The girls are back in town! Why the Sex and the City sequel is about to eclipse the original

Grab your Manolos! Carrie and the gang are finally returning in And Just Like That. But, with a more diverse cast and writers’ room, could this reboot be even more radical?

I couldn’t help but wonder – would there really be a ready market for a Sex and the City reboot, nearly 20 years after it left our screens? And then the trailer for the sequel to the culturally iconic series – which ran for six award-laden, press-smothered seasons – arrived, and I realised just how desperately I’d missed it.

Not that I missed it in the usual sense, of course. We live in a world of constant reruns, access to all programmes at all times, YouTube videos to scratch any minor itch and Instagram fan accounts devoted to the characters, the clothes, the men and all points in between. But the hunger for new stories about Carrie Bradshaw and the gang was there, and the trailer reminded me of the best parts of SATC. The energy. The glee. The glamour. The chemistry between the co-stars, and the sight of well-scripted actors at the top of their game. And, to quote the title of the new show, And Just Like That … I was eager for more.

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The world owes Yoko an apology! 10 things we learned from The Beatles: Get Back

Peter Jackson’s eight-hour documentary on the Fab Four reveals Ringo is an amazing drummer, McCartney was a joy and their entourage were coolest of all

The concept for Let It Be was: no concept. The Beatles arrived in an empty studio and wondered where the equipment was. (And revealed that they knew very little about setting up PA systems.) What were they rehearsing for? A show on the QE2? A concert on Primrose Hill? A TV special in Libya? A film? What would the set look like? Would it be made of plastic? Why, George Harrison wondered, were they being recorded? Get Back makes clear that the Beatles didn’t have a clue what to expect from Let It Be.

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‘I’ve never experienced such abject racism’: what it’s really like to work in TV as a person of colour

In the last in our series of exposés about the TV industry, insiders talk about being typecast as terrorists … and constantly having to pretend English isn’t their first language

‘My colleagues ignored me for a year’: what it’s really like to work in TV as a disabled person

‘He fell on my body then bit me’: what it’s really like to work in TV as a woman

‘I was given training to de-gay my voice’: what it’s really like to work in TV if you’re LGBTQ+

On the surface at least, British TV is finally waking up to race. The success of a new wave of proudly Black British programmes such as Steve McQueen’s Small Axe and Michaela Coel’s I May Destroy You, allied with bold new diversity initiatives such as Channel 4’s Black to Front has had a huge impact in terms of demonstrating the commercial and critical viability of shows centring the Black experience.

At this critical juncture for media diversity, the Guardian spoke to five Black and Asian Britons in the industry about their experiences: the discrimination they have faced and whether they have hope for the future.

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‘I was given training to de-gay my voice’: what it’s really like to work in TV if you’re LGBTQ+

Continuing our series of exposés about the TV industry, insiders talk about being misgendered, treated like sexual predators and having to work with ‘outwardly homophobic and transphobic’ talent

‘My colleagues ignored me for a year’: what it’s really like to work in TV as a disabled person

‘He fell on my body then bit me’: what it’s really like to work in TV as a woman

Despite an increase in on-screen representation and hits such as It’s a Sin and RuPaul’s Drag Race UK, being LGBTQ+ and working in television can still be difficult. It has been described as a “cloak-and-dagger” industry where most people work freelance and therefore are often afraid to speak up about incidents of homophobia or transphobia. The discrimination and harassment that LGBTQ+ people experience is often horribly insidious; dressed up as “banter” or dismissed as ignorance.

Here, seven anonymous LGBTQ+ people who work in television, in front of and behind the camera, share their experiences.

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Edie Falco: ‘Alcohol was the answer to all my problems – and the cause of them’

One of TV’s most admired actors, she is now playing Hillary Clinton on screen. She discusses overcoming addiction, her adoration for Sopranos co-star James Gandolfini and the pure joy of adopting two children

Edie Falco has never been the type of actor to demand entourages and encores. Fanfares and fuss are just not her bag, and she has little time for pretentious thespiness. When other actors talk about their “Process,” as she puts it – with a capital P – she thinks, “What are you talking about?!” With her open, thoughtful face and wide smile, she looks as if she could be your friend from the local coffee shop, as opposed to one of the most accoladed American actors of this century, having accumulated two Golden Globes, four Emmys and five Screen Actors Guild awards, plus a jaw-dropping 47 nominations. This impression of straightforwardness and – oh dreaded word – relatability has made her subtle performances of self-deceiving characters even more powerful. As the mob wife, Carmela, in The Sopranos, she could tell Tony (James Gandolfini) what she thought of him staying out all night with his “goomahs”, or mistresses, but she couldn’t admit to herself that he does much worse to fund the life she loves. Similarly, as Nurse Jackie, in the eponymous TV series, her scrubbed clean face and sensible short hair belied her character’s drug addiction.

