Robin Williams delighted fans throughout his career, starring in Jumanji, Good Will Hunting, Aladdin and many, many more films before his tragic death, at the age of 63.

Hollywood was sent into mourning following the news of his death in 2014, with many sharing their appreciation for his magnificent movie moments, and his efforts behind the camera.

One of the roles he is most known for is the 1993 classic, Mrs Doubtfire, alongside Sally Field and James Bond legend Pierce Brosnan.

Today marks the 30-year anniversary of the Hollywood icon lighting up the screen as Daniel Hillard, who went to drastic lengths during his divorce from wife Miranda (Field), disguising himself as a housekeeper to spend more time with his children, Lydia (Lisa Jakub), Chris (Matthew Lawrence), and Natalie (Mara Wilson).

Although the role was ‘written just for Williams’, casting director Janet Hirshenson has opened up about the moment he went above and beyond to help young actors with their auditions.

Speaking to Metro.co.uk ahead of the poignant date, she told us: ‘What was most fun was, I loved casting the children. We took all of our favorite children from LA to San Francisco to test with Robin, and Robin was so…. wonderful.

‘He improvised all the time but these were little children, including five year olds and it was their test. 

‘He was trying so hard to keep on book, to help the kids with their audition.’

Hirshenson also revealed that Wilson – who delighted us all as the youngest Hillard child – almost didn’t get the part.

‘My favorite, Mara Wilson… When she walked in my office in LA, before she sat down, she was it for me. I loved her from the moment she walked in my door,’ she continued.

‘She just came in and I adored her. When Chris [Columbus, director] was figuring out the little girls he wanted to bring up there, at first she wasn’t included but I said we really should bring her.

‘He went, “Sure, fine, bring her up”. So she came up.’

In true Natalie Hillard form, Hirshenson recalled there was one moment where Wilson got a little sassy with her on-screen dad in front of the camera.

‘She was one of those magic children,’ she added. ‘I remember when Robin did the scenes with her and the older children.

‘Mara with that tiny little lisp of her of hers, she was holding her sides. Robin laughed, and joked, “You can’t read that!”

‘She said, “Yes, I can read”. The other kids looked at her like, “Woah!”’

We would expect nothing less from Matilda.

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With Melissa Barrera and Jenna Ortega not returning for Scream 7, there’s room for a certain fan-favourite character to rejoin the franchise with studio bosses scrambling to sign them up. 

Fans have spent years campaigning for Patrick Dempsey, 57, to return as Neve Campbell’s – aka Sidney Prescott’s – on-screen husband Detective Mark Kincaid, and it could finally happen in the next instalment. 

Plans for the new sequel are in chaos after Melissa, who played Sam Carpenter, and her on-screen sister Jenna, Tara Carpenter, were confirmed to have departed the iconic horror series this week. 

In The Heights actress Melissa, 33, was reportedly fired from the lead role after making controversial comments about Gaza on social media. Hours later, it was revealed that Wednesday star Jenna, 21, would also not be returning for Scream 7 with conflicting reports citing her other work commitments and claims that she quit in support of Melissa. 

Even Ghostface must be confused with all the comings and goings but he may have a familiar face to prey on if the movie studio gets its way. 

According to Variety, Spyglass, which produces the franchise, is hoping to sign up Grey’s Anatomy star Patrick – who was just crowned People’s sexiest man – up for Scream 7 after fans were left disappointed that he wasn’t cast for Scream VI. He first entered the franchise in Scream 3 as a detective tasked with keeping Sidney and her friends safe while also trying to hunt down Ghostface. 

After surviving the serial killer, Sidney and Det. Mark sailed off into the sunset and got married. He was briefly referenced in Scream (2022) when it was revealed that he and Sidney had children together. 

Of course, if Patrick returns, it would only make sense to have Neve back as part of a package deal. It’s said that the studio is also keen to bring her back after she refused to return for Scream 6 due to a dispute over her salary. 

Her departure from the franchise was a huge blow to fans as the whole Scream series was based around Sidney as the protagonist. However, when the 2022 sequel rebooted the horror gem, the storyline was shifted to focus on Melissa and Jenna’s characters with Neve, Courteney Cox and David Arquette as supporting legacy characters. 

Neve, 50, recently addressed her exit from the series at Monster-Mania Con, telling fans: ‘I don’t wish these movies ill will. I wanted the movie to be good. It’s not like I’m sitting in my house going, “I hope it sucks, I hope it doesn’t do well.” I care about all the people involved.

‘There’s someone at the top who only thinks about money and that’s their prerogative.’ 

Melissa was reportedly fired from Scream 7 after saying in an Instagram post that ‘Gaza is currently being treated like a concentration camp,’ while addressing the Israel-Hamas war.

She added: ‘Cornering everyone together, with no where to go, no electricity no water … People have learnt nothing from our histories. And just like our histories, people are still silently watching it all happen. THIS IS GENOCIDE & ETHNIC CLEANSING.’ 

The actress later addressed her controversial comments stating: ‘First and foremost I condemn Anti-Semitism and Islamophobia. I condemn hate and prejudice of any kind against any group of people.

‘As a Latina, a proud Mexicana, I feel the responsibility of having a platform that allows me the privilege of being heard, and therefore I have tried to use it to raise awareness about issues I care about and to lend my voice to those in need.’ 

The Hollywood star added that she will ‘pray day and night for no more deaths, for no more violence, and for peaceful co-existence.’ 

‘I will continue to speak out for those that need it most and continue to advocate for peace and safety, for human rights and freedom. Silence is not an option for me,’ Melissa concluded. 

Scream 7 is currently expected to be released in 2025 but could be pushed back with the production delays. James Vanderbilt and Guy Busick are working on writing a fresh script while Christopher Landon is set to direct.

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MORE : Jenna Ortega ‘quits Scream franchise’ after co-star Melissa Barrera fired for Gaza comments

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Scream star Melissa Barrera has issued a statement following her exit from the horror franchise.

The actress, 33, starred in Scream (2022) and Scream VI (2023) as Sam Carpenter – but won’t be returning for the next instalment titled Scream 7.

She was fired from the upcoming sequel over social media posts she made about Israel’s war with Hamas.

Follow our live blog for latest updates on the Israel-Hamas war

Although she has not directly commented on the reports, she did release a statement.

‘First and foremost I condemn Anti-Semitism and Islamophobia. I condemn hate and prejudice of any kind against any group of people,’ she wrote on Instagram stories.

‘As a Latina, a proud Mexicana, I feel the responsibility of having a platform that allows me the privilege of being heard, and therefore I have tried to use it to raise awareness about issues I care about and to lend my voice to those in need.’

The statement continued: ‘Every person on the earth – regardless of religion, race, ethnicity, gender, sexual orientation or socio-economic status – deserves equal human rights, dignity, and, of course, freedom.

‘I believe a group of people are NOT their leadership and no governing body should be above criticism.

‘I pray day and night for no more deaths, for no more violence, and for peaceful co-existence. I will continue to speak out for those that need it most and continue to advocate for peace and safety, for human rights and freedom.

‘Silence is not an option for me,’ she concluded.

