Angry TV film-makers stop release of lauded Iranian documentary

Coup 53, which charts MI6’s role in the shah’s restoration, has been blocked by makers of an 1985 show, who say it sullies their names

Coup 53 was heralded by critics this summer as a “powerful and authoritative” documentary “as gripping as any thriller”, and judged by historians as crucial to understanding Britain’s relationship with the Middle East.

Made over 10 years by Walter Murch, the celebrated editor of Apocalypse Now and The English Patient, in collaboration with the Anglo-Iranian director Taghi Amirani, it tells the story of covert British intervention in Iran after the second world war and stars Ralph Fiennes, left, as an MI6 spy in a reconstruction of a key incident.

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Drag Race stars get political: ‘People were like, you queens should stick to wigs and makeup’

They’ve been told to stick to makeup. But for RuPaul queens Latrice Royale, Peppermint and Alaska, and the legendary Lady Bunny, channelling drag’s revolutionary spirit is a must in 2020

Drag and activism have always gone hand in hand. In June 1969, Marsha P Johnson, a Black drag performer reputedly threw the first brick in the Stonewall uprising in New York City; the violence that followed inspired LGBTQ+ people the world over to stand up to oppression and discrimination. Now, 51 years later, drag is more visible than ever, due in no small part to the multiple Emmy award-winning reality series RuPaul’s Drag Race. The show has given a powerful platform to a new generation of drag, trans and non-binary performers. And, whereas early activists often had to contend with police batons, water cannon and prison cells, these queens have more freedom to speak their minds.

“Drag has always been a stronghold against shitty politicians,” says Alaska, in her trademark vocal fry. The ferociously witty winner of RuPaul’s Drag Race All Stars season 2 says her political role models include Act Up (Aids Coalition to Unleash Power), the movement that advocates to end Aids, and Elizabeth Taylor, one of the first Hollywood icons to speak up during the Aids crisis in the 1980s, who “wasn’t technically a drag queen, but she kind of was, right?”

“Act Up had this badass element and ‘enough is enough’ attitude. It was during the Reagan presidency and they were, like: ‘This man doesn’t see us, we have a crisis, people are dying – we’re burying all our friends and the president won’t even acknowledge it.’ They had to take really drastic measures because it was the only way to get through,” she says.

Alaska has also found an effective medium to get her point across. The bi-weekly podcast Race Chaser, which she co-hosts with fellow Drag Race contestant Willam, features Let’s Get Political, a segment in which the queens share crucial information about registering to vote and engaging with good causes, while making no secret of their personal sentiments. Alaska recently said, “An empty suit on a hanger in a closet would do less damage than the current person in the White House.” With 1.2 to 1.5m downloads a month, their platform is not to be sniffed at.

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Red, White and Blue review – Steve McQueen and John Boyega hit gold

Issues of bigotry, belonging, race and redemption and are unpicked in this majestic biopic of police officer Leroy Logan

Steve McQueen’s five-movie series for the BBC, Small Axe, only gets more thrilling and captivating with the appearance of this new episode at the New York film festival. He is setting new gold standard for drama – and cinema – on screens of any size.

Related: Lovers Rock review – Steve McQueen throws the best party ever

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Steve McQueen: ‘Our Marlon Brandos are on building sites, or driving buses’

The director’s new Small Axe series kicks off with the landmark 1971 trial of the Mangrove Nine. It’s his aim to fill these gaps in British history, he says, and to open the industry to other black film-makers

Photographer Misan Harriman is gently cajoling actor Shaun Parkes as the sun burns through the morning cloud above St Michael’s church in Ladbroke Grove, west London. “Look at me as if you’re searching for redemption,” he says, as Parkes looks down the lens. “But it’s redemption for something you haven’t even done.” Parkes, who rose to prominence as a raver in Human Traffic but now has flecks of grey in his beard, doesn’t ask for more clarity; he simply flashes a look at the camera and then slowly changes pose.

Today Parkes and Harriman, who recently shot Vogue’s “Activism Now” September issue, along with portraits of Black Lives Matter protesters, are revisiting the west London area that is the setting of Steve McQueen’s new film, Mangrove. It’s a glorious September morning and, despite the Covid-19 restrictions, the cafes are busy and the flower shops open. It’s hard to imagine that 50 years earlier, a few streets away, there was a pitched battle between the police and protesters that would help change the way Britain thought about race. Parkes plays Frank Crichlow, the real-life figure at the heart of McQueen’s film, which centres on Notting Hill’s Mangrove restaurant and nine West Indians who fought police harassment and then a court case. The look of redemption that Harriman is searching for is something Crichlow and the Mangrove Nine earned the hard way.

