Entertainment
Jack Thorne Says Netflix’s ‘Lord of the Flies’ Found Its “Animal” in That Brutal Death
Editor’s Note: The following contains spoilers for Lord of the Flies.
Fresh off the success of Adolescence, writer Jack Thorne is digging even deeper for his latest complex portrait of boyhood with the first TV adaptation of Lord of the Flies, a story that’s stuck with him since his own childhood. Streaming on Netflix, William Golding’s dystopian classic story of schoolboys stranded on a tropical island after a deadly plane crash with no adults to keep things from descending into primal madness focuses on Piggy (David McKenna), Jack (Lox Pratt), Simon (Ike Talbut) and Ralph (Winston Sawyers). Clashes turn into leadership struggles as civilization quickly frays, and the young boys who once thought they were friends start to hunt each other.
Thorne is the type of writer who likes to shake things up while he embraces the chaos of never knowing what’s next until it presents itself. That approach to his career has done him well throughout the last 25 years, and has led to a wide variety of projects, genres, and mediums — with everything from the award-winning Adolescence and Netflix’s Lord of the Flies to three Enola Holmes movies, the stage play Stranger Things: The First Shadow, and The Beatles’ upcoming cinematic universe (featuring one biopic each for John Lennon, Paul McCartney, George Harrison and Ringo Starr) for director Sam Mendes.
Thorne sat down with me for an in-depth conversation digging deep into his process of adapting Lord of the Flies and the choices and changes he made. He also discussed why the conversations surrounding Adolescence felt special, how there were never plans to continue that story beyond what they have already released to the world, how impressed he was with Owen Cooper’s stand-out performance in Adolescence as well as the young ensemble in Lord of the Flies, putting his trust in Mendes for The Beatles films, and why Ang Lee is one of his heroes.
‘Lord of the Flies’ Is a Story With Deep Personal Significance for Writer Thorne
“That has been the book, all my life. It’s one that’s lived with me in lots of different ways.”
COLLIDER: Lord of the Flies feels like one of those stories that we all know the story of, whether we’ve actually read it or watched the previous movies. When did you first become aware of the story, and what did it mean to you before doing this?
JACK THORNE: I read this as an 11-year-old. I didn’t study it in school, but my mom was a supply English teacher at Portway English Department. My copy of Lord of the Flies had Portway English Department stamped on the inside cover because my mom stole it, which I think is apt for Lord of the Flies. It was really my mom’s stolen copy. When I read it, I remember the sensation of feeling like the writer had gotten into me somehow. I felt like Simon. I felt profoundly like Simon. I was an autistic kid. I wasn’t particularly adept at dealing with other people and being in social situations at all. I did look for the other in quite a lot of my life. I did reach for the other. And so, I remember this feeling of feeling like I was Simon, and then Simon gets killed. I didn’t understand what had happened, but there’s the line about his silvery body drifting out to sea and I remember going, “Oh, shit.” I’ve never forgotten that feeling.
I tried to make Lord of the Flies before. I tried to make it about 15 years ago for Channel 4, but we couldn’t get the rights. Joel [Wilson], who’s a very close friend of mine as well as an executive producer for this project, it was his company that made it. We were having Sunday lunch at his house, and he said to me, “What’s the one book?” And I said, “Lord of the Flies.” That has been the book, all my life. It’s one that’s lived with me in lots of different ways, with lots of different ways of telling it.
Were there aspects of the Lord of the Flies story that couldn’t make it into the films because of time that you knew you wanted to include in this, because you did have more time?
THORNE: Yeah, lots. The films are both very interesting, but there’s so much in every page of [William] Golding’s book that I wanted to spend time with. That was particularly true of Jack. It’s not just the difference between time in film versus TV. It’s the difference in terms of the vocabulary of television and what that chapter format can do, which I’m always obsessed with when I’m starting a project. I like to work out the story and know what I’m going to tell, but then figure out what the chapters are. That thing of spending the second chapter with Jack, which was the big revelation for me at the start of the journey, when we were working out how to pitch to them, and understanding Jack came from the book. Golding was talking about Jack’s emotion after the argument at the fire and Jack walking away from the fire and the fire having gone out. The way Golding described Jack’s face and emotion, at that point, I was like, “I don’t think I understood it properly. I need to revisit the book from the beginning again.” Just that thing of being able to spend time with and give insight to those characters felt like the treat of doing it on television.
Thorne Wanted To Explore the Tenderness in ‘Lord of the Flies’
“That was the discovery I made reading it as an adult.”
You’ve previously said that this story is a remarkably tender portrait of young boys, and I don’t know that I’ve ever heard anybody describe Lord of the Flies in that way. If you went into writing this with that perspective, did it feel like that shaped the way you told the whole story?
THORNE: That was the discovery I made reading it as an adult. As a child, I was like, “I’m Simon. The world hates me. This book makes sense to me.” As an adult, when I read it, I could see bits of Jack that I refused to look at as a kid. And I could see bits of Ralph that are less kind than I expected. I honed in on that and saw the tenderness. I think there’s one character [Golding] doesn’t like, which is Roger. I think he actually quite liked Jack in some ways. I think he certainly likes Ralph, and I think he loves Piggy, and he loves Simon. I just wanted to understand that perspective and get inside what I saw as his tenderness as a writer.
As you decided to do these chapters and focus each one on a different one of the boys, did you immediately know the order you wanted to do that in?
THORNE: No. Where Ralph sat was the trickiest decision of all. Simon was the obvious one. Simon had to be chapter three, and the death of Simon had to be chapter three. With Jack, it felt like chapter two would be interesting. There was something about the hunt and the going out of the fire that felt very Jack. And then, with Piggy and Ralph, they could belong on either side. Ralph is the lead character of the show and not giving them an episode until the last episode felt like a brutal decision that I wouldn’t have made if I was coming at this as an original writer. But then, it was about following the book because the book was telling me, and Ralph is the end of it. Golding does something really interesting with Ralph, towards the end of the book, in that he tells us about his home life, just briefly, just a little bit. It’s the moment when Golding is pointing a spotlight at him in lots of ways, as he’s trying to survive and trying to work out the cost of survival. So, Piggy starts it and Ralph ends it.