Earlier this month, Melissa reshared a post from another Instagram user, which said ‘If you’re wondering how the world watched when genocides and ethnic cleansings happened… this is how.’

In a post to her page last month, she said she came from a colonised country, posting a Mexican flag, and said ‘Palestine will be free.’

In another post written by herself, she wrote ‘Just like all Palestinians are NOT Hamas, All Jewish people are NOT the Israeli Govt. Do not blame, or hate on, a whole group of people because of what some are doing.’

The actress, who has also starred in the blockbuster musical In The Heights and Netflix’s Keep Breathing, also said: ‘Gaza is currently being treated like a concentration camp. Cornering everyone together, with nowhere to go, no electricity no water … People have learnt nothing from our histories. And just like our histories, people are still silently watching it all happen. THIS IS GENOCIDE & ETHNIC CLEANSING.’

A spokesperson for Scream production company Spyglass said that the studio interpreted Melissa’s comments to be antisemitic, stating to Variety: ‘Spyglass’ stance is unequivocally clear: We have zero tolerance for antisemitism or the incitement of hate in any form, including false references to genocide, ethnic cleansing, Holocaust distortion or anything that flagrantly crosses the line into hate speech.’

Melissa rose to prominence with her lead role in the reboot of Scream, becoming the new face of the franchise with Neve Campbell – who played protagonist Sidney Prescott – taking a backseat in 2022’s Scream before bowing out completely for Scream 7.

Scream 7’s director Christopher Landon is also reported to have tweeted and deleted: ‘Everything sucks. Stop yelling. This was not my decision to make.’

It is claimed that Jenna Ortega has quit the Scream franchise, but her exit is reportedly due to scheduling conflicts.

The outlet claims the script for Scream 7 is not yet ready and Jenna, 21, whose exit was reportedly discussed before the actor’s strike, is preparing to shoot the second season of Wednesday in April.

The war between Israel and Hamas continues to rage in Gaza after Israel responded to the October 7 attacks. The tensions have escalated amid retaliatory attacks.

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MORE : Jenna Ortega ‘quits Scream franchise’ after co-star Melissa Barrera fired for Gaza comments

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Jenna Ortega has quit the Scream franchise after Melissa Barrera’s shock axe, it has been claimed.

It was announced on Tuesday that Melissa, who joined the fold as Sam Carpenter in the fifth instalment, had been fired from the upcoming Scream 7 movie over her comments regarding Israel’s ongoing war with Hamas.

As director Christopher Landon admitted that it ‘wasn’t his decision to make’, furious fans threatened to boycott the sequel.

According to reports, Jenna – who has also been vocal about her support for Palestine on social media – has since walked off the project.

Deadline reports her decision was not related to the fallout from Melissa’s remarks but due to scheduling conflicts.

The outlet claims the script for Scream 7 is not yet ready and Jenna, whose exit was reportedly discussed before the actor’s strike, is preparing to shoot the second season of Wednesday in April.

Unrest has continued to grow in Palestine after Hamas launched an attack on Israel on October 7, leaving at least 1,200 people dead.

The tensions have escalated amid retaliatory attacks, with the Gazan health officials reporting that the Palestinian death toll has reached 14,532.

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Many have called for a ceasefire, with some stars in Hollywood also making their voices heard.

Over the last few hours, the Israeli government approved a ceasefire deal with Hamas, bringing a temporary halt to the devastating siege.

Hamas will now begin releasing dozens of hostages being held in the Gaza Strip in exchange for Palestinians in Israeli prisons.

Melissa had been among those in Hollywood using their platforms to call for a ceasefire, and for the bloodshed to end.

In a post to her page last month, the In The Heights actress said that she came from a colonized country, posting a Mexican flag, and said ‘Palestine will be free.’

Another upload, written by herself, read: ‘Just like all Palestinians are NOT Hamas, All Jewish people are NOT the Israeli Govt. Do not blame, or hate on, a whole group of people because of what some are doing.’

‘Gaza is currently being treated like a concentration camp,’ a post read. ‘Cornering everyone together, with nowhere to go, no electricity no water.

‘People have learnt nothing from our histories. And just like our histories, people are still silently watching it all happen. THIS IS GENOCIDE & ETHNIC CLEANSING.’

On Tuesday, insiders told Deadline that Melissa had been dropped from Scream 7 over her posts regarding the conflict, though she has yet to address the news herself.

A spokesperson for Spyglass claimed that the studio interpreted her comments to be antisemitic.

They said in a statement to Variety: ‘Spyglass’ stance is unequivocally clear: We have zero tolerance for antisemitism or the incitement of hate in any form, including false references to genocide, ethnic cleansing, Holocaust distortion or anything that flagrantly crosses the line into hate speech.’

Metro.co.uk has contacted reps for Jenna and Paramount for a comment.

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Back in the summer, Florence Pugh wowed cinemagoers as one among the starry cast of Christopher Nolan’s latest epic film release, Oppenheimer – which you now watch at home on digital or DVD, Blu Ray and 4K.

However, she made headlines for a very unexpected reason after it was revealed she had been censored in some edits of the movie thanks to a digitally added piece of clothing.

Starring Cillian Murphy in the lead role of physicist J. Robert Oppenheimer, responsible for the research and design of the atomic bomb at the Los Alamos Laboratory during World War Two, Pugh played his lover, psychiatrist Jean Tatlock.

The Oscar nominee had two extended nude scenes in the film – but these ended up raising eyebrows in a ‘bizarre’ way when it was discovered her nudity had been covered up for release in some countries.

Pugh’s naked appearance was edited by way of layering on top a computer-generated black dress for cinema showings in nations including India – and Oppenheimer’s VFX supervisor has now confirmed that it is the only piece of CGI added into the entire film.

And no, he knew nothing about it.

The scene in the original version of the movie showed 27-year-old Pugh sitting across from Murphy, 47, in a hotel room, where both of them are implied to be fully nude.

Pugh was topless in the UK cut of the film as she talks with Oppenheimer, but in India, Indonesia and some Middle Eastern countries, her naked body was obscured by a simple black dress cut straight across her chest and mid-way down her thighs.

Speaking to Metro.co.uk in Los Angeles ahead of the home release of Oppenheimer, Andrew Jackson revealed that he had no idea that edit was going to be made, explaining: ‘It was all very much after the event.’

‘I did think it was quite bizarre that in the film where there were no CG components, that that was the one,’ he added, referring to filmmaker Christopher Nolan’s preference for his movies to contain ‘in-camera’ practical effects, rather than anything created with CGI afterward.

To be clear though, that does not mean the film contains no VFX as there are roughly 200 visual effects shots overall – but that includes all of the practical effects shots and those that erase modern elements in shot on location, for example.

At the time, sources close to the film confirmed to Variety that Pugh’s scenes were censored, as with any work including nudity or explicit sex, in order to secure a release in Middle Eastern countries and India, which otherwise do not allow that type of content to be shown in cinemas.

With Pugh’s CGI LBD in place, India’s Central Board of Film Certification handed Oppenheimer a U/A certification, which means it ‘can contain moderate adult themes, that is not strong in nature and can be watched by a child below 12 years of age under parental guidance’.

