“If somebody offers you a job, it’s very nice if they’re offering you also an exciting script, but in reality, two or three things come into play,” Freeman shared. “What are they going to pay you? If they’re going to pay you enough, then you overlook some of the glitches in the script that happen to be there.”
“Sometimes you can mention things that are in the script that don’t quite work out for you and by and large, that gets worked out,” he added.
Freeman already has a long list of accomplishments, most notably his Academy Award win for best supporting actor for Million Dollar Baby, in addition to four other Oscar nominations across his career. He’s also known for his roles in Invictus, The Dark Knight, Se7en and Driving Miss Daisy, among many others.
But even at 89, Freeman has no plans of retiring from the industry or slowing down. “I’m like Clint Eastwood on that: Don’t let the old man in,” he said. “So, keep working. If you can get out of bed and don’t fall down when you do it, then you just count your blessings and keep moving. So, I’ll work as long as I can — as long as somebody says, ‘Do you want to do this part?’”
As for whether he has any other dream roles that he has yet to take on, Freeman quipped, “No. I’m pushing 90 now. So, the roles that I wished I had been able to play, Denzel Washington will play.”
Freeman most recently returned for Lioness season three, which premiered on Paramount+ earlier this week.
Spider-Man: Brand New Day is still catching new records as the Tom Holland-led movie continues its impressive start at the box office.
Sony Pictures announced Thursday that director Destin Daniel Cretton‘s film has landed the highest-grossing first week in domestic box office history. It has surpassed $500 million in North America in its first seven days, becoming the fastest film to reach that half-billion milestone by supplanting Avengers: Endgame, which hit the threshold in eight days after opening in April 2019.
Spider-Man: Brand New Day has notched records at a head-spinning pace, which includes scoring the best-ever domestic box office sums for a Monday and a Tuesday. Brand New Day became the second-fastest feature to cross the billion-dollar mark globally when Sony announced Tuesday morning that it reached the threshold in six days, bested only by Endgame.
Over the weekend, Brand New Day was in a neck-and-neck battle with Endgame for the biggest domestic opening weekend ever. On Monday morning, Sony confirmed that Spidey had indeed prevailed to claim the crown with $360 million, surpassing Endgame’s $357.1 million domestic start, although the latter’s $1.2 billion global launch still held the record for its worldwide opening weekend.
Spider-Man: Brand New Day also set records for the biggest Thursday previews and top Friday domestic sum, along with giving Sony its best-ever opening weekend. Hailing from producers Marvel Studios and Amy Pascal, it carries a $225 million production budget.
Zendaya, Sadie Sink, Jacob Batalon, Jon Bernthal and Mark Ruffalo also star in the new movie from Shang-Chi and the Legend of the Ten Rings filmmaker Cretton. It sees Marvel Comics’ signature hero enduring a lonely existence without his loved ones before an invisible enemy tracks him down.
“They’re not popular because they’re popular,” the exec emphasized. “They’re popular because they’re talented, and they deserve their popularity. They’re lovely, decent, grounded, good-valued people, and they work really hard. So they’ve earned every ounce of their success.”
Sony projects that Brand New Day will continue attracting audiences in the coming weeks as the summer starts winding down. Its second weekend will encounter fresh competition from such wide releases as One Night Only, Super Troopers 3 and Ice Cream Man.
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For context, the Galaxy Z series’ latest entries, Samsung’s most advanced foldables ever, have been available for pre-order since July 22 with an official Aug. 7 release date. As for the promotion, T-Mobile’s “Samsung Galaxy Z Fold8 on Us” offer is available to new and existing customers with device trade-in on the Experience Beyond plan. And while the Fold8 is the world’s lightest fold, for those who prefer a larger screen, opt for the Galaxy Z Fold8 Ultra for just $200 with device trade-in (regularly $2,100-plus). Customers who’d rather not trade in a device can still get $1,100 off the Ultra when activating a new line instead.
Prefer the new Galaxy Z Flip8, the world’s lightest and thinnest flip? Get it for just $100 (a savings of $1,100) with a new line or eligible trade-in on either the Experience More or Experience Beyond plans.
Only Murders in the Building showrunner John Hoffman wouldn’t mind if the show went on forever.
The true-crime comedic mystery, starring Martin Short, Steve Martin and Selena Gomez, nabbed five Emmy nominations for its fifth season, including one for outstanding comedy series — a nod it’s received every year since its first season in 2021.
“Many people have asked, ‘How long are you going to stay with that show?’ ” Hoffman tells The Hollywood Reporter. “I’m like, ‘Until they want to stop.’ No one’s doing anything without me because I just love this group.
“Each season, there has always been that drive in me to say, ‘No, we’ve done that.’ ‘No, that’s not fresh,’ or, ‘That thing doesn’t subvert,’ ” Hoffman continues. “All of that comes up, so I just keep pushing that way just naturally as a writer and director however I can.”
