Tag: Entertainment-HollywoodReporter

  • Sandra Bullock and Nicole Kidman Return as Sister Witches in ‘Practical Magic 2’

    Sandra Bullock and Nicole Kidman Return as Sister Witches in ‘Practical Magic 2’

    Sandra Bullock and Nicole Kidman are charming sisters and witches passing their magical skills to their kids in the trailer for Practical Magic 2, which dropped on Monday and is directed by Susanne Bier (The Perfect Couple, Bird Box).

    Bullock and Kidman reprise their roles from the 1998 original, which follows orphaned sisters Sally and Gillian Owens as they are raised by their witch aunts Aunt Jet (Dianne Wiest) and Aunt Franny (Stockard Channing). After avoiding witchcraft most of their lives, the pair work to learn how to use their powers to ward off a curse that threatens women in the family over the generations from finding love, and leaves men they fall in love with dead. 

    “Everyone we love dies,” Bullock says at one point in the teaser. Kidman then adds: “A really horrible death. I mean, it’s just — it’s not great for the Tinder bio.” Wiest and Stockard also return to a reassembled Coven for the long-awaited sequel, along with new cast members Joey King, Lee Pace, Maisie Williams, Xolo Maridueña and Solly McLeod.

    Practical Magic 2 returns to a world steeped in moonlit mischief and powerful ancestral magic, as the Owens sisters must confront the dark curse that threatens to unravel their family once and for all in a must-see cinematic event of fun, magic and mayhem,” a synopsis from the producers states.

    Based on the novel entitled The Book of Magic by Alice Hoffman, Bier directed a script penned by Akiva Goldsman and Georgia Pritchett. Denise DiNovi, Bullock and Kidman share the producer credits, while Andrew Kosove, Broderick Johnson, Donald Sabourin and Hoffman are executive producers.

    Warner Bros. plans a Sept. 11, 2026 theatrical release.

  • Eric Roberts Says Bob Fosse Made Him Spend the Night in the Real ‘Star 80’ Murder Apartment

    Eric Roberts Says Bob Fosse Made Him Spend the Night in the Real ‘Star 80’ Murder Apartment

    Eric Roberts still isn’t sure how he got through Star 80.

    Appearing on the latest episode of It Happened in Hollywood, the actor looked back on his experience making the 1983 film with director Bob Fosse — a process that was as methodical as it was, at times, deeply unsettling. One moment in particular has stayed with him.

    During production, Fosse insisted that Roberts spend the night in the actual apartment where Dorothy Stratten, the real-life Playboy Playmate of the Year from 1980, was murdered by her husband and manager, Paul Snider, the role Roberts was playing.

    “I didn’t want to go,” Roberts says on the podcast. “I told him, ‘I don’t want it.’ And he said, ‘No, you’re going to spend the night with it. Come on.’”

    The apartment, located off a busy highway, was noisy and impossible to ignore. Roberts says he didn’t sleep. The next day, he filmed one of the movie’s most difficult scenes.

    “That was Bob,” he says. “He wanted you to feel what it was.”

    Roberts’ path to Star 80 was far from straightforward. The year before production, he had been in a serious car accident that left him in a coma and caused lasting memory and coordination issues. At the time, he believed his acting career might be over. Then his manager passed him a script for Fosse’s next project, which had not yet widely circulated.

    “It didn’t grab me right away,” Roberts admits. “It felt very black and white. But it said ‘Bob Fosse’ on it, and that was enough.”

    He went in to audition, repeatedly. Roberts estimates he read for Fosse five or six times before getting a straightforward offer. “He never tipped his hand,” Roberts says. “Then one day he just asked if I wanted to make a movie. “

    Once cast, Roberts entered what he describes as an unusually immersive prep process.

    For roughly three months, Fosse walked him through key locations connected to the infamous true story, including the Vancouver Dairy Queen where Snider first met Stratten, her childhood home and the Playboy Mansion. Rehearsals were held in a church on Highland Avenue in Los Angeles, where Fosse taped out full set layouts on the floor.