Discussing what it’s like collaborating with a filmmaker like Nolan on FX, special effects supervisor Scott R. Fisher called him ‘the best there is’ because of his preference for practical effects.

‘All the ideas and things that I sometimes try and want to do on other films, where they’re very quick to try to figure out a CGI or a visual effects solution, he’s the opposite. He wants to push and figure out how to do things practically,’ he enthused.

In fact, Fisher called it ‘kind of ideal’ as a set-up for both himself and Jackson as they merge into one department on Nolan’s movies and ‘work together and figure out how to divide and conquer’.

‘We’re both very much on the same page anyway, and that is the same page as Chris Nolan,’ added Jackson.

‘And he’s a really collaborative director, he wants us to experiment and bring ideas to him, and then we’ll discuss them and develop the ones further that work.

‘So, it’s a really worthwhile and rewarding process of feeling very engaged in the filmmaking rather than just being given a particular task and you go away and do it.’

This is shown to great effect in one of the bonus features available on the home entertainment release for Oppenheimer, which includes a documentary about the making of the movie.

In it, Jackson and Fisher are seen working together on set and with their team to figure out the best ways to stun audiences with some old-fashioned practical movie magic – not that you would know it’s done there and then, unless they told you.

For the pair, who have both worked with Nolan before on Tenet – for which they won an Oscar – while Fisher also has a nomination for 2015’s Interstellar, the greatest challenge for them was recreating the Trinity Test without involving CG.

As a recognisable and well-documented nuclear blast of terrifying power, which there was no way they could do for real, the pressure was very much on – but Jackson quipped that they coped with it by ‘leaning in’ to the huge explosion.

‘We kind of knew, right from the start, that was going to be the answer – to make the actual explosion as big as we feasibly could. And then enhance that with slowing it down, which makes it feel much bigger, and then layering up additional components,’ he explained.

‘Because [of] doing so many of the other films with Chris, we knew that we’re going to have to figure out a way to do it on the largest scale we could, and also knowing that we’re going to be out in the middle of the desert and we’re not going to have a lot of leeway to do huge explosions and things like that,’ added Fisher.

‘So, we definitely thought we just had to push it as far as we could with what we could do.’

Fisher is satisfied, however, that there weren’t really any instances where they felt they had to sacrifice accuracy or other considerations in their pursuit of making Oppenheimer’s effects look the best that they could onscreen.

While admitting that there are ‘always tweaks’ they think about, and that time is usually an issue, Nolan’s attitude helps them let it go.

‘Chris is so, so decisive. He knows what he needs when he sees it, and you kind of move on. So sometimes you’re caught with that, “Oh, if we could it once more, a little better!”

‘But if he’s happy, then we’re happy.’

Oppenheimer is available now on 4K UHD, Blu-ray™ and DVD to download and keep.

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Christopher Nolan’s Oppenheimer has convinced fans that this is the movie for which he will finally win a much-deserved Oscar – but the man himself is a little more careful about his own expectations.

Despite its glowing critical reception and $950million (£761m) sweep at the box office – comfortably placing it in the respected filmmaker’s top three biggest commercial successes – the British-born writer and director reckons there is something that may make an Academy Award harder to net.

Nolan, 53, is of course the man behind films like Dunkirk, Inception and The Dark Knight trilogy, and has so far been nominated for five Oscars, spread across the directing, writing and best picture categories. He has yet to triumph.

But he doesn’t shy away from admitting he would love to win with his epic period film about the father of the atomic bomb, J. Robert Oppenheimer, played by frequent collaborator Cillian Murphy, and supported by a starry cast including Emily Blunt, Matt Damon, Robert Downey Jr. and Florence Pugh.

‘We don’t really think about awards when we’re making the films,’ he told Metro.co.uk in Los Angeles, ahead of its home entertainment release.

‘I don’t think you can, particularly if you’re looking to reach a broad audience and put the film out at the best time of year for example, which is the summer.’

In Nolan’s opinion, that release time – one he has traditionally favoured, and July especially, as with Oppenheimer – is ‘never a strategic thing to do if you’re interested in winning awards’.

But that’s not to say he’s not eager to land what is often considered the industry’s highest accolade.

‘It’d be marvellous to win Oscars for the film, it’d be a dream come true, it’d be thrilling,’ he admitted.

‘But it’s not something that’s ever on our mind while we’re actually making the film because it’s so tough to get a film done and to get it out there in the marketplace that can work for an audience – that requires all of your attention and all of your focus. You can’t take your eye off that ball at any point.’

Nolan has worked alongside his wife and professional partner Emma Thomas, 51, to produce every one of his feature films since his debut in 1998 with Following.

She confirmed to Metro.co.uk that he’s ‘already desperate to get back to work’ on his next project, the details of which have not been breathed anywhere yet, despite the wishful James Bond rumours.

How does he approach trying to follow up Oppenheimer’s success and the pressure to do even better with the next movie?

‘I think you can’t worry too much about the relationship of one film and on to the next. I get bored very quickly, and I like to keep working, so it’s exciting to think about what’s next,’ he shared.

Nolan certainly doesn’t take the reaction to Oppenheimer for granted though – despite the popularity and good standing of his previous films – revealing that the whole team has been ‘thrilled’ with its triumph.

‘But you certainly wouldn’t go to the next project hoping to replicate that kind of success – I mean, we didn’t foresee this at all. We didn’t go into Oppenheimer thinking it would make the money that it’s made, so you never quite know what’s going to happen.’

For Nolan, the toughest challenge on Oppenheimer for him and Thomas as producers was ‘shockingly’ keeping the film in budget – despite it costing $100m (£80.1m).

‘There’s a lot to get on screen in a period film covering 60 years. Each department had to really be smart and efficient about how they’re going to do it. And I think from a producing point of view, that’s always a huge challenge, because you’re trusting people to not make mistakes.

‘There’s enough money there if everything goes according to plan, the problem is things don’t always. For us as producers, it’s always a bit tricky to go in without too much headroom or too much of a safety net.’

Luckily, it went swimmingly, with Nolan delighted by how well his different department heads tackled the budget challenges, meaning that in his opinion they ‘really got an enormous amount on screen for what we had’ – all seen in a making-of documentary among the special features available with the film’s home release.

From Thomas’s point of view, she had a fair amount of anxiety over the finished product and how it was going to work in the cutting room and ‘as an experience for audiences’.

‘When I read the script, and I knew it was going to be three hours long, I was not entirely sure whether that was going to be as exciting as it then ended up being,’ she confessed.

‘But Chris always approaches every film very much as an audience member, he makes films that he would like to see, he’s always got a very, very keen idea of how the experience is going to work for audiences.

‘I think that it probably wasn’t until I actually saw the film for the first time that I really understood that oh my God, of course you knew what you were doing!’

It’s easy to assume that the producing powerhouses, who have been married since 1997 and also have four children together, barely have time to do anything else when they are working on films – as they have been, consistently, for over 25 years.

However, they do make the effort to strive for balance for the sake of their family and their film sets.