For season six, Hoffman and the Only Murders in the Building creative team are pushing the story overseas to London, a risk for a show whose niche and clever conceit is also conveniently its title.
Whether the show could survive traveling to a wholly different backdrop had been an obstacle Hoffman had wanted to tackle since early in the series’ run, he says.
“There’s no way around a certain understanding of needing to freshen up a show. I mean, how many murders can be in one building?” Hoffman says. “It felt like the right time. I love the idea of however we can broaden the reach of the show and put the trio in new situations, new landscapes for a moment.”
For five seasons of the critically acclaimed show, its titular building and the New York City skyline have been critical to its DNA. In upping the ante for its sixth season, Hoffman says the team knew it was important to keep that tone and spirit in the show.
“There’s no question it’s a New York show, even as we jump to London for an entire season,” Hoffman says. “It’s been really interesting to look at the show anew in this way after five seasons and yet also see what we can hold on to.
“The spirit of the show and the center of it and the emotional hook and how it feels, surprisingly, still feels like our show, and there isn’t a shift that takes us out too much,” he adds. “So that part is always the driving force, wherever the case takes them, whether it’s New York or some other place. I will happily report that London has been incredible for us.”
One way the show has always managed to keep things fresh is by adding new guest stars to the cast and giving them plenty in the script to play with. Jane Lynch, Nathan Lane, Paul Rudd, Da’Vine Joy Randolph, Matthew Broderick and Meryl Streep have all been nominated for past guest roles on the show.
The next time Short, Martin and Gomez appear onscreen, they’ll be joined by iconic British film and TV actors, including David Tennant, Jodie Whittaker, Jim Broadbent, Martin Freeman and Olivia Colman.
“I watch the show get deeper, richer, funnier, crazier and just marvel at it and then watch everyone else come aboard and sink into an ensemble when they’ve been the stars of their own things,” says Hoffman. “They find their way here and they’re brilliant, elevating your material and everything else around them, and the vibe around the set changes and, boy, I would not say no to that.”
This story first appeared in an August stand-alone issue of The Hollywood Reporter magazine. To receive the magazine, click here to subscribe.
The Fast & Furious franchise may be stuck in neutral, but Louis Leterrier is charging full speed ahead.
The French filmmaker behind Fast Xand its long-gestating follow-up, Fast Forever, is releasing the genre-blending thriller, The Last House, on Aug. 7 via Netflix. He’s also about to wrap production on a sci-fi action thriller called Liminal for Apple. On top of those features, the fourth season of Lupin, the Netflix series he co-showruns, drops in October. He even launched a production company known as Carrousel Studios with his Lupin lead, Omar Sy, and The Last House EP, Thomas Brenski.
The Last House chronicles the Delgado family — led by Wagner Moura’s Jason and Greta Lee’s Ann — as they try to raise their two children inside their house that has been mysteriously sealed shut, leaving them with no way out. One might assume that a film set almost entirely within a single residential home would be far easier to pull off than the globe-trotting spectacle of the Fast franchise and the constant management of its massive movie star ensemble. Yet Leterrier says the genre exercise about coexistence and mercy was the most challenging film of his career.
“The Last House was the most difficult film I’ve ever done. You have no idea. It was awful,” Leterrier tells The Hollywood Reporter. “I tried to make everything practical. We built a real house … and a whole neighborhood on stage. And as the movie evolves, the house evolves. So it was very technical and very difficult, but I loved every second of it. I love it now [that we’re done]. Every day, the cast and crew looked at each other and were like, ‘Oof, this is a tough one.’”
As for the 11th, and series-capping, installment of the Fast Saga, Leterrier insists he’s still attached regardless of his busy schedule. As has been widely reported, he confirms that Fast Forever’s budget remains the biggest hurdle.
When Furious 7 (2015) and The Fast of the Furious (2017) became billion–dollar grossers — largely due to China driving nearly $400 million-worth of ticket sales — the creative team continued to up the ante, adding more and more ambitious sequences, as well as star power. However, the last three entries, including the spinoff Hobbs & Shaw, have regressed to an average around $730 million worldwide, and China’s attendance, in particular, has fallen 45 percent to 65 percent. Thus, the producers have to find a creative way to split the difference given how unpredictable the box office is these days.
In any event, Leterrier is eager to get started despite not reading a script yet, but he also can’t spin his wheels until the Fast brain trust and studio get their ducks in a row.
“I can’t wait, but I also cannot wait. Directors don’t idle well, so I have to direct [other projects until then]. I love this franchise, and I hope we get to finish in the best way possible,” Leterrier says. “I’m contracted. [If] we go, we go. We’re lucky to be having a great year [at the box office], but it’s different now. Movies have evolved and tastes have evolved and the box office has evolved. So we have to align our budgetary needs to the reality of the box office. We know that, and it’s fine. Everybody does that. It’ll be fine.”
Below, during a conversation with THR, Leterrier also discusses the inspirations behind The Last House, as well as its format shift from 35 mm to digital midway through the piece.
