How Millie Bobby Brown used her superpowers

The Stranger Things star is still in her teens, but has moved beyond new kid on the block to be a Hollywood power broker

It was clearly a moment designed to perplex. Fans of the hit Netflix show Stranger Things were left speculating at the end of season three as to how and why Eleven, played by Millie Bobby Brown, had suddenly lost her supernatural power to move things around with her mind.

Theories have ricocheted across social media during the long wait for the return of the show. But Brown, an English actress who is only 17, has already made such an impact with her Stranger Things role that this spring the question seems something of a side issue, even among her many devotees.

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Lucille Bluth was the role Jessica Walter was born to play

Walter’s Arrested Development matriarch was drunk, dismissive, cruel and likable, yet we all envied her freedom. This was her masterstroke

Jessica Walter racked up a reported 161 film and TV credits over her 70-year acting career. If that number had only been 160, she would have still been the best sort of actor: a safe pair of hands who gets consistent work shoring up individual episodes of long-running shows. The spectrum of series that Walter appeared in over the years was impressive: Flipper, Columbo, Hawaii Five-O, Quincy, Knot’s Landing, Magnum, and Law and Order are just a few. She would pop in for a single episode, class it up a little and leave.

However, she will be remembered for one show above all. As Lucille Bluth in Arrested Development, Walter landed the role she was born to play: a beautifully written, brilliantly wicked character that she elevated to icon status.

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Jessica Walter, star of Arrested Development, dies aged 80

The Emmy-winning actor, who also starred in Play Misty For Me and Grand Prix, died at her home in New York

Actor Jessica Walter has died at the age of 80.

Walter, best known for her Emmy-winning role as Lucille Bluth in Arrested Development, died in her sleep at her New York home.

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‘Downton Abbey is ludicrous’: the biggest TV hits we’ve never seen – until now

Continuing our series on a year of bumper pandemic viewing, our critics finally watch the shows that had passed them by, from Downton to Twin Peaks

As with my experience of so many modern cultural touchstones, I first came to 24 via a Simpsons parody. Being only seven years old in 2001, when the 24-episode “real time” thriller first aired, my knowledge of Kiefer Sutherland’s exhausting counter-terror mission to stop the assassination of a presidential hopeful came from a 2007 Simpsons episode starring Lisa and Bart in a split-screen chase to hold off the detonation of a powerful stink bomb at Springfield Elementary.

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‘We needed to rescue the nation from despair’: culture’s year of Covid

Comedians went virtual, Ai Weiwei went to Portugal – and Bake Off pledged the show would go on. In the first of a two-part series, cultural figures look back on a year that shook their industry

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Keeping an eye on the force: life in the real Line of Duty

As the popular BBC drama returns, a former crime reporter takes a look at the reality of fighting police corruption

Last week, an officer from South Wales police received formal notification that they were under investigation regarding their dealings with a man who had been arrested and held overnight in a cell in Cardiff.

The suspect had been released from custody the following morning then found dead shortly afterwards. The investigation is to focus on whether the level of force used by the officer was “necessary, proportionate and reasonable” in the circumstances.

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Ainsley Harriott: ‘My sister still takes control of my cooking at home’

The chef and TV presenter on being lectured by his siblings, what to drink while playing backgammon – and cooking for his dog

I have a painting of an old lady stirring a pot on a fire in a West Indian kitchen, cooking with her children. It used to hang in my mum’s kitchen and now I’ve got it in mine. It’s lovely and tells of yesteryear.

My father was an entertainer and had lots of people in showbiz – like Des O’Connor – round in the front room. Mum used to make them snacks and nibbles and I’d watch the reactions of appreciation and hear the banter.