Netflix Sets 2026 Debut for the First-Ever ‘Lord of the Flies’ TV Series in 72 Years
Netflix picked up the rights to the series last month.
You’ve talked about how this is a story about the moments when these young boys lose themselves and become stuck in a situation they can’t control. It also feels like you’re watching a story specifically about how they deal with that situation at the age they’re at because they likely would have dealt with it differently if they were older and had more or different life experiences. Do you feel like that influenced the casting of these characters? What did you think of this cast? What was it like to see what you saw in your head brought to life by them?
THORNE: Really inspiring and really difficult. There were moments when I wanted to leave the room because it was not what I wanted it to be. Luckily, I was surrounded by colleagues who are made of stronger stuff than I am and had faith in the process. The interesting thing was that there were certain actors where you just went, “Oh, there’s Simon.” When we saw Ike [Talbut] for the first time, we went, “Oh, there’s Simon.” There was this chemical reaction to him. Similarly, with David [McKenna], who plays Piggy, we just went, “Oh, that’s Piggy.” And then, we spent time with him and realized how wonderful he is. That kid stole everyone’s heart.
With the other two, the fascinating thing about the process is that Winston [Sawyers} and Lox [Pratt] auditioned for both parts quite a number of times. We were swapping them around because we were like, “These are two sensational actors. How the hell do we decide who they should play?” The beautiful thing about the process was that, at the end of it, we weren’t taking four kids or eight kids. We were taking 40 kids. With so many of the other parts, they were so close to playing a Jack or a Maurice or a Roger. (Director) Marc [Munden] used them in such sensational ways, really spending time on their faces.
How did the experience compare to watching Owen Cooper tackle Adolescence?
THORNE: We started filming on Adolescence with Episode 3. That was literally, “Let’s boil the poor boy in acid and see how he does.” Luckily, Owen was and is sensational. It was so interesting watching Phil [Barantini] direct Owen because what Phil did was give all his notes to Owen and no notes at all to Erin [Doherty]. So, in that crucial scene, Erin just literally had to riff off of what Owen was giving her. Because she’s so wonderful, she could take whatever he gave.
With Lord of the Flies, we had young actors who were younger than Owen, quite considerably younger than Owen, pre-pubescent boys in the literal sense, playing opposite boys. Owen was a young man, but these were boys. That is so hard. It was boys playing opposite boys with 30 extras around them, all of whom were young people too, and none of whom wanted to keep still. The fact that they were able to do this, I can’t get over how good these actors are, in terms of the detail they found in their performances. That’s down to them and that’s down to the brilliance of Marc Mudnen.
Thorne Didn’t Set Out To Become the Voice of Boyhood Masculinity and Violence
“I’m fascinated by that age because I know its importance.”
You’ve become known for penning complex portraits of masculinity and violence, but you’ve done so with young characters who are still in boyhood, who have not yet fully entered manhood. What is it that most compels you to tell stories like this about characters at this age or close to this age? Do you think you’ll make it a trilogy and do another project, or do you want to do a comedy?
THORNE: I think I’ve hung up my boots for now. It was an accident. It wasn’t like I set out to do it. I was doing Lord of the Flies before I was doing Adolescence. As soon as Stephen [Graham] talked to me about doing Adolescence, I was in. Some people plan their careers. Other people have a chaotic relationship with their careers. I have a chaotic relationship with my career. I’m fascinated by that age because I know it’s importance. Because I didn’t really talk much at that age, I sat in the back and watched, so I feel like I saw many different colors of what that age was, just through sitting in the back of class and not being able to do it. I was desperate to have friends, and I was desperately bad at making friends. I was really bad at being 10. I was really bad at being 11. I was really bad at being 12, 13, 14 and 15. Those ages are concrete in my head because there was so much traumatic observation. Returning to that time and trying to find windows into it for my own sanity, but also because I think it’s really important, is something that hopefully I’ll continue to do, but with breaks to do other things.
New Twisted Adaptation Is the Perfect ‘Adolescence’ Replacement in First Trailer
“Maybe there is a beast… maybe it’s only us.”
The scene in Episode 3 that builds to the group of boys chanting, “Kill the beast, cut its throat, spill its blood,” is intense and animalistic. That murder is such a significant moment. What was it like to figure out how you wanted to handle that moment and how you wanted that to be seen?
THORNE: I can take very little credit for that. That’s down to the authorship of Marc Munden. I think film writers get too little credit, and I think TV directors get too little credit. I am in awe of the choices he made. It was the fourth thing we’ve done together, and I said to him, right at the beginning, “Make this yours.” That is an example of a moment when Marc just flew. I love what he did. I didn’t understand it when I first saw it. And then, slowly I found that clarity, and I was like, “This is incredible.” He went deep into the animal and found the animal. We also had an amazing choreographer, Polly [Bennett], who really led the boys and found a way of unleashing those kids. But that’s all down to the might of Marc Munden.
The end of Episode 4 is so interesting because they hit this wall of a reality check. Ralph is trying to hide from Jack, and then they find these adult men on the beach. It’s the moment when they realize the fun and games are over, and you see the fear and pain in Ralph’s eyes, and the other boys behind him don’t have the same emotion on their faces that he does. What was that ending moment like to see? What was it like to see how that played out?
THORNE: Winston is amazing in that moment. It’s largely the text from the book. We found a few more details in it, but largely we used Golding’s words at that moment. By that point, the kids were so deep in that Marc just trusted them to make their choices as they moved towards the boat. I loved how Thomas [Connor], who plays Roger, the worst of them all, just immediately disrobed and was like, “Okay, I’ll go do that now.” And then, the two that can’t move are Jack and Ralph, for totally different reasons. Lox is beautiful in that moment, as he’s standing there completely lost. His shoulders change from being ones of a warrior to being ones of a child again. And Winston is just looking up with total responsibility for something that he’s not responsible for. He’s grown and changed. I love that moment. I can take small credit for it because it’s about those incredible actors, and it’s about Marc.
The Conversations Surrounding ‘Adolescence’ Felt Very Special to Thorne
“Everyone that saw it wanted to talk to me about it. I got emails from friends from school that I hadn’t spoken to for years.”