    “He knew exactly what he was going to shoot,” Roberts says. “Every move, every piece of furniture, everything.” Fosse’s focus, Roberts adds, was on avoiding a one-dimensional portrayal of Snider.

    “He didn’t want a cartoon,” Roberts says. “He wanted someone real. And the truth is, people like that are all around us. “

    Later in the podcast, Roberts also shared a story from pre-production that he says he rarely tells.

    While staying at a motel with Fosse in West Los Angeles, he received a phone call that Fosse encouraged him to take. On the other end was the late director Peter Bogdanovich, also a former guest on It Happened in Hollywood, who had his own connection to Stratten.

    Bogdanovich had cast her in 1981’s They All Laughed, her leap into mainstream filmmaking, which had led to an affair between filmmaker and muse.

    The obsessive Snider hired a private investigator to follow Stratten. When he discovered she planned to divorce Snider and marry Bogdanovich, Snider murdered Stratten and killed himself. Bogdanovich is depicted in Star 80, renamed Aram Nicholas and played by Roger Rees.

    Adding the strange, sensational surreality of the real-life tragedy, on Dec. 30, 1988, the 49-year-old Bogdanovich married 20-year-old Louise Stratten, Dorothy’s younger sister, sparking a tabloid frenzy.

    “He asked me what I was getting paid, how I got the part,” Roberts recalls. “And then he suggested I leave the movie and that he might consider me for his version.”

    Bogdanovich was developing his own version of the murder, which became the memoir The Killing of the Unicorn, detailing the relationship between their love affair, the making of They All Laughed and her murder.

    Roberts describes Bodanovich’s tone as “condescending.” Meanwhile, Fosse, sitting nearby, urged him to keep the conversation going.

    “I just kept talking, Roberts says. “I told him I’d call him back. “

    He never did.

    When the call ended, Roberts says Fosse was “rolling on the floor laughing.”

    When Star 80 was released in November 1983, Roberts says the response from within the industry was notably muted.

    “They didn’t know how to react,” he says. “They were afraid to like it because it might say something negative about Hollywood. And they were afraid to hate it because it was a great film.”

    The movie received strong reviews but limited awards recognition. Roberts earned a Golden Globe nomination for best actor in a drama but was not nominated for an Oscar — something he acknowledges didn’t fully register until years later.

    “I didn’t even think about it at the time,” he says. “Then someone mentioned it, and I thought, ‘Oh. Maybe I should have been.’”

    Fosse died in 1987, four years after the film’s release, without directing another feature. Looking back, Roberts places Star 80 alongside All That Jazz as defining works.

    “Those are perfect movies,” he says. “Working with him, you realize real geniuses are rare. And they don’t work the way anyone else does.”

    You can listen to the full conversation on It Happened in Hollywood.

  • ‘The Pitt’ Star Shawn Hatosy to Narrate Quinn Original Audio Drama ‘Yes, Chef’ (Exclusive)

    ‘The Pitt’ Star Shawn Hatosy to Narrate Quinn Original Audio Drama ‘Yes, Chef’ (Exclusive)

    The Pitt star Shawn Hatosy is going from the ER to the kitchen.

    Hatosy will star in Yes, Chef, a two-episode immersive audio romance for audio erotica app Quinn, The Hollywood Reporter can exclusively announce. Yes, Chef marks the latest Quinn Original series, the app’s produced romances that “complement Quinn’s thriving erotica creator community.”

    In Yes, Chef, Hatosy stars as Grant Reilly, a “seasoned executive chef of North & Vine, a restaurant fighting to maintain its Michelin star in an industry that’s rapidly evolving. After a viral negative review threatens the restaurant’s legacy, Grant’s business partner brings in rising culinary star Iris Adams to shake things up and take North & Vine from ‘classic’ to ‘relevant.’ As Grant and Iris work side by side, their differences spark undeniable chemistry.”

