Mother Mary soundtrack: Full list of songs performed by Anne Hathaway in new film
The new psychological musical drama is made up of original songs written by the likes of Jack Antonoff and Charli xcx.
Mother Mary marks only the first of five leading roles for beloved Oscar-winning star Anne Hathaway set to debut in 2026 – and is perhaps one of her most distinctive roles to date. The film follows the titular Mother Mary (Hathaway) a world-renowned pop star on the brink of an emotional breakdown, who finds herself drawn back to her estranged ex-friend and fashion designer Sam Anselm (Michaela Coel). What begins as a less-than-friendly reunion quickly dissolves into a tale of trauma, love and resentment, complicated by some potentially mystical forces that may or may not be coming between the duo. Of course, a pop star is nothing without her music – and as such, Mother Mary is set to an atmospheric, dark pop soundtrack, with many of the film's tracks performed by Hathaway herself. If you've just watched Mother Mary and have found yourself intoxicated by those tracks – read on for the full rundown. Mother Mary soundtrack: Full list of songs in new Anne Hathaway film The Mother Mary: Greatest Hits album was released on 17 April 2026, and is made up of seven songs, all performed by Hathaway and written by the likes of Jack Antonoff, Charli xcx and FKA Twigs. You can find the full list of songs below: Holy Spirit Burial My Mouth Is Lonely For You Holy Spirit 2 Dark Cradle Blue Flame Cut Ties In the film, Hathaway's character is seen performing several songs from the album, including Burial and Holy Spirit. View oEmbed on the source website Who composed the Mother Mary score? The film's score was composed by Daniel Hart, an American musician who is a frequent collaborator of director David Lowery's, having also composed the music for A Ghost Story, The Green Knight and The Old Man and the Gun. View Green Video on the source website Mother Mary is now showing in UK cinemas. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Colleen Hoover explains how Reminders of Him changed her perspective on adapting her novels
Reminders of Him is Colleen Hoover's third adaptation in two years – and the bestselling author isn't slowing down any time soon.
Unless you've been living under a cultural rock for the last decade, chances are you've heard the name Colleen Hoover. The bestselling author is behind a large catalogue of beloved novels, which have sold more than 20 million books. Her massive surge in popularity primarily came from the BookTok community on TikTok, where her most popular novel, It Ends With Us, found itself a particularly devoted following. Two years ago, that book was the first of Hoover's to transition to the big screen – in a film starring Blake Lively and Brandon Sklenar. Since then, several more of Hoover's novels have been picked up by Hollywood studios, including last year's Regretting You, starring Allison Williams, Dave Franco and McKenna Grace, as well as the upcoming Verity, which is set to premiere later this year and will star Oscar-winning actress Anne Hathaway, alongside Dakota Johnson and Josh Hartnett. Out of all of Hoover's adaptations so far, however, it is the most recent, Reminders of Him, in which she has had the most direct involvement. Acting as an executive producer on the film, Hoover was present on set throughout filming, and was thus able to watch the cast bring her beloved characters to life while also giving her input on different aspects of the film. Speaking exclusively to Radio Times, Hoover explained that being so present on the Reminders of Him set changed her approach to adapting her own work to the big screen, and remarked that it completely remodelled the way she sees filmmaking. "Oh man, this one was completely different," she said, "Like, I actually got to be on set for this one the whole time, and in pre-production. And we'd be in the editing room. It was a whole different experience. "And just being able to see it all come to life, and the hard work that goes into it. I don't think I'll ever look at filmmaking the same way again." Reminders of Him stars Maika Monroe in the lead role as Kenna Rowan, a woman recently released from prison who returns home to connect with her young daughter Diem, while Tyriq Withers plays her love interest, Ledger. Working on a film with the original creator of their characters watching so closely could have easily proven to be a nerve-wracking experience for the actors, but the pair confirmed it was anything but. View Green Video on the source website "[Hoover] was the biggest bully on set," Withers laughed, "No, I'm joking. It was such a dream having Colleen there on set, the creator of these characters. She really saw Ledger in me, and Kenna in Maika. "So yeah, when you have the author there, it was like, if she's happy, then I'm happy." "I mean, it was such a gift," added Monroe, "Colleen is so collaborative, and was such a safe space to talk about ideas, or if I was like 'Oh, what if I said this here," she'd be like 'Oh, love that.' So we became fast friends. She's the best." As well as Monroe and Withers, Reminders of Him also stars the likes of Lauren Graham, Bradley Whitford, Rudy Pankow, Nicholas Duvernay, Monika Myers and Lainey Wilson. Reminders of Him is now showing in UK cinemas. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
How a win for the delicate Sentimental Value would bring something totally fresh to the Oscars' 2026 best picture race
With nine nominations and some of the finest performances of the year, this fine Norwegian family drama is more than worthy of the top prize.
"But we didn't have the same childhood. I had you.” Spoken by Inga Ibsdotter Lilleaas’s Agnes in Sentimental Value, these 10 words are some of the most affecting in any film from 2025. It's a line that encapsulates the reason that the film has been nominated for nine awards in this year’s Oscars race – one that perfectly and poignantly captures the antithetical yet remarkable relationship between sisters. Renate Reinsve’s Nora, brown-eyed and teary, cradles the gentle form of the younger sister she has spent a lifetime loving, attempting to compensate for the affection withheld by their father and wondering why Agnes didn’t end up as fractured as she did. It’s a seismic moment – and one that any viewer of the 133-minute feature would cite as a standout. That scene alone feels worthy of an award. Of all the films nominated for best picture this year, it’s clear that Sentimental Value possesses the most heart – and for that reason, it deserves to win. Following his acclaimed drama The Worst Person in the World (arguably a 2022 best picture snub itself), Norwegian filmmaker Joachim Trier has returned with an even more assured character study in the form of Sentimental Value, once again centred on a performance by the astonishing Renate Reinsve. <img src="https://images.immediate.co.uk/production/volatile/sites/3/2026/03/SentimentalValue32Renate-ReinsveAnders-DanielsenLiePhotoKasper-Tuxen-Andersen-2dd7ea4-e1772533480422.jpg" width="3230" height="2150" alt="Renate Reinsve as Nora in Sentimental Value, laying down in a bed, with covers pulled over her, smiling." title="SentimentalValue_32_Renate-Reinsve_Anders-Danielsen_Lie_Photo_Kasper-Tuxen-Andersen" /> This time, she’s Nora Borg – a 30-something theatre actress whose adult identity has been painfully marred by her relationship with her estranged father Gustav (Stellan Skarsgård), an acclaimed film director. When Gustav offers Nora a part in his new film, her historic resentment of him begins to resurface. What soon unfolds is a story of love, change and the limits of forgiveness, complicated further when American actress Rachel Kemp (Elle Fanning) is instead cast in the film as the character based on Gustav’s deceased mother, Karin. Films about family have always been integral to the Oscars. From Kramer vs Kramer to Little Women to Little Miss Sunshine and beyond, the family unit is a structure that both the Academy and audiences have been drawn to for decades – likely because of how intimate and relatable its intricacies can be. Sentimental Value slots itself within this genre at the highest tier. Its exploration of sisterhood, of the trauma suffered by the oldest daughter within a dysfunctional family system, is not only deeply realistic and profoundly poignant, but acutely confronting for much of the film’s audience. How eloquently the film manages to capture such a specific yet overlooked window of real life is more than enough reason for a win. The immaculate performances of its leading ladies also make Sentimental Value so emotionally penetrating. Nora's complexities, Agnes's delicacy and Rachel's sensitivity are all exceptional – with all three actresses so well aligned to their roles that it's almost uncanny. It’s simply no wonder that as well as best picture and a slew of other nominations, all three of the women also received nods for their turns in the film. Skarsgård is also bold in his portrayal of emotionally unintelligent Gustav – at times completely infuriating and at others, almost tragic. The film’s acting feats are only strengthened by its earnest script, rich cinematography and stunning production design. Not a single other of this year’s nominees managed to transform something as regular as a house into a character of its own – yet Sentimental Value somehow finds itself able to do so with a delightful ease. The dark panelled, Dragestil-style wooden structure of the Borg family home is filmed steadily and centrally, yet in a way that is intimate and connecting – skilfully transitioning bricks and mortar into a living, breathing manifestation of familial history – with all the memories of laughter, love and loss that several generations of the Borg family have endured. At times, such presentation even leaves the audience concerned more for the fate of the house than the outcome of its human characters. A best picture win for Sentimental Value would also make history as only the second ever international film to win the award. In nearly a century of Oscars history, only the 2019 Korean black comedy-thriller Parasite managed to achieve the feat. For Sentimental Value to follow in its footsteps would be a triumph: a resounding signal that non-English language stories, those rooted in culture and family and history, are worthy of recognition on a global scale – not just on a one-off chance. View Green Video on the source website Sentimental Value may not be as clamorous as Sinners, as incensing as One Battle After Another, or as overtly determined to drain the tears from its audience as Hamnet. It’s not a film that relies on being direct or excessive. What Sentimental Value is, however, is a tender, cinematic study of humanity. Of existence. Of the reasons we become the way we are. And so, perhaps after several recent years of boisterous best pictures, it’s time for something more delicate to regain a victory. Sentimental Value is now streaming on MUBI. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Reminders of Him soundtrack: Which songs feature in the new Colleen Hoover adaptation?
The new film, starring Maika Monroe and Tyriq Withers, has just arrived in cinemas.
Music plays a major role in Reminders of Him, the romantic drama which has just arrived in cinemas, based on the book of the same name by Colleen Hoover. It's important not only to characters on the screen, but also for lead Maika Monroe, for whom "music has always been important in forming characters," as she explained to Radio Times. In the film, Kenna Rowan (Monroe) has a complex relationship with music – which she initially considers too upsetting to listen to. Over the course of the story, though, as Kenna's life begins to change, so does her connection with music. "I very much understood her struggle with it, because I think the power of music is that it can bring you back to a moment, and certain lyrics can really infiltrate your body," Monroe said. "It was interesting to play with that." Alongside Monroe and Tyriq Withers – who plays Ledger – the film also has a role for Grammy-award winning country artist Lainey Wilson, who plays Amy, Kenna's friend and co-worker. Naturally, then, the film is supported by a lively soundtrack made up predominantly of country music tracks – including a brand new song from Noah Cyrus. So, if you also found yourself tapping your feet in the cinema as you watched – read on for all the songs we know that feature in the romance flick. Reminders of Him soundtrack: Which songs feature in the new Colleen Hoover adaptation? You can find the songs featured in Reminders of Him below. We will update this list as the full tracklist is confirmed. Ordinary by Alex Warren The Night We Met by Lord Huron and Allison Ponthier Light Over the Hill by Noah Cyrus Yellow by Morgan Harper-Jones While speaking to Radio Times (below), Maika Monroe also revealed that Lilac Wine by Nina Simone was particularly important to her while getting to grips with her character. So, if you really want to get into the mind of Kenna Rowan – why not give that a listen, too? View Green Video on the source website Reminders of Him score The Reminders of Him score was composed by British conductor and composer Tom Howe. You can find the full score below. View oEmbed on the source website Reminders of Him is now showing in UK cinemas. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Maika Monroe and Tyriq Withers talk Reminders of Him book-to-film changes: "You can’t get every detail from the book"
"I think the best parts did make the film."
As with all literary adaptations, some deviation from the source material is practically inevitable – for better or for worse. Only last month, the response to Emerald Fennell's take on Wuthering Heights proved how quickly straying from the source can provoke some serious discourse among fans of the original text. Reminders of Him, the new romantic drama set for release this week, has been adapted from the best-selling novel of the same name by wildly popular author Colleen Hoover. The book is one of Hoover's most beloved, having sold over 6 million copies in the US alone. The film marks the third adaptation of her literary canon, with a fourth, Verity, set to debut in October later this year. The story follows Kenna (played by Longlegs's Maika Monroe), who has just been released from prison following a traumatic incident. Upon her return, Kenna sets out on a path towards forgiveness, while also trying to reconnect with her daughter, Diem (Zoe Kosovic), who she has never met, and navigating a budding relationship with Ledger (Tyriq Withers), a local bar owner with ties of his own to Kenna's past. While Reminders of Him is certainly a faithful adaptation of the source material – as Monroe previously told Radio Times when the film's trailer was released, "My gut is that the fans will be happy" – the very nature of adapting a film from a book meant that some things had to be tweaked, specifically in the way the relationship between Kenna and Ledger initially unfolds. When speaking exclusively to Radio Times, leads Monroe and Withers discussed adapting the book from its source, and the tweaks that had to be made. "I think that the superpower of book-to-screen adaptations is not really holding on tight to everything," said Withers, "And knowing that the best parts did make the screen. And when you're making a different form of media, you can't get every detail from the book." "But yeah, I think the best parts did make the film," he added. Monroe has long been vocal about being a fan of the source material. Speaking of how she navigated the changes between Kenna's book-self and screen-self, she said: "I mean, I loved the book, and I feel like all the moments that were so important came over into the script. "It was all there, this beautiful arc of these two people falling in love. I don't want to say it was easy, but it was there, you know. It wasn't hard to find." Read more: Peaky Blinders' Cillian Murphy talks casting his "acting hero" in the film – as writer reveals how this impacted villainous role The Magic Faraway Tree unveils exclusive first look behind the scenes of star-studded fantasy And it seems all tweaks were given the sign-off from Hoover herself, who was on set throughout filming and also served as an executive producer on the project. She described her on-set experience as a "good time," adding: "If [the cast] did find something in the script that was like 'Oh, I don't know if I would have said it that way', we would just do a switch up real fast. "And so it did really, I think, make it easier, instead of having to go through all these channels, just [for] everybody to be there and [change] it in the moment." Reminders of Him will be released in cinemas on Friday 13 March 2026. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Reminders of Him review: A heartfelt but ordinary addition to the Colleen Hoover canon
A largely run-of-the-mill romantic drama – but not without its charms.