What was it like for you to see the reaction to Adolescence, from the viewers, from the critics, and from all the awards show love? Have you been surprised by all the talk about people wanting another season of that? Was that something that had ever even occurred to you when you wrote it?
THORNE: No, we wrote it to finish with Episode 4. We were pretty sure it should end in Episode 4, and nothing has changed our mind about that. But it was amazing. It’s like nothing I’ve ever encountered before. When you make a TV show, you don’t actually hear from that many people. When you make theater, you’ve got a relationship with the audience that just builds and builds. There was a moment when social media was nice, and you had a relationship with the audience on social media. Now, you get emails from a few people – friends, colleagues, people who get it. Sometimes you get surprising emails. I’ve gotten a few surprising emails about Lord of the Flies, but you don’t get that many. You just sit there in your own silence and go, “Okay, well that was a thing.”
With Adolescence, everyone who saw it wanted to talk to me about it. I got emails from friends from school that I hadn’t spoken to for years – the few friends I did have – saying, “I just had a conversation with my 13-year-old that I’ve needed to have for a very long time,” or “I’ve just spoken to my 16-year-old, and they broke down in tears.” To be part of that conversation just felt so special. It was lovely. Stephen and I talked about wanting to make sofa shows because we both grew up on the sofa beside our mums watching tele. To have made a sofa show was hugely important to us and hugely gratifying too.
How did you end up involved with the Stranger Things stage play? You do theater, but you didn’t work on that series, so how did that happen?
THORNE: Because of Harry Potter, their idea was that I might be useful, in terms of working out how to translate stories to the stage. I think I was useful at the beginning when we were talking about it, and then Kate [Trefry] made it her own in a wonderful way.
What was that experience like? Did you see the show?
THORNE: Oh, yeah. The first preview was amazing. It was the same with Harry Potter. When you’re in a room that’s hearing the story for the first time, and you’re surrounded by people that are really passionate about the story, and the Stranger Things audience is massively different from the Harry Potter audience, but you’re seeing them feel their way through it and I love that. It’s like being at a rock concert for about five minutes. It’s very special. I loved it. What happens in the next few years, as AI becomes more powerful, is going to be very interesting, whether the live experience suddenly becomes much more important. That will be fascinating and seems likely. How we translate all our storytelling is going to be interesting.
Barry Keoghan Officially Breaks Silence on Sam Mendes’ Colossal 4-Part Beatles Series [Exclusive]
“There’s just a nice energy around it…”
You’re also getting to create a Beatles cinematic universe, with John Lennon, Paul McCartney, George Harrison and Ringo Starr each getting their own biopics. Is that something you had ever imagined yourself doing?
THORNE: It’s amazing. The truth is, in (director) Sam Mendes we trust. He’s the heart and soul of it. I’m very lucky. Me and Sam worked on a play together, called The Motive and the Cue, that was very, very important to me and taught me a lot about the sort of writer I wanted to be. And then, he was kind enough to invite me in to be part of the Beatles. It’s been amazing.
What is the writing process like when those are the characters that you have in your head?
THORNE: I can’t talk about it more than I’ve talked about it, I don’t think.
Just regarding the process, does it feel more challenging when you are thinking of actual people, especially when they’re such famous people?
THORNE: It depends. Every project is different. The places you get stuck are different on every project, whether it’s fictional or non-fictional. Sometimes the story doesn’t break down in the way that you want it to when you’re in the non-fiction world, or in the based-on world, and sometimes it gives you treats that you’re not expecting. Each has its own rewards. I did a show last year, called Toxic Town, that was about a group of women fighting their council, and the interesting thing about it was, every time you needed something to be there, it was, but it didn’t behave itself.
I try to take those lessons into my fictional telling as well. The stories shouldn’t behave themselves because people understand the rhythm of stories. If you’re telling stories that are rhythmically similar to everything they know, then they know when to pick up their phones and look at social media and get absorbed in other things. They go, “Well, I need to concentrate at minute 10 and minute 25, and then probably by minute 52, and the rest of the time, it’s meat on the bones. The bones are what I need to really concentrate on, and I know when those bones are going to hit.”
One of Thorne’s Heroes Is Filmmaker Ang Lee, and He Hopes To Continue Emulating His Approach to Storytelling
“The thing I love about Ang Lee is that he moves between different spaces and learns from those different spaces.”
It feels like you’re doing these different projects from such different approaches. With The Beatles, they’re real people who are also very famous. With Stranger Things, it’s for the stage. With Lord of the Flies, you’re working from source material. With the Enola Holmes films, your character is growing and developing while your actor is growing and developing. You aren’t stuck in just one type of thing.
THORNE: No. One of my heroes is Ang Lee. The thing I love about Ang Lee is that he moves between different spaces and learns from those different spaces, which helps him when he’s telling us whatever kind of story he’s telling. He’s got an understanding of the rhythm, but he’s also learning the rhythm at the same time, rather than settling into it. That’s what I want to do. I want to keep fresh and keep that sense of the new in me because I want to keep doing it, and I love it. When I talked about chaos, I literally don’t know what I’m doing next. I’m always like, “Oh, right, this. This is the thing.” I’ll get a call from [someone], and suddenly I’m like, “Oh, right, this is what I’m doing now.” I really like that. That excitement is still in me. Twenty-five years into my writing career, I’m really lucky that that’s the case.
Lord of the Flies is available to stream on Netflix.
- Release Date
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2026 – 2026-00-00
- Network
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BBC One
- Directors
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Marc Munden
- Writers
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Jack Thorne
Cast
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David McKenna
Nicholas (Piggy)
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Bindi Irwin’s mom, Terri Irwin, provided a health update on her daughter after she failed to attend the 2026 Steve Irwin Gala.
During a red carpet interview with E! News at the Saturday, May 2, event inside at Las Vegas’ Bellagio, Terri, 61, spoke about Bindi’s ongoing battle with endometriosis — and why it prevented her from attending alongside her and brother Robert Irwin.
“Bindi is doing so much better now,” Terri told the outlet while standing alongside Robert, 22, at the 3rd annual Steve Irwin Gala that celebrated her late husband’s conservation achievements. “Things like a lot of travel are a bit challenging for her at the moment and so she’ll be here next year to celebrate this wonderful night.” (Steve Irwin died in September 2006 after a fatal snorkelling interaction with a short-tail stingray in Queensland, Australia. He was 44 years old.)