    Narrated directly to the listener, who will represent the role of Iris, Yes, Chef “immerses audiences in an intoxicating forbidden romance set in the high-stakes world of fine dining.”

    Securing Hatosy as a narrator is sure to make app fans happy given he’s been a top choice among listeners.

    “Shawn is one of our most requested narrators ever,” Caroline Spiegel, founder and CEO of Quinn, said in a statement. “With Yes, Chef, most of the story takes place inside the chaos of a Michelin-star kitchen. We wanted to emulate the high-pressure settings that fans love seeing Shawn in, and we couldn’t be more excited to have him step into this world with us.”

    Grant is wrestling with his identity and what that means. That really resonated with me, because I’ve been there. Then things happened in my career — like The Pitt — that changed my trajectory,” Hatosy said in a statement. “Grant isn’t feeling like he has a lot of value outside of the kitchen, but he starts to see through Iris, through her youth and vitality and what she brings. And by listening to her, really paying attention to her, he grows.”

    When asked about why working with Quinn made sense, Hatosy said in a statement, “I did my research, and I saw what the philosophy was. That really got me to pay attention.”

    Described as being “made by women, for the world,” Quinn was designed to help listeners be a main character in their fantasy, with stories putting female pleasure at the forefront. The app has recruited Hollywood stars to narrate the steamy stories including Chris Briney, Andrew Scott, Manny Jacinto, Tom Blyth, Jamie Campbell Bower, Victoria Pedretti, Jesse Williams, Lucien Laviscount, Thomas Doherty, Katherine Moennig, Heated Rivarly stars Hudson Williams and Connor Storrie, Costa D’Angelo and Tyriq Withers.

    Quinn founder Spiegel — sister of Snapchat founder Evan Spiegel — launched the app in 2021 and began enlisting Hollywood talent last year to help share audio erotica that “felt approachable and not intimidating.”

    “At first, we weren’t even sure if people would do it or people would like it,” Spiegel told THR. But in an AI-driven age, stars are able to take control of their erotic output. “It’s actually kind of nice to be like, ‘OK, I’ll do this. I’ll do it my way with my creative vision for how I want this to be,’ ” Spiegel said. 

    “There’s a huge catalogue of intimate scenes I’ve done over 25 or 30 years, and audiences have been taking that material and creating content. I don’t have any control over that,” Hatosy said. “With Quinn, it gave me an opportunity to step into this space with intention, and help shape this kind of new media in a way where I can participate and feel like we’re building something meaningful together.”

    On The Pitt, Hatosy plays night shift attending physician Dr. Jack Abbot. In addition to serving as a sounding board for Noah Wyle’s Dr. Michael “Robby” Robinavitch, as the close friends have talked about their respective mental health struggles in key scenes over the past two seasons, Abbot has become a fan favorite for his memorable friendly interactions with Supriya Ganesh’s Dr. Samira Mohan, who, it was recently announced, will be leaving the hit HBO Max series after season two. Speaking to THR ahead of The Pitt season two finale, Hatosy said Abbot “definitely has feelings” for Dr. Mohan and that he’ll “miss her,” but hopefully the two will stay in touch.

    Hatosy also previously talked to THR about the fan interest in his character, including his shirtless scene in season two.

    “I try to never take any of it seriously,” he said. “Yes, that episode really blew up and it’s weird. Certainly, it creates these lines where things can get a little complicated, like if I’m out in public with my family. I don’t want to be the guy who isn’t taking the picture with the fans because I know that it means something to them. Especially when I’ve talked to fans who are really moved by the show, I’ve had people say they were struggling and then watched Abbot not jump [off the roof]. But then when it comes to me and my pasty, flabby back out in the world, yeah, it can get a little weird. I just try and enjoy it.”

    Hatosy is repped by Trademark Talent and Paradigm. 

    Episode one of Yes, Chef releases on the Quinn app on April 21 with episode two premiering April 24.

    Shawn Hatosy in Yes, Chef

    Quinn

    Hilary Lewis contributed to this report.

