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It was all planned out. Kim Cattrall had started the PR tour for her new network series Filthy Rich – she is not only playing the lead but also a full producer – with the Upfronts and was going into a heavy interview-schedule from coast to coast, with a premiere date set for Spring.

Joanne Froggatt did not see it coming when she finished reading the script for the second season of the thriller Liar, she was completely shocked by the revelation of who had killed Andrew Earlham. The writers Jack and Harry Williams had kept her guessing to the end and she was completely surprised.

In 1996, ten years before his passing at age 99, Vincent Sherman published his autobiography simply titled 'Studio Affairs: My Life as a Film Director'. Today, his name might not be remembered as some of his more celebrated colleagues of Hollywood’s Golden Age, but he was, as Oliver Stone rightly called him, “one of the great craftsmen from the old studio system.

Doing the Work is a series profiling key recipients of HFPA Philanthropy. Drew McClellan is a teacher and filmmaker leading Gen-Z’s new creators.

Three-time Golden Globe-nominee Sônia Braga, best known in the US for her sexually powerful performances in movies like Dona Flor And Her Two Husbands (1976), Kiss Of The Spiderwoman (1985) and Moon Over Parador (1988), told People magazine in 1988 that “I was kind of ugly. ”  She referred to herself as a skinny girl with big teeth and disorderly hair.

For over 40 years the HFPA has recorded famous and celebrated actresses, actors and filmmakers. The world's largest collection of its kind - over 10,000  items - is now in the Academy of Motion Pictures Arts & Sciences Margaret Herrick Library.

When COVID-19 shut down entertainment venues across the globe, Welsh actor Tom Rhys Harries was only five performances into a three-month run of a new adaptation of Chekhov’s The Seagull. Despite the postponement of the West End play, the 27-year-old is still in the spotlight as the star of the Netflix crime drama, White Lines.

Michaela Coel’s incisive new show, I May Destroy You, is an uncompromising drama that deftly tackles themes of trauma, sexual consent, and relationships. Inspired by Coel’s own experience of sexual assault, the HBO series mixes devastating moments of distress with laugh-out-loud comedy and a searingly honest look at modern life in the UK.

Can live shows survive without being live? For the past almost three months, networks have been exploring that exact question while experimenting and trying different ways in which to keep existing shows on the air and planning for an uncertain future.  The late-night o talk shows were the first to come back because, well, we all know they are not really live anyway but taped in the afternoon.

Last year’s Venice Film Festival got a bracing blast of fresh air from Shannon Murphy’s directorial debut, Babyteeth. The dynamic, devastatingly curtailed coming-of-age dramedy was adapted by Rita Kalnejais from her Australian stage play of the same name and earned a Golden Lion nomination for Best Film as well as the Best Young Actor Marcello Mastroianni award for its star, Toby Wallace.