So it feels extremely right that, when we connect by video chat, Falco, 58, is sitting – not in a fancy hotel room, or a Hollywood mansion, but in the endearingly messy basement of her New York house, where she lives with her son, 16, and daughter, 13. Power tools hang off the wall behind her, and she is leaning on a table strewn with what she describes as “God knows, some stuff”.

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‘The women are cannon fodder’: how Succession shows the horrors of misogyny

Season three of the daddy issues drama speaks volumes about the monstrous Man Club that rules society – and even billionaire’s daughter Shiv Roy can’t escape its sadistic clutches

Everyone eats their share of dung beetle surprise on Succession – HBO’s unrepentant daddy issues drama – but the women’s portions come heavily seasoned with the patriarchy’s favourite ingredients: sexism and misogyny. Even billionaire’s daughter Shiv Roy (played by Sarah Snook) can’t escape it. “It’s only your teats that give you any value,” her brother Kendall (Jeremy Strong) shouts after she rejects his offer to join him in another one of his patricidal business plans. Even before then, he couldn’t help but put a pin in her dreams of taking over the company: “You are too divisive … you’re still seen as a token woman, wonk, woke snowflake.”

“I don’t think that, but the market does,” he explains.

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‘He fell on my body, then bit me’: what it’s really like to work in TV as a woman

Continuing our series of exposés about the British TV industry, women remember being assaulted for three years straight, denied work once they became mums and batting off men who are ‘famously handsy’

‘My colleagues ignored me for a year’: what it’s really like to work in TV as a disabled person

The television industry has a problem with the way it treats women. According to a survey by Film + TV Charity, 39% of female employees have experienced sexual harassment at work, while 67% have experienced bullying. Bectu, the union that supports TV and film workers, found that two-thirds of those who had experienced abuse did not report it for fear of being blacklisted.

Other studies have reported mothers being prevented from working due to childcare issues, and a serious female under-representation in leadership positions, despite Ofcom finding that women make up around 45% of TV roles.

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Vale David Dalaithngu: the inimitable actor who changed the movies, and changed us

The star has left behind a profound body of work – and a permanent, inimitable impression on his industry

In the 1976 classic Storm Boy, the great Yolŋu actor David Dalaithngu delivers a line that became immortalised in Australian cinema. “Bird like him, never die,” he says, describing the pelican Mr Percival.

The substance of that line can apply to the man himself, who will live on through the light and shadow of the cinema, on to which he left a permanent and inimitable impression.

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The world is watching: TV hits around the globe

A Spanish trans woman’s memoirs, a Mumbai gangster drama, Israeli sisters in trouble… the Covid era is a rich moment for TV drama. Critics from Spain to South Korea tell us about the biggest shows in their countries

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The 20 best gadgets of 2021

From smartphones to folding skis, the year’s top gizmos selected by tech experts from the Guardian, iNews, TechRadar and Wired

Cutting-edge tech is often super-expensive, difficult to use and less than slick. Not so for Samsung’s latest folding screen phones. The Z Fold 3 tablet-phone hybrid and Z Flip 3 flip-phone reinventions are smooth, slick and even water-resistant, packing big screens in compact bodies. The Fold might be super-expensive still, but the Flip 3 costs about the same as a regular top smartphone, but is far, far more interesting. Samuel Gibbs

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‘I have an outsider’s perspective’: why Will Sharpe is the A-List’s new favourite director

The actor-director won a Bafta for his performance in Giri/Haji. Hailed as a star in the making by Olivia Colman​ and others, he discusses the true stories that inspired his new projects behind the camera

Will Sharpe has only been surfing a couple of times, but he really loved it. “So I’m not a surfer, I’m not very good at it, I’ve been twice,” clarifies the 35-year-old English-Japanese actor, writer and director. “But there’s something about being in this huge, loud, ‘other’ force and I never feel calmer than when I’m underwater in the sea. I just really took to it.”

Sharpe sees parallels with his work, which has so far included the surreal, darkly funny sitcom Flowers starring Julian Barratt and Olivia Colman that he created for Channel 4, and a magnetic performance as sarcastic, self-destructive Rodney in the BBC drama Giri/Haji, which earned him a Bafta in 2020 for best supporting actor. “When I came back to writing, having been surfing, I found myself reflecting on how there are certain similarities: you have to get everything technically right, but you’re still at the mercy of this much greater power,” he says. “And how 95% of the time you are getting the shit kicked out of you, but the 5% of the time that it works, it’s so exhilarating you just want to do it again straight away.”