  • Vatican to Host Private Screening of Scorsese-Produced Pope Documentary ‘Aldeas’

    Vatican to Host Private Screening of Scorsese-Produced Pope Documentary ‘Aldeas’

    Martin Scorsese, it’s fair to say, is team Pope.

    The Vatican on Monday announced it would be hosting a private screening of the Scorsese-produced documentary Aldeas, The Final Dream of Pope Francis, in Rome on April 21, to mark the one-year anniversary of Francis’ death.

    Aldeas is the community cinema project run by Pope Francis’ global educational movement Scholas Occurrentes which holds workshops around the world to help local communities create scripted short films celebrating “their unique identities, histories, and values.” The documentary follows the cinema initiative across Italy, Indonesia, and The Gambia, and includes a visit by Scorsese to his grandfather’s village in Sicily, where he works with local young people to make a film of their own. It includes Pope Francis’s last in-depth on-camera interview shortly before his death and several behind-the-scenes conversations between the Pope and the Oscar-winning director.

    “This film is a tribute to the Holy Father,” said Scorsese in a statement. “It honors his memory by embodying the spirit of his ministry and his dream of creating an ever more human culture. At this moment in history, I believe that is not only a dream, but a necessity.”

    The Vatican will hold a private screening of the film on Tuesday, April 21, a year after Pope Francis’ death, just steps from where he lived and died.

    On Monday, the Vatican unveiled several first-look images from the film (see below).

    The new film lands amid a weeks-long dispute between the current pontiff, Pope Leo XIV, and U.S. President Donald Trump over the U.S.-Israel war against Iran. After Leo called Trump’s threat that a “whole civilization will die” to be “truly unacceptable,” POTUS lashed out, posting on Truth Social that the first U.S.-born Pope was “WEAK on Crime, and terrible for Foreign Policy.” Trump also posted an AI-generated image of himself as a Jesus-like figure, which he later removed amid a backlash from American Christians.

    On the new episode of Last Week Tonight on Sunday, host John Oliver mocked Trump for taking on the leader of the Catholic Church, saying the President was “on a epic run of picking losing fights.”

    Vice President JD Vance, a Catholic convert, also weighed in, suggesting the Pope should be “careful when he talks about matters of theology.

    Over the weekend, the Pope, currently on a tour of Africa, said it was “not in my interest at all” to debate Trump about the Iran war, but that he would continue preaching the Gospel message of peace.

    Clare Tavernor and Johnny Shipley directed Aldeas, The Final Dream of Pope Francis, which was produced by Aldeas Scholas Films in association with Sikelia Productions and Massive Owl Productions. LBI Entertainment and Double Agent are handling sales of the film, with all proceeds to be reinvested in the Aldeas initiative.

    Aldeas, The Final Dream of Pope Francis.

    Aldeas Scholas Films

    Aldeas The Final Dream of Pope Francis.

    Aldeas Scholas Films

  • Jay Mohr: Why You Need to Watch Netflix’s ‘Love on the Spectrum’

    Jay Mohr: Why You Need to Watch Netflix’s ‘Love on the Spectrum’

    “You need to watch …”

    This sentence has been a constant my entire life with interchangeable titles. The Sopranos. Deadwood. Seinfeld (I’m old). Breaking Bad. Game of Thrones. Year after year, decade after decade, someone has attempted to guilt me for what I have been missing in my leisure time.

    Upon hearing this admonition, I have always smiled and acted politely as my insides filled with dread, annoyance and disappointment at the messenger for wasting my time. (People and their stupid shows, amiright?)

    That said, you need to watch Love on the Spectrum.

    Unlike the iconic leads in the above mentioned shows, the main characters on LOTS haven’t been brought to life through the alchemy between writer and actor.

    The leads on LOTS are everyday human beings who are living brilliantly and beautifully with autism. They’re brought to life by the magical alchemy of unconditional love and family. None of the cast are playing a character. They are the character. The only character they know how to be. In this TikTok, quick fix world, Netflix finds themselves filming people who have waited their entire lives to simply be embraced as themselves. The result is nothing short of glorious. 