‘Working together on these films is a huge benefit in terms of we both completely understand what the other’s going through. And we also remind each other to draw a line under it at the end of the day – or try to – and not bring everything home,’ Nolan revealed.

He considers himself ‘very, very lucky’ to work with Thomas, but insisted that they try ‘not to talk about work all the time when we’re at home’, and instead strive for ‘a bit of a distinction there’.

For Nolan, Thomas has also backed him up in his decision to take weekends off during filming.

‘I don’t do six-day work weeks, which some people do on location, because I think you do need time to just recharge and I need time to be able to think about what I shot last week and prepare for the week ahead,’ he explained.

Although Thomas acknowledged that they have ‘no lives outside of shooting’, she reckons that post-production is ‘the most fun’ stage of the process – and certainly for her.

‘I, as a producer, am not in the cutting room the whole time whereas Chris is, you know, crazed! And it’s where it’s all coming together, you’ve done the hard work. Then we do get to relax.’

That often means a family holiday, which it was this year – and one that was particularly fantastic ‘because [Oppenheimer] was doing well, and that was wonderful’.

The most challenging part of working with her husband for Thomas is that it can be tricky ‘to get perspective on things because you’re in it 100% of the time’.

‘Being able to step back and take the 30,000-foot view is sometimes a little bit difficult, although we’re pretty good between the two of us [at] sort of looking at each other and saying, “Well, no, you’re quite worried about that. But I think…”’

She’s satisfied that that is one of the marks of their partnership working ‘really well’ – coupled with their ability to have ‘very honest conversations’.

‘I think all the positives outweigh the negatives, I’ll put it that way!’ she laughed.

Audiences have come to see Christopher Nolan as an intellectual and sincere filmmaker, given the often complicated, non-linear nature of his movies – and perhaps even consider him quite grave – but to Thomas, this is the biggest misconception about him and their work together.

‘People don’t think of him as being funny or they think of him as being very serious, and they think of the films as being serious. I find them very funny!’

‘I think the most of them have some pretty funny moments. And he is very funny. Like, he’s not as deadly serious as everyone imagines him to be,’ she shared.

Nolan is reluctant to comment on what he thinks the biggest misconception is about himself and his films due to the ‘great connections’ he’s had with audiences over the years and especially with Oppenheimer.

‘Particularly with the number of young people who’ve gone to see it multiple times and really watch the film in the spirit that was intended. I think it’d be churlish to complain about misconceptions.’

‘Certainly, as far as the work goes, I think I’ve been very fortunate that people have responded to the work largely in the way that we intended it,’ he added.

Let’s hope for the Nolans – and their sizable fan base – that come January, that results in a clutch of Oscar nominations – and a statuette (or two) in their hands in March.

Oppenheimer is available now on 4K UHD, Blu-ray™ and DVD to download and keep.

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Susan Sarandon isn’t the only Hollywood star facing blowback for their opinions.

As the Thelma and Louise star is dropped from her talent agency, Scream star Melissa Barrera, who has played the lead role in the horror franchise for the past two movies, has reportedly been fired from the upcoming sequel over posts she made about Israel’s war with Hamas.

The actress, 33, starred in Scream (2022) and Scream VI (2023) as Sam Carpenter – but won’t be returning for the next instalment titled Scream 7, with Jenna Ortega also thought to be departing, over scheduling issues.

Follow our live blog for latest updates on the Israel-Hamas war

Sources told Deadline that the actress has been dropped from the project over posts she shared to her Instagram stories involving the ongoing conflict.

A spokesperson for Spyglass has also said that the studio interpreted Melissa’s comments to be antisemitic, stating to Variety: ‘Spyglass’ stance is unequivocally clear: We have zero tolerance for antisemitism or the incitement of hate in any form, including false references to genocide, ethnic cleansing, Holocaust distortion or anything that flagrantly crosses the line into hate speech.’

Scream 7’s director Christopher Landon is also reported to have tweeted and deleted: ‘Everything sucks. Stop yelling. This was not my decision to make.’

The war between Israel and Hamas continues to rage in Gaza after Israel responded to the October 7 attacks.

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One such post, shared to Melissa’s Instagram originally from another user, said ‘if you’re wondering how the world watched when genocides and ethnic cleansings happened… this is how.’

In a post to her page last month, she said she came from a colonized country, posting a Mexican flag, and said ‘Palestine will be free.’

In another post written by herself, she wrote ‘Just like all Palestinians are NOT Hamas, All Jewish people are NOT the Israeli Govt. Do not blame, or hate on, a whole group of people because of what some are doing.’

The actress, who has also starred in blockbuster musical In The Heights and Netflix’s Keep Breathing, also said: ‘Gaza is currently being treated like a concentration camp. Cornering everyone together, with no where to go, no electricity no water … People have learnt nothing from our histories. And just like our histories, people are still silently watching it all happen. THIS IS GENOCIDE & ETHNIC CLEANSING.’

No casting has officially been announced, however, the outlet reports Melissa had been set to reprise her role in the franchise.

Scream 7 was confirmed earlier this year, with Landon to direct.

There was a switch up on set as Matt Bettinelli-Olpin and Tyler Gillett – who served as filmmakers for the two most recent movies – were replaced by Christopher.

He was behind Freaky and Happy Death Day and also wrote Disturbia and a string of Paranormal Activity films.

Melissa rose to prominence with her lead role in the reboot of Scream, becoming the new face of the franchise with Neve Campbell – who played protagonist Sidney Prescott – taking a backseat in 2022’s Scream before bowing out completely for Scream 7.

Fans of the legendary horror franchise were devastated by the news, with one writing on X: ‘By wrongfully firing Melissa Barrera from Scream 7, Spyglass has no idea they’ve angered 2 of the loudest, most powerful groups: horror gays & Mexicans.’

Another said: ‘So upset about this Melissa Barrera crap. Y’all don’t understand how hard it is for Mexican actors from the telenovela scene to break out like she did. The way the fandom dragged her to hell after Scream V and how she came back bigger + better for VI and won them over, now this?’

Referring to Neve’s exit from the series due to a salary dispute: ‘It’s truly unforgivable the way Paramount Pictures/Spyglass Media treated these leading ladies. Neve Campbell and Melissa Barrera both deserved so much better. The SCREAM rights need to go to another studio at this point, Paramount/Spyglass have destroyed this franchise.’

One also said: ‘If @ParamountPics doesn’t agree with Melissa Barrera’s opinions, that is absolutely fine. But she SHOULDN’T lose her JOB because of it. Her acting roles SHOULDN’T be compromised because of indifferences in opinion. She won’t be silenced, no matter what you take away from her.’

A short while later, Melissa is reported to have posted a follow-up message of a quote, which read: ‘At the end of the day, I’d rather be excluded for who I include, than be included for who I exclude.’ However, it has since been removed.

The reports come amid ongoing devastation in Gaza where thousands have been killed and injured, with work now being undertaken to release hostages.

On Tuesday, the BBC issued a statement condemning ‘abuse’ after University Challenge was accused of airing an antisemitic trope.

The series had aired an episode re-recorded in March, before the war, and saw a team use an octopus as a mascot, while a woman in a hijab wore an outfit which some claimed bore the Palestinian flag colours.

