and submitting to his direction. The project is described as “an absorbing family drama about lives undone by seemingly irreconcilable legacies of political and personal violence,” following a middle-aged man played by Sean Bean who ventures into the woods to reconnect with his estranged hermit brother—Day-Lewis’s character. It’s a setup that feels almost too perfectly suited to an actor who has spent his career disappearing into roles and, more recently, disappearing from the industry entirely. The timing of Day-Lewis’s return feels significant. When he announced his retirement following 2017’s PHANTOM THREAD, his statement carried a weight that his previous departures hadn’t. This wasn’t the same man who temporarily left acting after THE BOXER in 1996 to apprentice as a cobbler in Italy, only to return with renewed purpose. His 2017 retirement felt different, more final. In interviews, he spoke of losing faith in the value of his work, of needing to believe in what he was doing but finding that belief increasingly elusive. “I need to believe in the value of what I’m doing,” he told W magazine. “The work can seem vital. Irresistible, even. And if an audience believes it, that should be good enough for me. But, lately, it isn’t.” What changed? The answer seems to lie in the deeply personal nature of ANEMONE. This isn’t just another role for Day-Lewis; it’s a family project exploring “the complex and profound ties that exist between brothers, fathers, and sons.” Working alongside his son Ronan, who comes from a background as a painter and artist, Day-Lewis has found something worth returning for—a story that demanded to be told and a creative partnership that reignited his passion for the craft. The film’s supporting cast includes Samantha Morton and Samuel Bottomley, with Ben Fordesman, fresh off LOVE LIES BLEEDING, handling cinematography. The project has all the hallmarks of a serious awards contender, arriving in the thick of awards season with the kind of pedigree that demands attention. But more than its awards potential, ANEMONE represents a fascinating evolution for an actor who has spent decades perfecting the art of transformation. Instagram Youtube [...]
August 9Liam Neeson’s career transformation continues to defy expectations, and his latest venture proves the veteran actor isn’t slowing down anytime soon. Fresh from his triumphant return to comedy in THE NAKED GUN revival, where he successfully filled the impossibly large shoes of Leslie Nielsen as the bumbling detective Frank Drebin Jr., Neeson is already pivoting back to more familiar territory with his upcoming horror thriller COLD STORAGE. The timing couldn’t be more perfect for this genre mashup. After years of establishing himself as Hollywood’s go-to action patriarch through the TAKEN franchise and countless other revenge thrillers, Neeson has been strategically diversifying his portfolio. His recent comedic turn in THE NAKED GUN demonstrated remarkable range, showing audiences a lighter side of the Irish actor while maintaining the commanding presence that made him a household name. Now, with COLD STORAGE, he’s blending that hard-earned gravitas with sci-fi horror elements that promise to showcase yet another facet of his evolving screen persona. Based on David Koepp’s 2019 novel and adapted by the acclaimed screenwriter himself, COLD STORAGE positions Neeson as Roberto Diaz, a grizzled bioterror operative forced out of retirement when catastrophe strikes a seemingly ordinary self-storage facility. The premise alone reads like a fever dream: Joe Keery’s Teacake and Georgina Campbell’s Naomi are working the night shift at a storage facility built over a decommissioned military base when a long-sealed, highly contagious fungus breaks free from its underground containment. As temperatures rise, this rapidly mutating microorganism unleashes brain-controlling, body-bursting terrors on everything in its path. What makes this project particularly intriguing is how it represents Neeson’s continued willingness to take creative risks well into his seventies. Rather than coasting on the familiar rhythms of his action films, he’s embracing material that allows him to play mentor to a younger generation of performers while navigating genuinely unpredictable territory. Keery, riding high from his STRANGER THINGS success, brings a different energy to the dynamic, while Campbell’s recent breakout performance in BARBARIAN suggests she’s more than capable of handling the film’s horror elements. The creative pedigree behind COLD STORAGE adds considerable weight to its potential impact. Koepp’s involvement as both source novelist and screenwriter brings the project full circle, while his legendary work on JURASSIC PARK, the first MISSION: IMPOSSIBLE, and Sam Raimi’s SPIDER-MAN establishes his credentials in crafting tension-filled blockbuster entertainment. Director Jonny Campbell, known for his work on DRACULA, brings gothic