    The conceit of the show is simple and, at first review, a bit cruel. Take a few people on the autism spectrum and film them going on a date. Almost always their first date. Ever.

    Admittedly, I was so uncomfortable watching these first dates. The conversations are halting and awkward. There’s a great deal of silence. There’s social anxiety. Things are said that are inappropriate. There are panic attacks. It’s honestly tough to watch.

    But then there’s … something. That thing that lives dormant in most of us a nostalgic memory. That thing is a connection. An impossible, long shot, snow in July-type connection. Then, for the viewer, there’s an almost selfish feeling of relief.

    We’re not comfortable with too much silence. When we have social anxiety we tend to flee. When the LOTS cast find that divine spark, that connection, they are unknowingly and mercifully letting us all off the hook from the hang ups we brought in the door with us. Watching people on the spectrum find their soul mate is like watching flowers grow through concrete.

    It can take a while. For our cast it’s taken a lifetime.

    While watching Love on the Spectrum, I realized I was feeling something that I have never felt before watching television. Victory. Sobbing while I cried tears of gratitude. Victory. No one but my new heroes could ever have walked me to that destination. And I am deeply humbled to have had the honor of watching them.

    You need to watch Love on the Spectrum.

    Jay Mohr is a writer, actor, stand-up comedian and host of the podcast series Mohr Stories. A recent episode, which can be seen here, found Mohr sitting down with Love on the Spectrum star Connor Tomlinson.

  • Microdramas Platform Verza TV Shifts Strategy Just 4 Months After Launch (Exclusive)

    Microdramas Platform Verza TV Shifts Strategy Just 4 Months After Launch (Exclusive)

    Alan Mruvka’s vertical video platform Verza TV is already moving beyond verticals. Not that it’s leaving the portrait-mode shorts format behind.

    Verza TV, founded by the cofounder of E! Entertainment Television, just launched in December. Today, what the company is internally calling “Verza 2.0” is upon us, which includes horizontal videos and a complete shift to user-generated content, The Hollywood Reporter has learned. So, yeah, YouTube + YouTube Shorts, essentially, just on a much, much smaller level. (To be fair, compared with YouTube, even Netflix is on a much smaller level.) Verza TV is positioning itself as “the digital theatre for the next generation,” and says this transition will make the mobile-first platform scalable.

    At launch, Verza licensed 80 Singapore-made microdramas from an international distribution company. It was something of a strange choice for the first U.S.-based (at the time of announcement, at least) microdrama platform.

    “Verza was built on the idea that the future of entertainment is mobile, immersive, and accessible,” Mruvka said in a statement. “By evolving into a creator-driven ecosystem, we’re empowering the next generation of storytellers while maintaining the premium quality audiences expect. We are building the digital theatre for the next generation.”

    There’s that tagline again. Mruvka is presenting Verza 2.0 at the NAB Show in Las Vegas.

    Verza says adding traditional horizontal formats on the platform is “a first for the microdrama category.” Going fully UGC will not impact production quality, Verza says, and creators will be able to check their monetization stats in real-time.

    Vertical videos, colloquially called “microdramas” (even though they’re sometimes comedies), are the newest trend in Hollywood, though most of the content comes from China (or the Ukraine, in Holywater’s case). Time will tell if the trend is more of a fad.

    For now, the space is getting crowded. There are the major incumbents like ReelShort and DramaBox, as well as upstart companies from Hollywood veterans including MicroCo and GammaTime.

    Microdramas are generally cheaply made dramas dubbed and diced up into roughly 60-second slices, though the details can vary by platform. These mobile apps tend to offer the first few “episodes” for free, hoping to hook a viewer, and then charge a user to finish the story.

  • UEG Expands in Celebrity Brand Building With Business Ventures Division

    UEG Expands in Celebrity Brand Building With Business Ventures Division

    Celebrity brand-building has become a big business.