Colleen Hoover’s third book adaptation probably isn't anything that we weren’t expecting. Directed by Vanessa Caswill, Reminders of Him has all the everyday, hallmark features of the constantly expanding Hooververse – a great cast, a light tug on the heartstrings and enough cheesiness to clog the arteries. Reminders of Him puts the usually blood-soaked Maika Monroe in a role far removed from the laboured-breathing, scream queen territory she’s usually found. This time around, she plays Kenna Rowan, a young woman who has recently been released from prison following an unthinkable, tragic mistake involving her boyfriend Scotty (Rudy Pankow). She returns to town hoping for a chance at redemption and, most importantly, to be reunited with the daughter she barely knows. Though Hoover has previously mentioned she deliberately set the story in an ambiguous location – if the guitar strumming, country-infused soundtrack is anything to go by, we appear to be in a small town somewhere in a southern state. And if that didn’t quite make it clear, there’s also a debut film role for Grammy award-winning country artist and Yellowstone alum Lainey Wilson, who pops up in a handful of welcome scenes as Kenna’s friend Amy to remind us Kenna may in fact have a Heart Like a Truck. The film’s cast is perhaps its greatest saving grace. Monroe is, expectedly, a natural fit for Kenna. With so much tragedy in Kenna’s past, Monroe draws on her horror pedigree to weave threads of tension and sympathy into a performance that without her would likely not have commanded quite as much attention. Monroe has long had a knack for stealing the screen, and here she manages to elevate the occasional early noughties, straight-to-DVD energy of the film with some natural charisma. Meanwhile, Withers offers a spin of the ‘rough-around-the-edges-but-still-a-nice-guy’ archetype in the form of Ledger, the bar owner Kenna finds herself involved with. Previously best known for his leading role in Justin Tipping’s Him (2025), Withers finds some comfortable footing here as a potential future heartthrob. He quickly builds some convincing chemistry with Monroe, such that you are entertained throughout by the prospect of their sometimes nonsensical, half-forbidden love story. Gilmore Girls’ beloved Lauren Graham and the Emmy award-winning Bradley Whitford are also convincing in their supporting roles, as well as Zoe Kosovic as Diem – who steers clear of many of the familiar child actor clichés and comes off as relatively heartwarming in her scenes. There’s enough decency in the cast to strengthen what would otherwise be a fairly basic script – occasionally awkward dialogue and all. The story itself is also engaging enough. An emotional tale of a mother wanting to reunite with her child is almost always going to carry the potential to be at least a little impactful. Reminders of Him never escapes being predictable, yet somehow manages to spark curiosity in its audience – a desire to see the final moments play out; to learn how and when Kenna might be reunited with the daughter she obviously deserves to be with. Visually, the film is also simplistic but pleasant, offering some cozy, southern state, golden hour sunsets and warm colouring – as well as (as Monroe put it) a ‘great orange truck’. It’s nothing wildly adventurous, but it slots itself decently within the wider atmosphere of the film. View Green Video on the source website Reminders of Him also sticks closely to its source material. While there are some tweaks in how the relationship between Kenna and Ledger unfolds – changes that sometimes act in the film’s detriment – it also manages to successfully sidestep certain, more eye-roll moments of the book (such as the slightly silly explanation for the name of Kenna’s daughter, Diem). For better or for worse, fans of the original novel are bound to be pleased with the film's recreation. Reminders of Him isn’t about to reinvent the romantic drama wheel – won't even spin it, in fact – and will find its most enthusiastic audience among self-titled-era Swifties rather than die-hard cinephiles. What it does offer, though, is 114 minutes of saccharine, guilty pleasure – a film that manages to well balance some stereotypical fluff with a sweet little tale of family, forgiveness and love. It’s inoffensive, tear-jerking, easy watching that, just like the rest the CoHo canon, will probably do just fine at the box office. Reminders of Him will be released in cinemas on Friday 13 March 2026. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
The case for Sentimental Value to win Best Picture
Sentimental Value is available to watch on MUBI and in cinemas. Add it to your watchlist Warning: The following contains spoilers for the film Sentimental Value. "But we didn't have the same childhood. I had you.” Spoken by Inga Ibsdotter Lilleaas’s Agnes in Sentimental Value, these 10 words are some of the most affecting in any film from 2025. It's a line that encapsulates the reason that the film has been nominated for nine awards in this year’s Oscars race – one that perfectly and poignantly captures the antithetical yet remarkable relationship between sisters. Renate Reinsve’s Nora, brown-eyed and teary, cradles the gentle form of the younger sister she has spent a lifetime loving, attempting to compensate for the affection withheld by their father and wondering why Agnes didn’t end up as fractured as she did. It’s a seismic moment – and one that any viewer of the 133-minute feature would cite as a standout. That scene alone feels worthy of an award. View Green Video on the source website Of all the films nominated for best picture this year, it’s clear that Sentimental Value possesses the most heart – and for that reason, it deserves to win. Following his acclaimed drama The Worst Person in the World (arguably a 2022 best picture snub itself), Norwegian filmmaker Joachim Trier has returned with an even more assured character study in the form of Sentimental Value, once again centred on a performance by the astonishing Renate Reinsve. <img src="https://images.immediate.co.uk/production/volatile/sites/3/2026/03/SentimentalValue32Renate-ReinsveAnders-DanielsenLiePhotoKasper-Tuxen-Andersen-2dd7ea4-e1772533480422.jpg" width="3230" height="2150" alt="Renate Reinsve as Nora in Sentimental Value, laying down in a bed, with covers pulled over her, smiling." title="SentimentalValue_32_Renate-Reinsve_Anders-Danielsen_Lie_Photo_Kasper-Tuxen-Andersen" /> This time, she’s Nora Borg – a 30-something theatre actress whose adult identity has been painfully marred by her relationship with her estranged father Gustav (Stellan Skarsgård), an acclaimed film director. When Gustav offers Nora a part in his new film, her historic resentment of him begins to resurface. What soon unfolds is a story of love, change and the limits of forgiveness, complicated further when American actress Rachel Kemp (Elle Fanning) is instead cast in the film as the character based on Gustav’s deceased mother, Karin. Films about family have always been integral to the Oscars. From Kramer vs Kramer to Little Women to Little Miss Sunshine and beyond, the family unit is a structure that both the Academy and audiences have been drawn to for decades – likely because of how intimate and relatable its intricacies can be. Sentimental Value slots itself within this genre at the highest tier. Its exploration of sisterhood, of the trauma suffered by the oldest daughter within a dysfunctional family system, is not only deeply realistic and profoundly poignant, but acutely confronting for much of the film’s audience. How eloquently the film manages to capture such a specific yet overlooked window of real life is more than enough reason for a win. View Green Video on the source website The immaculate performances of its leading ladies also make Sentimental Value so emotionally penetrating. Nora's complexities, Agnes's delicacy and Rachel's sensitivity are all exceptional – with all three actresses so well aligned to their roles that it's almost uncanny. It’s simply no wonder that as well as best picture and a slew of other nominations, all three of the women also received nods for their turns in the film. Skarsgård is also bold in his portrayal of emotionally unintelligent Gustav – at times completely infuriating and at others, almost tragic. The film’s acting feats are only strengthened by its earnest script, rich cinematography and stunning production design. Not a single other of this year’s nominees managed to transform something as regular as a house into a character of its own – yet Sentimental Value somehow finds itself able to do so with a delightful ease. The dark panelled, Dragestil-style wooden structure of the Borg family home is filmed steadily and centrally, yet in a way that is intimate and connecting – skilfully transitioning bricks and mortar into a living, breathing manifestation of familial history – with all the memories of laughter, love and loss that several generations of the Borg family have endured. At times, such presentation even leaves the audience concerned more for the fate of the house than the outcome of its human characters. A best picture win for Sentimental Value would also make history as only the second ever international film to win the award. In nearly a century of Oscars history, only the 2019 Korean black comedy-thriller Parasite managed to achieve the feat. For Sentimental Value to follow in its footsteps would be a triumph: a resounding signal that non-English language stories, those rooted in culture and family and history, are worthy of recognition on a global scale – not just on a one-off chance. View Green Video on the source website Sentimental Value may not be as clamorous as Sinners, as incensing as One Battle After Another, or as overtly determined to drain the tears from its audience as Hamnet. It’s not a film that relies on being direct or excessive. What Sentimental Value is, however, is a tender, cinematic study of humanity. Of existence. Of the reasons we become the way we are. And so, perhaps after several recent years of boisterous best pictures, it’s time for something more delicate to regain a victory.
Hamnet's Jessie Buckley might have history on her side – but with a line-up as strong as this, nothing is guaranteed.
Despite some truly astonishing snubs (how this won’t be Amanda Seyfried’s year is criminal), the best actress category is arguably the most stacked of this year’s Oscars cycle. From grieving mothers and troubled eldest daughters to potential aliens, the category is brimming with power. Even so, it seems that there is one clear frontrunner: Hamnet’s Jessie Buckley. Now a two-time nominee following her nod for 2021 drama The Lost Daughter, the Irish actress has received enormous acclaim for her role as Agnes, William Shakespeare’s wife, in Chloé Zhao’s adaptation of Maggie O’Farrell’s novel. Emotionally raw and completely devastating, Buckley’s rich performance as a woman living through unimaginable tragedy is exactly the kind the Academy favours. Already the recipient of all the major awards preceding Oscars night – the Golden Globe, Critics’ Choice, Bafta and Actor Award – history dictates that Buckley will almost certainly win, with no lead actress ever having failed to take home an Oscar after winning all four. Still, there could be a glimmer of hope left for Rose Byrne. Earning her first ever nomination in her versatile, three decade-long career, Byrne is at her very best in If I Had Legs I’d Kick You, where she plays Linda, a woman on the verge of a nervous breakdown under the pressure of raising an unwell daughter with an absent husband and tumultuous job. Byrne’s anxiety is palpable across the 113-minutes, filmed predominantly with claustrophobic close-ups that allow the audience to capture the complete emotional texture of its protagonist. Byrne is ferocious and sympathetic – folding in threads of humour with her strong comedic chops. Should Buckley somehow manage to stumble on the big night, it’s probable that Byrne will be next in line, especially considering her Golden Globe win earlier this season. And then there’s the return of Emma Stone, whose near-annual nominations seem inevitable at this point. This year marks Stone’s fifth nod – and it’s for one of her most layered roles to date. In Bugonia, she is Michelle Fuller, a pharmaceutical CEO who may or may not be from outer space. There are several tiers to Stone’s fascinating performance, all better understood upon second viewing. A win for Stone, however, seems unlikely, at least partly due to her relatively quiet campaign. However, with two Oscars already under her belt, Stone may not be that determined for another win. Kate Hudson has also found herself a spot on the list for her charismatic yet tragic portrayal of Claire Cartwright in Craig Brewer’s Song Sung Blue. Though Hudson was praised as the standout of the musical drama, her nomination was the most unexpected of the season – with the somewhat rogue selection prompting much social media discussion – and many arguing that Amanda Seyfreid’s mesmerising performance in The Testament of Ann Lee, Jennifer Lawrence’s feverish turn in Die My Love or Chase Infini’s debut in best picture favourite One Battle After Another were equally, if not more, deserving. Regardless, it’s Hudson who has cemented her spot in the line-up – even though a win seems only a minor possibility. <img src="https://images.immediate.co.uk/production/volatile/sites/3/2026/03/SentimentalValue32Renate-ReinsveAnders-DanielsenLiePhotoKasper-Tuxen-Andersen-2dd7ea4-e1772533480422.jpg" width="3230" height="2150" alt="Renate Reinsve as Nora in Sentimental Value, laying down in a bed, with covers pulled over her, smiling." title="SentimentalValue_32_Renate-Reinsve_Anders-Danielsen_Lie_Photo_Kasper-Tuxen-Andersen" /> Finally, there’s Renate Reinsve – whose nomination was probably never in any doubt. Reinsve’s delicate, sensitive and completely captivating performance as Nora Borg in Sentimental Value is something to admire, exploring familial complexities and infused with remarkable realism: with a particular scene between Reinsve and Inga Ibsdotter Lilleaas one of the year’s most touching moments. Though a Reinsve win may be improbable, with the Academy often favouring louder voices over precise, tender performances, her turn will almost certainly be remembered long after this season, regardless of the outcome.
The Oscars completely snubbed the year's most daring film – and it doesn't make sense
There's just one problem with this year's Oscar nominations...
Add The Testament of Ann Lee to your watchlist Every Oscars season, us film fans are met with the inevitable snubs: from films of certain genres not being considered serious enough, to quiet, brilliant performances being dropped in favour of louder ones that sit within the rigid framework of what the Academy considers 'worthy'. Of course, we’re also then often met by the rogue choices that leave everyone blinking in disbelief at their television screens. (I, for one, received a few surprised texts when one certain Best Picture nominee was read out this afternoon…). This year, however, one particular snub has stuck out like a sore thumb – Mona Fastvold’s The Testament of Ann Lee. And not only was Ann Lee snubbed – it was completely ignored from the nominations list, with its name not falling under a single category in this year’s slate. That’s right. Daniel Blumburg’s staggering, hypnotic score (which I actually have on in the background while writing this) was erased; Woman Clothed by the Sun, one of the most angelic original songs of the year (I challenge anyone to listen to it and try to tell me it’s inferior to any of the five nominees) was blanked, Fastvold’s writing and brilliant direction were both nowhere to be seen. Not even Best Actress, which once seemed the only category Ann Lee could get a look in, served plaudits. It is that latter snub for Best Actress that perhaps is the most shocking. Until about a month ago, Amanda Seyfried receiving an Oscar nomination for pouring her entire heart and soul into playing Mother Ann Lee felt almost inevitable. And yes, while the Best Actress category is undoubtedly stacked this year, Seyfried’s Critics’ Choice and Golden Globe nominations had me convinced that her flawless performance as the founding leader of the Shaker movement would get at least a small nod. To be clear, The Testament of Ann Lee isn’t some kind of niche, underground film that only four of your biggest cinephile friends have seen (not that obscurity would have made its snub acceptable, but you get my point). Instead, the film boasted a fantastic ensemble (with Seyfried joined by the likes of Lewis Pullman and Thomasin McKenzie), a respected director, and a career-best performance in Seyfried – a previous Oscar nominee, no less. Mona Fastvold herself is no stranger to the Oscars. In 2024, she left her creative fingerprints all over The Brutalist, which went on to be nominated for 10 awards at the Oscars the following year – including Best Picture. (Though admittedly, Brady Corbet was the director at the helm of The Brutalist, and the Oscars don’t have the best track record with celebrating female filmmakers). Ann Lee’s complete exclusion is even more surprising given its massive achievement. With such a small budget covering such an epic scope, the cinematography, music, performances and structure all work so deliberately and so uniquely together to create a film that is truly unlike any cinematic experience I have gone through – and it’s a magnificent shame that the Academy considers it unworthy of even the smallest recognition. View Green Video on the source website Of course, the Oscars have never been particularly intelligent in recognising work that does something completely new. Instead, they are so frequently occupied by films that repeat the same patterns, aesthetics and ideas over and over again, largely ignoring those that have the ability to reshape the way we see cinema. Because Ann Lee is billed as a musical about a religious leader, and it does take its risks, it therefore falls out of that comfort zone. But every risk the film takes pays off greatly – and in a cinematic landscape that is made up predominantly of regurgitated remakes and gratuitous sequels, each risk is more than welcome. The film’s huge ambition is what makes it so incredible. Ann Lee may truly be one of the most individual films I have ever seen. On my first watch, I found myself in desperate need to rewind and watch it all over again – and on my second watch, it made me sob – and honestly, even now, I struggle to articulate exactly why. There is just something so unflinchingly raw, strange and beautiful in its craft that it just goes straight through you. And while, yes, it may be less 'accessible' than films such as Hamnet and Frankenstein, such accessibility should not be a measure of its greatness. Now, I’m not saying that Ann Lee should completely sweep the awards board. As much as I’d personally welcome that, it’s an unrealistic expectation. A historical film so deeply concerned with female spirituality, leadership and music perhaps was never going to be an easy sell in an environment that prioritises films that do not favour those things. But to ignore the film completely – this year, the Academy have genuinely left me baffled.