Metro.co.uk has contacted reps for Melissa and Paramount for comment.

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Sorry to ruin your Christmas before December has even started, but Jim Carrey is not planning to make a surprise comeback in the Grinch 2.

The 61-year-old totally stole the show when he made his debut as the creepy, scary and downright mean monster in How The Grinch Stole Christmas, in 2000.

Just when we thought the festive period would be safe, it was claimed that the character would be haunting our nightmares once again.

Reports in Giant Freaking Robot claimed that Jim would be reprising his role as the Dr Seuss creation for a second time, in a Universal sequel more than 23 years after the original was released.

However, a representative for the Hollywood icon poured ice cold water on the claims, telling Metro.co.uk: ‘There is no truth to Jim reprising his role as the Grinch in a sequel to The Grinch.’

If you need us, we’ll be watching the original on repeat in devastation.

Ron Howard’s live action adaptation of the classic Dr Seuss book tells the story of the Christmas-hating Grinch, who lives at the top of Mount Crumpit.

As the Whoville locals continue to inadvertently dump their unwanted gifts right into his home, he understandably becomes livid and demands revenge.

Sadly for those citizens, he takes matters into his own hands and steals all their presents, keeping them for himself.

Benedict Cumberbatch later took on the iconic role in the animated film, The Grinch, in 2018, alongside Kenan Thompson, Rashida Jones, Pharrell and Angela Lansbury.

Although it is not clear if a sequel is in the works without Jim, the Truman Show actor previously confessed that he didn’t have the best time on set, comparing the lengthy hair and makeup process to actual torture.

During an appearance on the Graham Norton Show in 2014, he said: ‘When I did the Grinch, the makeup was like being buried alive every day.

‘The first day was eight and a half hours, and I went back to my trailer and put my leg through the wall, and told Ron Howard I couldn’t do the movie.

‘Then Brian Grazer [producer] came in, being the fix-it man, and came up with a brilliant idea, which was to hire a gentleman who is trained to teach CIA operatives how to endure torture.

‘That’s how I got through the Grinch.’

Sharing the CIA expert’s tips, Jim continued: ‘He said eat everything you see, if you’re freaking out and start to spiral downward, turn the television on, change your pattern, have someone you know come and smack you in the head, punch yourself in the leg, or smoke. Smoke as much as you can.

‘I did the makeup 100 times. You know what got me through it? The Bee Gees.’

Metro.co.uk has contacted reps for Universal for a comment.

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The new trailer for Aquaman And The Lost Kingdom has dropped but Amber Heard is missing in action. 

The second teaser trailer arrived on Monday and sees Jason Momoa taking centre stage in his role as the titular superhero alongside Nicole Kidman as Atlanna and Yahya Abdul-Mateen II as Black Manta. 

However, Amber, 37, who plays Aquaman’s love interest Mera, is nowhere to be seen in the short trailer which spans a minute and a half. 

Reacting to her mysterious absence, one movie fan tweeted: ‘Where is queen Amber?’ while another said: ‘So they really did edit her out as much as they could haha.’ 

One commented: ‘No Mera? Get lost.’ 

Highlighting a possible blunder where the same shot of Nicole Kidman is used twice, another wrote: ‘The trailer showed the same shot of Nicole Kidman character, queen Atlanta, at the 0:41 mark and 1:01 mark. The editors just be doing anything so they won’t have amber heard character be in the trailers.’ 

‘The absence of Amber Heard within this trailer is really crazy,’ one viewer weighed in. 

It was previously claimed that Amber would be cut from the film entirely in light of the controversy surrounding her libel trial against ex-husband Johnny Depp. However, she made a brief appearance as the Queen of Atlantis in the first Aquaman 2 trailer released in September. In the clip, she is seen for a split second thumping on a window before the trailer continues. 

Amber said that her role had been significantly reduced for the second instalment but Aquaman director James Wan refuted her claims, saying the film was never going to feature Mera heavily.

‘I always pitched this to everyone from the get-go. The first Aquaman was Arthur and Mera’s journey. The second movie was always going to be Arthur and Orm,’ he told Entertainment Weekly.

‘So, the first was a romance action-adventure movie, the second one is a bromance action-adventure movie.’ 

Amber’s reputation took a massive blow during the trial against Pirates of the Caribbean actor Johnny in the summer of 2022. A petition was even launched to have her fired from Aquaman 2 and accumulated a staggering 4.5million signatures. 

Aquaman 2 follows Black Manta as he unleashes an ancient and malevolent force after failing to defeat Aquaman, who in turn forges an unlikely alliance with his brother Orm, the former king of Atlantis to save the world from destruction. 

Aquaman and the Lost Kingdom is set for release on December 22.

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She’s been a star of stage and screen for years and has an Academy Award to her name, but there’s one role Olivia Colman is still desperate to play.

The British actress, 49, who first became known to TV audiences in 2003 after her breakthrough performance in Peep Show, won a best actress Oscar in 2018.

You’d think Olivia wouldn’t have any more acting itches to scratch – but it appears that’s not the case.

With the future of the James Bond franchise up in the air following the departure of Daniel Craig after more than a decade, Olivia has thrown her hat in the ring.

Not to play 007 (although she could give it a go) but to play Bond’s mentor, M – a role that was most recently occupied by Judi Dench and Ralph Fiennes.

Speaking to British Vogue, Olivia was taken aback when she was compared to Judi, 88, who played the Chief of Secret Intelligence in the films for 20 years.

‘What! I’ve never heard [that I look like Judi Dench]. Oh, I love that!

‘Well,’ she exclaimed, before she eventually conceded, ‘I’ve got short hair’.

She then continued, revealing that she’d definitely be up for taking on the role of M in the next Bond film, which might be a few years away just yet.

‘The amount of time I have wanted to be M. I’m not sure who I need to call,’ Olivia added – she’ll no doubt get lots of phone numbers in the coming days.

Olivia did once meet Barbara Broccoli, producer of the Bond movies since 1995, and considered asking to play M but ultimately decided against it.

As for who’ll be the next James Bond, Barbara Broccoli has admitted things are still in the preliminary stages and that no big decisions have been made yet.

Current favourite is Aaron Taylor-Johnson, 33, but he downplayed rumours earlier this year despite recently going to the top of the bookies odds list.

When asked about the potential of taking on the Bond role, he said: ‘I just focus on the things I can have in my hands right now.’

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Axel Foley is coming back to our screens for another adventure, as Eddie Murphy has reprised his role for a fourth Beverly Hills Cop movie.

The 62-year-old first appeared as the officer in the 1984 flick, which instantly became an action classic.

He went on to dust off the badge once again in 1987 and 1994, before it was confirmed that Beverly Hills Cop: Axel Foley is well and truly on the way, 40 years later.

Judging by the first photo from the set of the sequel, it’s like he has never been away.

In the image, obtained by Empire Magazine, Eddie could be seen pleading with police officers from an overturned vehicle, donning a signature black and grey bomber jacket, paired with a yellow T-shirt and jeans.

The fourth outing is set to be released on Netflix with Mark Molloy serving as director, but a premiere date has not been confirmed.