    So the United Entertainment Group has launched UEG Ventures after company founder Jarrod Moses had success connecting Queen Latifah and CoverGirl for their brand partnership.

    UEG is an entertainment and sports marketing agency, part of DEJ Holdings (Daniel J. Edelman Holdings). Jarrod Moses launched UEG in 2007 and in 2024 became global chair of DJE’s entertainment, sports and culture business.

    Now the agency is looking to pair more starry clients with capital investment for additional Madison Avenue success stories, whether with start-ups or as the face of brands.

    Celebrity entrepreneurs will enter business ventures in the earliest stages of development or as they expand. “UEG Ventures was built to bring the power of culture into the foundation of business. By aligning investment with creative strategy and our unmatched access to talent, we help visionary brands move faster, connect deeper, and scale smarter,” Moses said in a statement.

    Recent dealmaking at UEG to bring star wattage to new products includes Paris Hilton and her 11:11 Media banner teaming with the McCormick spice brand for campaign and product partnerships as part of a two-year tie-up, a partnership between the soda retail chain Cool Sips and actress Whitney Leavitt and actor and producer Wilmer Valderrama pacting with real estate developer Edens to create the Latin American-inspired cocktail bar Elegacia in Washington D.C. as part of the Union Market development.

    “UEG Ventures has a clear understanding of the intersection of business and talent in a way few others do — and they bring a level of authenticity that was essential as I built the Elegancia brand, a Latin food and drink concept inspired by the dishes that are most authentic to me,” Valderrama stated.

    As UEG moves beyond just offering expertise in marketing strategy, PR and other talent support, the new Ventures division is looking to strike celebrity and brand partnerships in the health and wellness, food and beverage, fashion and apparel, beauty and personal care, financial services, sports, retail and technology sectors.

    UEG is headquartered in New York, with offices in Los Angeles, Chicago, Miami, Dallas, London, Hamburg, Sydney, and Tokyo.

  • ‘99% Invisible’ Host Roman Mars to Host New Podcast About American History (Exclusive)

    99% Invisible creator Roman Mars is hosting a new series about the objects that shaped the history of America. 

    The show, A History of the United States in 100 Objects, is produced by SiriusXM and BBC Studios, and will see Mars uncover the stories behind objects such as a gold coin from a shipwreck in 1857 that led to a financial panic, an antebellum schoolbook that became a tool for Black liberation and a small screw that shows how the U.S. created a hidden industrial empire.

    “The history of America can’t be captured in a single story,” Mars said. “So instead, we’re telling one hundred. By looking closely at the things we’ve made – and the things we’ve thrown away – we’re hoping to reveal a richer, more complicated picture of who we are.”

    In addition to the new show, Mars hosts 99% Invisible, a narrative podcast about unnoticed architecture and design, which has led to multiple spin-off series, including Articles of Interest and the 99% Invisible Breakdown of The Power Broker. SiriusXM acquired 99% Invisible in 2021..

    Throughout the new series, Mars will be joined by historians, journalists and podcasters, as well as individuals with personal connections to the stories being told. The lineup includes Radiolab founder Jad Abumrad; Dan Taberski, investigative journalist and host of Hysterical, Song Exploder creator Hrishikesh Hirway; former MythBuster Adam Savage; current Radiolab co-host Latif Nasser and more. 

    The first episode premieres May 19, with weekly episodes following in the “99% Invisible” feed on the SiriusXM app and wherever podcasts are available. 

  • ‘Virginia Woolf’s Night and Day,’ Starring Haley Bennett, Jack Whitehall and Lily Allen, to Open SXSW London Film Lineup

    ‘Virginia Woolf’s Night and Day,’ Starring Haley Bennett, Jack Whitehall and Lily Allen, to Open SXSW London Film Lineup

    Virginia Woolf’s Night and Day, starring Haley Bennett, Jack Whitehall, Lily Allen, Timothy Spall, Jennifer Saunders, Sally Phillips, Misia Butler and Elyas M’Barek, will open the 2026 SXSW London film lineup, organizers unveiled on Monday.