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We last spoke for Fast X, and you obviously went all over the world to film that movie. Did the rigor of that globe-trotting production make a contained movie like The Last House all the more appealing?
Yeah, absolutely. But I didn’t know that my wish would become a nightmare. The Last House was the most difficult film I’ve ever done. You have no idea. It was awful.
How come?
Because I tried to make everything practical. We built a real house with wild walls and a liftable ceiling, and we could light it easily. It was one-way concrete and wood. We built a whole neighborhood on stage. The garden, rain and animals were real. There was one dog, but the rest were wild animals that acted like wild animals. And as the movie evolves, the house evolves. So it was very technical and very difficult, but I loved every second of it. I love it now [that we’re done]. (Laughs.) Every day, the cast and crew looked at each other and were like, “Oof, this is a tough one.”
Director Louis Leterrier and star Wagner Moura on the set of The Last House
Chris Baker/Netflix
Most directors start their careers with something tied to a single location, but you did two decades of globe-trotting before finally doing a contained movie.
We’re better when given a box, and I literally gave myself a box. If you’re given parameters that are a little contained, you think about your shots and the acting a bit more or a bit differently. Obviously, I do this whenever I work on a big canvas, but it’s not as compromised. You have to trust your savviness and your instinct a little bit more than just putting five cameras on something and going.
I had to be very specific on this one because it was smaller and the budget was much smaller. It’s one of the smallest movies I’ve made, but it needed to be to make my first very personal movie. This one spoke to me when I read the first act. The script is quite different from the final movie, but when I read it, I was like, This movie is talking about me as a human being, as a father, as a family member and as a member of society. So I was willing to let go of the super giant production to go a little tighter.
What were your points of reference?
I wanted to capture that feeling of a dark 1980s Amblin or Spielberg movie: Close Encounters of the Third Kind,Poltergeist and E.T. These movies spoke about us, and they certainly spoke to me because I experienced the world through giant screens. So I tried to capture that feeling with this one — and by mixing formats.In the [intimate character-driven] first half of the film, we used spherical lenses on 35mm [à la E.T.], and then anamorphic C-series lenses on digital in the [more adventurous] second half.
The Last House makes the COVID pandemic look like a staycation. The Delgado family are literally stuck inside their house, and they have to survive on what they already have on hand. Did the writer Matthew Robinson birth this script during the pandemic?
I think the first act was born shortly after the pandemic. Matthew Robinson wrote it during a two-week fever dream. So the first act stayed pretty much the same, but then it evolved a little bit. I didn’t want to make a COVID movie, but I did want to make a movie that spoke about our universal experience during the pandemic. The first month was surviving physically and feeding yourself and trying to protect yourself. But it very quickly evolved into surviving psychologically, mentally and emotionally. I think we’re still reeling from it. As a society, we don’t interact the way we used to interact before COVID. That’s where our movie begins, and we can jump through the exposition much quicker to get to the characters.
Noah Alexander Sosnowski as Graham, Wagner Moura as Jason, Greta Lee as Ann, Riley Chung as Ruth in The Last House
Chris Baker/Netflix
As I was watching, I kept wondering if you shot sequentially because the story and structure really support that ultra-rare scenario. I’ve since learned that you did actually shoot in order. Was that a requirement for you?
It would’ve been impossible to do it otherwise because we only had one house. It was shot in sequence, but we planned it backwards. We peeled back layer after layer. Again, because I’m an insane person, I was all about the practicality of everything. I didn’t want anything to be brought into the house later that wasn’t in the house at the beginning. So I couldn’t come up with an act two idea, such as, Let’s put a car here or a bike there. Everything that they use and consume had to be seen from the start.
We consulted survival experts to calculate how much wood they could remove from the walls to heat themselves or build something they needed over the course of [six or seven] years. And everything in the house worked. The hunting traps were built practically out of Dyson vacuum cleaners and skateboards. We could literally go hunting if we wanted. We didn’t, obviously, because those wild animals were fine, but the traps worked perfectly. Everything was just done so perfectly. Our production designer, Kevin Jenkins, and his team worked so hard at making the house and the contents of the house so perfectly real.
Thanks to Jane Petrie’s costume department, the sweatshirt that Greta Lee wears in the beginning becomes something else in the middle and then becomes a fishing line at the end. We had one sweater, and we just took it apart.
Not to mention, our poor actors had to gain weight and then lose weight and muscle to feel really weak. Then they had to gain weight again and be aged up. All of that stuff took a toll on them, but they did it willingly and amazingly.
Fast Forever, or Fast 11, has taken so long that you’ve made two other movies in that time. Are you still going to wait it out? Or have you run out of patience?