The Testament of Ann Lee soundtrack: Full list of songs in Mona Fastvold's musical drama
The film's score blends original compositions with reimagined Shaker hymns.
For her epic musical drama The Testament of Ann Lee, writer-director Mona Fastvold recruited Oscar-winning composer Daniel Blumberg to forge the soundtrack, after his acclaimed work on her previous films, The Brutalist and The World to Come. The astonishing film itself traces the life of the Manchester-born Ann Lee (Amanda Seyfried), the founding leader of the Shaker movement, a denomination of Christianity that prioritised celibacy, pacifism, community and equality, and whose worship was characterised by song and dance, which they believed was a medium to dispel sin and evil. The earliest Shaker songs were composed in the 1780s, and included very few actual words until the 1800s, when the Shakers added text and wrote hymns and anthems. Blumberg drew a large amount of inspiration from such Shakers hymns, of which there are thousands, and enlisted the likes of avant-garde improvisational singers Phil Minton, Maggie Nicols and Shelley Hirsch to help bring the 33 tracks to their final form. The soundtrack also features the vocals of Seyfried, Lewis Pullman, Thomasin McKenzie and other cast members. Speaking of the soundtrack's formation, lead actress Seyfried explained: "I think [Daniel Blumberg] wanted to create some original music within the movie. At first, I think everybody’s a bit intimidated by that, because we were using real Shaker hymns that were written back from the 18th century on, and they’re beautiful, but they’re very simple. "And he needed to create a world around it, and the world needed to flow in and out of these scenes, and it needed to feel cohesive and musical, but not too musical. It needed to feel organic." Read on for the full soundtrack of The Testament of Ann Lee. The Testament of Ann Lee soundtrack: Full list of songs in Amanda Seyfried-starring historical musical Below, you can find the full soundtrack of The Testament of Ann Lee, with all songs composed by Daniel Blumberg. The Testament of Ann Lee performed by Daniel Blumberg and Thomasin McKenzie Manchester Hero Prayer One Walk to Infirmary Infirmary Walk to Wardleys Wardleys (feat Maggie Nicols) Worship performed by Daniel Blumberg and The Testament of Ann Lee cast Sex Celeste Beautiful Treasures performed by Daniel Blumberg and Amanda Seyfried Search for Ann I Never Did Believe performed by Daniel Blumberg, Amanda Seyfried, Lewis Pullman, Scott Handy and Matthew Beard Hunger and Thirst performed by Daniel Blumberg and Amanda Seyfried Ship Lower Deck Today Today performed by Daniel Blumberg, Viola Prettejohn and Jamie Bogyo Storm All is Summer performed by Daniel Blumberg, Amanda Seyfried and The Testament of Ann Lee cast Magical Boat Ride John’s Running Song performed by Daniel Blumberg, David Cale and Lewis Pullman Whores Niskayuna The Eclipse Bow Down O Zion performed by Daniel Blumberg and Lewis Pullman Building and Growing William Walking I Love Mother (Pretty Mother’s Home) performed by Daniel Blumberg and The Testament of Ann Lee cast Arrest Stone Prison performed by Daniel Blumberg and Amanda Seyfried Shattuck Down to the Deep performed by Daniel Blumberg and Amanda Seyfried Beautiful Treasures Funeral performed by Daniel Blumberg and The Testament of Ann Lee cast Clothed by the Sun performed by Daniel Blumberg and Amanda Seyfried Who composed The Testament of Ann Lee soundtrack? Oscar winning musician, artist and songwriter Daniel Blumberg penned the full soundtrack. View Green Video on the source website Prior to working on The Testament of Ann Lee, Blumberg also composed the score for the 2024 film The Brutalist, for which he won the BAFTA Award for best original music and the Oscar for best original score. How to listen to The Testament of Ann Lee soundtrack The full soundtrack is available to stream on all the regular platforms, including Spotify, Amazon Music, Youtube, and Apple Music. The Testament of Ann Lee is now available to watch in UK cinemas. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
The Testament of Ann Lee true story: How accurate is the historical musical?
The astonishing life of Shaker founder Ann Lee has arrived on UK shores – but how accurate is the epic film?
It’s unlikely that many knew much about the story of the Shaker movement past their distinctive architecture and furniture prior to watching Mona Fastvold’s historical, musical drama, The Testament of Ann Lee, which this week finally arrives in UK cinemas after premiering overseas in the US at the end of 2025. Fastvold first came across the incredible story of the Shakers and their founding leader, Ann Lee, after she discovered a Shaker hymn while wrapping up her 2020 period drama, The World to Come. From there, she went on to immerse herself in one of the most radical yet unexplored periods of American history. The project, however, was not an easy sell, with Fastvold initially struggling to get it made due to little interest from the industry, and studios wary of backing such an audacious feat. What emerged, though, is a modern masterpiece – anchored by Amanda Seyfried's stunning lead performance as Ann Lee. But, this is very much an ensemble effort, supported by Daniel Blumberg's monumental reworking of Shaker hymns and Celia Rowlson-Hall's choreography, creating a dynamic work of visceral cinema — especially considering its modest $10 million budget. Fastvold has described the film as a "speculative retelling" of Ann Lee's life, elegantly tracing the Shaker leader from her early beginnings in Manchester, England, to her belief in divine expression, her embrace of song and dance, and her pacifist response to those who opposed her progressive ideals. "I was just truly fascinated that there was this woman with these radical ideas and that it was part of American history," Fastvold told the BBC. So, if you’re wondering how closely the events of the film follow the real life of Mother Ann, keep reading. The Testament of Ann Lee true story Ann Lee was born in Manchester on 29 February 1736, and was the second in a family of eight children, including five boys and three girls. Her father was a blacksmith named John, though little is known about her mother, who is played by Maria Sand in The Testament of Ann Lee. Ann’s parents were members of a branch of the Quaker sect, the Religious Society of Friends, and records indicate that she was baptised on 1 June 1742 in what is now Manchester Cathedral. Ann received little education and was illiterate throughout her life. In her early youth, she worked in a textile factory, then at 20 years old, she began working as a cook in a Manchester infirmary. In 1758, Ann joined a small group of religious dissenters led by Jane and James Wardley, at the time mockingly referred to as the 'Shaking Quakers', for their behaviour during their worship, which included singing, shaking, dancing and trembling, which they believed shook off sins and evil. "These are human beings that needed to move and sing their way through worship, because their lives depended on it," Seyfried has explained. Crucially, the Shakers believed that the second coming of Christ would be in female form and believed in gender equality – a radical idea in the 18th century. Fastvold has considered Ann Lee one of the 'earliest feminists', "I'm sure there are many others we don't know about." In 1762, Ann married Abraham Standerin, a blacksmith who worked for Ann's father. It is believed that Ann was persuaded to marry Abraham by her parents, and Ann herself never desired the marriage. Between 1762 and 1766, Ann would go on to give birth to four children, none of whom would survive their early infancy. Fastvold herself has spoken about Ann's reaction to the loss of her children, explaining to Creative Screenwriting: "It came from a place of survival where she was said, 'I cannot mother my children. I’ve lost my children. I will mother the entire world.' And from there came this idea that I’m going to create a community that is safe, and the place where you can feel safe to worship and express yourself and to work really hard at creating things. "Ultimately it’s the idea of what can this leadership be as a mother and how can you transcend from trauma into that?" After her final child died, Ann became increasingly more active in the Shaker movement, eventually leading to the group starting to disrupt rival churches. In 1770, Ann was imprisoned for 30 days, during which time she had a vision of Adam, Eve and the Garden of Eden, which led her to the conclusion that sexual cohabitation was the root of all evil. Once reporting this back to the sect, celibacy soon became a key tenet of the movement. From this point, she became known to her followers as Mother Ann, who believed her to be the female embodiment of Christ's second coming. View Green Video on the source website Several years later, Ann became convinced that she should carry the Shaker movement to America, and shortly after, Ann and several members of the movement (including her brother William and cousin Nancy) sailed from Liverpool to New York on the ship Mariah. On 6 August 1774, the group arrived in America. Around this time, Ann separated from her husband Abraham, who had refused to commit to the Shaker rule of celibacy, and who soon remarried. In 1779, the Shakers relocated to Niskayuna, where they built homes, raised crops and began working on art, and soon started recruiting new members to the sect. During the American Revolution, Ann Lee and her fellow Shakers took a pacifist stance, refusing to join either side, and declined to sign an oath of allegiance, which soon aroused some suspicion among revolutionary authorities. Ann was imprisoned, accused of being a British sympathiser, but after her brother William Lee asked General James Clinton of Albany to write a letter to the New York governor, she was eventually freed. The group then travelled to New England, preaching and recruiting, where they began to face more opposition for their beliefs, including several physical attacks, and Ann was frequently accused of witchcraft. During one particular riot in Petersham, Massachusetts, Ann was dragged down, beaten and had her clothes ripped off. It is said that such tribulations and exhaustion hastened the demises of both Ann and her brother – and on 21 July 1784, William died. Following the death of her brother, it was recorded that Ann Lee became somewhat dejected. Her final days were spent "singing in unknown tongues" in her rocking chair. On 8 September 1784, 10 years after arriving in America, Mother Ann Lee died at the age of 48. Her final words were said to have been: "I see Brother William coming in a golden chariot, to take me home." Speaking of the attacks the Shakers suffered, Fastvold explained to EW: "After she died, they realised that there were fractures in her skull from all the various beatings that she received. "So it's heartbreaking and horrible, but truly, that level of brutality that she and the other Shakers experienced, if I were to include all of that, it would be a story only about that. And I think the story had a lot more to offer." After a celebration of her life, Ann was buried in a wooden coffin the Shaker Cemetery within the Watervliet Shaker Historic District in Colonie, New York. She did not live to see the peak of the Shaker movement in the early 19th century, when thousands of supporters lived across the US. As of August 2025, there are three members of the Shaker movement remaining, all of whom reside in Sabbathday Lake, Maine. The Testament of Ann Lee is now available to watch in UK cinemas. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
100 Nights of Hero director Julia Jackman talks queering the fairytale and the impact of casting Charli xcx
Julia Jackman discusses her casting process, visual approaches and reimagining fantasy as 100 Nights of Hero arrives in the UK.