Terri, who was married to Steve for 14 years, added that Bindi, 27, was at Saturday’s event “in spirit” along with her husband Chandler Powell and the couple’s daughter Grace, 5. “This year she’s just staying a little close to home,” Terri told the outlet. “So, ironically, it’s less taxing for her to be home feeding crocodiles.”
Bindi Irwin missed her late father Steve Irwin’s annual gala in Las Vegas on Saturday, May 10, after suffering a ruptured appendix. “She’s going to be OK, but surgery — out of all the things we were ready for, that was not one of them,” Bindi’s brother Robert Irwin told People in an interview published […]
In May 2025, Bindi opened up to Us Weekly about her ongoing struggles with endometriosis, which is described by Mayo Clinic as “an often-painful condition in which tissue that is similar to the inner lining of the uterus grows outside the uterus.”
Speaking to Us just one day prior to emergency surgery as a result of a ruptured appendix, and the day before the 2025 Steve Irwin Gala, Bindi said, “If you have good health you can do anything, but when you’re feeling unwell it’s impossible to function in life.” (Bindi was forced to skip the 2025 event as a result of her health struggles, too.)
Later that month, Bindi shared a progress report with fans via Instagram. “Healing,” she captioned a carousel of photos that showed the Dancing With the Stars season 21 champion recovering in the hospital. “Thank you for your incredible words of support and kindness. The reason I share my health journey is because more girls and women desperately need answers to their undiagnosed pain.”
More recently, Bindi reflected on her endometriosis journey via a lengthy post that urged other sufferers to seek increased support during March’s Endometriosis Australia Awareness Month. “In the last three years, I’ve had over 50 endometriosis lesions cut out of my body. A chocolate cyst that was adhering my ovary to my side was removed. An appendectomy and a hernia repair. I’ve felt indescribable, inescapable pain,” Bindi candidly shared via Instagram on March 31. “Trying to keep my invisible illness to myself after being told by doctors it was just “part of being a woman.” I spent 10 years being undiagnosed.”
Bindi’s post concluded, “No one deserves to suffer in silence. For more information I turned to @seckinmd and @endofound. If you’re in pain, my heart breaks for you. I believe you. Please find answers. And don’t give up on yourself. I know how hard that can be.”
Robert Irwin isn’t done collecting “Dancing with the Stars” wins for his family just yet.
After both he and his sister Bindi Irwin took home Mirrorball trophies, the 22-year-old is now setting his sights on getting their mom, Terri Irwin, onto the ballroom floor.
During a recent interview, the wildlife conservation family opened up about the possibility, with Robert making it clear he’s determined to turn the idea into reality, whether Terri is fully ready or not.
Robert Irwin is making it his personal mission to see his mom compete on “Dancing with the Stars.”
After winning the most recent season alongside partner Witney Carson, he didn’t hesitate to share his next goal for the family.
“I’ll get her. Don’t worry. We’re gonna get her on the next season. I’m gonna make it happen!” Robert told E! News, confidently insisting that Terri will eventually step onto the dance floor.
Terri, however, is taking a more cautious approach. Speaking alongside her son at the Steve Irwin Gala in Las Vegas, she joked about needing time to consider the idea.
“I’ll review the petition,” she said, adding that she would “get back to you in five to seven business days.”
Still, the 61-year-old admitted that the opportunity is appealing. “I am honored to be asked if I would do it because it’s an amazing thing,” she shared.
Robert Shares Why Terri Would Thrive On The Show
Robert Irwin isn’t just pushing for his mom to join, but he already has a vision for how she would succeed.
Drawing from his own experience, he believes Terri would genuinely enjoy the process and the energy of the show.
The zookeeper even went a step further by suggesting a potential partner for his mom. He believes professional dancer Val Chmerkovskiy would be the perfect match.
“Mum, I’d think you’d dance so well with Val,” he told her, adding that it would make the experience even more enjoyable.
Terri herself reflected on what she has seen from her children’s time on “DWTS,” recalling how Bindi once described the experience.
“This is the closest you’ll ever get to flying. You feel free. It’s euphoric. It’s amazing,” she remembered her daughter saying.
She also spoke about the physical side of ballroom dancing, noting how demanding it can be.
“The dancing has gotta be the most athletic, incredible, moving experience that you could have, so I think it would be really special,” Terri explained.
Robert Irwin Gets Backup As ‘DWTS’ Pros Support Terri Casting
Robert isn’t the only one campaigning for Terri to join the show. His former dance partner Witney Carson is fully on board with the idea and agrees with his choice of partner.
“I think that she would be best paired with someone who’s seasoned, but can really have fun with her,” Witney said, before adding, “Dare I say Val.”
She also explained why Chmerkovskiy would be a strong fit, noting that he can balance discipline with a fun rehearsal environment.
Witney already sees potential in Terri based on past experience. She pointed to the conservationist’s brief appearance during a performance earlier in the season.
“She’s the last Irwin. We’ve got to get Terri on the show. I think she would do incredible,” she said.
Recalling that moment, Witney added, “She was adding things. She wanted to do a passé. She was adding a flick. I was like, ‘Go Terri!’”
Robert Calls ‘DWTS’ Win ‘Life-Changing’ After Emotional Finale
Robert Irwin won Season 34 alongside Carson after a highly competitive finale in which five couples performed multiple routines, with judges’ scores and audience votes combined to determine the winner.
Despite entering the finale with a rib injury, he delivered strong performances, earning near-perfect scores and ultimately winning after one of the closest vote results in the show’s history.
As The Blast shared, the TV presenter said the victory meant “everything” to him. Speaking after the finale, Robert shared, “To follow in those footsteps and to do the same has meant everything to me.”
He described the experience as life-changing, saying, “This has absolutely changed my life.” Robert also reflected on watching Bindi’s win years earlier, explaining how it inspired him.
“When I watched her lift that Mirrorball, I saw her lifting that message,” he said. Overall, Robert expressed gratitude for the journey and his dance partner, calling the experience unforgettable.