No, I love Fast. I worked very hard in coming up with the idea for the end and everything. I was so lucky to be a part of the franchise. So I can’t wait, but I also cannot wait. Directors don’t idle well, so I have to direct. (Leterrier snaps fingers a few times to signify how he needs to keep directing projects.) I created a studio in Europe. We wrote and shot a season of Lupin, my show in Europe. I did two movies [The Last House and Liminal], and I’m doing another one. So I cannot wait. But I love this franchise, and I hope we get to finish in the best way possible.
So it’s a maybe at this point in time?
No, I’m contracted. [If] we go, we go. We’re lucky to be having a great year [at the box office], but it’s different now. Movies have evolved and tastes have evolved and the box office has evolved. So we have to align our budgetary needs to the reality of the box office. We know that, and it’s fine. Everybody does that. It’ll be fine.
Another week, another turn of the screw in the Paramount–Warner Bros. Discovery merger — aka David Ellison vs. the creative community. Microdramas may be all the rage in Hollywood, but they’ve got nothing on what’s currently playing out in state attorneys general offices, C-suites and op-ed pages.
With a host of players lining up on both sides of the deal and the AG’s picking up a major victory this week in their case against the merger, The Hollywood Reporter thought it a good moment for two staffers covering the story, Steven Zeitchik and Alex Weprin, to sit down and talk about it.
Steven Zeitchik: Well, it’s been an eventful week. The judge basically handed the AGs major leverage by setting the trial all the way in March instead of in the fall, which will cost Par (and gift WB shareholders) hundreds of millions of dollars in penalty fees, I think it’s about $7 million per day. This puts tons of pressure on Ellison to make a deal, doesn’t it?
Alex Weprin: I think they will need to try and figure out what they can do to get a settlement done. The AGs want structural remedies, and I wonder if there are enough things they could divest to appease them. Basic cable channels? There are ways to do that. Film studios? I’m not so sure.
SZ: Ya, I think the question is what the floor is for the AGs and what the ceiling is for Ellison, and do they overlap. I feel like he’d probably be willing to part with a Nick or MTV to get it done since he’s really more of a film guy, but would that be enough for Rob Bonta et al? There are also theatrical commitments beyond just words but not sure how that would work. A CNN divestiture would be a big political win but as you’ve noted the AG’s have staked their case on consolidation, not political speech. They can still spin it though as “diversity of voices” or some such. Settlements have a way of healing all wounds.
AW: I think Paramount needs CNN more than just about any of the other cable assets — it is simply more profitable and more stable than the other WBD cable channels. The cost savings from merging CBS and CNN could also be significant. If the antitrust case is based on pay-TV channel penetration, they could probably carve out a nice chunk of channels, and maybe just keep CNN and a couple more to keep everything below the limits.
SZ: Yeah I can’t see Ellison being at all willing to part with it. But how far does he go to fight — does he want a messy trial and billions in shareholder penalty fees or are is he incentivized to make it go away quicker? Would he settle for an ombudsman/oversight board? Selling a minority stake? It’s hard to see where there’s common ground here, and the AGs are feeling their oats.
AW: I think he’d be thrilled with an oversight board, I just can’t imagine that would appease the AGs. They may smell blood in the water. And again, cable TV is in many ways easier because the past year has seen spinoffs and sales, so you can imagine how it would work. He wants the Warners film studio, there’s no obvious structural remedy there, right?
SZ: I don’t see how the studio gets taken out of this. Some commitment to a certain number of movies would be the only possible solution but how do you enforce that governmentally and is it even legal? Part of the problem here is that the critics are opposed to consolidation but consolidation is why he’s doing this! So I don’t see how you make everyone happy. The other chip of course is HBO. That’s obviously a huge one for the creative community — the crown jewel and big buyer — and one they would be THRILLED to see not go with Ellison. But is there any way he lets that go? Maybe if he was really, really, in a gun to his head situation. Maybe.
AW: I think HBO and HBO Max are the key gaining streaming scale for them, so I think it is a must have for him. The good news for Ellison is that the AG’s case is so focused on basic cable that they don’t even touch HBO, which would make it an odd chess piece to play. I think that AMC and Regal Cinemas CEOs, meanwhile, are angling for a binding commitment to make a minimum of 30 movies per year for an extended period of time. There is precedent: When Comcast acquired NBCUniversal, they agreed to certain conditions for seven years.
SZ: Interesting re: Comcast, I’d forgotten about that. And yeah, the Max+Plus juggernaut is a real selling point for him. Honestly that’s the rare case where I think the whole need-to-compete-with-the-tech-guys argument holds water. With the number of subs each has (though there’s probably a fair bit of overlap) the combined Max-Paramount Plus really would be a pretty staunch competitor to Netflix, Amazon and Disney+ (and I guess a surging Peacock and Apple to a rather, um, lesser extent). So basically if we had to predict it feels like a few cable channels get spun off and the studio commits to a theatrical floor of some kind and both sides call it a win. Who wins in that scenario? Is the creative community appeased? Should they be?