sensibilities that should complement the underground claustrophobia of the story’s setting. Perhaps most importantly, COLD STORAGE arrives at a moment when audiences are hungry for the kind of practical, gross-out horror that dominated the late 2000s. Films like PLANET TERROR and SLITHER proved there’s substantial appetite for horror comedies that aren’t afraid to embrace their B-movie roots while delivering genuine scares and laughs in equal measure. With the ZOMBIELAND producers backing this project, there’s clear intent to recapture that lightning-in-a-bottle formula. For Neeson, this represents more than just another paycheck or franchise opportunity. At this stage of his career, he’s earned the luxury of choosing projects that genuinely excite him, and COLD STORAGE’s blend of action, horror, and dark comedy suggests an actor still eager to surprise his audience. The supporting cast, including Sosie Bacon, Vanessa Redgrave, and Lesley Manville, indicates this isn’t a throwaway project but rather a carefully assembled ensemble piece designed to maximize both thrills and character development. As COLD STORAGE prepares for its theatrical release through Samuel Goldwyn Films next year, it stands as a testament to Neeson’s remarkable career longevity and adaptability. From dramatic powerhouse to action legend to comedic revelation and now to horror survivor, he continues to find new ways to reinvent himself while maintaining the fundamental screen presence that first made him a star. In an industry obsessed with franchises and familiar formulas, Neeson’s willingness to dive headfirst into a fungal nightmare alongside rising stars and seasoned veterans alike proves that sometimes the best career moves are the ones nobody sees coming. Instagram Youtube [...]
August 7Caitriona Balfe’s journey from the Scottish Highlands to the boxing ring represents one of the most compelling career pivots in recent Hollywood memory. The Irish actress, who has captivated audiences worldwide as Claire Fraser in OUTLANDER, now ventures into uncharted territory with THE CUT, Sean Ellis’ visceral psychological sports drama that premiered at the 2024 Toronto International Film Festival. In THE CUT, Balfe transforms herself into Caitlin, the wife and trainer of Orlando Bloom’s enigmatic protagonist known simply as The Boxer. This isn’t merely another role for the actress—it’s a profound exploration of how we use physical discipline to mask emotional wounds. The film follows Bloom’s retired fighter as he becomes obsessed with returning to the ring after a devastating cut ended his career a decade earlier. When an unexpected death creates an opening for a title fight, The Boxer seizes the opportunity, despite needing to lose a dangerous amount of weight in just six days under the guidance of John Turturro’s morally flexible trainer, Boz. Balfe’s Caitlin serves as both enabler and witness to this psychological unraveling. Her character understands that boxing has kept her husband on “the straight and narrow,” but she also recognizes that this singular focus has merely pushed deeper problems into the shadows. The actress brings a nuanced understanding to this dynamic, drawing from her Irish heritage where boxing holds cultural significance, yet approaching the material with fresh eyes after her intensive training regimen. The timing of THE CUT in Balfe’s career feels particularly significant. Following her acclaimed performance in Kenneth Branagh’s BELFAST, which earned the 2021 TIFF People’s Choice Award, she continues to select projects that challenge both her range and her audience’s expectations. Where OUTLANDER showcased her ability to anchor a sweeping romantic drama across multiple timelines, THE CUT strips away all romantic notions to expose raw human desperation. Ellis directs with unflinching intensity, creating scenes that are simultaneously brutal and mesmerizing. The film refuses to glamorize the violence inherent in boxing, instead using it as a lens to examine how trauma manifests in physical form. Every punch thrown and every pound shed becomes part of a larger meditation on the ways we fail to heal from our deepest wounds. What emerges is a work that transcends typical sports movie conventions. This isn’t about triumph or redemption—it’s about the dangerous allure of pushing past human limitations when the alternative is confronting unbearable truths. Balfe’s performance grounds this exploration in genuine emotion, her Caitlin serving as both the voice of reason and a fellow traveler on the path to destruction. THE CUT represents another bold choice in Balfe’s evolving post-OUTLANDER career, demonstrating her commitment to complex, challenging material that refuses easy answers. In stepping into the ring, she’s found a role that matches the intensity she’s brought to every project, while opening new possibilities for where her remarkable talent might take her next. Instagram Youtube [...]