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Netflix faces call to rethink Liu Cixin adaptation after his Uighur comments

Five US senators have written to question plans to adapt The Three-Body Problem after its author voiced support for China’s mass internments in Xinjiang

Five Republican US senators have asked Netflix to reconsider its plans to adapt the bestselling Chinese author Liu Cixin’s book The Three-Body Problem, citing Liu’s comments in support of the Chinese government’s treatment of Uighur Muslims.

In a letter to Netflix, the senators said they had “significant concerns with Netflix’s decision to do business with an individual who is parroting dangerous CCP propaganda”. The letter cites Liu’s interview with the New Yorker last year, in which the Chinese novelist was asked about the mass internment of Muslim Uighurs in Xinjiang.

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Watchmen, Succession and Schitt’s Creek dominate virtual Emmys

The most diverse field in Emmys history garnered several awards for black actors and a full sweep for a Canadian sitcom

It was uncharted waters for the 72nd Emmy awards – the first major acting awards show held since the pandemic began, a strange and subdued ceremony in which stars accepted awards on Zoom. But unwelcome new methods (the telecast required more than 100 live feeds), and the end of former Emmys juggernauts Game of Thrones and Veep, ushered in a celebration of new series and talent: Canadian comedy Schitt’s Creek swept the comedy awards, HBO’s Succession dominated in drama and the evening’s most-nominated show, HBO’s prescient, eerie Watchmen, cleaned up in the limited series category.

Related: Emmy winners 2020: the full list

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Diana Rigg: star with an independent streak to match her glamour

From kick-ass screen roles to award-winning theatre and TV ones, with a curious sideline in nuns, the Yorkshire-born actor’s class and spirit earned her a magnificent career

When Diana Rigg made her Broadway debut in 1971, the theatre programme Playbill introduced her in terms that established the wide range of work and appeal that still marked her career at her death today, five decades later, at the age of 82.

The then-31-year-old Yorkshirewoman, theatregoers were told, was “a highly established star of the theatre, motion pictures and films in England” who had recently “become popular in the United States as the glamorous Emma Peel in The Avengers television series and as the leading lady in the latest James Bond film, On Her Majesty’s Secret Service”.

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Diana Rigg, Avengers and Game of Thrones star, dies aged 82

Actor who played Emma Peel in hit spy series and James Bond’s only wife was diagnosed with cancer in March

The actor Diana Rigg, known for her roles on stage and in film and television – including The Avengers and On Her Majesty’s Secret Service – has died at the age of 82.

Rigg, who rose to prominence in the 1960s through her starring role as Emma Peel in The Avengers alongside Patrick Macnee, enjoyed a long and varied career, playing Lady Olenna Tyrell in HBO’s smash hit Game of Thrones, a show she admitted in 2019 that she had never watched. She also played Countess Teresa di Vicenzo, or Tracy Bond, James Bond’s first and only wife to date, in the 1969 film On Her Majesty’s Secret Service.

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Sue Perkins: Along the US-Mexico Border review – darkness leavened with a dash of wit

More of a travelogue than a documentary, Perkins begins in the border town of Tijuana, where she finds tequila-fuelled parties sit uneasily alongside the scale of asylum seekers’ suffering

Watching Sue Perkins present a programme always brings to mind the moment in Blackadder when Edmund, in financial straits, is showing prospective buyers around his home. “You’ve really worked out your banter, haven’t you?” says one of them. “No, not really,” replies Blackadder. “This is a different thing – it’s spontaneous, and it’s called wit.”

Wit is Perkins’ USP. All presenters have warmth and intelligence, though both can vary in degree and kind, and in the proportions in which they are blended. But it is Perkins’ ability to think on her feet – and, I suppose, the willingness of her editors to keep it in and not flatten her into traditional affectlessness – that marks her (and the likes of Grayson Perry and Paul O’Grady when he lets rip) out. It adds zest to proceedings. This is always welcome, even when – as with last night’s opening episode of the two-part Sue Perkins: Along the US-Mexico Border (BBC One) – the programme’s subject matter is notably colourful stuff on its own.

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BBC boss Tim Davie to crack down on staff airing views on social media

New director general says he wants to focus on impartiality after accusations of bias

Tim Davie is to crack down on staff posting their views on social media in a move to restore the view of the BBC as impartial, and raised the question of slashing the corporation’s output by a fifth, cutting more jobs and potentially shutting TV channels.