AW: I don’t think there’s any scenario that appeases the creative community, but selling off a bunch of cable channels (maybe or maybe not including CNN) would be a start, and a binding commitment to 30 films for an extended period would please the theater owners. The issue for writers, actors, etc is that it will still mean one less buyer for their wares, and that is a harder nut to crack. Here’s a wildcard: What if they … cut a deal with Netflix? Maybe sell Netflix the film distribution division, one of the WBD sub-studios, some IP? Maybe sell some cable channels to Versant or private equity?
SZ: Wow, Netflix coming back in for anything meaningful would be a true — dare I say — Game of Thrones-like twist. It’s hard to imagine the creative community being appeased by THAT, since they were even more worried about Netflix than they were Par given the former’s anti-theatrical stance. But it would certainly address monopoly/consolidation fears. As for the cable channels to private equity, that would technically be a win but I think of the be-careful-what-you-wish-for variety.
AW: Movie theaters have been battered since COVID, and this is the first good year since then. I think they fear the merger falling through and one or both companies not having the capacity to produce as many movies as they did, I think they fear the merger being completed without any binding commitments around a minimum number of films. A binding deal for a minimum of 30 films for an extended period (maybe seven years, the length of the Comcast commitments) could give them a runway to try and salvage their businesses.
SZ: It’s certainly a lot more attractive for a studio to make that commitment now than it was seven months ago when the deal was announced and before the big box office rebound. Let’s pivot quickly to the other part of the story this week — the allies. You mention Regal and AMC. The CEOs of those companies just came out in favor of the deal. Not a huge surprise to me — they are reading tea leaves and angling for favorable terms. What do you make of that? And what do you make of the gambit — pretty transparent it seems to me — to get people like Ari Emanuel to sing Par’s praises and show “hey, not all Democrats oppose this!” (Just the major ones in Congress, many of the AGs and many of their biggest donors in Hollywood).
AW: Ari is obviously in business with Paramount (and everyone else, to be fair), and he has clearly been a consigliere to Ellison in recent years. No doubt many of his clients oppose the merger, and as an agent he must be cognizant of the competition factor. But, yes, he is out there as a well-known Democrat (albeit one who is also friendly with Trump) supporting the deal.
SZ: I’m just not sure having people with obvious skin in the game — Chris Wallace is another one, a RedBird advisor and guy who may well want to get back on CNN who wrote a pro-merger column for THR this week — coming out in favor of the deal achieves anything strategically. Ellison also wrote that NYT op-edmaking his case. If anything I feel like seeing all these foot soldiers out there stumping for it could backfire for Ellison, make opponents — and there are so many in the creative community — feel like the deal is rigged. Anyway should be an interesting few coming weeks. Or is it years? I’m losing track.
AW: My suspicion is that if both sides are open to structural remedies, we will know more sooner rather than later. But either way it would make a great starting point for a Succession spinoff series.
SZ: That could be the new HBO’s first greenlight! Great chatting as always.
We’ve found a precious 40 minutes away from the hustle and bustle of press day for season four of ITV‘s Trigger Point at London’s Soho Hotel. Tucked into the corner of one of its underground bars, McClure speaks to The Hollywood Reporter while her co-stars — Eric Shango, Natalie Simpson, Maanuv Thiara among them — dutifully pose for photos and laud the latest work of show creator Daniel Brierley.
McClure, returning as the no-nonsense bomb disposal expert Lana Washington in another high-octane, watch-behind-your-hands instalment, is taking us through her early years at Nottingham’s Television Workshop, a Midlands-based film, TV, and theatre training school for kids from working-class backgrounds. She had initially eyed a career in professional dance and landed a place at the prestigious Italia Conti academy. But her family couldn’t afford the tuition. She stayed with the Television Workshop until the age of 21.
I halt the conversation early on to ask if what I’ve read online — that McClure was mentored at the Workshop by The Odyssey breakout Samantha Morton, a fellow Nottingham native — is true. The actress is quick to clarify: “That isn’t correct. Sam is a huge part of the Workshop, and my word, I mean, even now, the gigs that she’s in,” she says, alluding to the latest Christopher Nolan hit, wide-eyed with awe. “[But] we never crossed over. I actually didn’t know her while I was in the Workshop.” The pair would, later in their respective careers, meet at odd events. “You gravitate to each other if you’re both from Nottingham or the Workshop,” explains McClure, who was proudly born and raised in the English city (she has resisted the industry-induced pressure to relocate to the capital — a decision we’ll come to later).
It was only when both of them were leading Dominic Savage’s I Am… series that McClure and Morton ended up “having a long chat on the phone.” They’ve stayed in touch, and McClure certainly calls her peer “an icon of the Workshop, and of the acting world.” But, contrary to what the internet purports, this friendship didn’t blossom until well beyond the Nottingham Television Workshop, which McClure remains a devoted patron of.
And while Morton’s face currently graces thousands of cinema screens across the world, it is Vicky McClure who is known far and wide here in Britain. She has steadily risen through the ranks for two decades now to become one of the most prolific actors in the country, famed for her forthright characters and becoming, frankly, a legend of the U.K. police procedural (Line of Duty, Broadchurch, to name a few).