Robert Irwin Weighs In On ‘Bachelor’ Speculation: ‘Never Say Never’
Robert has addressed growing speculation about whether he could become the next lead on “The Bachelor,” and he’s not shutting the door on the idea.
According to The Blast, the wildlife conservationist said, “Never say never,” adding, “I’m in this realm right now where I’m like, never say never.”
He continued to tease the possibility, saying, “Watch this space. Who knows. It’s a strange world. Anything could happen.”
Despite the buzz, Robert made it clear that reality TV romance isn’t his main focus. He emphasized, “I’m a zookeeper. I’m an animal conservationist. That’s my thing,” noting that his life is very different from what’s being reported.
He also downplayed his dating life, admitting, “My life is a lot more boring than you might think. I’m pretty vanilla.”
Entertainment
Bob Dylan Agreed to Make ‘A Complete Unknown’ After James Mangold Honored This Moving Request
A Complete Unknown has officially become one of the year’s most talked-about films. James Mangold’s masterful take on the life of Bob Dylan—portrayed by Timothée Chalamet—has not only reached new heights for a musical biopic; it has garnered the all-important award buzz. But the real standout of the picture isn’t Chalamet’s take on Dylan but his muse, as Elle Fanning’s Sylvie Russo is more than just a fascinating character. In a world filled with eccentric characters, Russo acts as a beautiful proxy for the audience, helping moviegoers care for Dylan beyond the musician they already know, as they watch his rise to stardom. However, unlike many of the other characters the “Like a Rolling Stone” singer encounters throughout, Sylvie is technically fictional. But she was inspired by an incredibly important force in Dylan’s life and left an incredible legacy of her own behind.
Sylvie Russo Was Inspired by Dylan’s Real-Life Muse
Like most biopics, A Complete Unknown takes quite a few liberties with Dylan’s story. While Sylvie is technically one such modification, she isn’t as fictional as many think. Per Rolling Stone, the character of Sylvie was inspired by Suze Rotolo, an Italian-American artist whom Dylan first met in 1961 and who was a force to be reckoned with. Rotolo, a New Yorker from birth, moved to Greenwich Village to find herself. “[…] it was to Greenwich Village that people like me went—people who knew in their souls that they didn’t belong where they came from,” Rolling Stone quoted. “I was drawn to the Village with its history of bohemia—where the writers I was reading and the artists I was looking at had lived or passed through.”
Much like her movie counterpart, Rotolo became Dylan’s muse—in one of the film’s more accurate sequences, Dylan met Rotolo when he performed in an all-day concert at Riverside Church. Rolling Stone claims she inspired “Don’t Think Twice, It’s All Right,” as well as much of his work, even famously appearing with Dylan on the iconic cover of 1963’s The Freewheelin’ Bob Dylan. But music and art weren’t the only things Rotolo inspired in Dylan’s life; as with Fanning’s fictional take, Rotolo was heavily involved in various social movements. According to Forbes, she was suspended from school after distributing “Stop the bomb” petitions and participated in the first-ever Civil Rights march in Washington, D.C. As stated by Rolling Stone, she got Dylan interested in civil rights after turning his attention to the murder of 14-year-old Emmett Till, which, of course, inspired his song on the subject. Sadly, the couple would part ways in 1964; however, they continued to speak of each other fondly in later years. Perhaps most telling was Dylan’s decision on how to handle her story when it came to A Complete Unknown.
Bob Dylan Wanted To Change Rotolo’s Name For ‘A Complete Unknown’
When it came time to start making A Complete Unknown, Bob Dylan himself had a very specific request for director James Mangold. The two had been through quite a lot together, including an abortion, as well as an extended distance when Rotolo went on an eight-month trip to Italy, yet Rotolo’s life was kept largely private. “It was a character who I felt—and I think Bob very much agreed when we talked early on—was the only one who wasn’t a celebrity and an icon in and of themselves with a kind of public persona,” Mangold reflected. Sadly, Rotolo passed away in February 2011, thus the decision to change her name for the movie was likely the right one. Still, the film completely honors Rotolo’s legacy.
Russo is an easy character to fall in love with and is key to crafting the film’s gorgeous romance. It additionally honors the amazing work she did for people all around the world. Rotolo involved herself in some of the most meaningful causes of all time and helped bring them into the public consciousness through Dylan—a sort of legacy that cannot be understated. Sylvie Russo may be a creative liberty of sorts, but the legacy of Suze Rotolo lives on through her, through the music she inspired, the art she created, and the love she brought to the world.
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Whitney Leavitt has announced that she will be exiting The Secret Lives of Mormon Wives.
According to a Sunday, May 3, article by The Hollywood Reporter, Leavitt, 32, revealed during her final Broadway performance of Chicago earlier that day that she “is departing” the Hulu reality TV show. The outlet, along with Deadline, confirmed the news in the hours that followed.
Us Weekly has reached out to a representative for Leavitt for comment.
One day prior to the news, Leavitt had celebrated the end of her on-stage portrayal of Roxie Hart via an Instagram video. “Closing night is tomorrow and I’m just feeling a roller coaster of emotions right now 😭,” she captioned the Saturday, May 2, clip. “Never let anyone convince you your dream is impossible. Do the work to make it happen ✨I love you guys sm! Thank you for everything!!!! xx- Roxie Hart 💋✨.”
Whitney Leavitt is playing coy about her future on The Secret Lives of Mormon Wives. “We’re figuring it out in real-time. I don’t really know,” Whitney, 32, said of whether she’ll return to the show during a Wednesday, April 8, interview on Good Morning America. “I feel sometimes that it’s like time to venture out.” […]
The video included no mention of Mormon Wives, of which Leavitt has appeared as a full-time cast member since debuting on Hulu in September 2024. The show has charted a group of Mormon mom influencers, including Leavitt, whose lives were forever changed following a high-profile cheating scandal.
Leavitt made her Broadway debut in Chicago in February after news of her leap from TV to stage broke in December 2025. The news came after Leavitt competed in season 34 of Dancing With the Stars, finishing the dancing competition in sixth place.
Leavitt will also make her acting and executive producing debut in a holiday rom-com for Ninth House Productions later this year, per reporting by The Hollywood Reporter.