August 1After a decade-long silence that left cinema enthusiasts worldwide yearning for his return, acclaimed director Na Hong-jin is finally breaking his creative hiatus with HOPE, a mysterious thriller set to captivate audiences next summer. The announcement from distributor Plus M Entertainment marks the end of an agonizing wait that began after his 2016 masterpiece THE WAILING left viewers haunted and critics in unanimous praise. Set against the eerie backdrop of a port village nestled within the demilitarized zone, HOPE promises to deliver the psychological complexity and atmospheric dread that have become Na Hong-jin’s signature. The story unfolds when an unknown entity materializes in this isolated community, transforming the quiet coastal settlement into a stage for supernatural terror. This premise alone suggests a return to the director’s expertise in blending visceral horror with profound existential questions that made THE CHASER, THE YELLOW SEA, and THE WAILING essential viewing for serious film lovers. The casting choices reveal Na Hong-jin’s commitment to assembling a truly international ensemble that reflects the film’s ambitious scope. Hwang Jung-min returns to collaborate with the director once again, taking on the role of Beom-seok, the village’s branch office chief. Their previous partnership in THE WAILING demonstrated an almost telepathic understanding between actor and director, making this reunion one of the most anticipated aspects of the project. Jo In-sung brings his considerable screen presence to the role of Sung-ki, a young hunter who ventures into treacherous mountain terrain to track down the creature terrorizing the village, while Jung Ho-yeon, riding high on her global breakthrough, portrays Sung-ae, a principled police officer whose unwavering moral compass will likely be tested by the unfolding chaos. The international dimension of HOPE becomes even more intriguing with the inclusion of Hollywood powerhouses Michael Fassbender and Alicia Vikander, both taking on the enigmatic challenge of portraying an unknown life form. Fassbender, whose intense performances in the X-MEN series, 12 YEARS A SLAVE, and ALIEN: COVENANT have established him as one of cinema’s most compelling actors, joins forces with Vikander, whose versatility spans from her Oscar-winning turn in THE DANISH GIRL to action-packed roles in JASON BOURNE and TOMB RAIDER. Their casting as otherworldly entities suggests a film that will push the boundaries of conventional narrative structure and challenge audiences’ preconceptions about identity and humanity. The ensemble grows even more impressive with the addition of Taylor Russell, whose Venice International Film Festival recognition for BONES AND ALL demonstrates her ability to handle complex, emotionally demanding material, and Cameron Britton, whose chilling portrayal of a serial killer in Netflix’s MINDHUNTER proved his capacity for inhabiting deeply unsettling characters. This carefully curated cast represents not just star power but a collection of performers known for their fearless approach to challenging material. Na Hong-jin’s enthusiasm for his assembled cast is palpable in his statement that they have “expressed all the elements that the work aims to convey with the best talent and focus,” describing their combination as “tremendous.” This confidence from a director known for his meticulous attention to detail and uncompromising artistic vision suggests that HOPE will be worth every moment of the decade-long wait. The film promises to blend the director’s mastery of psychological horror with contemporary global tensions, creating a cinematic experience that could redefine the thriller genre for a new generation of viewers. Instagram Youtube [...]