Prior to creating 100 Nights of Hero, Alberta-born writer-director Julia Jackman had predominantly worked on short films. In 2023, she directed her first feature-length piece Bonus Track, a coming-of-age romance penned by actor Josh O'Connor. While that was a teen love story set in the early noughties, Jackman's latest film takes on brand new reins in the form of a playful, fantasy-romance period piece. The film is an adaptation of the graphic novel The One Hundred Nights of Hero by Isabel Greenberg – itself based on the Middle Eastern folktale One Thousand and One Nights. It follows the story a young woman named Cherry after her avoidant husband Jerome decides to test her by leaving her for a hundred nights with his mischievous friend Manfred. 90 minutes of technicolour chaos, storytelling and desire soon unfolds between Cherry, Manfred and Cherry's maid – the titular Hero. Almost a decade after being recommended the novel by a friend, Jackman assembled a spectacularly unique cast – from the likes of Princess Diana alum Emma Corrin and modern-day scream queen Maika Monroe, to contemporary heartthrob Nicholas Galitzine and brat summer architect Charli xcx (which was actually released during filming, if you recall Galitzine doing the Apple dance). Alongside some stunning locations – such as Knebworth House in Hertfordshire – brought to life by cinematographer Xenia Patricia, and a soundtrack penned by Olivia Coates, Jackman curated a whimsical gem of a film, which is finally arriving on UK shores this week. Just as it arrives in cinemas, we managed to catch up with Jackman to discuss everything from her eclectic casting choices to the adaptation's exciting visual approach. I've read that you were first introduced to the graphic novel after a friend introduced you to it. Was there a specific part of the novel that you were most drawn to, initially? I think I was quite drawn to the fairytale elements. Definitely. It's rare to see a queer fairytale. And I was definitely drawn to the fact there is this whole world and parallel universe to escape to, but that it feels relatable to our world. And of course, I just loved the pace and wit of it, and sense of fun and camp, even though the subject material is, you know, as with a lot of fairy tales, quite deathy. The original story of One Thousand and One Nights has been retold a lot over the years, generally under a very male-centric lens. What was it like for you to adapt this traditional story from a feminist, queer perspective? I think it was so interesting because you're part of this developing tradition basically, at this point. And Isabel [Greenberg]'s book was already a homage in so many ways to One Thousand and One Nights, which I also love. But I think that the joy of stories like that, and slightly more archetypal stories, is that you can keep infusing them with your own details and what feels relatable to you. And that was a a real joy to carry through the foundation of that story, and that sort of brilliant premise, but to also have the freedom to ask myself 'what would this look like now?' and [in] the mid-2020s. What would a villain look like now? What would this story feel like if it was happening now? Because even though it's a period piece, that parallel universe quality gave a lot of freedom to build your own world. I think this film is very deliberately cast, in that everyone feels very suited to their roles, despite how eclectic they may seem as individuals. They are all very eclectic, aren't they? [laughs] You've got Maika [Monroe] with her horror background, and Emma [Corrin] has a more dramatic background as an actor. What made you think those two would be a good pairing for this story? I was already a fan of their work, both of them. So with Maika, with her horror background, I felt it would be really interesting because Cherry is sort of of living this as a thriller. In a world where you can be put to death for what other people might consider small infractions. Even a stranger showing up and kissing your hands, it feels like you could live that like a thriller or a horror film. View Green Video on the source website And then when I met Maika and she had this brilliant, dry sense of humour and this warmth and loveliness to her, I thought that it would be a great chance to see what we could do together, and that she could bring so much. She could do so much with her micro-expressions and hold that tension in her body. But I think it was also, hopefully, fun for her to explore like a role with more levity. And even though Cherry is terrified most of the time, Maika has the ability to lend this kind of dry humour to her little glances and her exchanges with Hero. And with Emma, it was a sort of similar thing meeting them and, knowing what I knew of their work already, meeting them and seeing what spoke to them about the role. And it was the chance to do something a little bit different from what they'd done before. I think everybody came into this hoping to do something a little bit different. And [Corrin] has this incredible voice and gravitas, but also like a huge amount of playfulness to them. And it was the same with Nick [Galitzine]. He's incredible and has chemistry and charm with anyone. And I felt that would make him a very dangerous villain, if he's the type that you feel like he could very well win. And to bring a sort of softness that could maybe get people rooting for him in some ways and then examining why they're doing that. I thought that would be fun to play with. You've also got Charli xcx in there, who came from a completely different professional background to the others. When you were thinking about her for this role, is there anything that specifically stuck out to you, or anything that she brought to Rosa that was different to how someone else might portray her? She's wonderful. It was this sort of similar thing, when I met her and and started speaking to her, because we had a bit more of an open conversation - we were sort of creatively match made. We met up and I was seeing these different facets to her in person than the ones that I would have seen on stage or at her concerts, and seeing how thoughtful and subtle and dry she can be. Like a really dry sense of humour. I was really interested in seeing her play that, that sort of quiet hopefulness and something a bit delicate. But I thought what she also brought to it is that Rosa is someone that people project a lot on to. And she has this magnetism and I thought it would be a kind of interesting, meta thing to have. Rosa was always playing the guitar, like before Charli was even a conversation, she was practising her guitar. And I even considered changing it after because I wondered if it would be a bit on the nose. But then it was like, 'God, what would she be doing? Writing poetry? Dancing?' Everything just felt forced. And we landed right back where we started – and there was this beautiful custom instrument that Charli played. It was really just a great experience working with her. There are some very visually striking scenes in the film, for me particularly those of Cherry waking up in the morning. I was wondering what your visual approach was to those scenes. Oh, wow. I mean, it was a combination at the end of the day of having very little time and a low budget, and sort of trying to preserve as much the vision for it as possible. And Xenia Patricia, who's our amazing DOP, and Bill [Rae Smith], who was our gaffer, who also I did really want because I'd seen what he managed to do with colour and inventiveness for Rye Lane, and how inventive that was with colour and texture. And we did want, maybe as a slight homage to the graphic novel, for certain things to look quite bit painterly and quite sumptuous. And, you know, that bed actually, we couldn't really move anything. It was a very old manor. And a lot of times we were working with the furniture that was there. And this bed was a sort of canopy bed with a very old cover, and there was a little hatch, and we kind of just had to put the camera down in this hatch and make it [work]. So it was it was a lot of like, very banal kind of workarounds. But I think that definitely colour, light and a simple, very focussed colour palette and a focussed sense of costumes really helps with that. And do you think that this period setting presented you with anything different with how you approached exploring themes of queerness, perhaps compared to Bonus Track? You know, strangely, I don't know if [there] really is [a difference]. And it was interesting because [Bonus Track] came to me quite unexpectedly. And I do think in a way, they're both coming of age stories about two people who have, for different reasons, never been in touch with their desires. And there is obviously a notable difference in that Cherry lives in this macabre world where she could be put to death for walking outside alone after teatime, you know. But there is, with teenagers, this heightened world anyway that things feel so huge. And I think they are both about how small intimacies can feel so seismic when you're discovering things for the first time. So there's a delicacy to both of them, and a focus on intimacy rather than diving right in. If you could tell/be told a story for 100 nights, which one would you choose? Oh, my God, this is such a good question. I'm going to be quite boring and say Pride and Prejudice, because my mind has gone completely blank. And it's a comfort read. It's a nervous system regulation read. I love the hate-to-love. It's so soothing. I could recite it by heart. 100 Nights of Hero is available to watch in UK cinemas from Friday 6th February. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Imogen Poots talks trust, transformation and the female body in Kristen Stewart's directorial debut
Imogen Poots reflects on collaborating with Kristen Stewart for her debut feature, The Chronology of Water.
"I feel quite homesick when I'm not doing projects which make sense to me," says Imogen Poots, reflecting on her role in The Chronology of Water, her latest starring role in which she is an exceptional force. The film itself is an adaptation of the memoir of the same name by Lidia Yuknavitch, a competitive swimmer-turned writer who, as Poots explains, "was dealt these cards and had to take responsibility for the problems that other people presented her with". The story recounts moments of Lidia's life in fragments, rawly examining some of the most striking, impactful and inspirational snapshots of her youth – occupied less with literally narrating Lidia's past than it is with reflecting on how she reclaims and transforms her experiences on paper. Poots initially found herself in the leading role after being sent the script, which she has previously described as looking more like a poem on the page rather than a conventional screenplay. Subsequently, she made an audition tape, and soon found herself meeting with first-time director Kristen Stewart, with whom she immediately connected with, "We both work very, very hard but also try to live our lives at a similar pace, in a similar way," she says. Given some of the heavy material the film engages with, a great deal of trust between lead actor and director was required. "I don't know how you would go about making this film without that level of trust and belief and, crucially, respect. I think that respect and trust go hand in hand," Poots explains. She speaks of her working relationship with Stewart with obvious admiration: "I need to let her direct. She needs to let me act. And that's just a cool place to be with someone. It doesn't always happen. And I also think as individuals it was a very kismet thing. It's sort of ineffable. It just is. "There was something about the two of us that, going about this, we knew we had this opportunity, didn't want to squander it in any way. But also weren't going to lose out because of that pressure. Because it is an unusual film to get to make, and it's unfortunately unusual that a woman finally got the budget to make it. So I think all of that is how to take up space while we make the project, but also deliver it in the way that we want to without being crushed by the pressure." The obvious care between actor and director seamlessly translates into depictions of the female body in the film. The Chronology of Water is visceral in its presentation of the most intimate, confronting parts of womanhood – even opening its 128-minute run time with an image of Lidia's blood – thick, crimson and merging with water – and later capturing the entire spectrum of bodily fluids the female form is capable of producing. "I didn't know a girl's body could do that," Lidia's monologue hums at an early point in the feature. Poots explains that she found such presentation particularly "valuable," drawing a parallel to the depiction of the female nude in art, which she notes originated from a place of idealism. "I think about how much mystery there has been in relation to the female body to us as women," she reflects, "There's still so much research on how much happens with us, medically. This was an opportunity to wrench that open. And that's very, very vulnerable. It's very freeing." "It's an incredibly powerful arena and realm to exist in when you are connected to your own body, and certainly throughout my life as a woman and as an actress, that hasn't always been the case. And so when that does happen it's so revealing, and it's quite overwhelming – and that was something we were trying to capture." Such unflinching attention to the body also extends into the film's depiction of childbirth. We briefly discuss comments actor Amanda Seyfried recently made surrounding rumours of at least 20 people walking out of an IMAX screening during scenes of childbirth in The Testament of Ann Lee, as well as multiple men leaving during those same scenes at the film's Venice Film Festival premiere. In a similar way, The Chronology of Water's presentation of childbirth is neither unfiltered nor gratuitous in its display of both the creation and loss of life. "There's so much secrecy, there's so much shame still affiliated with the female body, as if you should be able to control these things." Poots says, "In terms of the actual life of the woman, and in terms of presenting the body, it's amazing that people will sit through a movie and watch someone have their head shot off by a shotgun, but squirm at the idea that they have to confront where they came from. "It's probably too intimidating and threatening an idea to have to contemplate for a lot of people – that you got birthed." Such intentionality is embedded into many choices made in The Chronology of Water. Shot on celluloid, each decision, from its casting, to its lack of soundtrack, to its intricate colour palette all work in skilful congruence with each other. "There's an urgency to shooting on film that is really special," she says, highlighting her "wonderful relationship" with cinematographer Corey C Waters. "He and I had to be in a small room together doing crazy things, and knowing how that's going to be captured is really beautiful." She goes on to add: "It's a privilege to be shot on film. Because Kristen is one of the first people in my life who I really feel has seen me in a way that I then saw what she saw. And that's very special. And that has to come from the texture of the film. It's so alive." Poots's performance is ultimately the weight of the film. She portrays Lidia from her formative teenage years through to her adulthood with a seamless continuity, illustrating each intricacy of Lidia's complex personality with delicacy, despite her moments of recklessness; of anger and anguish and alcohol. When we begin discussing how Poots first approached Lidia as a character, she's quick to emphasise Lidia's humanity. "I think there's an inherent decency to her," she explains, adding, "But that's not to say that she doesn't f**ck up all the time." Poots was particularly drawn to Lidia's ongoing endurance: "I always find it really, really moving and very noble when people try their best. And she was dealt these cards and had to take responsibility for problems that other people presented her with. You know, her father abused her as a child. And she then has to live in the fact of that. How she reacts to that was very interesting to me. The abuse itself was the sort of catalyst, but how she proceeds to live her life was really interesting." She also found the film's occupation with Lidia's memories particularly relatable – at times portrayed as transformative fragments, words written into childhood notepads, whispered into water, unexpectedly resurfacing. "I think that was very, very relatable – in terms of how we reframe what's happened to us... Everything is happening to her," she says, going on to reference the Rainer Maria Rilke quote 'Let everything happen to you: beauty and terror. Just keep going. No feeling is final'. "She's sort of just moving through the weeds of her life, and I found that very inspiring," she says. "I think that if someone in the audience sees a character like Lidia and they recognise that feeling, it's irrelevant what's happened to her. It's just the connection to 'I've experienced that feeling, I've made that choice. I've made the wrong choice.' She embodies all of these things." Poots's striking performance is further sustained by the film's supporting cast – all of whom play the people who alter the trajectory of Lidia's life. She highlights scenes with Jim Belushi, who plays One Flew Over the Cuckoo's Nest author Ken Kesey – Lidia's early writing mentor – as well as Thora Birch, who portrays Lidia's older sister Claudia. Poots brilliantly describes Birch's presence as "volcanic", and cites both actors as film standouts. "The stuff with Jim Belushi was very special," she says, "That scene we shot on the porch when he says to her 'what do you want to write?' was really important for Lidia, and for me – and I know Kristen loved shooting that. And Jim just was so magical, because it was just someone taking Lidia seriously for the first time. And she's not, hopefully, going to mess that up. [...] It was a really cool one. It was sort of like 'you haven't even started yet. You're just pushing all of this down, all of this potential in this one life.' It was a really beautiful moment. "And I loved all of my scenes with Thora Birch as well. Those were incredibly grounding. Those are some of the highlights of my career, working with Thora." It's a sentiment that shifts our focus to the career Poots has built over the last two decades. At 36-years old, the west London native's catalogue of work has been defined by a variety of diverse performances. At only 17, she was cast as Tammy Harris in 28 Weeks Later, the first sequel to Danny Boyle's acclaimed zombie film. Since then, Poots has predominantly filled her filmography with independent projects across a wide range of genres – from New York-set screwball comedies to brutal, sanguinary horror flicks. "I always knew I wanted to work in independent cinema," she mentions. <img src="https://images.immediate.co.uk/production/volatile/sites/3/2026/02/imogen-poots-kristen-stewart-927e63e.jpg" width="4560" height="3258" alt="Kristen Stewart and Imogen Poots attend the The Chronology Of Water screening during the 69th BFI London Film Festival. Stewart is wearing a white dress, Poots is wearing a dark purple dress, stood in front of a purple background." title=""The Chronology Of Water" Screening - The 69th BFI London Film Festival" /> Still, she remains casual about her impressive career. When I mention that I'd coincidentally had a "very Imogen Poots" 2025 cinematic run, she smiles – "Someone had it!" she jokes buoyantly, "That's cool." Alongside The Chronology of Water, Poots's last year also included the acclaimed Nia DaCosta adaptation of Hedda and sci-fi romance All of You – both films in which Poots is a standout, "It's actually very special when they are projects that you loved making, and then you get to watch the final film and you like it. It's not always the case. I love all the people I made those projects with, too." But despite her previous notable endeavours, this project rightly seems particularly remarkable for Poots. I ask her what leads to her choosing such interesting roles. "I do think it's really important to remain authentic," she responds. "And that's not to say you can't go and earn money. You have to go and earn money. But I think that there are ways of doing that, and people you can work with. I just am aware more than ever that the choices really do matter. And if you're true with those, you'll end up meeting with people you are actually meant to collaborate with, which is really cool." Towards the end of our conversation, we seem to naturally float towards what may be next for Poots. "When the thing materialises that I want to do next, it'll make sense to me," she says, "I don't really agree with the sense of 'right, the next 18 months, back-to-back projects, hope one of them's a hit!' That doesn't really make sense to me in the way that I live my life. It's always an unknown path ahead, which is part of the draw of all of this." She finishes by likening her approach to future projects to music – "the way musicians make albums". "Are you going to make albums back to back, or are you going to go away and think about what you want to say about the next one?" she asks, rhetorically, "I think that's quite a nice way of thinking about it." The Chronology of Water is available to watch in UK cinemas from Friday 6th February. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Best films to help teach kids about climate change
We break down some of the most important films you can watch with your children to get them thinking about the future of our planet.
Climate change is something which will impact – or is already impacting – just about everyone in the world. But it can be tricky to know exactly how to introduce the many issues it causes to young kids, especially without overwhelming them. That's where cinema can be an especially handy tool. Over the years, a great number of movies aimed at younger viewers have tackled themes connected to the changing environment, and there are therefore bucketloads of options if you're looking to educate children in an accessible and – crucially – entertaining way. From Pixar's beloved 2008 film Wall-E to acclaimed 2024 movie The Wild Robot, animation has proved an especially great medium for exploring these issues, introducing a number of beloved characters and captivating stories that get to the heart of the matter without being too frghtening or didactic. With that in mind, below we’ve compiled a list of some of the best films to help introduce your kids to the ideas of climate change, sustainability and the environment.