Whitney Leavitt weighed in on whether she would leave The Secret Lives of Mormon Wives “soon” in the wake of a few new career opportunities. “Well, I’m figuring it out in real time,” Leavitt, 32, told The Hollywood Reporter in an interview published on Monday, March 16. “We’re figuring it out together, but it feels […]
The multiple-threat’s exit from Mormon Wives comes amid a string of controversies that have plagued the show in recent months, including a police investigation focused on an alleged domestic violence altercation between Taylor Frankie Paul and her ex Dakota Mortensen that saw production of Mormon Wives halted. (Us Weekly confirmed on April 14 that Paul, 31, will not face charges in relation to the investigation.)
The reality TV series’ executive producer Jeff Jenkins addressed speculation that Paul will also not be returning for season 5. “I certainly hope [she will film with the other women],” Jenkins, 58, told fans at Deadline’s “Reality TV Summit” on Friday, May 1. “Again, first and foremost, is she healthy of body and mind, then we’ll talk about it.”
One month prior, the ex-husband of Mormon Wives star Miranda McWhorter, Chase McWhorter, said during the April 7 episode of Harry Jowsey’s “Boyfriend Material” podcast that he believed cameras on the reality show may not pick up again at all.
“I think that’s kind of up in the air at this point,” Chase, 30, claimed at the time. “Hoping they do. All the other women have a bunch of great stories and story lines that haven’t been told. I think that’s a great thing they could look into. So I think they should, but we’ll see.”
Apple TV’s crime-drama bench is crowded right now, which makes this show’s chart movement particularly interesting. On April 23, one day after its Season 2 launch, FlixPatrol had it at No. 5 among Apple TV shows worldwide, behind only Margo’s Got Money Troubles, Imperfect Women, Your Friends & Neighbors, and Monarch: Legacy of Monsters. In the U.S. that same day, it also hit No. 5 on Apple TV’s TV chart, jumping four spots, which is a strong early signal for a returning thriller.
The better sign is that it did not vanish after the premiere curiosity cooled. By April 30, it was still sitting at No. 8 on Apple TV’s U.S. TV chart and had climbed to No. 7 overall on Apple TV’s U.S. list, above bigger Apple library names like Ted Lasso, The Last Thing He Told Me, and For All Mankind. By May 1, it remains visible globally at No. 7 among Apple TV shows, ahead of For All Mankind, Shrinking, and The Last Thing He Told Me.
The series is Criminal Record, Apple TV’s London-set detective thriller starring Peter Capaldi as DCI Daniel Hegarty and Cush Jumbo as DS June Lenker. The show’s Season 2 premiered globally on April 22, 2026, with eight weekly episodes running through June 10. The new story forces Hegarty and Lenker into an uneasy alliance after a young man is killed at a political rally, pushing the case toward a far-right bomb plot and the same moral rot that made Season 1 such a tense sleeper.
‘Criminal Record’ Season 2 Debuted to a 100% RT Score on Rotten Tomatoes
Criminal Record Season 2 opened with the kind of Rotten Tomatoes score that instantly strengthens the sleeper hit argument: early critics had it at 100%, signaling that the Apple TV thriller had returned with more than just residual goodwill from Season 1. The score has since shifted as more reviews were added, with Season 2 critics’ score on RT currently in the high-80s, but the debut reaction still matters.
Criminal Record is currently trending on Apple TV, and Season 2 will air its remaining episodes through June 10. Stay tuned to Collider for more updates.
- Release Date
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January 10, 2024
- Network
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Apple TV
- Showrunner
-
Paul Rutman
- Directors
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Jim Loach
- Writers
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Thomas Eccleshare, Ameir Brown, Paul Rutman
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Andrew Brooke
Clive Silcox
-
Charlie Creed-Miles
DS Tony Gilfoyle
The Twisted Tale of Amanda Knox allowed Grace Van Patten to work with sister Anna Van Patten, who then went on to appear in a graphic sex scene as Kitty on Euphoria.
Grace, who is Anna’s older sister, grew up with her siblings in New York City before attending Fiorello H. LaGuardia High School. After being directed by her father, Timothy Van Patten, in an episode of The Sopranos, Grace continued to find success with roles in Boardwalk Empire, Maniac and Nine Perfect Strangers.
Grace skyrocketed to fame after being cast as Lucy in Hulu’s Tell Me Lies. She went on to score the lead role as Amanda Knox in a limited series, which will chronicle the period after Knox was wrongfully accused in Meredith Kercher’s murder trial, her time in prison and her journey to freedom. Margaret Qualley was originally set to play Knox in Hulu’s scripted series, but she exited the project and Grace replaced her.
The Twisted Tale of Amanda Knox paved the way for Grace to work with Anna, who plays Knox’s real-life sister.
“I’ll say that Grace is f***ing amazing. That’s what I will say,” Knox exclusively told Us Weekly in March 2025. “I’m in a very, very privileged position as someone who is a subject of a story. Typically someone in my position — the subject — doesn’t get to be an executive producer of their own show.”
Keep scrolling for what to know about Anna after she collaborated with Grace on The Twisted Tale of Amanda Knox:
What TV Shows Did Anna Van Patten Work On Before ‘The Twisted Tale of Amanda Knox’?
Anna made appearances on Law & Order: Special Victims Unit, FBI: Most Wanted, Gossip Girl and she has been cast in season 3 of Euphoria.
Who Else Is Part of Grace and Anna’s Famous Family?
Grace and Anna’s father is director and producer Timothy Van Patten and mother is Wendy Rossmeyer Van Patten. Their uncle is comic actor Dick Van Patten and their cousin is actress Talia Balsam, who is the daughter of Joyce Van Patten. Grace and Anna have a younger sister: June.
What Has Anna Shared About Her Career?
During a joint interview with her mother in January 2025, Anna spoke with Modern Luxury about breaking into the industry.
“I went to a performing arts high school where you could major in a subject. I majored in drama, and then I went to the New School for college where I studied film,” she explained. “I think learning all aspects of film can only teach me more about the art as a whole. I think that having Gossip Girl as my first job is teaching me a lot, because there’s really nothing like learning from being on set.”