July 31At 72, Liam Neeson stands at a fascinating crossroads in his career. The man who turned “I will find you, and I will kill you” into a cultural phenomenon is now wielding that same gravelly menace in service of something entirely different: comedy. THE NAKED GUN, hitting theaters this Friday, represents more than just another reboot—it’s a potential pivot point for one of cinema’s most unlikely action stars. Neeson’s journey from dramatic heavyweight to geriatric action hero has been one of Hollywood’s most surprising second acts. After establishing himself as a serious actor in films like SCHINDLER’S LIST, the Irish performer found unexpected late-career gold in TAKEN, transforming himself into an unlikely action star well past the age when most actors retire their leather jackets. But THE NAKED GUN suggests Neeson might be ready for his third act, following in the footsteps of Leslie Nielsen, who famously abandoned dramatic roles to become comedy royalty. Playing Detective Lieutenant Frank Drebin Jr., son of Nielsen’s iconic character, Neeson delivers what can only be described as his silliest performance yet—and that’s saying something for an actor who recently battled wolves on ice and taken on entire crime syndicates single-handedly. His voice, that rumbly instrument of threat that has launched a thousand memes, now serves punchlines instead of ultimatums. The transition is both jarring and oddly natural, as if all those years of deadpan intensity in increasingly ridiculous action scenarios were merely preparation for this moment. The film itself, directed by Akiva Schaffer and written by Dan Gregor and Doug Mand, exists in that peculiar space of being a spoof of a spoof, paying homage to the original while updating its targets for contemporary audiences. Where the original NAKED GUN films lampooned the crime dramas and action films of their era, this iteration takes aim at the slick, tech-obsessed thrillers that have dominated the past two decades. Neeson’s Drebin Jr. investigates a death involving a high-tech electric car and its Musk-like inventor, played with appropriate menace by Danny Huston. But it’s Neeson’s chemistry with Pamela Anderson, playing true-crime novelist Beth, that provides the film’s most surprising element. Their romance unfolds with the kind of absurdist logic that made the original films classics, complete with an extended winter-sports pop video sequence that feels like a fever dream collaboration between Wham! and the Zucker brothers. Anderson, making her own unexpected career pivot, proves a capable comedy partner, matching Neeson’s deadpan delivery with her own perfectly timed reactions. The most intriguing aspect of Neeson’s performance is how it plays with audience expectations. We’ve become so accustomed to his particular brand of middle-aged vengeance that hearing him deliver ridiculous one-liners while maintaining that same intensity creates an almost surreal viewing experience. It’s method acting applied to parody, and the results are both hilarious and slightly unnerving. Whether Neeson will follow Nielsen’s path and commit fully to comedy remains to be seen. He certainly has more dramatic credibility to potentially sacrifice than Nielsen did when he made his own transition from FORBIDDEN PLANET to AIRPLANE! But there’s something liberating about watching a performer of Neeson’s stature embrace the ridiculous so completely. In an industry increasingly obsessed with franchise building and cinematic universes, THE NAKED GUN offers something refreshingly simple: an excuse to watch a legendary actor have fun with his own image. The film may be, as one observer noted, “amiably ridiculous, refreshingly shallow, entirely pointless and guilelessly crass,” but in our current cultural moment, perhaps that’s exactly what we need. Sometimes the most radical thing an actor can do is stop taking themselves so seriously, and Neeson’s willingness to trade gravitas for gags suggests a performer still willing to surprise us, even five decades into his career. Instagram Youtube [...]