The new director general said the BBC had to focus on impartiality to address accusations of bias from politicians on both sides of the political divide.

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Does Netflix’s Blood and Water show the ‘real’ South Africa?

The streaming giant’s Cape Town-set series has been a huge hit. But do dramas of its ilk lack authenticity, or is their global feel the key to their success?

Neon lights dance across an infinity pool, while, inside an enormous mansion, couples canoodle in immaculate white corridors and the cool kids sneak away to smoke. At this kind of party, there are those who are recognised at the door and those who have to blag to get their name on the guestlist. As the birthday girl schmoozes with her guests, an awkward attendee does anything to escape the hubbub and keep her head down, as red cups pile up in the garden and a queue forms for the bar.

So far, so teen drama. But this isn’t London or LA: the two girls are Fikile Bhele and Puleng Khumalo, and the show is Blood and Water, set in South Africa. The second African series produced and released by Netflix, it focuses on the class divide between private Parkhurst school in Cape Town and its unnamed public counterpart, as well as Khumalo’s search for her missing sister. Like many dramas aimed at younger viewers, the first instalment kicks off in the midst of a debauched, booze-soaked gathering before branching out into the dark underbelly of popularity – think student-teacher relationships and moneyed parents wielding their power in the education system in the form of “donations”.

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Alan Partridge on his new podcast: ‘This is the real, raw, be-cardiganed me’

He’s back – sporting a post-lockdown haircut and hosting a new podcast. Britain’s No 1 raconteur talks about his new hat, driving a Vauxhall, and why Boris Johnson looks like the evil rabbit in Watership Down

Turn right out of Norwich railway station, take the number 12 bus, change at Norfolk and Norwich University Hospital, ride eight stops on the number 4 towards Swanton Morley, walk 1.1 miles, and you can’t help but spot the twin louvred conical towers of the oasthouse that Alan Partridge calls home. It is from this very oasthouse that Partridge – raconteur, national treasure, wit – broadcasts his brand new podcast, From the Oasthouse: The Alan Partridge Podcast, and to which Partridge has invited the Guardian.

Partridge bounds out to greet me in what appears to be an effusive show of hospitality. He offers a handshake before snapping it back into a more pandemic-appropriate wave. “I am so fine with social distancing,” he says. “Remember, I work in television where you’re forever mauled, hugged and leant on by over-pally floor managers or cackling makeup ladies. Now I can say, ‘Get your hands off me!’ without appearing in any way rude.”

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Rivals plan Fox News-style opinionated TV station in UK

Groups pitching to perceived desire for alternative output as trust in BBC falls

Rival efforts are under way to launch a Fox News-style opinionated current affairs TV station in Britain to counter the BBC.

One group is promising a news channel “distinctly different from the out-of-touch incumbents” and has already been awarded a licence to broadcast by the media regulator, Ofcom, under the name “GB News”. Its founder has said the BBC is a “disgrace” that “is bad for Britain on so many levels” and “needs to be broken up”.

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Maisie Williams: ‘The people at the top of TV don’t want equality’

As the Game of Thrones star returns to screens in Sky’s Two Weeks to Live, she talks on-set scrapes, off-screen battles, and how the television industry could up its game overnight

When Maisie Williams was shooting a fight scene in her latest TV project, Two Weeks to Live, she took a blow to the head. “I got hit a couple of times with a glass bottle,” she says, matter-of-factly over the phone. I can’t see her face but I can almost hear her smiling, a faint giggle detectable between sentences. “I also kicked my co-star in the chin and made his mouth bleed. Other than that, it was pretty scrape-free.”

A kick in the face and multiple rounds of bottling might sound like the opposite of “scrape-free”, but perhaps it is for an actor such as Williams, best known for her role as Arya Stark in Game of Thrones. As the noblewoman turned assassin, Williams’s fight scenes included some of the show’s most pivotal, such as the one in the bloody, battle-filled penultimate episode, The Long Night, which Williams trained for a year to film.

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Danbury, Connecticut will name sewage plant after John Oliver

  • British-born comic abused city in recent segment on juries
  • Mayor says plant is ‘full of crap just like you, John’

Officials in Danbury, Connecticut, say they will name their sewage plant after the comedian John Oliver, in retaliation for an expletive-filled rant about the city on his HBO show.