With Trigger Point continuing to pull in millions of viewers — season three’s seven-day consolidated average came in at 5.1m last year — and a hotly anticipated Line of Duty return imminent, McClure, now 43, enters a chapter of her career marked by prolificacy, freedom, and industry-wide reverence.
Vicky McClure (center) in 2006’s ‘This Is England.’
IFC Films/Courtesy Everett Collection
Her starring role aged 23 as Lol Jenkins in Shane Meadows’s 2006 film This Is England, and in the Channel 4 sequel mini-series This Is England ’86, This Is England ’88 and This Is England ’90 from 2010 to 2015, is what she considers her long-awaited big break. “But I went straight back to the office,” McClure tells THR about her job at a house valuation company. “There’s just an illusion that once you’re in a film or you’re in something, that’s it. Onward you go,” she continues. “I’d train new people, then I sort of went into the HR department, looked after things like the vending machines, the post, a wide variety. I was even fire warden at one point, which I think has done me well for drifting into Lana,” she laughs. “That was my thing. I’d go off and do This Is England, and then I’d come back.”
She worked at the business for eight years, and in that time, starred in a film directed by Madonna, Filth and Wisdom (2008). “We always think people care more than they do,” McClure says when asked what her office mates thought of the Madonna gig. “You know what I mean? They go, ‘Oh, amazing. That’s cool. Well, we’re having lunch.’”
The reality is, while McClure was shooting with mega-stars, she was also getting told “no” a lot. “I learnt very quickly to stop telling people when I had an audition because nine times out of 10, I never got the job,” she admits. She recalls going up for roles in Peaky Blinders and Sarah Gavron’s 2015 Suffragette film. “That was one of those moments,” she says about feeling particularly heartbroken by the Suffragette casting, which eventually went to Carey Mulligan, Helena Bonham Carter, Anne-Marie Duff and Meryl Streep. “I wasn’t really that bothered about learning too much at school. I’d missed out on lots of history, so Jonny [Owen, McClure’s husband, also an actor and producer] sat down with me and we talked about the suffragette movement in great detail. I started getting really attached to this world and these characters.”
Over time, she nailed the accent — “at the Workshop, it wasn’t like you trained to do accents, you just did them” — but eventually, nothing came of it. “They’re a bit naughty,” she says. “Sometimes casting directors can do that thing where they go, ‘So you’re available for those dates?’ Come on, guys. That’s basically a: ‘Let’s shake hands and roll the cameras!’”
Still, on TV especially, McClure gradually made a name for herself with small roles in Five Daughters, The Body Farm and True Love. Then, in 2012, Jed Mercurio’s Line of Duty hit BBC Two. The series, about an anti-corruption unit inside a fictional police force, accrued a cult following around the world. Perhaps for the first time, McClure, as the driven, undaunted Detective Constable (later Sergeant and Inspector) Kate Fleming, was getting her flowers.
“I don’t think I felt fame throughout This Is England,” she ponders. “People were really respectful of that show, and it was such an ensemble piece that it didn’t belong to just one person. It was a really special show… [And] I think Line of Duty [is too]. It’s not a fluke because Jed’s writing is obviously impeccable, but it’s all down to the audience, and if they start tuning in and if they show [interest], then you’re in a good spot. But there’s every chance it can go [the other way], and shows do, don’t they?” says the veteran of British broadcast television, likely well acquainted with the graveyard of BBC and ITV shows haunting various streaming platforms. “No one watches them, and then a few years later, there’s this weird surge where everyone starts watching them again.”
When the news of Line of Duty‘s season seven broke last year, it certainly wasn’t a surprise to McClure. “We’d never closed the door,” says Mercurio’s star. “Me, Jed, [co-stars] Martin [Compston] and Aidy [Adrian Dunbar] meet up for a curry at least a couple of times a year. We’ve always had a sociable time when we make the show,” she continues, “and I think that comes across. We always said, ‘Oh, it’d be a shame if [season six] was the last one,’ because we felt like we had a really different experience [during] COVID… So then it was a case of: How are the stars going to align? We’ve all been lucky to get other gigs. Of course, Jed’s busy. He’s got to write it. We knew when he started to pick up his pen again…” she pauses, flashing a grin.
(L-R) Martin Compston, Adrian Dunbar, Vicky McClure in ‘Line of Duty.’
Courtesy Everett Collection
It is interesting, McClure adds, that Line of Duty is predominantly a cast of working-class people, “written by Jed, who grew up in a working-class family in Birmingham,” she says. “And it plays out on screen — you have accents and you have characters that are able to tap into certain flaws. Relationships were formed that are so long-lasting. Martin and Aidy are family now. I adore them both. So [hiring working-class talent] works. People need a bit more belief in those lives and characteristics.”