July 30Richard Linklater and Ethan Hawke’s three-decade creative partnership has produced some of cinema’s most intimate and conversational masterpieces, from the Before trilogy’s meandering philosophical exchanges to BOYHOOD’s revolutionary time-spanning narrative. Their latest collaboration, BLUE MOON, marks another triumph in their storied relationship, this time transporting audiences to the smoky confines of Sardi’s bar on the evening of March 31, 1943, for what may be their most theatrically confined yet emotionally expansive work to date. The film centers on legendary lyricist Lorenz Hart, played by Hawke in a bald cap that transforms him into the tortured wordsmith, as he grapples with professional betrayal and personal demons during the afterparty for OKLAHOMA!, the groundbreaking musical that marked his former collaborator Richard Rodgers’ first venture without him. “We write together for a quarter of a century and the first show he writes with someone else is gonna be the biggest hit he ever had,” Hart laments to Bobby Cannavale’s sympathetic barman. “Am I bitter? Yes!” This opening salvo, delivered against a sprightly, waltzing score, sets the tone for an evening of loaded conversations and painful revelations. Andrew Scott, fresh from his acclaimed turn in ALL OF US STRANGERS and his scene-stealing work in FLEABAG, brings his trademark intensity to Richard Rodgers, the composer navigating success tinged with guilt over abandoning his longtime creative partner. Scott’s recent career trajectory has been nothing short of remarkable, transforming from a respected Irish character actor into one of cinema’s most compelling leading men. His work in Lenny Abrahamson’s ROOM established him as a dramatic force, while his portrayal of Moriarty in SHERLOCK showcased his ability to be both charming and menacing. His recent starring role in ALL OF US STRANGERS, where he played a man reconnecting with his deceased parents, demonstrated his capacity for vulnerability and emotional complexity, qualities that serve him well in BLUE MOON’s intimate chamber piece setting. The film’s Irish production, shot last summer in Dublin through Wild Atlantic Pictures, benefits from Scott’s natural presence on home soil, while the international cast including Margaret Qualley as rising starlet Elizabeth Weiland, Simon Delaney as Oscar Hammerstein II, and Cillian Sullivan as a young Stephen Sondheim creates a rich ensemble perfect for Linklater’s dialogue-driven approach. The director’s signature style of rapid-fire, intellectually charged conversations finds perfect material in the world of Broadway’s golden age, where wit was currency and every exchange carried the weight of artistic legacy. Scott’s Berlin International Film Festival win for Best Supporting Actor validates what discerning audiences have long recognized about his abilities. His recent choices reflect an actor unafraid to tackle complex, emotionally demanding roles, whether playing the vulnerable gay man in ALL OF US STRANGERS or the morally ambiguous Hot Priest in FLEABAG. This trajectory culminates beautifully in BLUE MOON, where his Rodgers must balance professional ambition with personal loyalty, success with friendship. Already hailed as a triumph at Berlin, with Hawke’s performance being touted as one of his finest, BLUE MOON represents the perfect marriage of Linklater’s conversational genius and the kind of intimate, character-driven storytelling that has defined his partnership with Hawke. The film arrives in American theaters on October 24th, with Irish audiences getting their chance on November 14th, while UK viewers await further release details. For Scott, it marks another milestone in a career that continues to evolve from character actor to leading man, proving that sometimes the most powerful performances come not from action or spectacle, but from the simple act of two people talking in a room about everything that matters. Instagram Youtube [...]
July 27There’s something deeply unsettling about waking up to faces you don’t recognize, in a place you’ve never been, carrying a child you can’t remember conceiving. This is the nightmare that greets Anna in Alan Friel’s debut feature WOKEN, and for much of its runtime, the film mines this premise for genuine psychological terror. Friel, who cut his teeth directing commercials and shorts including CAKE with Maxine Peake, understands the power of atmosphere. His windswept Irish island, filmed across County Clare and County Limerick, becomes a character unto itself—all howling winds, dripping cottage roofs, and flickering candlelight that casts dancing shadows on walls that seem to hold secrets. This is a world stripped of modern conveniences, where paraffin lamps replace electricity and wood-burning stoves fight against an endless chill. The absence of phones, televisions, or any connection to the outside world feels deliberate, calculated even. Anna awakens to this pre-digital purgatory after what she’s told was a terrible fall, though we’ve witnessed something far more disturbing—her desperate flight toward a cliff edge, pursued by unseen forces. Screen Star of Tomorrow Erin Kellyman, known from SOLO: A STAR WARS STORY, brings a raw vulnerability to Anna that makes her confusion and growing paranoia palpable. She’s surrounded by people who claim to love her—her supposed husband James, played with careful ambiguity by Ivanno Jeremiah, and the nurturing Helen, embodied by Peake with just the right balance of maternal warmth and underlying menace. Friel demonstrates a keen eye for the sinister potential lurking within the mundane. The rhythmic hammering of crab shells during dinner becomes a percussion of dread. A collection of identical yellow baby jackets, hand-knitted with obsessive care, transforms from touching preparation into something deeply unsettling. Even the arrival of strangers on a absurdly incongruous swan-shaped pedalo manages to feel threatening rather than whimsical. The director skillfully plants seeds of doubt about everything Anna encounters. Are the photo albums and home movies genuine memories or elaborate fabrications? Is Helen’s cardigan-clad concern authentic or performance? The whispered conversations Anna overhears, the glimpses of hidden firearms, the growing certainty that escape from this island sanctuary might be impossible—all contribute to a mounting sense of paranoia that keeps both Anna and the audience off balance. Watch WOKEN now on Mubi. Instagram Youtube [...]