Oscar nominations are out – there's just one problem...
Every Oscars season, us film fans are met with the inevitable snubs: from films of certain genres not being considered serious enough, to quiet, brilliant performances being dropped in favour of louder ones that sit within the rigid framework of what the Academy considers 'worthy'. Of course, we’re also then often met by the rogue choices that leave everyone blinking in disbelief at their television screens. (I, for one, received a few surprised texts when one certain Best Picture nominee was read out this afternoon…). This year, however, one particular snub has stuck out like a sore thumb – Mona Fastvold’s The Testament of Ann Lee. And not only was Ann Lee snubbed – it was completely ignored from the nominations list, with its name not falling under a single category in this year’s slate. That’s right. Daniel Blumburg’s staggering, hypnotic score (which I actually have on in the background while writing this) was erased; Woman Clothed by the Sun, one of the most angelic original songs of the year (I challenge anyone to listen to it and try to tell me it’s inferior to any of the five nominees) was blanked, Fastvold’s writing and brilliant direction were both nowhere to be seen. Not even Best Actress, which once seemed the only category Ann Lee could get a look in, served plaudits. It is that latter snub for Best Actress that perhaps is the most shocking. Until about a month ago, Amanda Seyfried receiving an Oscar nomination for pouring her entire heart and soul into playing Mother Ann Lee felt almost inevitable. And yes, while the Best Actress category is undoubtedly stacked this year, Seyfried’s Critics’ Choice and Golden Globe nominations had me convinced that her flawless performance as the founding leader of the Shaker movement would get at least a small nod. To be clear, The Testament of Ann Lee isn’t some kind of niche, underground film that only four of your biggest cinephile friends have seen (not that obscurity would have made its snub acceptable, but you get my point). Instead, the film boasted a fantastic ensemble (with Seyfried joined by the likes of Lewis Pullman and Thomasin McKenzie), a respected director, and a career-best performance in Seyfried – a previous Oscar nominee, no less. Mona Fastvold herself is no stranger to the Oscars. In 2024, she left her creative fingerprints all over The Brutalist, which went on to be nominated for 10 awards at the Oscars the following year – including Best Picture. (Though admittedly, Brady Corbet was the director at the helm of The Brutalist, and the Oscars don’t have the best track record with celebrating female filmmakers). Ann Lee’s complete exclusion is even more surprising given its massive achievement. With such a small budget covering such an epic scope, the cinematography, music, performances and structure all work so deliberately and so uniquely together to create a film that is truly unlike any cinematic experience I have gone through – and it’s a magnificent shame that the Academy considers it unworthy of even the smallest recognition. View Green Video on the source website Of course, the Oscars have never been particularly intelligent in recognising work that does something completely new. Instead, they are so frequently occupied by films that repeat the same patterns, aesthetics and ideas over and over again, largely ignoring those that have the ability to reshape the way we see cinema. Because Ann Lee is billed as a musical about a religious leader, and it does take its risks, it therefore falls out of that comfort zone. But every risk the film takes pays off greatly – and in a cinematic landscape that is made up predominantly of regurgitated remakes and gratuitous sequels, each risk is more than welcome. The film’s huge ambition is what makes it so incredible. Ann Lee may truly be one of the most individual films I have ever seen. On my first watch, I found myself in desperate need to rewind and watch it all over again – and on my second watch, it made me sob – and honestly, even now, I struggle to articulate exactly why. There is just something so unflinchingly raw, strange and beautiful in its craft that it just goes straight through you. And while, yes, it may be less 'accessible' than films such as Hamnet and Frankenstein, such accessibility should not be a measure of its greatness. Now, I’m not saying that Ann Lee should completely sweep the awards board. As much as I’d personally welcome that, it’s an unrealistic expectation. A historical film so deeply concerned with female spirituality, leadership and music perhaps was never going to be an easy sell in an environment that prioritises films that do not favour those things. But to ignore the film completely – this year, the Academy have genuinely left me baffled. (In other, more Ann Lee-related terms, I Hunger and Thirst for the Academy to take this film seriously). The Testament of Ann Lee will be released in UK cinemas on 20th February. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
The Housemaid movie sequel's future confirmed after Sydney Sweeney thriller is box office hit
Get ready, Freida McFadden fans, because it looks like The Housemaid is set to get a sequel. Following the huge box-office success of the first film, which debuted in December last year, Lionsgate has greenlit a follow-up, based on the second novel in McFadden's Housemaid series, The Housemaid's Secret. The first film followed Millie Calloway (Sydney Sweeney), a recently released ex-con who begins working as a live-in housemaid for Nina (Amanda Seyfried) and Andrew Winchester (Brandon Sklenar) – but soon discovers a darker web of secrets behind their perfect facade. The film was a major hit for Lionsgate, making over $75 million domestically in its first 17 days of release and taking in $133 million worldwide. According to Deadline, the sequel has been in development for several months, with Sydney Sweeney and Michele Morrone set to return as Millie and mysterious groundskeeper Enzo, respectively. Director Paul Feig is also set to helm the follow-up, from a script once again written by Rebecca Sonnenshine. McFadden will also serve as an executive producer on the project. View Green Video on the source website Announcing the news, Lionsgate Motion Picture Group Chair Adam Fogelson said: "It’s clear from both the global box office and from the outpouring on social media that audiences have responded strongly – and audibly – to the totally unique and truly theatrical experience of The Housemaid and want to know what happens next. “We believed in these stories from the very beginning, and we are beyond excited to bring the next chapter of Millie’s story to life on-screen in collaboration with our outstanding creative partners Todd, Paul, Laura, Carly, Alex, and Sydney. "The Housemaid’s Secret is another wildly thrilling book in Freida's series that has captivated readers worldwide, and we look forward to translating it into a similarly rousing and riotous moviegoing experience." Read more: Euphoria star Sydney Sweeney gives update on season 3 Sydney Sweeney and Ben Foster reveal how one Christy scene was "ruined" while filming Director Feig added: "It's been thrilling to see audiences around the world fall in love with The Housemaid and the incredible work of our talented cast and crew. "We're lucky that Freida McFadden has already extended Millie’s journey on the page, and that we get to work with Rebecca Sonnenshine and Lionsgate to bring this next story to audiences." While Amanda Seyfried is unlikely to return in a large capacity for the second film, as Nina Winchester does not appear in the second novel, the acclaimed actor did tease a possible appearance. At the 2026 Palm Springs International Film Festival, she told Variety: "I guarantee there will be number 2. And I almost guarantee that I'm gonna be some small cameo in it. "I really want to see how [Millie] keeps Nina Winchester in her pocket, because I will jump the f**k back into that." As of yet, there are no further plot or release date details for the sequel, although the second book of McFadden's series sees Millie taking a new cleaning job for a new family, including wealthy businessman Douglas Garrick and his wife Wendy. Notably, the ending of the first film already hinted at the beginning of the next chapter, with Millie interviewing for a new housemaid job with an unsettling new housewife. As for how things will unfold for her, well, audiences will just have to wait and see. The Housemaid is now showing in cinemas. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Stranger Things bosses "not trying to shock" with "surprising" finale as they address Steve's fate
The finale is set to be released on New Year's Day in the UK.
There's only one episode of Stranger Things left, and creators Matt and Ross Duffer have teased how things could wrap up for the Hawkins kids. Fans have recently been speculating about a certain trailer in which Steve (Joe Keery) says to Dustin (Gaten Matarazzo) that he is ready to die. And, speaking to The Hollywood Reporter, the Duffer brothers responded to such speculation. "People are always worried about Steve," said Ross. "It doesn’t matter. We could have put nothing in the trailer and people would still be freaked out about Steve," added Matt. When asked about how worried fans should be about the fate of their favourite characters, including Steve and Hopper (David Harbour), Matt said: "It’s not Game of Thrones. We’re not in Westeros. "I love Game of Thrones, but it’s just a very different type of show than that. There’s not going to be a Red Wedding situation. "I think some things happen in the finale that are very surprising, but we’re not trying to shock or upset anyone. I hope by the time people get to the end of the finale that it just feels like there’s something inevitable about what happens, and that it doesn’t feel painful but feels satisfying." He continued: "We’ll see. But as for Steve’s fate. I don’t know. I can’t say. It would be the next logical step. He keeps getting beaten up more and more. The only way we could take it further is death." Read more: Stranger Things season 5 volume 2 ending explained: What actually IS the Upside Down? Stranger Things creators confirm what actually just happened with Nancy and Jonathan The finale, which is set to air on New Year's Eve in the US and the following morning in the UK, will see the kids of Hawkins preparing for one last showdown with Vecna (Jamie Campbell Bower), as they try to destroy his "ultimate plan" to reshape the world using twelve children he considers the "perfect vessels". With the stakes higher than ever, there could be serious consequences for several fan favourites. So, will Steve be safe? Will Hopper? There's no telling just yet. But with no major character deaths thus far in this final chapter, fans are eagerly anticipating the conclusion of this decade-long sci-fi saga. Stranger Thing season 5 will conclude on New Year's Day. Add Stranger Things to your watchlist on the <a id="OWA8b702c45-bee9-94e4-f018-57518e78041b" title="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" href="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" target="_blank" rel="noopener noreferrer" data-outlook-id="449c28d9-909e-4aab-b6b8-153454f55d5e" data-auth="NotApplicable" data-linkindex="0">Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Sci-fi coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Pluribus season 2 gets release update from series creator – and it's not good news
With acclaimed sci-fi series Pluribus having now wrapped up its first season on Apple TV, creator Vince Gilligan has addressed when we might expect the second season to be released – and it seems like fans could have quite the wait on their hands. The series has emerged as one of the biggest hits of the year, having earned two nominations at the Golden Globe awards, and follows follows novelist Carol Sturka (Rhea Seehorn), the seemingly sole survivor of an alien virus that transforms the rest of humanity into a hive mind. Speaking to Entertainment Weekly about the progress of season 2, Gilligan admitted that development is moving slowly. He explained: "We're working on it. It takes us a while. I would love to go faster if I could." Executive producer of Pluribus, Gordon Smith, added: “You know how on a timeline, there's usually an arrow that points towards infinity? "Well, I think we're on the arrow somewhere.” At present, there is no set start date for filming on season 2. According to Forbes, production isn't set to begin until at least spring of 2026, meaning there will likely be a significant gap between the two seasons. The possibility of a lengthy wait for the second season might not prove that surprising for fans, with long hiatuses between seasons of television becoming increasingly common – often due to high expenses and overlapping cast schedules. Recently, Gilligan also spoke to RadioTimes.com about the pressure of following up his acclaimed shows Breaking Bad and Better Call Saul with a completely new project. He explained: "I'm very much feeling the pressure. It would have been safer doing something else in the Breaking Bad universe. "And I was tempted, because I love that world so much. I loved writing for Walter White. Read more: Pluribus star Rhea Seehorn reacts to shocking finale twist: "I wanted to throw up" Pluribus ending explained: Cast break down every twist and reveal "But I just wanted to prove to myself that I wasn't necessarily a one-trick pony, and I wanted to write a good guy after about 20 years... "But now, after almost 20 years of that, I'm thinking, 'How do I break free of things I've been doing?' And I figured it was time for a change." For now, fans of Pluribus will just have to exercise their patience while they wait for Gilligan and co to finish up the next chapter – and at least season 1 is still there to watch on repeat. Pluribus is available to stream on Apple TV. Add Pluribus to your watchlist on the <a id="OWA8b702c45-bee9-94e4-f018-57518e78041b" title="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" href="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" target="_blank" rel="noopener noreferrer" data-outlook-id="449c28d9-909e-4aab-b6b8-153454f55d5e" data-auth="NotApplicable" data-linkindex="0">Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Sci-fi coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Brigitte Bardot, French film legend and activist, dies aged 91
The news was announced today (Sunday 28th December) by the Brigitte Bardot Foundation.
French screen legend-turned activist Brigitte Bardot has died at the age of 91, it has been announced. Today (Sunday 28th December), the Brigitte Bardot Foundation announced in a statement sent to Agence France-Presse: "The Brigitte Bardot foundation announces with immense sadness the death of its founder and president, Madame Brigitte Bardot, a world-renowned actress and singer, who chose to abandon her prestigious career to dedicate her life and energy to animal welfare and her foundation." As of yet, further details surrounding Bardot's death have not been announced. Born in 1934 in Paris, Bardot – also often referred to by her initials BB – rose to international stardom in 1956, with the film And God Created Woman, where she played Juliette, a hedonistic 18-year-old orphan living in 1956 San Tropez. This film made Bardot an international sensation, pushing the boundaries of the representation of sexuality in American cinema and earning Bardot sex symbol status. Over the next two decades, Bardot became one of the most famous faces in European cinema. She went on to star in 1960's The Truth, which earned her a David di Donatello Best Foreign Actress Award, Le Mépris/Contempt (1963), Viva Maria! (1965), for which she was nominated for a BAFTA, Two Weeks in September (1967), Women/The Vixen (1969), The Legend of Frenchie King (1971) and many more. In total, Bardot appeared in over 45 films before her retirement. Alongside her screen career, Bardot also found success as a singer, recording more than 60 songs. Most of the songs she recorded were in collaboration with with Serge Gainsbourg, Bob Zagury and Sacha Distel. In the early 1970s, Bardot announced her retirement from acting and instead moved into the political sphere, with her primary focus becoming animal rights. She created the Brigitte Bardot Foundation, and was a major opponent of the consumption of horse meat. She was a member of the Global 500 Roll of Honour of the United Nations Environment Programme and received several awards and accolades from UNESCO and PETA. Bardot has also been met with her fair share of controversy, having been fined six times for inciting racial hatred, when she criticised immigration and Islam in France and called the residents of Réunion "savages". Across the course of her life, Bardot was married four times, to Roger Vadim, Jacques Charrier, Gunter Sachs and Bernard d'Ormale. She is survived by her son Nicolas-Jacques Charrier, and two grandchildren.
Scarlett Moffatt reveals why she'll "probably never" appear on Strictly's main series after Christmas win
"Getting to be part of the Christmas special means everything to me."