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The Falcon and the Winter Soldier review – sturdy start to Marvel’s latest

Disney’s Avengers spinoff series offers up a patchy yet encouraging combination of exhilarating action and soapy drama

There was every legitimate reason to feel a little daunted and wearied by Disney’s glut of small-screen streaming announcements back in 2019 that was then compounded last year during another migraine-inducing investor day, an overlong list of shows expanding universes that were already stretched beyond necessity. But after The Mandalorian brought a surprising new edge to the Star Wars universe and, more recently, WandaVision found a certain offbeat creativity within the overly straitlaced world of Marvel, exhaustion was replaced with intrigue as Disney+ insisted on itself as more than just a digital dumping ground.

Related: Marvel's next wave of heroes will tear up tradition in the name of progress

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Into the storm: a film-maker’s bizarre quest to figure out QAnon

In a new HBO series, Cullen Hoback falls deep into a rabbit-hole while investigating the conspiracy theory-spreading cult

Anyone who spends enough time online will eventually have one of those rabbit-hole experiences, in which late-night hours slip away as one click after the other draws a person deeper into an engrossing vortex of information. Mostly, it’ll be a perfectly innocent obsession with the history of curling or the various shapes of pasta. But thousands of web-surfers have gone through this with the world of QAnon, a difficult-to-define movement combining cult-like religious fervency, the ideological action-plans of a political party, and computer games connecting the virtual dimension to reality.

Related: Groomed: how a film-maker learned to confront a childhood of abuse

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RuPaul’s Drag Race Down Under contestant apologises for past performances in blackface

Two cast members of the Australia and New Zealand edition of the reality TV show have apologised for their past, after racially insensitive images resurfaced online

RuPaul’s Drag Race Down Under has already been marred with controversy after two contestants apologised for past racially insensitive behaviour, one having performed in blackface multiple times.

Less than a week after the cast of the hit drag reality competition’s Australia and New Zealand iteration was announced, images emerged of contestant Anthony Price, known for his drag persona, Scarlet Adams, in multiple costumes appearing to imitate other cultures.

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Allen v Farrow review – a one-note pick over the bones of old investigations

The HBO series arrives on Sky in the UK, but fails to dig deep and do more than regurgitate Mia and Dylan Farrow’s allegations against Woody Allen

Eight months after his relationship with not-quite-stepdaughter Soon-Yi was revealed in 1992, Woody Allen was accused of sexually abusing Dylan Farrow, his younger daughter with his partner Mia Farrow, when she was seven. Allen strongly denied all the allegations, as he has continued to do over the nearly 30 years since. But they fell on fertile soil. How could a man who could start an affair with his partner’s daughter not be capable of just about anything else, the argument went? A welter of publicity followed, claims (that no mother, especially one as devoted as Farrow, could possibly make such a thing up), counterclaims (that in fact she had done so, that Dylan was coached – which she denies, and that it was all an act of vengeance for the Soon-Yi affair), along with gossip and hearsay proliferated.

Dylan and her brother Ronan Farrow began speaking about the matter publicly themselves in 2014. This has disinterred old battle lines and occasioned new accounts from people who were close to the family at the time and from Moses, another of the Farrow children, which contradict either things they said at the time or the saintly mother narrative that seemed the most natural one. Meanwhile, doctors examined Dylan at the time and found no evidence to support Farrow’s contention, and Allen was investigated by the Yale New Haven hospital’s child sexual abuse clinic and the New York State’s social services department, who reached similar conclusions.

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On my radar: Aidan Moffat’s cultural highlights

The Arab Strap vocalist on late-night horror chats with his mum, spending time with Alan Partridge, and bingeing on Succession

Born in Falkirk, Scotland, in 1973, Aidan Moffat is the vocalist of indie rock band Arab Strap, which he founded in 1995 with Malcolm Middleton. Characterised by Moffat’s half-spoken vocals over lo-fi instrumentation, the band gained international acclaim with 1996 single The First Big Weekend; they went on to release six studio albums before splitting in 2006 and reforming in 2016. Since 2002, Moffat has released music under the name L Pierre, and collaborated with artists including Mogwai and Bill Wells. Arab Strap’s first album in 16 years, As Days Get Dark, is was released this month on Rock Action.