July 26Paul Mescal is having a moment, and THE HISTORY OF SOUND might just be his most daring performance yet. Fresh off his starring roles in GLADIATOR II and ALL OF US STRANGERS, the Irish actor continues to prove he’s far more than just the breakout star of NORMAL PEOPLE. With each project, Mescal demonstrates an uncanny ability to tap into raw human emotion, and his latest film promises to showcase this talent in its most vulnerable form. Set to hit theaters on September 19, 2025, THE HISTORY OF SOUND reunites Mescal with CHALLENGERS star Josh O’Connor. The story spans decades and continents, beginning in 1917 when Lionel, a gifted singer from rural Kentucky, arrives at the Boston Music Conservatory. There he meets David, a charming composer who becomes both his musical collaborator and the love of his life. When David is drafted into the final days of World War I, their connection is severed, only to be rekindled years later during a transformative winter collecting folk songs in the Maine wilderness. What follows is a meditation on memory, music, and the indelible marks that brief but profound connections leave on our lives. Mescal’s recent trajectory suggests an actor unafraid to explore complex masculinity and emotional vulnerability. Where AFTERSUN established him as a serious dramatic talent and GLADIATOR II proved his blockbuster credentials, THE HISTORY OF SOUND represents something more intimate and risky. One critic noted that Mescal delivers “AFTERSUN to the power of 10,” a performance so emotionally devastating it will “turn you into a puddle of mush.” The black and white promotional imagery captures this tenderness perfectly – Mescal cradling O’Connor’s face, eyes closed, noses touching in a moment that radiates quiet passion. For Mescal, THE HISTORY OF SOUND represents more than just another role; it’s a statement about the kind of actor he wants to be. Rather than chasing easy commercial success after GLADIATOR II’s box office dominance, he’s chosen a project that demands emotional honesty and artistic courage. The film refuses to treat its queer narrative as a tragedy of repression, instead positioning itself as “the story of a man’s life, expressed through the power of sound – as memory, as emotion.” It’s precisely this nuanced approach that has made Mescal one of the most compelling actors of his generation. Whether THE HISTORY OF SOUND becomes Mescal’s crowning achievement or a noble artistic experiment remains to be seen. What’s certain is that this haunting meditation on love, loss, and the songs that bind us together will require tissues and an open heart. In an era of franchise filmmaking and algorithm-driven content, Mescal continues to choose projects that prioritize human connection over commercial calculation. That alone makes THE HISTORY OF SOUND worth celebrating, regardless of critical consensus. Instagram Youtube [...]