Related: John Oliver: US is 'making a mockery of the phrase a jury of your peers'

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Alan Davies: ‘I’ve become a huge enemy of silence and secrecy’

The comedian and actor has written a raw and compelling book about his early life, including the abuse he suffered from his father

Your memoir details personal experiences you have never talked about in public before. This includes the sexual abuse you suffered as a child, at the hands of your father, after your mother’s death from leukaemia. Why write about these experiences now?
I kept feeling their presence in their absence from so many parts of my life. I didn’t have the courage, strength or fortitude to confront them. They were never in my comedy. I’d always been focused to get to the next milestone, the next show, the next fringe. I’d also already written a memoir [2010’s Teenage Revolution: Growing Up in the 80s] but all the things that mattered were missing.

In 2016, you started a part-time MA in creative writing at Goldsmiths University. Was that to help tell this story?
I wanted to get this material out of myself, but I was writing about my life in the third person at first, workshopping it as short stories. Then, towards the end of the first year, I wrote something for an assessment, which became a chapter in the book, relatively unchanged [a chapter called Hands, which details the first incident of sexual abuse Davies suffered, at the age of “eight or nine”]. The assessment just had my student number on it, so it felt safe to write it. The tutor feedback was anonymous, too. It allowed me to present a version of myself where nothing was concealed from view.

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Filmmakers told to ditch sex scenes to protect actors from coronavirus

Updated guidance suggests directors take inspiration from classic films made when sex on screen was prohibited

British film and TV directors are being encouraged to seek inspiration from classic romances such as Casablanca and ditch depictions of sex altogether when planning intimate scenes under new guidelines for directing during the Covid-19 crisis.

Directors UK, the professional association for screen directors in Britain, suggested some creative alternatives to avoid sex scenes with physical interaction while social distancing is required, in an update to its Directing Nudity and Simulated Sex guidelines, which are focused on safe working during the pandemic.

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‘Could I feel what they were doing? Yes’: Rob Delaney on the pain and pleasure of his vasectomy

The actor and comedian decided it was time to have the procedure after he and his wife had had four children. Here he writes candidly about the experience, and why it was the kindest cut

I got a vasectomy a few months ago. A vasectomy is when they cut and tie off the vas deferens, which are these little tubes in your ball sack (scrotum) so that there’s no sperm (sperm) in your jizz (semen) when you bust (ejaculate). I did this because my wife and I don’t want her to get pregnant again. It doesn’t mean we don’t want any more kids, it just means that if we did have any more, they’d have to be adopted or stolen or left to us because friends or family with young kids died in a plane crash or had their brain stems blown apart by less-lethal rounds fired at them at point-blank range while they were waiting in an 11-hour line attempting to vote in November.

I figured after all my wife, Leah, and her body had done for our family, the least I could do was let a doctor slice into my bag and sterilise me. Leah had taken birth control for decades, which is a giant pain in the ass and also decidedly sexist pharmacological slavery. IMAGINE a man having to remember to not only take a pill every day, but also having to deal with employer-provided private insurance prescription plans in the US which drop you or sell your plan to another company without telling you, among other crimes. And messing up once could land you with – for example – an ectopic pregnancy that isn’t diagnosed soon enough because you’re afraid to go to the doctor due to your high deductible, so you literally die and are dead, in a cemetery. I think I speak for my bros when I say: “No thanks!”

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Emmys 2020: Watchmen and The Marvelous Mrs Maisel lead nominations

The acclaimed HBO graphic novel adaptation leads the pack with 26 nominations, with the Amazon period comedy following behind

HBO’s acclaimed graphic novel adaptation Watchmen leads this year’s Emmy nominations with 26 nods.

Related: Lorde and Mick Jagger urge politicians to seek permission before using music

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Mrs America’s Uzo Aduba: ‘It’s worth examining the shortcomings of our feminist heroes’

She stole the show in Orange Is the New Black. Now the actor is playing the first black woman to seek the US presidency – and rejecting suggestions she gets a ‘Hollywood smile’

Shirley Chisholm was a woman of many firsts. She was the first black woman elected to Congress, the first black candidate to seek the presidency, and the first woman, full-stop, to participate in a US presidential debate. She introduced more than 50 pieces of legislation, most championing racial, economic and gender equality, and is often credited as paving the way for Barack Obama. In doing so, she occupied a space that many black women recognise: the solitary seat as the only such face at the table.

Uzo Aduba, who plays Chisholm in the acclaimed new FX series Mrs America, says that this was a key factor in bringing this formidable politician to life. “That feeling of being the ‘only’,” she says, speaking via Zoom with a warm smile on her face. “It was important to get that right.”

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