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‘We know exactly what we want to say’: inside a film that normalizes stuttering

Stuttering affects one in 20 children, yet is still stigmatized, something the documentary My Beautiful Stutter hopes to correct

One of the most moving scenes in My Beautiful Stutter, a documentary now streaming on Discovery+, involves just a microphone and an open stage. Many of the attendees at Camp Say in Hendersonville, North Carolina, a getaway for youth who stutter hosted by the New York-based organization the Stuttering Association for the Young, grew up feeling broken or confused, ostracized by a neurological disorder that tangles the flow of fluent speech. Some campers recite poetry, others get through just their name before breaking into tears, all afforded the space to speak rarely given in the non-stuttering world (what can take a non-stutterer a minute to read or say could take a person who stutters 10 times as long). Tears abound; the scene hums with the bottomless human desire, felt most acutely as a teenager, to be seen, heard, loved, accepted.

Related: 'They become dangerous tools': the dark side of personality tests

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Australia in Colour: recolourised film ushers into existence a new kind of fiction

As the new series of SBS’s film revitalisation project airs, Guardian Australia’s film critic considers the consequences of this trend in film-making

Paolo Cherchi Usai – the Italian curator and former head of the National Film and Sound Archive of Australia (NFSA) – once put forward an elegant definition of moving image preservation, calling it “the science of gradual loss and the art of coming to terms with its consequences”. Those melancholic words present the dispossession of our celluloid and digital pasts as inevitable, and efforts to maintain them a will-o’-the-wisp exercise: impossible to achieve, like reaching the gold at the end of the rainbow.

But loss is far from the first thing that comes to mind after watching the second season of SBS’s four-part documentary series Australia in Colour. Separated into different themes, the first episode is devoted to family, exploring issues such as changing gender roles, the stolen generations and the arrival of contraceptive pills; the second, about sport, investigates national heroes and drinking culture.

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‘We knew so little’: the young film-makers who captured early quarantine life

HBO’s Covid Diaries NYC stitches together five documentary shorts by film-makers between 16-22, covering the dizzying, surreal first days of the pandemic

The middle of March 2021 will bring, for most Americans, a strange, surreal anniversary: the year mark of the horrifying realization – be it through a tweet, a cancellation, a diagnosis of a loved one or a celebrity, a lost job or gig – that the coronavirus was a very real threat that would implode the world as we knew it. For Aracelie Colón, then a 16-year-old high school junior in Manhattan, it was the email announcing a two-week closure from school. For fellow high school junior Shane Fleming, it was the positive diagnosis of a classmate and the closure of the Film Forum, where the movie buff caught a final feature showing on 14 March. For Arlet Guallpa, then 22, it was an ambulance outside her building in Washington Heights, fetching the first of many residents who would succumb to the virus.

Related: 'They refused to act': inside a chilling documentary on Trump's bungled Covid-19 response

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The Sopranos: David Chase and mobster Johnny Sack on how they made a TV classic

‘Fox turned down the first draft because I didn’t put any murders in it. People watch mob shows because they like to see murders’

I was still writing the pilot episode when Steven Van Zandt – who would go on to play strip-club owner and second-in-command Silvio Dante – came to read for the part of Tony Soprano. I thought: “With Steven, it could be more like The Simpsons: more comedy, less nasty bits, more absurd.” But once we hired Jim Gandolfini for Tony, it all went back to where it started.

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Now there’s no doubt Meghan and Harry had to leave

Caught between a hate-filled media and a terrified royal family, the surprise is not that the couple struck out on their own. It’s that they didn’t escape much sooner

A seldom remembered fact about the royal family is that, before the death of Princess Diana, it was not normal to be interested in them. Tabloids were fascinated, but it was more of a convention than news – like a splash about tomatoes causing cancer, it was the out-of-office auto reply of the industry, a fallback. The family (I seriously dislike the affectation of calling them “the Firm”) survived while there was nothing to see. They were caught between two irreconcilable forces – their own culture of discretion, on one side, and intense, 24-hour scrutiny on the other – and they navigated that with a studied blandness. What did they actually care about? Manners, duty, causes, the Commonwealth. Whatever curiosity surrounded them, they simply did not reward it, and the regular response to that, after a few centuries and whatnot, was to not be terribly curious.