Anna continued: “I’m so thankful for that, but I really want to learn to be more hands-on behind the camera. I think this is all teaching me a lot for potential future projects.”
Have Grace and Anna Worked Together Before?
The sisters shared the screen for the first time in Hulu’s The Twisted Tale of Amanda Knox, which premiered in August 2025. Grace played Amanda while Anna Van Patten was cast as her sister, Deanna. The rest of the Knox family was portrayed by Sharon Horgan and John Hoogenakker.
What Role Does Anna Van Patten Have in ‘Euphoria’?
Anna appeared in season 3 as a newcomer at the strip club. The dancer — who is named Kitty — has a brutal start at her new job when she has to have sex with a group of men.
There have been movies made about World War II since its conclusion, but that doesn’t mean there aren’t more stories to tell. The conflict was the largest in human history, and was filled with countless stories of heroism, many of which have never been addressed. “Operation Mincemeat” was an operation by the British military told by author Ben Macintyre in a 2010 novel that described the unusual plan. Although the novel had helped to publicize a story that hadn’t received much attention, Netflix’s Operation Mincemeat brought to life one of World War II’s strangest moments with the help of some of the greatest British actors working today. Beyond the fact that Operation Mincemeat is legitimately informative, it’s also a great work of entertainment that understands why World War II is such a compelling cinematic subject.
Operation Mincemeat examines a particularly dangerous moment in World War II when the Allies had prepared an invasion of Sicily, which could’ve turned the tide of the war through the advantages of European expansion. In order to ensure that the attack is a surprise, Admiral John Godfrey (Jason Isaacs) came up with a strategy to leak false information about an invasion of Greece that would confuse the Nazis, forcing them to mount their defenses elsewhere. The only way to pass along the fake details to the Nazis was to create false plans that were placed on the body of a fallen soldier, who could be intercepted. The unlikely heroes of Operation Mincemeat are Lieutenant Commander Ewen Montagu (Colin Firth) and Flight Lieutenant Charles Christopher Cholmondeley (Matthew Macfadyen), who are tasked with identifying the corpse and giving it the necessary preparations. While it is a war movie, first and foremost, Operation Mincemeat contains elements of the espionage and heist genres.
Netflix’s ‘Operation Mincemeat’ Uncovers an Undiscovered WWII True Story
Operation Mincemeat is effective at showing the substantial pressure put upon the Allied forces at this point in the war, which has already proven to be devastating and responsible for millions of lives lost. The film shows how the Allies became more interested in untraditional strategies, as to simply wage war through endless combat zones would only become more destructive. The irony of the film is that Montagu and Cholmondeley find that the body of a vagrant could end up being responsible for an operation that brings forward peace. Even though this man, who is disguised as a soldier, did not get to enjoy the virtues of life in his own time, he may be helpful in awarding those freedoms to countless others. Although there is some humor in how the film describes how inherently unusual this mission was, it also shows a respectfulness for the deceased that is necessary for the given subject.
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Operation Mincemeat is distinct from other World War II films because it examines the unspoken heroism of those who were not in positions of authority. Among the complications of the secret mission is that Cholmondeley and Montagu understand that their actions will have to be classified in the immediate aftermath, and they may not receive the laudatory praise of their peers if their operation is successful. This opened the door to a deeper understanding of the ethics of spycraft, especially since future James Bond author Ian Fleming is a character in the film, played by Johnny Flynn. While being able to work in secret could have given Montagu and Cholmondeley the excuse to take a more ruthless, immoral approach, their insistence on remaining honorable shows the importance of retaining ethics. Montagu and Cholmondeley believe that victory cannot be attained through malicious means, as they don’t want to fall into the same path of deceit and manipulation that hallmarked their enemies.
Netflix’s ‘Operation Mincemeat’ Examines the Complexity of Victory
Operation Mincemeat is a terrific ensemble film, as it shows that all of those that participated in the operation were integral to its success, and that a war could not be won by simply one brave soldier. Firth has had some experience starring in World War II films, such as The King’s Speech and The Railway Man, but he gives one of his most underrated performances ever as Montagu. Montagu is distraught throughout because he is separated from his family, who have been sent to remain in safety in the United States, which makes him feel even more alienated as he remains in Europe. He’s also Jewish, and there have been rumors about what Adolf Hitler did to the population of Poland, even if the more disturbing details of the Holocaust were not uncovered by the Allies at this point in history. While both of these stresses weigh down on Montagu, Firth shows the integrity of a man who put his best foot forward and served as a role model for those under his command.
The Operation Mincemeat story has strangely become even more popular since the film’s release, as a Broadway musical of the same name became incredibly successful, even if it took a slightly more comical approach. However, Operation Mincemeat is unique among war films because it showed how many of the most pivotal moments in the conflict were made in meetings and boardrooms. While this may not seem as inherently exciting as a film like Saving Private Ryan that is set within the trenches, Operation Mincemeat showed that heroism takes many forms, and that some of the most valiant efforts are kept secret.
Over two decades have passed since Denzel Washington played one of his most iconic characters, John Creasy, in the cult classic action film Man on Fire. The film was directed by his frequent creative collaborator, the late filmmaker Tony Scott. While Man on Fire wasn’t exactly a major blockbuster — it grossed around $130 million worldwide against a reported budget of $70 million — it became a home-video sensation in subsequent years. In many ways, it paved the way for Liam Neeson‘s Taken and for Washington’s own The Equalizer movies. Netflix is aware of the film’s popularity, which explains why the streamer greenlit a reimagined series. The new show debuted this week and emerged as an instant hit on the platform.
Headlined by Yahya Abdul-Mateen II, the seven-episode Man on Fire series is created by Kyle Killen. The show’s first two episodes were directed by Steven Caple Jr., who rose through the Hollywood ranks with Creed II and Transformers: Rise of the Beasts. He’s now putting together a sequel to I Am Legend, starring Will Smith and Michael B. Jordan. Abdul-Mateen II has appeared in two major superhero projects, James Wan‘s Aquaman and Damon Lindelof‘s Watchmen series on HBO. His Man on Fire series offers direct competition to Prime Video’s rival titles Reacher and Jack Ryan, but it wasn’t as well-received as either of those shows.