McClure has been a champion of opening doors for working-class creatives her whole career. Her work with the Television Workshop is testament to that, though she isn’t content yet — by any means. “London should not be the center of the universe. For anything,” she says. “Don’t get me wrong, it’s an amazing city. But there is Nottingham, Birmingham, Manchester, Glasgow… The world’s a beautiful place, but with the industry in tow, it can’t all be London central. It has been and it still is, for so many years. And it’s just not serving anyone now.”
When I put to her that there has been something of a production boom outside of the capital — in Wales, Scotland, and Northern Ireland — she maintains that while shoots are there, all of the really important get-togethers still happen in London. “It’s really naive of us to think that people can just afford that horrendous train fare or the petrol, or whatever it may be, [and] to just up and leave to get to that meeting. And I remember it was tricky for me. To get here and go, ‘I need to grab a sandwich and a cup of tea’ or something. It’s expensive.” McClure knows from first-hand experience that thousands of young actors will miss out on network-building because they can’t pay London rent: “It’s a very privileged space, a very privileged industry.”
And even when the long-hoped-for acclaim arrives, the quote-unquote “fame” comes with unwanted side effects. “I don’t want to sit here and go, ‘It’s been a problem for me,’” concedes McClure, who says that staying in Nottingham has made showbiz a more liveable place — literally — for an actor of her calibre. “I like to do things here and there. When I get nice invitations, if I can make them, and it’s something I want to do, I’ll go, and the paps [paparazzi] will do what they’ll do. You can kind of control it, to a degree. You can choose to put yourself out there a bit more — and sometimes you need it. You need the promotion to help whatever business it is you’re trying to sell.”
This is the more pragmatic side to McClure. With a BAFTA and a handful of wildly popular shows under her belt, you can’t deny it: She knows the ropes. “It’s a business and I’m in my mid-40s now,” she continues. “I’m a bit wiser, a bit longer in the tooth. I can see what things are, and you’re less naive. I’m not Hollywood. I feel Hollywood talking to The Hollywood Reporter,” she says, smiling again, though admitting she’s never even been to L.A. (Tinseltown may yet come knocking — McClure’s next film, Kenneth Branagh’s The Last Disturbance of Madeline Hynde, sees her next to Jodie Comer, Patricia Arquette and Michael Sheen.) “I think when I’m on my deathbed,” she continues, “I won’t be worrying about my career.”
What might McClure be more concerned with? Her charity work, for one — in 2019, she formed Our Dementia Choir following her late grandmother’s Alzheimer’s diagnosis. The organization was the subject of a BBC documentary, led by McClure, and over the years the group has performed in front of tens of thousands, including at Nottingham’s Splendour Festival. She also has a production company co-founded with her husband, Build Your Own Films, backed by All3Media and committed to nurturing projects “rich in subject matter, diversity and representation.”
McClure in a first-look image of Lana Washington from season four of ‘Trigger Point.’
ITV1
Right now, however, it’s more Trigger Point on the telly for McClure. Releasing soon, the new season promises a deeper look into Lana’s trauma and, as you might have guessed, some pretty explosive drama. “There’s no joke to her job. It is life and death,” McClure says about returning to everyone’s favorite Expo. “We feel like we’ve seen it all in Trigger Point. Different types of scenarios.” She stops. Eye contact. “You haven’t seen it all.” She says this season’s writing team had a lot of fun concocting more dire situations for the Met Police bomb squad. “And we really own that. If there’s anyone that can go out with a bang, it’s Trigger Point. This is the bomb show.”
She remembers reading a Times paper describing the series as “Scooby-Doo on acid.” It was meant to be, according to McClure, a bit of a diss. She loved it. “It is Scooby-Doo on acid!” she beams. Most importantly, this Nottingham native is given the opportunity to take on the fearless Lana Washington once more, and it’s exactly where Vicky McClure wants to be. “I love it when she has one of them ‘fuck you’ moments. I always slip in a few more fucks than I probably should!”
Catch McClure in the brand new series of Trigger Point, coming soon to ITV1 and STV.
Warner Bros. Discovery would like you to focus on its second quarter 2026 streaming revenue — up 9 percent to $3.1 billion — because the box office was ugly.
Theatrical revenue dropped 46 percent from the comparable quarter last year as Supergirl and The Bride bombed. Making matters worse, their comps were to Q2 2025 hits A Minecraft Movie and Sinners.
WBD’s advertising revenue sunk 22 percent as Turner continues to feel the sting of no NBA. TV/streaming programming highlights in the June quarter included Euphoria, House of the Dragon, The Pitt, and the final season of Hacks.
Wall Street forecast Warner Bros. Discovery would record $9.21 billion in quarterly revenue. Another miss: WBD reported total revenues of $8.717 billion; net income was $100 million.
And yet, Paramount Skydance still wants it.
The process — and the drama — continues for David Ellison’s $111 billion takeover of WBD. There have been regular calls emanating from the U.S. and abroad to block the deal. It was originally supposed to be Netflix that bought the “WB” piece of “WBD,” but Ellison swooped in with an even bigger check and a promise to absorb the company in its entirety.