Having now lifted the Strictly Come Dancing Glitterball on Christmas day alongside Vito Coppola, reality star Scarlett Moffatt has opened up about why she is unlikely to ever appear on the main edition of the beloved BBC dancing show. The dancing pair emerged victorious on Christmas Day, performing a Cha Cha to Cher's DJ Play a Christmas Song which received a perfect score of 40 from the judges, as well as topping the vote from the studio audience. Just days before her win, Moffatt took to Instagram to share a heartfelt video to her fans, showing some of her favourite dance moments from her childhood, as well as behind-the-scenes moments from rehearsals and her time on the Strictly set. In her caption, Moffatt explained that her dancing background would likely prevent her from appearing on the main version of the series. She wrote: "I know I’ll probably never get to dance on the main Strictly series because of my past dance experience when I was a little girl so getting to be part of the Christmas special means everything to me. "School wasn’t always easy for me, but dance was my safe place. It’s where I found my people, where I felt happiest, and where I could just be me." While not an official rule, fans of Strictly will know that contestants with extensive dance experience are often not featured on the main show, as to keep the competition fair. However, some celebrities with prior theatre experience have competed on the show, such as Lewis Cope and Layton Williams. The former Gogglebox star went on to reflect on how much she had enjoyed her experience dancing on Strictly, adding: "Dancing on the Strictly Christmas Special, on Christmas Day, feels like a true bucket-list moment — one of those wishes you make quietly and never really expect to come true. Read more: Robert Webb reveals why he's not competing in the Peep Show Bake Off special with Olivia Colman and David Mitchell Love Is Blind UK casting producer reveals efforts to bring everyone’s love stories to the screen – and why diversity matters in all areas of TV "I am so grateful to share this moment with my family, my friends, Vito and everyone watching at home & this will forever be one of the greatest days of my entire life." Moffatt initially rose to fame on Channel 4's Gogglebox, and later was crowned Queen of the Jungle on I'm a Celebrity...Get Me Out of Here!. Strictly Come Dancing is set to return in 2026 – however, now without long-serving presenting duo Tess Daly and Claudia Winkleman, who have now stepped down from their hosting duties. As for who will be replacing them, fans will just have to wait and see. Strictly Come Dancing is available to watch on catch-up on BBC iPlayer. Check out more of our Entertainment coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
The Housemaid ending explained: Does it differ from the book?
A house isn't always a home – especially in The Housemaid. Let's break down that twist.
*Warning: Full spoilers for The Housemaid ahead* The film adaptation of Freida McFadden's best-selling novel The Housemaid has finally landed in cinemas – and with a star-studded cast including Amanda Seyfried and Sydney Sweeney, and a four-star review from RadioTimes.com ourselves, it's safe to say anticipation for the psychological thriller has been high. Following the events after ex-con Millie Calloway (Sweeney) is hired to work as a live-in housemaid for Nina Winchester (Seyfried) and her husband Andrew (Brandon Sklenar), it soon becomes clear that something isn't quite right in the Winchester home. So, what's really been going on in that house? And does Millie make it out alive? Read on for your full breakdown of the intense final scenes of The Housemaid – but be warned, non-book readers, for there are major spoilers ahead. The Housemaid ending explained Across the entire first half of The Housemaid, we’re led to believe that Nina Winchester is at least slightly unhinged – from destroying her own kitchen to forgetting entire conversations, and generally making Millie Calloway’s new life hell. By the time Andrew decides he wants to leave her for Millie, we’ve also learned that she spent time in a psychiatric hospital for attempting to drown her own daughter. So – what’s really going on with Nina? Is she unstable? Does she just despise Millie for coming in and replacing her role in Andrew’s life? No. Of course not! In reality, Nina is a survivor – and a very good actress. She’s been faking everything – the tantrums, the short-term memory, the lot. And following a spectacular screaming-that-turns-into-laughing scene (an elite cinematic trope) from Amanda Seyfried, Nina drives to a hotel, pops open a bottle of champagne and launches into a monologue that reveals the entire truth behind her facade. As it turns out, Andrew Winchester isn’t such a nice guy after all (to be honest, that became pretty obvious when he left his wife after five minutes for the girl she hired to work for them) – in fact, he's far from it. Soon after Nina married Andrew, when Cecelia was just a baby, Andrew’s perfect smile started to turn sinister. What first started as married bliss quickly turned terrifying when Andrew started to lock Nina in the attic for days on end for taking advantage of the things he considered to be “privileges” – like failing to maintain her perfect blonde roots. When Nina finally escaped the attic and tried to leave Andrew, he drugged her, called the police and staged the scene to look like Nina attempted to drown her daughter and then tried to take her own life by overdosing. Realising that nobody would believe her pleas for help, Nina, therefore, purposefully engineered the entire plot so she and her daughter could be free of her evil husband – and hired her new housemaid to be her replacement. So, what does all of this mean for Millie? Well, after accompanying Andrew to dinner and a Broadway play (with a Lana Del Rey Cinnamon Girl needle drop, of course) and later sleeping with him – Millie thinks she’s won the domestic lottery; moving from ex-con to rich housewife in a matter of weeks. But her new life quickly collapses, and after accidentally smashing a couple of plates from Evelyn’s beloved china set, Millie finds herself locked in the attic, just as Nina had done all those times before. From outside the door, Andrew instructs Millie to use these china shards to cut 21 lines into her stomach. And, after hours of pleading and even more hours without food, she eventually gives in. When Andrew comes to release her, a bloodied Millie overpowers him, stabs him in the neck and locks him in the room. It’s then that Millie decides to play a little game of her own. She slides a pair of pliers under the door and instructs Andrew to pull out his front tooth – which, excruciatingly, he does (props to the sound design team for that moment, honestly). As for where Nina is during all of this, she’s busy planning her escape to California with Cecelia. The two are sat in a diner preparing their new life when Cece says something that has Nina feeling guilty – “What about Millie?” With that, Nina returns to the Winchester house and rushes straight up to the attic to rescue Millie, not realising that Andrew is actually the one locked inside the room. Andrew attacks Nina and Millie, apparently causing Millie to flee, before he has a showdown with his wife right above the spiral staircase. Just as Andrew is about to kill Nina, Millie reappears and pushes him over the edge of the staircase, killing him. Nina lies to the police, saying Andrew died in an accident changing a lightbulb, and, despite the inconsistencies in her story and Andrew’s missing tooth, the policewoman (who reveals herself to be the sister of Andrew’s previous fiancée) chooses to sweep everything under the rug. After Andrew’s funeral, Nina and Cecelia move to California, and Millie attends an interview for a second housemaid job, where a new housewife with bruises on her wrists says that Nina recommended her. “Can you help?” the woman asks, picking up a knife. And fingers crossed we’ll get a sequel – because I for one would love to see exactly what “help” Millie can offer up next. Is the ending of The Housemaid film different to the book? Yes – and no. Much of the storyline is the same, with Nina revealed to have been lying about her instability and having constructed the whole story to save herself. However, there are some differences in the climax. In the book, Andrew does not instruct Millie to cut herself with the shards of china – instead, he tells her to balance multiple heavy books on her stomach for several hours. Millie’s retaliation is also stronger, as in the book she forces Andrew to pull out four of his own teeth, not just one. The events of Andrew’s death also largely differ between the two mediums. In the book, instead of being pushed from the staircase, Andrew dies of dehydration in the attic as a direct result of Millie’s actions and does not have a final, cinematic showdown with Nina. The Housemaid by Freida McFadden is available now The film also reduces the role of Enzo the groundskeeper, who in the book had an intimate relationship with Nina and had a larger part in the events leading up to Nina’s plan. This change allowed for a closer bond between Millie and Nina to be developed in the film’s final act. Despite these tweaks to the source material, though, The Housemaid is still an extremely faithful adaptation of Freida McFadden’s bestselling novel – and, crucially, is a mega fun watch. The Housemaid is now showing in cinemas. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
The Housemaid cast: Who stars in new thriller alongside Sydney Sweeney and Amanda Seyfried?
It's finally time to step inside the home of the Winchesters.
There is perhaps no better way to spend the festive season this year than sitting down to watch The Housemaid – which is arriving in UK cinemas later this month. The film follows Millie Calloway, a young woman who takes a job as a live-in housemaid for Nina and Andrew Winchester, a wealthy couple who Millie quickly begins to suspect have something darker lurking behind their picture-perfect surface. The hotly-anticipated film is based on the best-selling novel of the same name by Freida McFadden and boasts a very impressive cast, which includes the likes of Sydney Sweeney, Amanda Seyfried and Brandon Sklenar. So, if you're wondering who's who in The Housemaid – here's everything you need to know. The Housemaid cast: Who stars alongside Sydney Sweeney and Amanda Seyfried? You can find a full list of all the main players in The Housemaid below. Sydney Sweeney as Wilhelmina 'Millie' Calloway Amanda Seyfried as Nina Winchester Brandon Sklenar as Andrew Winchester Indiana Elle as Cecelia 'Cece' Winchester Michele Morrone as Enzo Elizabeth Perkins as Evelyn Winchester Megan Ferguson as Jilianne Ellen Tamaki as Patrice Sydney Sweeney plays Millie Calloway Who is Millie Calloway? Millie is a young woman with a troubled past who is delighted when Nina Winchester offers her a job as a live-in housemaid. What else has Sydney Sweeney been in? Sweeney is best known for playing Cassie Howard in HBO teen drama Euphoria, a role she will soon be reprising. She has also been seen in an eclectic range of films, including Reality, Once Upon a Time in Hollywood, The Voyeurs, Eden, Madame Web, Immaculate, Anyone But You and Echo Valley. On TV, she has also had roles in Sharp Objects and The Handmaid's Tale. Earlier this year, she starred as iconic boxer Christy Martin in the biopic Christy. Amanda Seyfried plays Nina Winchester Who is Nina Winchester? Nina is the wealthy housewife who hires Millie to work in her house. Millie quickly begins to suspect that Nina harbours some dark secrets. She is Cecelia's mother, and is married to Andrew Winchester. What else has Amanda Seyfried been in? Named one of the 100 most influential people in the world by Time in 2022, Seyfried's breakthrough role was as the iconic Karen Smith in Mean Girls in 2004. Since then, her film roles have included the likes of Jennifer's Body, Chloe, In Time, Red Riding Hood, Dear John and Mank – the latter of which earned her an Oscar nomination. She has also starred in the acclaimed film adaptations of beloved musicals Mamma Mia and Les Misérables. On the small screen, Seyfried has led series such as The Dropout (a performance that won her a Golden Globe and an Emmy award) and Long Bright River. Seyfried will next be seen in the upcoming historical musical drama The Testament of Ann Lee, for which she is already being tipped for awards recognition. Brandon Sklenar plays Andrew Winchester Who is Andrew Winchester? Nina's husband, who shows kindness towards Millie when she begins working at the house. What else has Brandon Sklenar been in? Sklenar starred in another book-to-screen adaptation, It Ends with Us, last year, but has also had roles in Drop, The Big Ugly, Vice and Mapplethorpe, among others. Michele Morrone plays Enzo Who is Enzo? The mysterious groundskeeper who works at the Winchesters' home. What else has Michele Morrone been in? An Italian actor and singer, Morrone's breakout role was that of Don Massimo Torricelli in the erotic thriller film series 365 Days. He's also starred in Subservience and Another Simple Favour. View Green Video on the source website Indiana Elle plays Cecelia 'Cece' Winchester Who is Cecelia 'Cece' Winchester? The Winchesters' daughter. What else has Indiana Elle been in? Aside from The Housemaid, which is her first big role, Elle has had small parts in No Good Deed, Lessons in Chemistry and I Love LA. Elizabeth Perkins plays Evelyn Winchester Who is Evelyn Winchester? Andrew's mother. What else has Elizabeth Perkins been in? Perkins is known for her roles in films like About Last Night, Big, Enid Is Sleeping, The Flintstones, Miracle on 34th Street, Moonlight and Valentino and Hop, in addition to her three-time Emmy-nominated role in Showtime series Weeds. The Housemaid is also something of a reunion for Perkins and Sweeney, who also both starred in psychological thriller series Sharp Objects. The Housemaid will be released in UK cinemas on 26th December. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Sydney Sweeney and Ben Foster reveal how one Christy scene was "ruined" while filming
Sydney Sweeney and Ben Foster shared how one particular tiny cast member derailed a moment on set.
Christy Martin's self-titled biopic Christy is now available to watch in UK cinemas several weeks after its US release, telling the inspiring and, at times, deeply harrowing story of Martin, who rose to boxing stardom in the '90s and early '00s – and does not shy away from depicting the most intense parts of Martin's life. Euphoria star Sydney Sweeney leads the cast, and gives a career-best performance as the titular boxer. She is joined by actor Ben Foster, who plays Christy's ex-husband James V Martin – who was convicted of the attempted second-degree murder of his wife in 2010. Among the film's gentler presences are Christy Martin's Pomeranian dogs – one first named Casey, and now, one named Champ – the latter of whom is often pictured with Martin at premieres and other public events. And it appears that the canine certainly made his presence known behind-the-scenes of Christy, as Sweeney and Foster shared in an exclusive interview with RadioTimes.com. Foster recalled: "Christy and I didn't speak on set, and that's very appropriate. But I'll say that a beautiful backwards compliment was that she was nearby in a scene holding Champ, the real dog. "And when I walked in, the dog ruined the take by barking over [Sweeney's] dialogue. "And I was like, 'Oh okay, good. It's making people uncomfortable in the right ways'." Smiling, Sweeney added: "The dog knew." Sweeney herself also shared some of her memories working with the dog actor in the film and who, as it seems, had very little interest in stardom. "The dog did not wanna bond with anyone," Sweeney laughed. "This dog was not aware that the dog was in a movie. "Honestly, the shot when I'm like shadowboxing outside the trailer. We got so lucky that Casey stayed in frame, because the dog did not want to be in any scene, unfortunately. "Casey thought she was just there for more friends and just wanted to hang out." She also added: "I think the dog was the wrong gender. I can't pinpoint exactly, but I want to say the dog was the wrong gender for the film, but it was the only dog who looked like [her]." Read more: Euphoria star Sydney Sweeney gives update on season 3 Sydney Sweeney stars in first look trailer for "sexy, seductive" film based on mammoth best-seller Sweeney further shared that Christy Martin "visited set a lot" throughout the making of Christy, and the two of them became "real good friends" as filming went on. Martin herself has lavished praise on Sweeney's performance in the film, telling Flickering Myth: "She did a great job." She continued: "What's interesting that maybe a lot of people don't know is that [Sweeney] actually has an MMA background from when she was a teenager. So she already has that competitive spirit. The boxing, she enjoyed." Christy is out now in UK cinemas. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Christy director reveals why Sydney Sweeney was the right choice to play iconic boxer
Christy Martin is one of the most influential female boxers of all time – and Sydney Sweeney is taking on her legacy for a new biopic.