Eddie will be rejoined by producer Jerry Bruckheimer, as well as Judge Reinhold, Paul Reiser and Bronson Pinochet, who are back as Billy Rosewood, Jeffrey Friedman and Serge respectively.

‘Anytime he walks on set, you never know what you’re going to get. And it’s always pretty brilliant,’ Jerry told the outlet of the lead star. ‘Every day he’s there throws you back to the ‘80s.

‘No matter how funny it is, how much great action it has, it’s all about the heartstrings.’

Little else is known about the plot, but Beverly Hills Cop: Axel Foley will be picking up on where the character is in present day with his family, including his daughter, played by Taylour Paige.

Kevin Bacon and Joseph Gordon-Levitt have also joined in the fun, with the latter teaming up with Axel as his partner.

‘He gets stuck with Axel and they are hysterical together,’ the producer teased of their partnership. ‘Joseph is such a great straight man for Eddie.’

In the original, which quickly became a firm film favorite, Axel attempted to solve the murder of his close friend, while also causing huge amounts of chaos in California.

Shedding light on how it was to get back into uniform for the upcoming movie, Eddie confessed that it wasn’t quite as smooth as he expected.

‘It was a hard one,’ he admitted to People Magazine. ‘I did Axel Foley when I was in my 20s. I am not in my 20s anymore.

‘It was an action movie. So, it was a rough one. But we got through it.’

Well, if anyone can…

Beverly Hills Cop: Axel Foley is set to premiere on Netflix in 2024.

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Aardman Animation, the studio that created the likes of Chicken Run and Wallace & Gromit, is not facing a clay shortage following the closure of its supplier, despite initial concerns.

Newclay Products, the company that stocked Aardman with materials to create their beloved characters, has shut its doors with the studio buying their remaining stock.

Following reports suggesting the filmmakers were facing a clay shortage, Aardman has released a statement to ease fans’ worries.

In a statement posted to Twitter, a representative said the company was ‘touched’ by concerns for their future.

‘We are touched about recent concern over the future of our beloved clay creations, but wanted to reassure fans that there is no need to worry,’ it continued.

‘We have high levels of existing stocks of modelling clay to service current and future productions and, much like Wallace in his workshop, we have been tinkering away behind the scenes for quite some time with plans in place to ensure a smooth transition to new stocks to continue to make our iconic productions.’

Speaking on the closure, Newclay Products creator Valerie Dearing confirmed Aardman had bulk-bought their remaining products.

‘Aardman bought a lot of our remaining stock of Newplast to keep them going. They got what they said was two years’ worth. It came to about 40 boxes, which must have been around 400 kg,’ she said.

Fellow Newclay director Paul Dearing added in a statement that it gave him and Valerie ‘tremendous satisfaction’ to have Aardman as a client.

‘We ran the business for 16 years and it was thriving, but we couldn’t find anyone who wanted to take over the firm after we retired so we sold off everything,’ he said.

‘It’s always given us both tremendous satisfaction that Aardman used our product. They thought it was the best material of its type in the world.’

It comes as the eagerly-anticipated sequel to 2000 hit film Chicken Run, Dawn of the Nugget, is set to be released on Netflix on December 15.

The film picks back up with the brood after they escaped Tweedy’s Farm in daring fashion at the end of the last film.

Happy living their best free lives, all is at stake when the dangers of the human world suddenly come home to roost.

As the synopsis reads: ‘They’ll stop at nothing even if it means putting their own hard-won freedom at risk to save chicken-kind.’

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Good Burger 2 is nearly here, with Kenan Thompson and Kel Mitchell ready to take our orders once again.

The comedy sequel is being released on Paramount + on November 22, more than two decades after Dexter (Kenan) and Ed (Kel) last served up a helping of utter chaos and some extra special sauce in the Burger Mobile.

Phil Traill was behind the camera to capture their reunion, and told Metro.co.uk how the movie finally saw the light of day, 26 years after their first outing.

Discussing where the idea for the film came from, he told us: ‘Kenan and Kel became good friends again, and wanted to work together again. Then the script landed in a really great place, so everyone was just excited to get back together.

‘They’ve been looking forward to making this film for 25 years. So when it all finally came together, I was so excited to be there.

‘They slipped back into their roles really easily. Kel has been playing Ed on and off for the last 25 years. He’s been doing sketches and performing, different things like that. So, he had that nailed down, then Kenan just riffs along. I think they both found it really fun, free and just a happy place to be on set.’

Kenan and Kel previously sent fans into meltdown when they celebrated Good Burger’s 25-year anniversary last year, teasing that something new was on the way.

They staged a surprise reunion at New York Comic Con last month and slipped back into their routine with ease, leaving the crowd delighted as they quoted some of the most iconic lines from the first film, as well as their eponymous show.

Shedding light on what the experience was on set with the comedians, Phil continued: ‘There were scenes that I just never wanted to say cut, because they were just still riffing.

‘In the original, there’s a rooftop scene, and we’ve emulated lots of things from [it]. There’s a rooftop scene in the sequel, and they were just sitting there in the deck chairs, like they did in the original, we’d make the set just like the original, everything felt really warm.

‘We just put the camera there and they just talked for a long time. Then they started singing and that song – they just improvised a song – and that song is now in the film.

‘I think the first time they got in the Burger Mobile and were allowed to free drive around the streets, it was like two children had just jumped in the coolest car of their dreams and couldn’t believe they’re allowed at the wheel. The buzz was amazing.

‘Obviously, as we were driving along, fans were screaming from the side of the road, people were seeing the Burger Mobile. So, the energy was just extraordinary that day, everyone was having the best time.

‘We got so lucky with the level of comedic talent on set every day. They made every day a joy.’

Thankfully, we don’t have long to wait as the movie hits Paramount + this week, with Ed and Dex going back to their fast food roots.

‘In Good Burger 2, Dexter Reed is down on his luck after another one of his inventions fails,’ the official synopsis reads. ‘Ed welcomes Dex back to Good Burger with open arms and gives him his old job back.

‘With a new crew working at Good Burger, Dex devises a plan to get back on his feet but unfortunately puts the fate of Good Burger at risk once again.’

It’s clear to see that the original was beloved by many and has become a cult classic over years, but did this pile the pressure on Phil when it came to recreating the same magic?

‘Personally, I didn’t feel particular pressure to deliver to millions of fans,’ he laughed. ‘I’ve grown to realize how precious it is to a lot of people. But I just want to do it for myself and have as much fun as I could, doing it for myself.

‘What’s exciting is that, when people who I assume were kids, mainly, watching the first one, it really hits something deep for them, it’s a very nostalgic, emotional response they have to Kenan and Kel, and to the film.

‘So they’re now in their mid 30s… To think that there’s a whole new generation of kids who will be able to watch the first one and/or watch this second one, and we can inspire that lot for another 25 years, that’s a real privilege.’

Good Burger 2 premieres exclusively on Paramount+ on November 22.

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It turns out there was a secret Teenage Mutant Ninja Turtles Easter egg in the latest film, and we all missed it.

