Murray Bartlett: ‘Filming The White Lotus in lockdown felt like a TV summer camp’

The Australian actor on creating his character Armond, the magic of Tales of the City and that meme-inspiring suitcase scene

Sydney-born actor Murray Bartlett, 50, made his screen debut aged 16 in medical soap The Flying Doctors. He worked in Australian TV and film before being cast as a guest star in Sex and the City in 2002. Subsequent TV credits include Dom Basaluzzo in HBO’s gay comedy-drama Looking and Michael “Mouse” Tolliver in the Netflix revival of Armistead Maupin’s Tales of the City. This year, he starred as luxury Hawaii spa resort manager Armond in HBO’s hit satire The White Lotus, shown in the UK on Sky Atlantic.

How did you land your role in The White Lotus?
I did a self-tape audition in lockdown, then spoke to [writer/director] Mike White on the phone. Before I knew it, I was on the plane to Hawaii and landing in paradise, which was bizarre and thrilling. There’d been times early in the pandemic when I thought: “Should I get another skill? Maybe acting won’t be a thing any more.” So The White Lotus came as an extraordinary surprise. I felt guilty talking to my actor friends about it because it was such a dreamy job.

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On my radar: Adjoa Andoh’s cultural highlights

The actor on her hopes for Brixton’s new theatre, an offbeat western and the sophistication of African art

Adjoa Andoh was born in Bristol in 1963 and grew up in Wickwar, Gloucestershire. A veteran stage actor, she starred in His Dark Materials at the National Theatre and in the title role of an all-women of colour production of Richard II at the Globe in 2019. On TV, Andoh plays Lady Danbury in Bridgerton, which returns next year, and she will appear in season two of The Witcher on Netflix from 17 December. She lives in south London with her husband, the novelist Howard Cunnell, and their three children.

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Can you say Squid Game in Korean? TV show fuels demand for east Asian language learning

Japanese and Korean are in top five choices in UK this year at online platform Duolingo

Whether it’s down to Squid Game or kawaii culture, fascination with Korea and Japan is fuelling a boom in learning east Asian languages. Japanese is the fastest growing language to be learned in the UK this year on the online platform Duolingo, and Korean is the fourth fastest.

Most of the interest is driven by cultural issues, the firm said in its 2021 Duolingo language report, which will be published tomorrow and analyses how the 20 million downloads of its platform are used.

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Louis Theroux: ‘I’ve always found anxiety in the most unlikely places’

The broadcaster, 51, talks about his first memories, last meal, lockdown resets and his brainier older brother

I always felt like the second fiddle to my older brother Marcel, who I thought was impossibly brilliant and mature and seemed to be reading more or less from the womb, although I’m two years younger, so I wouldn’t have known that first-hand. I was the sideshow: the funny one, the ridiculous one my grandparents said was “good with my hands”, which at five or six I embraced. It was only as I got older I realised it meant, “might not want to stay in school past 14 or 15”.

From childhood I’ve always found anxiety in the most unlikely places. Aged six I remember watching maypole dancers skipping around and braiding these ribbons into beautiful patterns at my south London primary school and even though I was still in the infants and wouldn’t be doing it for years, I thought, “I’m never going to be able to fucking dance around a maypole.” All through my life I’ve tended to experience future events in a negative way. It’s always been a source of looming discomfiture.

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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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‘I owe an enormous debt to therapy!’ Rita Moreno on West Side Story, dating Brando and joy at 90

She overcame racism and abuse to break Hollywood, romanced Brando, dated Elvis to make him jealous, fought hard for civil rights and won an Egot. Now in her 10th decade, she is busier and happier than ever

Rita Moreno pops up on my computer screen in a bright red hat, huge pendant necklace and tortoiseshell glasses. “Well, here I am in my full glory,” she says from her home in Berkeley, California. And glorious she sure is. Moreno is a couple of weeks short of her 90th birthday, but look at her and you would knock off 20 years. Listen to her and you would knock off another 50.

Can I wish you an advance happy birthday, I ask. “Yes, you can. Isn’t it exciting?” Moreno is one of the acting greats. But she could have been so much greater. She is one of only six women to have bagged the Egot (Emmy, Grammy, Oscar and Tony awards), alongside Helen Hayes, Audrey Hepburn, Barbra Streisand, Whoopi Goldberg and Liza Minnelli. Yet she has spent much of her career battling typecasting or simply not being cast at all.

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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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‘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 Beatles: Get Back review – eight hours of TV so aimless it threatens your sanity

In Peter Jackson’s latest epic, the moments of inspiration and interest are marooned amid acres of meandering chit-chat. What a schlep

The Beatles’ 1970 album Let It Be and its depressing accompanying documentary were always bugbears among the former Fabs. John Lennon dismissed the music as “badly recorded shit”; Paul McCartney was so horrified by the album that he masterminded a new version in 2003, shorn of the additions by Phil Spector, whom Lennon employed as a producer without telling McCartney. None of the Beatles turned up to the documentary’s premiere; Ringo Starr objected that it was “very narrow” and had “no joy”.

Peter Jackson’s Get Back is a documentary series designed to address Starr’s concerns. It shows a broader, ostensibly happier, picture of the band’s doomed 1969 project to write a new album, rehearse the songs and perform them live in the space of two weeks. Whether the Get Back sessions hastened the Beatles’ demise remains moot, but a preponderance of footage featuring songs sung in funny voices, mugging to camera and in-jokes can’t stop the initial sessions at Twickenham Studios from looking like misery.

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Time to sashay away? Why Drag Race UK risks losing its cheeky charm

With shock eliminations and rushed challenges, the third series hasn’t compared to previous brash, irreverent outings. It’s time to bring back the authenticity – and the joy

In recent years, RuPaul’s Drag Race has become a mainstay of international TV, with outposts from Spain and Australia to Thailand and Canada. The UK version debuted at the end of 2019 to much acclaim, with two more series filmed in London and Manchester following in quick succession. The third – currently airing on BBC Three – has seen a number of twists on the format, however, with shock eliminations and surprise saves, and lip-syncs used to separate both the top and the bottom of the pile. It’s the closest the UK series has felt to its US counterpart, but in doing so it risks losing the subversive, cheeky charm that made it so irresistible.

In fact, the first two series of Drag Race UK were worlds away from the heavily produced and polished US series. Embracing the camp irreverence of its queens, it allowed them to shine on their own terms, relishing their rough edges and quintessentially British pop culture references (think EastEnders, Gemma Collins and, er, Margaret Thatcher). Breathing new life into Drag Race, it struck the balance between revering and ridiculing the franchise. It also celebrated queer people and shared their stories in a way that many shows struggle to do, with British drag celebrated on the global stage.

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