‘Reacher’ Fans Have Something to Bide Their Time with While They Wait for a New Season
Man on Fire currently holds a 60% score on the aggregator website Rotten Tomatoes, which is higher than the 39% score of the 2004 movie, but is simply not good enough for long-term success. In her review, Collider’s Carly Lane described it as a “perfect binge for Reacher” fans, but noted that it “is more of a slow burn than an instantaneous firestorm.” Despite the mixed initial reactions from critics, the show emerged as Netflix’s number one title both domestically and worldwide, according to FlixPatrol. Meanwhile, Washington is gearing up to reprise his role as Robert McCall in two more movies in The Equalizer franchise. The series’ three movies so far have each generated higher global box-office returns than the Man on Fire movie, and have remained hot favorites on streaming. Stay tuned to Collider for more updates.
- Release Date
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April 30, 2026
- Network
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Netflix
- Showrunner
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Kyle Killen
- Directors
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Steven Caple Jr., Vicente Amorim, Clare Kilner, Michael Cuesta
- Writers
-
Kyle Killen
Olivia Wilde publicly responded to social media trolls who likened her appearance to The Lord of the Rings’ Gollum.
After attending a screening of her new movie The Invite at the San Francisco International Film Festival on April 24, Wilde’s red carpet interview with San Francisco Chronicle sparked online commentary around her facial features, with some social media users drawing comparisons to the physically deformed fictional creature.
In a Sunday, May 3, Instagram Story shared by Wilde, 42, her brother Charlie Chockburn was heard asking his older sister, “Olivia Wilde, do you care to address recent rumors that you’re a resurrected corpse?”
A giggling Wilde, lying in a bed wearing a hoodie and surrounded by blankets, responded, “Listen, that is a fisheye lens and I admit, is that my best angle or was that my best ever look? No. No, it’s startling, it’s a startling image.”
The post included a screenshot of Wilde’s face during the interview, positioned next to an image of Gollum from one of the fantasy trilogy’s films. “It was a fisheye lens and I don’t know why [I] was so close to the camera, I didn’t have to be,” Wilde continued. “That’s not the truth. Do you have any more questions?”
Wilde’s comments drew loud laughter from Cockburn, 33, before the amused Don’t Worry Darling actress and director concluded to the camera, “I’m not dead.”
Did Olivia Wilde just confirm her relationship with Caspar Jopling? One of her sexy photos from the Sundance Film Festival points to a soft launch for the couple. “I Want Your Sex & The Invite ♥️ Park City 4vrrrr,” Wilde, 41, captioned a series of Instagram pictures on Wednesday, January 28, from the annual festival […]
Wilde further captioned the post, “Leave it to your little brother to give you the maximum amount of s***.”
In the days that followed Wilde’s San Francisco Chronicle interview, which discussed how essential San Franscico was as a backdrop within The Invite, starring Wilde, Seth Rogan, Edward Norton and Penelope Cruz, her appearance drew significant online commentary. In addition to Gollum comparisons, questions regarding cosmetic procedures and weight-loss methods arose via social media.
One social media user wrote via Instagram, “My thoughts and prayers are with @oliviawilde and her injector.”
Olivia Wilde may have a new man: art dealer and Ellie Golding’s ex-husband, Caspar Jopling. On Thursday, September 4, Wilde was spotted making out with Jopling outside London’s The Pelican restaurant in photos obtained by Page Six. Jopling was previously married to Golding from 2019 up until they announced their split in February 2024. The […]
The media attention comes on the back of Wilde seemingly confirming her new romance with art dealer Caspar Jopling. In an Instagram post shared on January 28, Wilde was seen snuggling up to a man, whom Us Weekly reported at the time was Jopling, 34. In the cozy snap, Wilde was captured with her eyes closed as Jopling, who is Ellie Goulding’s former husband, hugged her tight with his arms wrapped around her back. (Goulding, 39, and Jopling share one son, Arthur, 4. The exes announced their split in February 2024.)
Wilde and Jopling were first linked after photos published by Page Six in September 2025 showed the pair kissing outside a London restaurant.
Real Housewives of Rhode Island star Kelsey Swanson is officially a one-man woman.
“I’m only in one relationship now,” Kelsey told Us Weekly exclusively ahead of last month’s RHORI premiere. “You’ll see as the season progresses where that goes, but I am in a relationship. [I have a] boyfriend, I will label it that, but not married, and no kids.”
The Sunday, May 3 episode of RHORI offered more insight into Kelsey as she moved on from an “unconventional” 10-year relationship which turned her into “a lady of leisure.”
Kelsey and her ex were able to date other people while they were together, but during Sunday’s episode she explained that he was dating “more people than she initially” thought.
“I want [a] real solid relationship, like I have to make a move now, for me,” Kelsey said in her confessional on Sunday. Her ex said that she was making “the right decision” for her future.
“He didn’t even fight it,” she said. (Aside from her ex, who didn’t make an appearance on the Bravo show, Kelsey introduced viewers to William “Bill” L’Europa, who was referred to as her boyfriend during Sunday’s episode.)
Kelsey told Us that the “hardest” part of her post-breakup transition was moving out of her ex’s mansion.
“I handle change very well, believe it or not. It’s just thatI didn’t want to handle it,” she said, “I didn’t want to have to. Especially the timing of everything just sucks. I think I handled it well. It was just a s***** situation to be in.”
The first episode of RHORI featured Kelsey sharing the house’s specs during her confessional.
“Living in a 16,000-square-foot home, the house literally has everything that I need. Four kitchens, 79 TVs, the closet — the best part,” she said at the time. “My boyfriend’s family is probably one of the most prominent families in the state of Rhode Island, and he has allowed me to live a life of not being able to work.”
During Sunday’s episode, Kelsey broke down in tears while moving out of her ex’s home. She cried, telling costar Liz McGraw that she’s “happy” and “sad” about the situation.
“Leaving this mansion, I am terrified. I lived with my parents until I met my boyfriend. I was 20 and I went straight from my parents house to his house,” Kelsey said in her confessional. “This is the first time where I’m taking that step and, literally, am going to be solo.”
New episodes of The Real Housewives of Rhode Island premiere via Bravo on Sundays at 9 p.m. ET and stream via Peacock the next day.
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