Earlier this year, Donatello, Michaelangelo, Leonardo and Raphael hit the streets of New York in Teenage Mutant Ninja Turtles: Mutant Mayhem, before they found themselves going up against a mysterious crime syndicate.

The movie, released on DVD and Blu-Ray today, saw the foursome being voiced by actual teenagers for the first time, leading an all-star cast of Hollywood heavyweights, while Jeff Rowe served as director and writer, alongside Seth Rogen.

However, speaking to Metro.co.uk about tackling the Turtles, the filmmaker revealed there were some personal moments nestled in the action that many may not have picked up on.

‘There’s so many there’s so many things that I love,’ he recalled. ‘The No Diggity scene is a personal favorite.

‘That song, the way it’s edited and the filmmaking there, which all came from our storyboard artist, John Jackson, is such a wonderful culmination of everything we were trying out on the film, and I love that.

‘My favorite Easter egg, we had Kevin Eastman – co-creator of the Ninja Turtles – do a voice in the film. He’s the human who helps Splinter up at the end of the movie, when he’s been thrown into Times Square.

‘As a lifelong Turtles fan, it was really meaningful to meet him and show him some stuff from the film. He was so nice and receptive, and that one was a meaningful Easter egg to me.’

Mutant Mayhem boasted a packed cast full of the biggest names that the industry could muster, including Jackie Chan, Rose Byrne, John Cena and Ice Cube.

Jeff joked that the star-studded line-up was mostly thanks to having Seth on board, as people ‘will return your phone calls’ when you have the Superbad icon’s backing.

However, things did get a little X-rated in the sound booth at points, and Ice Cube, we’re looking directly at you…

‘Obviously 95% of what Ice Cube said, we couldn’t use, which is a tragedy because they were the funniest things I’ve ever heard in my life,’ the director continued. ‘Maybe one day we’ll do a director’s cut, the rated R version.

‘The entire cast was so funny and the thing that really impressed me is they’re also really good actors. They’re funny comedians, but they’re also very good at the craft of acting. They were able to be emotional and scary, and serious, and have weight to what they were saying when they needed to.

‘Ice Cube could also be very, very credibly frightening when he had to be, and it was a marvel to watch.’

We’re going to need the R-rated Ninja Turtles cut immediately.

The animated flick hit the big screen in August and is the latest iteration of the famous Turtles, following the iconic comics, a handful of films and a string of TV shows.

Jeff, who described himself as a ‘lifetime Ninja Turtles fan’, relished in the challenge of ‘reintroducing’ the gang to a new generation, branding the film an ‘honor’.

When asked what the biggest challenge was, he confessed: ‘Not messing it up was a legitimate fear of mine. We changed things and we deviated from canon, which is scary, because you know you’re going to disappoint people.

‘But we just had to trust in ourselves, and trust in the reason that we were doing these things. Ultimately, we decided our job is not to make a movie for Ninja Turtles fans, our job is to make a movie for everyone, and to create new Ninja Turtle fans.

‘We had to think not from the perspective of, “What do I want as a fan? Or what am I expecting?” but think, “I’m a person who’s maybe never even heard of the Ninja Turtles and has no idea what I’m walking into”.

‘How do you make that person care about these characters and engage in this weird, wonderful world that means so much to me personally?’

Well, he nailed it.

Teenage Mutant Ninja Turtles: Mutant Mayhem is available now to download, and on 4K Ultra HD, Blu-ray, and DVD.

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In Julianne Moore’s latest film, the Oscar-winning actress takes on the most controversial and taboo role of her career – that of a convicted sex offender, who began an affair with a pre-teen boy.

It’s something that even May December’s director Todd Haynes admitted made him feel ‘extremely uncomfortable’, with the movie ripped right from shocking real-life US tabloid headlines.

Moore, 62, is no stranger to tackling eyebrow-raising roles, having previously played a porn star in 1997’s Boogie Nights and engaged in a threesome with onscreen son Eddie Redmayne in Savage Grace.

However, May December is certainly the riskiest movie, and part, of her career with the subject matter likely to draw fury and disgust from some quarters.

Back in 1996, Washington teacher and married mum-of-four Mary Kay Letourneau, 34, stunned the world when it was revealed she had begun a sexual relationship with Vili Fualaau, her 12-year-old student.

After becoming pregnant by him, a relative of Letourneau’s then-husband tipped off the police and she spent three months in jail after reaching a plea agreement and agreeing to no contact with Fualaau for life, among other terms. 

Despite this, she fell pregnant once more by Fualaau just weeks after her release and ended up imprisoned for a further six and a half years.

Following her release, Letourneau and Fualaau married in 2005 and spent 14 years together before separating in 2019. She died of colon cancer one year later, aged 58.

May December, which premiered at Cannes Film Festival in May and is written by Samy Burch, is inspired by this unsavoury tale, with Moore’s Letourneau-esque character of Gracie married to Joe (Riverdale’s Charles Melton).

The film occurs many years after the scandalous events that began their relationship, with the married couple anxiously awaiting the arrival of Natalie Portman’s Elizabeth; she is an actress preparing to take on the role of Gracie in a movie about their queasy love story.

With Haynes (Carol, I’m Not There) on board, it’s a juicy drama for its two leading ladies to sink their expertly sharp teeth into, shot through with pitch-dark humour.

But that doesn’t mean the director didn’t struggle to get to grips with the subject matter, however fascinating he found the script – although he appreciated that it ‘had a distance from its material’, being set after the fact.

‘It didn’t cast judgments, which made one extremely uncomfortable – especially today where we think we know what we think all the time, going into material and the subject matter, especially, of this nature,’ Haynes told Metro.co.uk.

Although there are heavy similarities between the real-life Letourneau-Fualaau affair and that of Gracie and Joe, the filmmaker revealed that his first instinct was to ‘stay away’ from the real-life inspiration and ‘to respect the distinctions between the Mary Kay Letourneau story and what Samy had written’, which he categorises as ‘a fiction’.

However, Haynes, 62, also confessed that there was another reason for him avoiding immersing himself in researching the real-life case – that of his distaste – and it was his leading lady, also 62, who confronted him about it.

‘I think it was also [me] biding my time, in a way, because there are things I just didn’t want to think about too – I wasn’t ready to think about – until we had to think about them, like that relationship, how it began. 

‘It was Julianne who instigated, who basically was like, “Todd, you have to start, you’ve got to watch these documentaries”, because they were useful in understanding Gracie. And they gave specific examples to a kind of backstory that we had to figure out for ourselves as actors and director.’

With May December set over 20 years later, and therefore ‘distanced’ from it, Haynes calls it ‘excavation from the past’. 

‘It’s not what the film is showing you. So you’re pulling the threads of the past out and you’re following Elizabeth’s investigative journey through all of those layers – and that creates a lot of tension and excitement and expectation.’

‘But it meant that there were ways we could filter what had happened and learn about it in pieces,’ he added.

It’s undoubtedly a heavy and upsetting topic for a movie, but Burch and Haynes have made it a ‘delicious’ two-hander for Moore and Portman, 42.