Christy Martin's story is one that seems to have been patiently waiting to be told – and now, with the release of biopic Christy later this month, the time has come. The film follows Martin from her early years in West Virginia to her swift rise to the Boxing Hall of Fame, including her attempted murder at the hands of husband James V Martin. Sydney Sweeney – best known for her roles in Euphoria, The White Lotus and Madame Web, among many others – takes on the titular role. In an exclusive interview with RadioTimes.com, Christy director and co-writer David Michôd and writer Mirrah Foulkes opened up about bringing Martin's story to the big screen, and why Sweeney was so right for the role. "There was something deeply exciting about the idea of Sydney Sweeney bringing [Christy] to life," Michôd said. "I'd seen what she could do as an actor and I knew that was going to be a massive journey to bring that character to life, it would be a massive journey for an actor." "And she was so up for it, which was great," Foulkes added. The duo went on to share their favourite moments of Sweeney's performance in the film, with both citing boxing sequences. Foulkes said: "I have one particular moment, which isn't a spoiler, which is quite early in the film, and it's when she has her first professional knockout in the ring. "And it's one of my favourite moments in the film. Sydney just does this sort of gorgeous, innocent, surprised smile, and it feels so of Christy – not Christy now, but Christy as a young woman – in terms of just this ball of excited energy, and shock that she's found something that she just happens to be so good at – knocking women out. "I remember seeing that on the day and going, 'there she is, there's Christy Martin.'" Read more: Sydney Sweeney stars in first look trailer for "sexy, seductive" film based on mammoth best-seller Sydney Sweeney details major body transformation for boxing biopic – gaining 30lbs for role Michôd echoed similar moments in the film, adding: "I love those moments too. I really like all the fighting in this movie. Each fight has its own personality, and is a reflection of who Christy was at that moment in her life. "You know, it starts off as this beautiful, innocent, 'I can't believe I've just knocked someone out,' and then next thing you know, because of stuff that's going on outside the ring, suddenly her fighting is full of rage. "And then her finding a kind of peace in the fighting. It's strange that when she's in the ring and she's pummelling another woman in front of millions of people, she's found a serenity in the middle of it all." It's hardly a surprise that Foulkes and Michôd saw the actor completely immerse herself in the role. Sweeney has already been vocal about her transformative journey to play Christy Martin, revealing that she gained more than 30 pounds to fully embody the athlete. In an interview with W Magazine back in June, she explained: "My body was completely different. I didn't fit in any of my clothes. I'm usually a size 23 in jeans, and I was wearing a size 27. "It was crazy! I was like, 'Oh my god.' But it was amazing. I was so strong, like crazy strong." Alongside Sweeney, Christy also stars the likes of Ben Foster as Christy's husband James V Martin, Merritt Wever as Christy's mother Joyce, Ethan Embry as Christy's father John Salters, Chad L Coleman as Don King and Katy O'Brian as Lisa Holewyne. Christy will be released in UK cinemas on Friday 28th November. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Bugonia ending explained: Was Emma Stone's Michelle an alien all along?
Put on your tinfoil hats – it's time to unpack Bugonia's final twist.
There’s a strong potential that Yorgos Lanthimos’s fourth project with Emma Stone might be their best yet – and with Bugonia now available to watch in cinemas, it feels like only a matter of time until the awards start rolling in. Based on the 2003 Korean film Save the Green Planet!, Bugonia follows two conspiracy-theorist cousins who become convinced that a powerful pharmaceutical CEO is actually a member of an alien race known as Andromeans. The ending of the film is a rollercoaster of absurd twists and turns, all of which culminate in an intense, and potentially hopeless, climax. So, if you want a recap of those final moments – or you haven’t actually seen the film and you just want to find out if Michelle was an alien or not, which is equally as valid – read on for your full breakdown. Bugonia ending explained: Was Emma Stone's Michelle an alien all along? So, after kidnapping a CEO, shaving her head, slapping her, bathing her in body lotion and accusing her of being an alien, it’s fair to say that Michelle Fuller (Emma Stone) is pretty much over the whole ordeal. After giving her some sort of disturbing electroshock therapy (in a scene that is particularly difficult to watch, might I add), kidnapper Teddy (Jesse Plemons) decides that not only is Michelle an Andromedan, she’s also an Andromedan empress. And, not wanting to disrespect the ruler of this extra-terrestrial race any more than he already has, allows her to wash, dress and eat a spaghetti dinner with him and his cousin Don (Aidan Delbis). During the meal, though, it becomes apparent that Michelle and her company were directly involved of the physical decline of Teddy’s mother Sandy (Alicia Silverstone), resulting in her falling into a coma. The dinner party soon unravels into chaos, culminating in a fight between Teddy and Michelle, during which Michelle stabs Teddy with a fork. The confrontation is interrupted when Casey (Stavros Halkias), the creepy local Sheriff, knocks on the door, looking for any evidence that could help find out what has happened to Michelle. Don takes Michelle back down to the basement, while Teddy and Casey chat. Michelle offers to help Don and protect him from prison if he lets her go free, but instead, Don shoots himself in the head and dies. Hearing the gunshot, Teddy kills Casey and rages at Michelle. Michelle tells Teddy that the bottle of anti-freeze she keeps in her car is actually a specific Andromedan medicine that will wake up his mother, and in a panic, a frantic Teddy rushes to the hospital and injects his comatose parent with the liquid which, obviously, turns out to just be anti-freeze. Meanwhile, back at the house, Michelle discovers that this isn't Teddy's first rodeo – in the past, he has kidnapped and killed multiple other people he deemed to be Andromedan. Responding to the anti-freeze, Sandy dies, and a now-furious Teddy rides his bike back to the house to, once again, confront Michelle. Wanting to save herself, Michelle seemingly confesses to being an Andromedan, and launches into a lengthy monologue about how the Andromedans came to Earth and created humanity, but soon became dejected with how humanity progressed. Michelle claims her goal is now to help humanity overcome their violent nature. Michelle then agrees to take Teddy to the Andromedan headquarters. She instructs Teddy to drive her to her office, where she claims that her walk-in wardrobe is actually a transporter that will beam them up to the Andromedan homeland after she types a lengthy code into a calculator. Teddy, revealing himself to be wearing a homemade bomb, gets in the closet and, moments later, when the bomb detonates, is blown to pieces. Michelle is taken into an ambulance, and all seems OK. She's escaped the conspiracy theorists, survived the explosion, and she’s a human. Right? Wrong, because in one final twist, Michelle drags herself out of the ambulance, crawls back to her office and into her closet, where she then gets transported up into the Andromedan mother ship. That's right folks – Michelle was an alien all along. We are then shown a rather surreal sequence of Michelle discussing the fate of humanity with her fellow Andromedan senate. They eventually conclude that, unsurprisingly, humanity is not worth saving. Michelle pops a bubble, and we are then treated to a brilliantly haunting scene of every human being on earth, dead. The film ends where it began, with bees returning to a now human-less earth. What is the message of Bugonia? There are likely several moral threads one could draw from Bugonia – the critique of big corporate power, the question of whether humanity is worth saving, the blurring of lines between good and bad. Perhaps the most obvious, though, how easily humans can dehumanise each other – and how far we’re willing to go to prove ourselves right, even at the cost of our own morality. There is, perhaps, a complexity to this message, though. For if Michelle was an alien all along, does this revelation actually justify Teddy’s cruelty and violence towards her? Or does it instead highlight the idea that even if what we do is “correct”, our actions can still be evil? What if Michelle wasn’t an alien, and Teddy had just kidnapped a regular, human woman? Yes, perhaps her big-evil corporate actions would still be still wrong, she’d still have been complicit in the harm of Teddy’s mother – but would that mean she deserved what she got? While watching those final 10 minutes of the film, I couldn’t help but wonder if this alternative ending would have been somewhat more effective. Whichever way you take it, Bugonia’s ending is likely one that we’ll all be picking apart for a very long time – and is certainly a film that demands a second viewing once you know how it's all going to end. Bugonia is now available to watch in UK cinemas. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
It: Welcome to Derry review – Blood-soaked prequel has its frights, and its flaws
Pennywise is back – this time, in a prequel series.
This review is based on the first five episodes of It: Welcome to Derry. As a lifelong Stephen King fan – with over 30 of his books in my collection and almost every film adaptation watched – you can probably imagine how excited I was when I heard that HBO was creating a prequel series to the It film series. A potential origin story of Pennywise the Dancing Clown, with Bill Skarsgård himself set to return? Yes please. The 2010s It movies, while obviously not perfect, always held something of a soft spot in my heart. Maybe it's because of the stellar cast, led as children by the likes of Sophia Lillis, Jaeden Martell and Finn Wolfhard, and as adults by Jessica Chastain, James McAvoy and Bill Hader, who managed to tap into King's iconic original universe in a way that was so wonderfully unsettling – from screaming in blood-soaked bathrooms to investigating monster-infested sewers. I went into It: Welcome to Derry with high hopes, and while the pay-off was far from a flop, it didn't quite reach the heights of its predecessors. The series follows a similar premise to the original films, only this time set in the 1960s. A kid goes missing and a bunch of other kids try to work out what's happened to him, only to discover that a certain ancient alien presenting most commonly in the form of a dancing clown is behind everything. Where this series differs, though, is with its adult characters. Several of them are the parents of the Derry kids, who also find themselves embroiled in their children's nightmares, while others – including a group of marines – are trying to end Pennywise for good. It's a strong set-up. And there's certainly a lot to enjoy in the series. The opening sequence, for example, is particularly stand-out. Without spoiling anything, it's remarkably nauseating, atmospheric and easily one of the best scenes across the first five episodes – making a solid return back to the monstrous horror that made the town of Derry so terrifying in the first place. The show is also visually impressive. Set in the '60s, there's enough to admire in the set and costume design, with the pastel hues of domestic suburbia juxtaposing against the literal horrors lurking under the surface of Derry – it's intelligently crafted. Notably, the opening credits are also hugely eerie – accompanied by a lullaby that sets the scene for scary before the action's even really kicked off. The problems arise, predominantly, with the characters. While some, like Lilly (Clara Stack) and Will (Blake Cameron James) have enough development across the episodes to resonate with, a large portion of the characters just simply don't land. Several are underdeveloped, underused and borderline uninteresting, with not enough time spent on them to make us care about their fates or even really remember their names. If the It films made us fall in love with the Losers Club in only two films – it's fair to question why Welcome to Derry struggles to do so over the course of a season. The plot itself also isn't the cleanest. With so many characters and storylines weaving together, from the kids, to the marines, to telepathic Dick Hallorann, to the parents, to the origins of Pennywise, the narrative can at times feel a little cluttered, unable to decide exactly which storyline is the most important and struggling to find a through-line between them. (Though there still may be time to repair this issue in the final three episodes.) Welcome to Derry does have all the tropes of a successful horror – enormous gore, dark rooms, childhood trauma. At times, it's guaranteed to make you jump. When the show leans into the uncanny – a creepy stranger following you around a supermarket, or having a conversation with a friend who's suddenly stopped blinking – the scares are massively effective, and truly skin-crawling. There are times, though, that it shifts into overexposure – revealing far too much of the alien and, in doing so, losing its fear factor. Because, really, is anyone actually that scared of a CGI monster-baby with multiple heads? I'm not sure. What I do know is that the show is far more effective when it's not trying to do too much, because ultimately, the more we see of It, the less frightening he becomes. Another of the show's strengths lies within its connections to the wider Stephen King universe. From nods to Shawshank Prison to an unexpected role for telepathic Dick Hallorann from The Shining (this time played by Chris Chalk), the Easter eggs are well handled. They don't solely serve as forceful, distracting fan service, but are cleverly connected to the storyline, and I'm excited to see how much further the references could go. (If we could get a glimpse of Rose Madder or Desperation in there somewhere, I'd be elated, but that's probably asking for too much). Of course, Bill Skarsgård is just as inhumane as ever as Pennywise – with his characteristic iconic grin and creepy, inflection-filled voice. And although his appearances in the show aren't exceptionally frequent, his monstrous presence is large, and you're always left awaiting his arrival. Skarsgård constantly remains the true horror of the show, even when he's not on screen. Taylour Paige's performance as protective mother Charlotte Hanlon was another standout. While not unexpected – this is the same woman who played Zola, after all – Paige's character remains one of the most interesting in the show, and despite not having the largest role in early episodes, what she does bring is compelling, and I look forward to seeing what the show does with her character beyond the first half. So, while Welcome to Derry perhaps isn't quite the nightmare I was hoping for, it's also not a total disappointment. For horror fans, and those who consider themselves to be Constant Readers (apparently that's the name of Stephen King's fandom), it will likely scratch an itch, especially as we head into the Halloween season. But if you're tuning in to Welcome to Derry and expecting to return to exactly the same sewers as It Chapters 1 & 2, perhaps you won't be floating too. It: Welcome to Derry is coming to Sky Atlantic and NOW on Monday 27th October 2025 – sign up for Sky TV. Check out more of our Sci-fi coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast. Add It: Welcome to Derry to your watchlist on the <a id="OWA8b702c45-bee9-94e4-f018-57518e78041b" title="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" href="https://www.radiotimes.com/download-the-app/?af_xp=custom&pid=website&c=editorial_content&is_retargeting=true&af_reengagement_window=30d" target="_blank" rel="noopener noreferrer" data-outlook-id="449c28d9-909e-4aab-b6b8-153454f55d5e" data-auth="NotApplicable" data-linkindex="0">Radio Times: What to Watch app – download now for daily TV recommendations, features and more.
Maika Monroe says The Hand That Rocks the Cradle remake is a "completely different movie" to original
The '90s cult classic thriller has been given the remake treatment with a certain scream queen at its helm.