July 25Pierce Brosnan is unrecognizable. The man who once epitomized suave sophistication as James Bond in GOLDENEYE has undergone a stunning physical transformation that signals something profound about his current career trajectory. In the newly released trailer for GIANT, Brosnan appears with thinning white hair swept into a modest comb-over, wire-rimmed glasses perched on his nose, and the humble tracksuit of a working-class boxing trainer—a far cry from the tailored tuxedos and Aston Martins that defined his most famous role. This dramatic metamorphosis isn’t just cosmetic; it represents Brosnan’s deliberate pivot toward character-driven storytelling in the later stages of his career. Written and directed by Rowan Athale, GIANT tells the remarkable true story of Prince Naseem “Naz” Hamed, the British-Yemeni boxing sensation who captivated the sports world throughout the 1990s. Amir El-Masry takes on the titular role of the flamboyant featherweight champion, while Brosnan embodies Brendan Ingle, the Irish trainer whose compassionate yet disciplined approach helped forge a boxing legend. The casting choice reveals Brosnan’s newfound willingness to disappear into roles that challenge his established screen persona. Where once he relied on his natural charisma and devastating good looks, he now embraces the art of complete character immersion. Tony Ingle, brother of the real Brendan, has praised Brosnan’s commitment to authenticity, noting how the actor’s Irish heritage and physical resemblance to his late brother create an almost uncanny portrayal. “He’s quite capable of capturing Brendan,” Tony observed, emphasizing how Brosnan’s retained Irish sensibility allows him to inhabit the role without affectation. This transformation extends beyond mere appearance to encompass the deeper emotional terrain that Brosnan has been exploring in recent years. His role in MRS. DOUBTFIRE showcased his ability to find humor and heart in unexpected places, while his work in various independent films has demonstrated a hunger for substantial dramatic material. In GIANT, he’s not playing a heroic figure or romantic lead, but rather a working-class mentor whose greatest victories happen not in the spotlight but in the quiet moments of guidance and support he provides to his fighters. The film promises to tackle complex social issues, particularly the racism and Islamophobia that Hamed faced as a British-Yemeni Muslim navigating the boxing world. Brosnan’s Brendan Ingle serves as both trainer and protective figure, someone who understood that his role extended far beyond teaching technique to encompassing genuine mentorship in a hostile environment. This kind of nuanced, socially conscious storytelling represents exactly the type of project that has attracted Brosnan in his post-Bond career. The involvement of Sylvester Stallone as executive producer adds another layer of heavyweight credibility to the production, suggesting that GIANT aims to join the pantheon of serious boxing films rather than serving as mere sports entertainment. For Brosnan, this collaboration with respected industry veterans signals his commitment to projects with both artistic merit and cultural significance. What makes Brosnan’s current career phase so compelling is his apparent comfort with stepping away from leading man expectations. Rather than clinging to the debonair charm that made him famous, he’s embracing character work that demands complete transformation. The man who once seemed destined to play variations of sophisticated gentleman is now seeking roles that require him to become entirely different people. This evolution reflects a mature actor’s understanding that longevity in Hollywood comes not from repeating past successes but from constantly challenging oneself with new kinds of stories. In GIANT, Brosnan isn’t trying to recapture the magic of his Bond years; instead, he’s demonstrating that his true talent lies in his ability to disappear completely into the lives of ordinary people doing extraordinary things. The result is a career renaissance that promises to be far more interesting than any return to familiar territory could ever be. Instagram Youtube [...]
July 10The ice may be thinner, but for Liam Neeson’s Mike McCann, the stakes have never been higher. ICE ROAD: VENGEANCE plunges us back into a world where survival is a daily battle, but this time, the fight is driven by something far more profound than just cargo. Liam Neeson, the man synonymous with grit and relentless determination, returns as Mike McCann, a character deeply etched by the unforgiving nature of the ice roads and profound personal loss. In VENGEANCE, his journey takes a starkly different turn as he travels to Nepal, not for another perilous delivery, but to honor the last wishes of his late brother, scattering his ashes on Mount Everest. It’s a mission of quiet grief and profound respect that is violently interrupted, forcing McCann back into the kind of high-stakes conflict only a man of his unique skills can navigate. This isn’t just another action movie; it’s a raw, emotional exploration of retribution and a man pushed to his absolute limits. As McCann finds himself caught in a web of ruthless mercenaries and a desperate fight to protect innocent lives, his motivations are deeply rooted in the past, demanding a reckoning that will test his resolve like never before. Neeson brings his signature intensity to the role, transforming what could be just another fight for survival into a visceral quest for justice. Prepare for an adrenaline-fueled experience as McCann utilizes his unique blend of cunning, resourcefulness, and sheer force of will to overcome impossible odds. The treacherous mountain roads of Nepal provide a stunning, yet equally dangerous, backdrop to the escalating tension, replacing the frozen lakes with dizzying heights and unforgiving terrain. ICE ROAD: VENGEANCE is more than just a sequel; it’s a testament to the enduring power of a man driven by a profound sense of purpose. If you’re ready to witness Liam Neeson deliver a performance that blends heart-stopping action with a deeply personal quest for redemption, then prepare yourself. The road to vengeance is open, and Mike McCann is driving. Instagram Youtube [...]