    The rom-com from director Tina Ghavari and screenwriter Justine Waddell is an adaptation of Virginia Woolf’s novel Night and Day. Talent so far confirmed to attend the film’s world premiere at SXSW London, which runs June 1-6, are Bennett, Whitehall, Phillips, Butler, Ghavari and Waddell. 

    Also set for the event is the darkly satirical Savage House, whose cast includes Richard E. Grant, Claire Foy, Bel Powley and Jack Farthing. 
     
    Joining these films will be an exclusive first-look screening of an Adult Swim animated series from Warner Bros. Animation, Get Jiro, based on the DC/Vertigo graphic novel from Anthony Bourdain. Executive produced by Brian Gatewood, Alessandro Tanaka, Jordan Blum, Anthony Bourdain, Joel Rose, and Sam Register, the show stars Brian Tee (A House of Dynamite). It is set in a not-too-distant future Los Angeles where master chefs rule the town and people literally kill for a seat at the best restaurants. 
     
    SXSW London on Monday also unveiled six films, all making their U.K. premieres, selected for this year’s official competition. They are The Other Side of the Sun, directed by Tawfik Sabouni, Juan Pablo Sallato‘s The Red HangarRoya by director Mahnaz Mohammadi, Vladlena Sandu’s Memory, Remake from director Ross McElwee, and Only Rebels Win by director Danielle Arbid.

    Said Anna Bogutskaya, head of screen at SXSW London: “The films in our official competition embody what we are most excited about in contemporary cinema: no-holds-barred, deeply human and formally audacious films that provoke and challenge us to think wider, deeper and more empathetically.”

    SXSW also added to its industry speakers and panel lineup on Monday. New sessions include “Toy Meets Tech: The New Technologies of Toy Story 5” with Thomas Jordan (Toy Story 5 VFX supervisor), “BookTok to Screen: Making Hits Out of Views” with Tara Erer, head of originals, U.K. & Europe at Prime Video, and Hannah Griffiths, head of adaptations at Banijay, “The Beyond the Audition: Casting Directors” with casting directors Sophie Holland (The Witcher, Wednesday) and BAFTA winner Lucy Pardee (Aftersun, Die My Love), “Responsibilities of Creative Leadership” with Mia Bays of the BFI Filmmaking Fund and Nadia Fall of The Young Vic, and “Big Stories, No Borders” with Samuel Kissous of Pernel Media and Claire Mundell of Synchronicity Films.

    SXSW is majority-controlled by THR parent company PMC.

  • ITV’s ‘Believe Me’: Daniel Mays on the Toll of Playing the “Black Cab Rapist” and Writer Jeff Pope on Focusing on Victims Rather Than the Predator

    ITV’s ‘Believe Me’: Daniel Mays on the Toll of Playing the “Black Cab Rapist” and Writer Jeff Pope on Focusing on Victims Rather Than the Predator

    The upcoming ITV drama Believe Me features established and rising British stars coming together to tell a harrowing British story. Aimée-Ffion Edwards (Slow Horses, Peaky Blinders, Mr Burton), Aasiya Shah (Raised by Wolves, Bloods, The Beast Must Die) and Miriam Petche (Industry) feature in the four-episode series opposite Daniel Mays (Line of Duty, Des, A Thousand Blows, Moonflower Murders) as John Worboys, who is known in the U.K. by a more sinister moniker: the “Black Cab Rapist.”

    He has drawn many a headline, so now it is time for women who suffered because of him to see their stories and their experiences told. From the indignity of multiple police interviews and intimate evidence gathering to skeptical lines of questioning from police officers, Believe Me takes audiences through many a painful, frustrating and anger-inducing experience.