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Succession’s plot twist prompts surge of interest in leaving money in wills to Greenpeace

When Cousin Greg was disinherited by his grandfather in favour of the environmental group, inquiries about such legacies soared

In one bewildering and painful scene in the hit TV drama Succession, Cousin Greg sees his future of ease and wealth turn to dust. His grandfather, Ewan, announces he is giving away his entire fortune to Greenpeace, depriving Greg of his inheritance.

Now Greenpeace is hoping to benefit in real life as well as in the fictional world of the media conglomerate Waystar Royco. Thousands of people have looked into leaving money to the environmental group since the darkly comic storyline about Cousin Greg losing his inheritance and then threatening to sue the organisation was broadcast. More than 22,000 people have accessed online advice about making donations in their wills to Greenpeace. The group’s legacy webpage has also seen a tenfold surge in traffic since the episode was first broadcast earlier this month.

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The stars with Down’s syndrome lighting up our screens: ‘People are talking about us instead of hiding us away’

From Line of Duty to Mare of Easttown, a new generation of performers are breaking through. Meet the actors, models and presenters leading a revolution in representation

In the middle of last winter’s lockdown, while still adjusting to the news of their newborn son’s Down’s syndrome diagnosis, Matt and Charlotte Court spotted a casting ad from BBC Drama. It called for a baby to star in a Call the Midwife episode depicting the surprising yet joyful arrival of a child with Down’s syndrome in 60s London, when institutionalisation remained horribly common. The resulting shoot would prove a deeply cathartic experience for the young family. “Before that point, I had shut off certain doors for baby Nate in my mind through a lack of knowledge,” Matt remembers. “To then have that opportunity opened my eyes. If he can act one day, which is bloody difficult, then he’s got a fighting chance. He was reborn for us on that TV programme.”

It’s a fitting metaphor for the larger shift in Down’s syndrome visibility over the past few years. While Call the Midwife has featured a number of disability-focused plotlines in its nearly decade-long run – actor Daniel Laurie, who has Down’s syndrome, is a series regular – the history of the condition’s representation on screen is one largely defined by absence.

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Move over, The Crown! Why The Great is the racy royal drama you need to watch

With its punchy scripts and feminist gaze, the subversive period drama has become a word-of-mouth hit. As it returns, stars Elle Fanning and Nicholas Hoult talk racy Russians, randy frogs – and the weird things they’ve robbed off the set

At the top of the stairs in his Los Angeles home, a portrait of Nicholas Hoult in military regalia hangs on the wall. “That’s very, very normal,” the actor deadpans, before breaking into a laugh. Gladly it isn’t some kind of big-headed shrine to himself, but rather a prop he took from the set of The Great, the gory and garish TV show in which he stars as the Russian emperor Peter III. His co-star Elle Fanning giggles as she admits pinching a sculpture of herself made of butter (“I receive a lifesize version in the show, but I just took the little one”). In fact, as they recall other decorations – a baby’s teddy bear said to be “made from a real bear”, and the mummified remains of Hoult’s onscreen mother, wheeled around in a glass case – the portrait and sculpture start to sound normal, even mundane, by comparison.

Created by Tony McNamara – co-writer of the Oscar-winning film The Favourite – The Great isn’t your average period drama. A racy, raucous and not-at-all historically accurate comedy-drama shot through with feminist revisionism, it tweaks and embellishes the story of how Catherine the Great (Fanning) overthrew Hoult’s Peter to become Russia’s longest serving female leader. Hoult, 31, was cast after nailing the “flamboyant, cruel egotist in a wig” role of the Earl of Oxford in The Favourite. Meanwhile, Hollywood star Fanning is perfectly cast as Catherine, appearing much older than her 23 years, but always with an air of youthful mischief.

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Let’s talk about sex: how Cardi B and Megan Thee Stallion’s WAP sent the world into overdrive

A cultural ‘cancer’, soft porn … or the height of empowerment? A revealing documentary examines the debates around one of the raunchiest – and most talked about – rap records around

As winter forces many of us to ditch nights out with friends in favour of nights in on the sofa, Belcalis Alamanzar’s iconic words ring out across the digital ether: “A ho never gets cold!”. In a clip that went viral in 2014, the rapper better known as Cardi B parades up and down a hotel corridor, clad in a plunging, barely-there bralette and tight-fitting skirt. For women who wear little and care about it even less, Megan Thee Stallion has made a name for herself in the same vein. Together, Meg and Cardi would go on to birth a movement with their hit 2020 single, WAP, an ode to female sexuality and “wet ass pussy” which brought a slice of the club to the worlds’ living rooms at the peak of lockdown.