It's been over 30 years since The Hand That Rocks the Cradle was released in all of its suspenseful, baby-stealing, white picket fence glory – and in the years since its release, the story about a vengeful nanny out to confront the family she believes stole her life has earned itself a cult following. Now, The Hand That Rocks the Cradle has been given the remake treatment, with the latest iteration of the domestic psychological thriller now available to watch on Disney+ in the UK – this time with It Follows and Longlegs star Maika Monroe stepping into the central role originated by Rebecca De Mornay. The remake appears to have a darker premise than its predecessor, this time around being described a horror-thriller, which is probably no surprise, given that Monroe has top billing on the film. While promoting her other upcoming film Reminders of Him during an exclusive chat with RadioTimes.com – the first trailer of which has just been released – Monroe spoke about how the new rendition of The Hand That Rocks the Cradle differs from the original, and reflected on the process of reinventing the classic. "The movie we made is a completely different movie," explained Monroe. "I mean, it's called a remake but we were not remaking a movie. "Really the only similarity is that there's a nanny that shows up and wreaks havoc on a family, but beyond that it's completely different characters. "So that felt nice that we weren't trying to copy. It felt very fresh and current." Although in this version, the eerily furtive nanny's name may be Polly and not Peyton, taking on a role that was so closely associated with De Mornay's iconic performance could have easily become an exercise of imitation for Monroe – so how did she approach it? "You know, I watched the original and I think what Rebecca did was so iconic," she said, "And my god, you know, just trying to honour that, but also, you know, just trying to do your own thing [was important]." Alongside Monroe, the film stars Mary Elizabeth Winstead as Caitlyn Morales, Raúl Castillo as Miguel Morales, Caitlyn's husband, and Mileiah Vega as Emma Morales, Caitlyn and Miguel's daughter. There are also roles for Martin Starr, Riki Lindhome and Shannon Cochran. And with the film now available to stream, whether you're a fan of the original or not, it's certainly set to be a fun, if mildly unsettling, watch for the Halloween season. The Hand That Rocks the Cradle is available to watch on Disney+. You can sign up to Disney+ from £5.99 a month now. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
Maika Monroe teases her role in film of Colleen Hoover's Reminders of Him as first trailer drops
As the first trailer for Reminders of Him is released, lead actress Maika Monroe exclusively shares how she brought Colleen Hoover's complex heroine to life.
Since her acclaimed breakout role in It Follows in 2014 (which is soon getting a sequel I'm already seated for), California native Maika Monroe has rightfully earned her spot as the 2020s’ answer to Neve Campbell or Jamie Lee Curtis – a modern-day scream queen. From starring in Longlegs, the scariest film of last year (I won’t be taking any arguments), to the psychologically intense Watcher, to the uncanny-valley horror-comedy Villains, Monroe has become synonymous with all things dark and twisted – she’s an absolute final girl. Now, though, Monroe is stepping out of the scary. Her latest project (well, except for the upcoming 100 Nights of Hero and The Hand That Rocks the Cradle, that is) comes in the form of a Colleen Hoover adaptation titled Reminders of Him, the first trailer of which has just dropped – and you can watch it below. View oEmbed on the source website The story follows Kenna Rowan – a woman who, having recently been released from prison, attempts to reconnect with her young daughter and rebuild the past bridges she’s burned, despite her checkered past. Also starring the likes of Tyriq Withers, Lauren Graham, Rudy Pankow, Bradley Whitford and Lainey Wilson, Reminders of Him is a world away from sex demons and peeping toms, but perhaps just as emotionally intense as some of Monroe's previous roles. “I think after Longlegs, I was just really ready to try something completely different, and this sort of presented itself at the perfect time. I was just ready to try something new,” Monroe explains. And it’s no surprise Monroe was ready for something a little softer, especially considering the reports that she was so unnerved by looking at Nicolas Cage while filming Longlegs that her heart rate spiked to 170 beats per minute. (If you were unaware, the average resting heart rate is between 60 and 100.) In Reminders of Him, the character Monroe is taking on comes with brand new challenges. Kenna has often – unfairly, in my opinion – been considered something of an unlikeable protagonist – she’s grief-stricken, complex, and certainly filled with flaws. Monroe, however, says she was able to easily see beyond Kenna’s past actions when forging her character. “[Kenna] seemed very complicated to me, which I thought was interesting. It wasn’t just sort of a one-note character, which sometimes can happen in this genre of film. I felt there was so much to explore, and so many layers [to her]. “I feel like I always could understand where she was coming from, and she went through an incredible traumatic experience. Not only losing the person she loves most, but also giving birth and having this child taken away from her. I don’t know how one can continue on. “And I always felt for her, and thought I could understand her brokenness and also her toughness, and what it took for her to have this drive to continue on.” Taking on a character that has such a colossal fanbase behind her, from a book that is so beloved, of course comes with its own heavy expectations – and Hoover's fandom certainly aren't afraid of being vocal. So was Monroe particularly nervous about taking on such a responsibility? “With Colleen, she has such a massive fanbase, so of course there’s a pressure," she explains. "But also, immediately I connected with the character. Not only having a script but also an entire book to really understand the inner workings of this character was really helpful. So I’m hoping the fans are happy.” Monroe also reveals that Reminders of Him is the first of her book adaptions that Hoover has been on set on thus far, despite being the brains behind the likes of 2024’s It Ends with Us, this week’s release Regretting You and the upcoming Verity, starring Anne Hathaway and Dakota Johnson – so it seems this project has been particularly important to her. “Colleen was a producer, and on set every day, which she hasn’t been on one of her [adaptations] yet, so she was super involved, which I think paid off," says Monroe. “I was kind of left [to craft Kenna’s character]. I feel like we all knew what we needed to do. I think some conversations I had [with Colleen], I think she trusted me. And it was really nice to have her on set – if something came up or if I had a question, it was so great to have the source there.” The newly released trailer offers us an interesting look at Kenna's journey – from her trial, the early strings of her love for Scotty, and her complicated relationship with Ledger – and so far, it all seems perfectly book accurate. As for whether fans will be happy with the final product? Monroe is very positive. “We did a pretty great job of following the book,” she says. “So I feel like the fans will be really happy.” She laughs: "You know, we have a great orange truck! But yeah, it’s so hard to know. But my gut is that fans will be happy.” We’ll have to wait until 2026 to find out, but with Maika Monroe leading the project, there’s sure to be no lack of magnetism, whether she's saving her best friend from a sadistic, handbag-wielding widow or emotionally reckoning with the past – so I’d say she’s to be trusted. Until then, at least we have the trailer to tide us over. Reminders of Him will be released in cinemas on Friday 13th March 2026. Check out more of our Film coverage or visit our TV Guide and Streaming Guide to find out what's on. For more TV recommendations and reviews, listen to The Radio Times Podcast.
The Savant could help stop violence in a digital age – so why have Apple delayed it?
The upcoming Apple TV+ political thriller has been indefinitely delayed.
Add The Savant to your watchlist. “How didn’t we see it coming?” It’s an age-old question – often asked in a painful silence after horrifying acts, or lazily written in Instagram comment sections and plastered on placards at protests. But this is precisely the question Apple TV+’s upcoming show The Savant wants to interrogate. How can we stop acts of violence occurring before they happen? How do we recognise the red flags? How can tragedy be prevented before it’s had the chance to become one in the first place? View oEmbed on the source website Inspired by a 2019 Cosmopolitan article detailing the life of a woman who infiltrates online extremist groups to prevent acts of mass violence, the show isn’t interested in over-dramatising its brutality. Uniquely, it instead aims to examine extremism at its source: in digital whispers, online forums and dark corners of the internet. Which is why the recent news that The Savant has been indefinitely delayed, reportedly due to recent, condemnable violent acts in the US, feels like it’s such a huge mistake. Though previously due to arrive on the platform today, Friday 26 September, on Tuesday an Apple TV+ spokesperson explained in a statement: "After careful consideration, we have made the decision to postpone The Savant. We appreciate your understanding and look forward to releasing the series at a future date." Of course, it’s understandable to see why networks and streamers are cautious of releasing such a harrowing series during a tense news cycle, when fiction is so closely echoing reality. But in this volatile, unpredictable climate, it’s not more silence we need – it’s clarity, learning, prevention. And that’s precisely what The Savant aims to make its viewers understand through its eight episodes. It just needs audiences to see them. The Savant hasn’t been alone in its concerns. Just earlier this year, Netflix released four-part drama Adolescence onto its platform, a show that floored audiences with its portrayal of a 13-year-old boy who is accused of murdering his classmate by stabbing her seven times in the car park behind their school – prompting worldwide scrutiny of toxic incel culture and the online “manosphere”. These shows serve as warnings. Signs that the red flags are always there – that a child showing his classmate a video of a beheading might actually be something that we should be concerned about, that when a young boy starts calling his mother a “b***h” because he heard some bitter man online doing it and thought it was funny, we tell him that it’s not OK before he becomes that same faceless man he’s seen in the videos. Or something worse. In an age of digital obsession, where conversations are no longer happening in small, quiet backrooms and instead in very wide, very encrypted, online spaces, they're increasingly becoming harder and harder to monitor – and more of it is happening. We’re no longer shocked when we hear another mass shooting has taken place, that another innocent life has been lost for some inconceivable reason that will no doubt be spun into political rhetoric and not mourned as the death of another living, breathing human being. We’re exhausted by it. We don't keep the news on in the background any more while we work from home or eat our dinner, out of fear we’ll accidentally stumble upon another story we didn’t want to – instead, we scroll past headlines and turn the channel to something that can distract us, something to make us forget that the horror outside our fronts doors is only a few inches from crawling in. And that’s why the delay of The Savant is so frustrating. Once again, we’re choosing to look away from the issues we need to confront directly – even when the issues are stood in front of us, screaming at us in the face, asking us to understand them, to intervene, to stop them. As lead actor Jessica Chastain herself put it: “I hate that this show is relevant, but maybe through this conversation and through unearthing this darkness in society, then we're gonna work together to fix it.” Classically, we might not view television as an intervention. Historically, these kinds of shows have always worked to solve problems backwards – from the aftermath to the origins, but in the case of The Savant, it’s exactly the origin that is most important. Of course, no TV show alone can stop a shooting – and it would be unethical to suggest as much. What it can do, though, is shift perspective; help us rebuild the narrative from punishment to prevention, and teach us what violence can look like before lives are lost. “How didn’t we see it coming?” We could have. We just looked away.
Jessica Chastain's new series The Savant could help stop violence in a digital age – so why delay it?
“How didn’t we see it coming?” It’s an age-old question – asked in the painful silence after every horrifying act, written lazily in Instagram comment sections, plastered on posters and placards at protests. This question is precisely what Apple TV+’s upcoming show The Savant wants to interrogate. How can we stop acts of violence occurring before they happen? How do we recognise the red flags? How can tragedy be prevented before it’s had the chance to become one in the first place? Inspired by a 2019 Cosmopolitan article detailing the life of a woman who infiltrates online extremist groups to prevent acts of mass violence, the show isn’t interested in over-dramatising its brutality. Uniquely, it instead aims to examine extremism at its source: in digital whispers, online forums and dark corners of the internet. Which is why the recent news that The Savant has been indefinitely delayed, reportedly due to recent, condemnable violent acts in the US, feels like it’s such a huge mistake. Though previously due to arrive on the platform this upcoming Friday, last night an Apple TV+ spokesperson explained in a statement: "After careful consideration, we have made the decision to postpone The Savant. We appreciate your understanding and look forward to releasing the series at a future date." Of course, it’s understandable to see why networks and streamers are cautious of releasing such a harrowing series during a tense news cycle, when fiction is so closely echoing reality. But in this volatile, unpredictable climate we are living through, it’s not more silence we need – it’s clarity, it’s learning, it’s prevention. And that’s precisely what The Savant aims to make its viewers understand through its eight episodes. It just needs audiences to see them. The Savant hasn’t been alone in its concerns. Just earlier this year, Netflix released four-part drama <a id="menur1221" class="fui-Link ___1q1shib f2hkw1w f3rmtva f1ewtqcl fyind8e f1k6fduh f1w7gpdv fk6fouc fjoy568 figsok6 f1s184ao f1mk8lai fnbmjn9 f1o700av f13mvf36 f1cmlufx f9n3di6 f1ids18y f1tx3yz7 f1deo86v f1eh06m1 f1iescvh fhgqx19 f1olyrje f1p93eir f1nev41a f1h8hb77 f1lqvz6u f10aw75t fsle3fq f17ae5zn" title="https://www.radiotimes.com/tv/drama/adolescence-season-2-release-date/" href="https://www.radiotimes.com/tv/drama/adolescence-season-2-release-date/" target="_blank" rel="noreferrer noopener" aria-label="Link Adolescence">Adolescence onto its platform, a show that floored audiences with its portrayal of a 13-year-old boy who is accused of murdering his classmate by stabbing her seven times in the car park behind their school – prompting worldwide scrutiny of toxic incel culture and the online “manosphere”. These shows serve as warnings. Signs that the red flags are always there – that a child showing his classmate a video of a beheading might actually be something that we should be concerned about, that when a young boy starts calling his mother a “b***h” because he heard some bitter man online doing it and thought it was funny, we tell him that it’s not okay before he becomes that same faceless man he’s seen in the videos. Or something worse. In an age of digital obsession, where conversations are no longer happening in small, quiet backrooms and instead in very wide, very encrypted, online spaces, they're increasingly becoming harder and harder to monitor – and more of it is happening. We’re no longer shocked when we hear another mass shooting has taken place, that another innocent life has been lost for some inconceivable reason that will no doubt be spun into political rhetoric and not mourned as the death of another living, breathing human being. We’re exhausted by it. We don't keep the news on in the background anymore while we work from home or eat our dinner, out of fear we’ll accidentally stumble upon another story we didn’t want to – instead, we scroll past headlines and turn the channel to something that can distract us, something to make us forget that the horror outside our fronts doors is only a few inches from crawling in. And that’s why the delay of The Savant is so frustrating. Once again, we’re choosing to look away from the issues we need to confront directly – even when the issues are stood in front of us, screaming at us in the face, asking us to understand them, to intervene, to stop them. As lead actor Jessica Chastain herself put it: “I hate that this show is relevant, but maybe through this conversation and through unearthing this darkness in society, then we're gonna work together to fix it.” Classically, we might not view television as an intervention. Historically, these kinds of shows have always worked to solve problems backwards – from the aftermath to the origins, but in the case of The Savant, it’s exactly the origin that is most important. Of course, no TV show alone can stop a shooting – and it would be unethical to suggest as much. What it can do, though, is shift perspective; help us rebuild the narrative from punishment to prevention, and teach us what violence can look like before lives are lost. “How didn’t we see it coming?” We could have. We just looked away. The Savant will premiere on Apple TV+ – sign up to Apple TV+ now. Add The Savant to your watchlist on the Radio Times: What to Watch app – download now for daily TV recommendations, features and more. Check out more of our Drama coverage or visit our TV Guide and Streaming Guide to find out what's on. For more from the biggest stars in TV, listen to The Radio Times Podcast.