    Indeed, Believe Me, written and executive produced by Jeff Pope (Philomena, Stan & Ollie, Cilla), produced by his Etta Pictures, part of ITV Studios, and directed by Julia Ford, tells the story of the victims of “one of the most prolific sex attackers in British history” and how they “were failed by the system,” a show description reads. “Worboys was convicted in 2009 for crimes, including sexual assault and drugging with intent, against 12 women between 2006 and 2008, with their cases selected from a large number of suspected further victims. His modus operandi was to pick up women in his cab after they’d been on a night out, claim that he’d had a win at a casino or in the lottery, then persistently offer them a drug-laced glass of champagne to help him ‘celebrate’ – which then rendered his victims unconscious.”

    Believe Me focuses on the ordeals of two women, portrayed by Edwards and Shah, who reported sexual assaults by Worboys, only to see London’s Metropolitan Police, aka Scotland Yard, failing to thoroughly investigate their cases, effectively leaving Worboys free to commit assaults undetected for years. Following his trial came the realization that he was linked to allegations of further sexual offenses against more than a hundred women. Believe Me is expected to premiere on ITV and ITVX in the coming weeks, with a launch date yet to be made official.

    As a writer and/or producer, Pope has explored true-crime stories in such series as The Widower, about convicted murderer Malcolm Webster, and The Reckoning, about the sexual crimes of British media personality Jimmy Savile. But he prefers to explore the human fallout of crimes rather than glorify their perpetrators. “That’s really been my process for a long time now,” Pope shared during an online discussion about Believe Me with members of the press. “I’m not really interested in trying to get inside the mind of psychopaths.”

    In fact, he shared that the creative team, including director Ford, knew quite quickly where the story’s focus would lie. “We really settled very early in the creative process on making this very much about the experience of the victims,” Pope explained. “These women were drugged and they could tell something had happened, but they didn’t know exactly what had happened.”

    Daniel Mays in ITV drama ‘Believe Me’

    Courtesy of ITV

    The creative team is showing us not the crimes themselves, but what led up to them and the emotional fallout. “We take the audience along the journey with [these women] on the day they report being assaulted, hours and hours and hours of interviews, intimate examinations, more interviews, samples are being taken, intimate swabs,” highlighted Pope. “These women just went through the most horrendous process of all, ultimately to be told we don’t believe a crime has happened. Essentially: ‘We don’t believe you’.” That is also where the title of the series comes from.

    Mays had in the past already collaborated with Pope on Mrs Biggs and Suspect: The Shooting of Jean Charles de Menezes, so he was confident that Believe Me would be a strong show. “If Jeff’s going to come at you with a script, you know it’s going to be heartfelt, it’s going to be engaging, it’s going to be thoroughly researched,” the actor shared with the press. “He’s absolutely meticulous with his storytelling. He comes from a journalistic background, and so, in as much as it was a huge character to take on, with all the challenges that it threw at me, Jeff, as a writer, seems to get the best out of me as an actor.”

    Mays kept highlighting the challenges of portraying a convicted criminal like Worboys, also describing the role as “a huge thing to take on” and an “acting challenge.”

    The star shared: “You’re being asked to sort of humanize someone who is evil, essentially. It’s about delving beneath those headlines and trying to play him in as three-dimensional a way as possible.”

    Pope said that he knew Mays would be able to pull off this challenge. But how about the emotional toll of slipping into the role of Worboys? “I underestimated how difficult that was going to be,” Mays told journalists. “I’ve got 26 years of experience as a professional actor, but I’m not going to lie to you. It did, at times, take its toll. It was a difficult thing and an unsettling thing to portray, and very isolating by its very nature.”

    Director Ford was asked about her description of the show as a fair and balanced portrayal of what happened to Worboys’ victims. “It’s just that this felt like the best way to tell the story,” she explained.

    “Undeniably, these women were treated very, very poorly by the police, … and we tell the story from their point of view,” she continued. “But I suppose what I meant by that was that we don’t point the finger at one individual, one police man or police woman. It’s not about one particular individual, it’s about the whole system.”