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The biggest news to emerge from this year’s CinemaCon was either the return of Top Gun (quite good, apparently) or Olivia Wilde being served legal papers while on stage, which appeared deeply unpleasant and awkward. Margot Robbie: she really is a walking, talking living doll
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TV drama is in love with telling true stories right now, but it might find more freedom in making things up again.
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Last week, Viola Davis defended herself against criticisms of her portrayal of Michelle Obama in the US series The First Lady, while also acknowledging that it was “almost impossible” to play someone so familiar. The problem it might run into is that people are less forgiving of interpretations of real events when such events are so fresh in the mind. I would watch an episode of The Crown that saw the current royals watching their younger selves on The Crown it would be like an upper-crust Gogglebox with a Being John Malkovich twist. Looking at the young Queen’s life had the imperial remove of a period drama, but the closer it gets to events that practically happened last week (if there’s a casting call for Emily Maitlis, then you know it’s getting real), the more strange it all starts to feel. The fact that they are casting a Middleton means it is getting within touching distance of the present day.
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Mind you, anyone who caught the 2011 TV film William & Kate will be aware that the bare minimum should do it. “This is a good role in this award-winning drama and we are looking for a strong physical resemblance,” it said, which does feel like the bare minimum. According to Variety, the royal melodrama has put out a casting call for a young Kate Middleton, who will appear in season six. T he Crown is finally catching up with itself. Photograph: David Hartley/REX/Shutterstock Kate Middleton: required – one lookalike. Can you imagine? Kate Middleton: what will she make of her TV portrayal? How amazing, then, that Heartstopper exists, and so casually, too. Plenty of us recall watching terrible films or TV shows in the hope that there would be even a hint of gay subtext, only to be disappointed in the end. These days, there are more queer characters on screen than I can recall, but many millennials were starved of “representation”, the idea that it matters for viewers to see characters who might be going through what they were going through. “Can you imagine that being on TV when we were younger?” is what I keep hearing, the gratitude ever so slightly tinged with grief for what we did not have. If it helps even a handful of kids not to hate themselves for who they are, then it is a marvel.īut there is a kind of sadness that we didn’t have that experience as teenagers. To see something so honest about teenagers figuring out who they fancy, and what that means for them, is such a relief.
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One is that older LGBTQ+ viewers are so glad that it exists at all, for the generations that have come after them. The reactions have broadly appeared along two lines. (I loved His Dark Materials so much that I named my dog after one of its characters, so I hold my own hand up to that one.) For years, adults have tentatively admitted to reading YA or even children’s fiction – one study, from 2012, found that 55% of YA fiction readers were over 18 – and there have always been adult editions of His Dark Materials and Harry Potter, for example, with more muted jackets. Perhaps it shouldn’t have been such a shock. Netflix is famously coy about who watches what so this is purely anecdotal, but over the last couple of weeks I have been surprised at how many of my fully grown adult friends have mentioned Heartstopper.