You may recall David Blaine, the magician who lived in a glass box above the Thames for 44 days in 2003: people really wanted to know what he was doing, even though we could see what he was doing – and that was mainly nothing. There grew a peculiar resentment of gawping at something that was only interesting because it was untouchable. But we could see for ourselves that it was not interesting – and then everyone got annoyed and some of us (not me) threw eggs. Eventually, hawkers started selling eggs. That pretty much sums up the experience of the royals pre-1997.

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Clara Amfo: ‘Don’t make me dim my light’

For Clara Amfo, success is nothing without honesty, integrity – and a pinch of impostor syndrome. Here, the broadcaster talks about race, relationships and becoming a Barbie doll

Clara Amfo makes me want to join in with life. When she talks about the new series of Drag Race UK, I itch to go and watch it. When she’s dancing on Strictly, I want to tune into a show that doesn’t usually hold my attention. And when she’s describing the party scene in her parents’ home country of Ghana, “fast becoming the Ibiza of West Africa – honestly I was last there in December 2019 and everyone was out there”, I find myself wondering about flights. Which is quite something, a year into a pandemic, when spirits are flagging and the will is so weak it might give up entirely. But she knows all about that too, which is why her daytime Radio 1 show, every weekday, works so well.

People text in saying they live alone, they work from home, they just needed to hear that tune she played, that friendly voice. Amfo physically gets up and goes in to work at Broadcasting House, speaking to the nation and meeting the skeleton crew who are still in the building, under endless Covid-testing regulations, “but I do live alone, and I get it,” she says. “I know I have definitely experienced loneliness in this thing. At the risk of sounding trite, well it’s been a time of gratitude, hasn’t it? – but I also believe that everybody, no matter what your life or what you do for a living, should be allowed to have a moan. I’m single and happily single but there have been a few nights where I’ve been like, you know what? Be nice to have a sofa buddy,” she explains, over video chat from the one-bedroom flat in Hackney that she got in a part-buy, part-rent housing scheme seven years ago and that she has grown out of, but not yet managed to leave. (It hasn’t always been thus – “Many memories were made in this flat, that’s for sure,” she says, with a dirty laugh.)

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‘You think: are we really doing this?’: how TV’s strangest shows get made

Who green-lit The Masked Singer, or dreamed up a dating show about Prince Harry? Insiders reveal how madcap ideas go from page to small-screen sensation

Nine years ago, TV developer Park Won Woo was taking a break in a car park after shooting auditions for a South Korean talent show. He had worked on number of similar programmes throughout his career, but had come to feel uneasy about their format. “They’re not always fair,” he recalls thinking, because on numerous occasions, people seemed to win because of their looks, not their talent. A solution popped into his head: what if the singers wore masks?

For three years, nobody wanted Park’s show, the idea for which evolved to feature celebrities behind the masks. The 48-year-old had 24 years’ experience in the TV industry, but his idea was rejected by network after network. “I felt sheer desperation,” he tells me.

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‘I was worried Lindsay, Paris or Britney would die’: why the 00s were so toxic for women

Body shaming, media harassment, relentless cruelty – it’s time to reassess the decade that feminism forgot

I went to university in 2007. On my first day, every fresher had their photo taken; the pictures were pinned to a bulletin board in my halls. That evening, older male students scrawled on the photographs of the girls, rating our attractiveness. No one got in trouble. Later, the same men published a gossip magazine that Photoshopped images of female students on to porn stars, dissected our sex lives and made rape jokes. The magazine was printed using university funds. No one got kicked out. None of this seemed particularly objectionable to me, an 18-year-old girl. This was just the way things were. Internalised misogyny ran deep in the 2000s. Hell, I was just happy I got a high score on my photograph.

Related: The Guide: Staying In – sign up for our home entertainment tips

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