A coalition of a dozen states are attempting to block Paramount/WBD; the case will go to trial in March 2027. Meanwhile, beginning Oct. 1, 2026, Paramount Skydance must begin paying a ticking fee of $7 million per day to WBD shareholders. The ticking fee is only paid out if the deal closes.
Ellison believes the opposition is politically motivated and centers on his potential oversight of CNN’s editorial content. He already controls CBS News, which has undergone many changes since Ellison’s Skydance merged with Paramount Global.
“The issue is whether I can be trusted as a steward of Warner’s CNN. There has been speculation about my politics, my loyalties, my intentions,” he wrote in a recent New York Times op-ed. “Unfortunately, I can’t give anyone a view into my heart and mind, but I can share this: I have regularly voted for candidates of both parties; I hold some views that would be called conservative and others that would be called liberal, just like most Americans; and when it comes to our news operations, I do not aspire to lead these companies to bend their newsrooms to my views. I believe that news should be based on facts and truth.”
There were no updates provided on the pending deal within Warner Bros. Discovery’s earnings report.
Versant, the cable TV-focused spinoff from NBCUniversal that runs CNBC, MS NOW, USA, Golf Channel and other assets, reported lower second earnings on lower revenue and public company costs from its Comcast separation.
Now solo Versant reported revenue for the quarter to June 30 at $1.64 billion, down 3.8 percent from $1.7 billion in the same period of 2025. In that revenue mix, linear distribution was down 6.3 percent to $954 million, as Versant continues to rely on a declining pay TV business.
Advertising revenue at $423 million was down just under 1 percent from the year-earlier period when ad revenue dropped 13 percent. Platforms revenue grew 0.8 percent to $212 million, and content licensing revenue was unchanged at $43 million.
Net income attributable to Versant was down 30 percent at $211 million due to lower overall revenues and one-time costs following the separation from Comcast, including higher tax expenses after the divestiture of SportsEngine. The adjusted EBITDA fell 9 percent to $624 million.
Versant, as it looks to diversify away from traditional pay TV channels to focus more on streaming TV platforms and digital business lines, said it was raising both revenues and EBITDA guidance for the second half of the year. The full-year outlook for 2026 will see total revenue of between $6.2 billion and $6.45 billion, while the adjusted EBITDA will come in between $1.9 billion and $2.05 billion.
“Versant’s brands once again demonstrated strength, durability and scale, reaching more than 120 million viewers each month during the quarter while reinforcing our leadership across news, sports and entertainment,” said Mark Lazarus, Versant CEO, said in a statement ahead of a morning analyst call to also include CFO and COO Anand Kini.
It seems Rihanna is at “work, work, work, work, work, work” on her next album.
With fans incredibly hungry for another album from the Grammy winner, especially since it’s been a decade since she released her last studio project, 2016’s Anti, her longtime partner, A$AP Rocky, is offering a little status update.
During a recent interview on The Jason Lee Show, the rapper was asked by host Jason Lee, “Are you the reason why we don’t have an album?” He was referencing the long-running joke among fans that the delay in new music was due to her relationship with Rocky, their growing family (they share three children) and Rihanna’s many business ventures.
However, Rocky shut down those claims. “Nah,” he replied. “She in the studio right now. Yeah, I said it. Sorry, babe.”
He added, “Bro, she working. She cooking, no funny shit. Damn, I’mma get in trouble for this. Her fans are going to kill me.”
When Rihanna’s Anti dropped in 2016, it became a hit, spending two weeks atop the Billboard 200 chart. It also included her fan-favorite songs “Work,” “Needed Me,” “Love on the Brain” and “Desperado.”
Though she hasn’t released an official album since then, she has put out a few standalone singles tied to film soundtracks, including “Lift Me Up” and “Born Again” for Black Panther: Wakanda Foreverand “Friend of Mine” for Smurfs.
When Rihanna was previously asked for an update on her next album, dubbed R9, she told Entertainment Tonight in 2024 that while she’s “starting over,” she also doesn’t “want to neglect the songs that I have, so I actually want to go back and listen to stuff with new ears, with my new perspective and then see what applies and what I’m still in love with.”
That same year, she also told Interview magazine that her “brain is working backward right now” regarding her next musical endeavor. “I usually have the music first, and the music leads me into all of these visual opportunities, and now I’m having all of these visuals,” she added.
Elsewhere on The Jason Lee Show, Rocky was also asked if fans could expect a “double album of y’all both together on every song” in the future.
“Nope,” the rapper quickly replied. “I would hate Rocky and Rihanna if they both did that. That’s trash. Nobody wants to hear us together, bro.”
Rocky explained that he believes their separate sounds wouldn’t make sense together because “I make subversive weird ass indie rap,” adding that “the music that I make is for a niche demographic of people who actually get this shit.”