In three minutes and seven seconds of poetic dirty talk, the pair walk us through the spiciest of bedroom sessions, except – contrary to patriarchal norms – they are firmly in the driver’s seat. From fellatio to make-up sex, Cardi and Megan leave their targets weak. With the video quickly becoming a talking point around the world, their sexual desire (and that of women in general) became the subject of fierce debate. While many praised their cheeky candour, others were unimpressed, with Fox News’s Candace Owens going as far as to call Cardi a “cancer cell” who was destroying culture.

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The Great British Bake Off 2021 final review – a Wonderland to behold

It may not have felt as vital or soothing as last year’s series, but this was a corking final, with a Mad Hatter’s tea party Showstopper and disasters for all the finalists

• Warning: this article contains spoilers

Was this a vintage year for The Great British Bake Off (Channel 4)? I’m not sure it will go down as an all-time great, though it was a good, reliable series. It was, however, a strong finale, with strong contestants who were, as we were often reminded, the most evenly matched in Bake Off history. Perfectionist Giuseppe, aesthete Crystelle and self-taught lockdown prodigy Chigs had all shaken the hand of Paul Hollywood twice, and were all crowned star baker twice. It was impossible to tell who was going to win.

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The Wheel of Time actor Madeleine Madden: ‘As an Aboriginal woman, my life is politicised’

The star of the new Amazon Prime fantasy series and granddaughter of Charles Perkins discusses her ‘dream role’, multiracial casting and finding freedom outside Australia

When she walked into the London casting room of The Wheel of Time, Madeleine Madden scanned the faces – a sea of white – and thought, “Yep, standard.”

To announce her presence, she politely inquired, “The Wheel of Time?”

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The Princes and the Press review – more degrading airing of the royal dirty laundry

BBC programme is a compelling analysis of the troubled relationship between media and monarchy

A few days before her wedding, Meghan decided she wanted to wear a particular tiara with emeralds. True, this isn’t the sort of issue that should trouble citizens of a mature democracy but when it comes to royals, Britain is neither mature nor, let’s face it, democratic. Indeed, Amol Rajan, the BBC media editor who presented the Princes and the Press (BBC Two), is a declared republican who once branded the royal family as “absurd” and the media as a “propaganda outlet” for the monarchy. As his measured, compelling analysis of the troubled relationship showed, he may have been right about the former, but the latter? Not so much. The media, we might conclude from his programme, may be driving the monarchy to self-destruct, which would, ironically enough, suit his earlier republican views.

Back to tiaras. There was a problem: the Duchess of Sussex could not be allowed to wear the emerald tiara because it had some unfortunate history to do with Russia, according to the Sun’s former correspondent Dan Wootton. We never learned what that history was nor why it should matter. What we did learn from Wootton’s report is that Harry reportedly shouted at a royal dresser (who is a person, not a thing) that “whatever Meghan wants, Meghan gets.” This in turn prompted the Queen to tell somebody off.

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People said I was weak, lazy and fussy. I’m not – but I am autistic

The late diagnosis of Melanie Sykes and Christine McGuinness came as no surprise to those who, like Sara Gibbs, have trodden the same path

The news of Melanie Sykes and Christine McGuinness’s late autism diagnoses may have come as a surprise to many. After all, they are glamorous career women. They look nothing like the stereotype of autism we as a culture are used to. I, however, was not shocked, knowing only too well that you can’t tell anything about someone’s private reality from their public image.

As I read their stories, I couldn’t help but imagine what they might be feeling. Were they elated? Confused? Excited? Terrified? Angry? Relieved? All of the above?

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‘I just can’t believe it exists’: Peter Jackson takes us into the Beatles vault locked up for 52 years

Ahead of his epic series Get Back, the director reveals the secrets of 60 hours of intimate, unseen footage of the Fab Four – and why it turns everything we know about their final days upside down

When the world closed down in March 2020, most of us had to make do with pretending to enjoy video calls with friends or baking bread. Peter Jackson, meanwhile, was busy sifting through a mountain of unseen footage – 60 hours in total – of the Beatles, shot by the director Michael Lindsay-Hogg in 1969.

His four-year project is now finished – “we finally completed it on Friday,” says a relieved-looking Jackson from his home in New Zealand – and the resulting series, The Beatles: Get Back, will be released on Disney+ from 25 November. Originally envisaged as a feature film, Covid uncertainty saw plans revised. It is now three two-hour episodes, using the mass of outtakes from Lindsay-Hogg’s work on what would become Let It Be, the band’s fourth feature film.

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