July 3The Kerry International Film Festival has made a choice that feels both inevitable and inspired, selecting Fiona Shaw as the 2025 recipient of the prestigious Maureen O’Hara Award. In an era where recognition of women’s contributions to film and television has become increasingly vital, Shaw’s selection represents more than just another accolade – it’s a celebration of artistic fearlessness that spans decades and mediums.Shaw’s recent trajectory reads like a masterclass in career reinvention. While many actors of her generation might have settled into comfortable patterns, she has instead embraced increasingly complex and challenging roles that have redefined her public persona. Her electrifying performance as Carolyn Martens in KILLING EVE transformed her from a respected character actress into a household name, earning her a BAFTA and multiple Emmy nominations. The role showcased Shaw’s ability to embody calculated menace while maintaining an almost magnetic watchability – a performance that felt both shocking and inevitable from an actor of her caliber. The momentum from KILLING EVE propelled Shaw into equally compelling territory. Her scene-stealing turn as the Hot Priest’s superior in FLEABAG demonstrated her gift for finding the human core within seemingly rigid characters, earning her another Emmy nomination and proving her comedic timing remains razor-sharp. More recently, her role in ANDOR brought her into the Star Wars universe, where she commanded the screen with the same intensity that has defined her career, garnering both BAFTA and Critics Choice Super Award nominations.This recent television success has coincided with an equally impressive film resurgence. Shaw’s performance in Kate Winslet’s AMMONITE in 2020 reminded audiences of her ability to convey complex emotional landscapes with minimal dialogue, while her upcoming roles in HOT MILK and PARK AVENUE suggest an artist still pushing boundaries well into her career. These projects represent Shaw’s continued commitment to challenging material that refuses to pigeonhole her into any single category.What makes Shaw’s recent work particularly compelling is how it builds upon rather than abandons her theatrical foundation. The same fearless approach that earned her two Laurence Olivier Awards for Best Actress and a Tony nomination for MEDEA now informs her screen work with a depth that few actors can match. Her ability to transition seamlessly between the intimacy required for television and the bold strokes necessary for film speaks to an artist who has never stopped evolving. Shaw’s own words about receiving the award reveal the thoughtfulness that has always characterized her approach to her craft. Her tribute to Maureen O’Hara – praising her defiance of studio limitations and one-dimensional roles – could easily serve as a description of Shaw’s own career philosophy. Like O’Hara, Shaw has consistently chosen complexity over comfort, challenge over convention.The timing of this recognition feels particularly significant. As the entertainment industry continues to grapple with questions of representation and opportunity, Shaw’s recent work serves as a powerful reminder that age and experience can be assets rather than limitations. Her performances in KILLING EVE and FLEABAG have introduced her to entirely new audiences while her continued film work demonstrates an artist still hungry for new challenges. When the Kerry International Film Festival celebrates Shaw at its 26th edition this October, they will be honoring not just a distinguished career but an ongoing artistic journey that shows no signs of slowing down. In a landscape where many actors peak early and struggle to maintain relevance, Shaw has instead found her most compelling work in recent years, proving that true artistic commitment knows no expiration date.The Maureen O’Hara Award, established in 2008 as one of the earliest accolades dedicated specifically to women in film and television, has found its perfect 2025 recipient. Shaw joins a lineage of honorees that includes inaugural winner Brenda Fricker, but her selection feels particularly resonant given how her recent work has redefined what it means to be a woman of a certain age in contemporary entertainment.As Shaw noted in her acceptance, “Film needs women just as the world needs women – all kinds.” Her recent career serves as living proof of this philosophy, demonstrating that when given the opportunity, experienced female performers can deliver work that is both commercially successful and artistically uncompromising. The Kerry International Film Festival’s choice to honor Shaw represents not just recognition of past achievements but celebration of an artist who continues to surprise, challenge, and inspire. Instagram Youtube [...]
Instagram Youtube

Irish Film

, , ,