This is particularly evident in scenes where Portman’s Elizabeth copies Gracie’s mannerisms – such as her applying lipstick, or mimicking gestures when they take her daughter to a dress shop and are blessed with an abundance of mirrors.

These sequences are darkly amusing, but in a way that fits in with May December’s subversive tone.

‘The humour in the script was apparent, [but] it wasn’t like laugh out loud – it was embedded within the characters and the situations. And while we were shooting the movie, we weren’t laughing out loud. Also we were just racing to get from one thing to the next, we shot it in 23 days, it was very, very tight, so every moment was measured,’ Haynes explained.

‘But it was when I started to see the cut of the film I realised how much humour really was available to the audience as a release valve and another layer of how you interpret it all.’

Of her onscreen relationship with her co-star Melton, Moore told Gotham Magazine earlier this year: ‘He and I are a couple that first met when he was 13 and I was 36. It’s a story of gender, public interest, tabloids and identity – about who we think we are and who the world tells us we should be.

‘How do we absorb ideology? How have we been marinating in expectations? And where does it come out? And where do we subvert it? And then how do we tell the stories?’

Her and Portman’s complex and nuanced performances – and certainly that of Moore’s bravery in taking on such a taboo part – will surely get them both recognised by the Academy. Haynes is no stranger to this, having directed both Cate Blanchett and Rooney Mara to nominations for Carol in 2016.

He also bagged himself a Bafta nomination for best director, following on from his best screenplay Oscar nomination for Far from Heaven in 2003, which he also directed and also cast Moore in the leading role.

However, Melton, 32, also blew Haynes away with his take on the role of the vulnerable Joe, who may only just now be starting to understand the ramifications of the beginning of his relationship with Gracie.

Praising Melton’s idea of Joe as ‘something else’, Haynes continued: ‘He understood how stifled Joe was, how prenatal Joe was, how he was just starting to learn how to speak and see his situation. So the granular restraint of that performance was something that really clarified for me who Joe was – and that came from Charles.’

Haynes was also gobsmacked at his performance given that prior to this Melton had had ‘almost no experience working in dramatic and in big screen film’. 

His non-Riverdale credits include The Sun Is Also a Star and Bad Boys For Life, as well as American Horror Story and Ariana Grande’s Break Up With Your Girlfriend, I’m Bored music video.

But it seems he certainly wasn’t fazed by the calibre of his co-stars and the production either.

‘The women saw in him as an actor those instincts and that innate understanding of what this was about, so I think he felt really supported and embraced by everybody.’

May December releases in UK cinemas on November 17 and will launch on Sky Cinema from December 8.

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The film industry is in need of some major boosting after a summer of strikes but it might not come in the form of Brad Pitt’s anticipated F1 film.

Brad, 59, has been speeding along with his Grand Prix inspired movie, which is as yet untitled but sometimes called Apex, that began shooting earlier this year.

The Fight Club actor spent much of the F1 season on tracks, filming action scenes for the film in which he plays a retired race car driver who returns to train a rookie prodigy.

At the home of British racing this year, fans could see Brad putting his pedal to the metal and racing around the historic Silverstone track in a modified F2 racer styled like an F1 car.

Wild claims emerged that ‘sponsors changing’ post strikes had left the ‘footage defunct’ after the team used the real races and audiences to cut costs involved in recreating these types of scenes.

F1 has strongly denied these claims, assuring Metro.co.uk that there are no concerns and the film is ‘on schedule for its original release’.

A source told The Sun: ‘It really is a nightmare for Brad and the team. A lot of events had been earmarked for filming throughout the year which would have helped reduce costs rather than having to recreate high-speed moments and wide shots.’

Hollywood is once again returning to form as an agreement over actors’ pay and AI usage was confirmed by studios and the actors’ guild.

The footage in question was shot in July on the Silverstone Circuit, before the SAG-AFTRA and writers’ union strikes began, halting production on numerous blockbusters.

An F1 spokesperson told Metro.co.uk: ‘The movie is still on schedule for its original 2025 release timeframe. All footage captured this year is relevant.

‘It will continue shooting at Grands Prix in 2024, with Brad and Damson driving actual cars on track for racing sequences. The movie will ensure continuity with the 2023 F1 season in footage captured in 2024.

‘There are no changes to any movie sponsors, and all are committed for the duration of the project. The production has been adapting its schedule before and during the SAG strike and has planned to shoot into 2024 for some time.’

There have been no confirmations as to when shooting will resume for this project, which is apparently Brad and Lewis Hamilton’s ‘baby’.

Brad will play Sonny Hayes, driver of the fictional Apex APXGP team in the Apple Studios movie opposite Damson Idris as prodigy Joshua Pearce.

British racing legend, Lewis, is co-producing the film alongside Jerry Bruckheimer and Brad as well as starring in it.

The film is set to be directed by Joseph Kosinski, who worked with Tom Cruise on Top Gun: Maverick, so fans should be in for an action packed feature.

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It’s been 20 years since Love Actually released its brand of confetti-laden Christmas into the world, taking audiences on a romantic whirlwind through a group of interconnected characters’ love lives and subsequently cementing its status as a festive favourite.  

A staple to rewatch every December. 

Well, for some people – but not me.

I’m not here to tell anyone what they should and shouldn’t watch this Christmas, but there is something that grinds my gears about the ubiquitous nature of the film at this time of year.

Not only is it not the best Christmas movie, it’s not even the best movie by Richard Curtis, the rom-com King behind hits like Notting Hill and Four Weddings and a Funeral.

Firstly, it’s no secret that the film has not aged well. 

I’d like to think everyone now cringes at the entire character arc of Martine McCutcheon’s Natalie being built around her apparent ‘chubbiness’, which is commented on by multiple men, including the Prime Minister (Hugh Grant). 

It’s also upsetting that I thought nothing of that and McCutcheon’s distinctly non ‘tree-trunk’ thighs when watching this film as a young girl.

Then there’s the rather creepy profession of Andrew Lincoln’s character Mark’s love for his best friend’s wife Juliet (Keira Knightley), which is framed as romance at its finest – but can you even *imagine* the toxic dumpster fire of that going down in real life?

Plus the fact that, as one of her earlier roles, Knightley was 18 when this was released, to Lincoln’s 30. 

That’s extremely problematic, but it seems to get missed in the context of Love Actually’s twinkly light-strewn street scene, soundtracked with a version of Silent Night I never want to hear again.

There’s also the worrying lack of diversity among the cast, with the overwhelming majority of people on screen depicted as white and hetrosexual – something even Curtis himself has acknowledged makes him feel ‘uncomfortable and a bit stupid’ now.

But that’s not all that should make him feel a bit stupid. 

Personally, I’ve never understood the fuss from people who love Rowan Atkinson’s unfunny cameo as the jewellery salesman who takes forever to wrap Harry’s (Alan Rickman) adulterous necklace gift for Mia (Heike Makatsch). 

I love Rowan, and especially his prior collaboration with Curtis on Blackadder. But the scene everyone seems to rave about is just stressful, annoying and not remotely amusing. 

And also, Harry is quite clearly presiding over a workplace just inches from a harassment lawsuit, given his affair with his secretary and misbehaviour at the office party. 

Not very romantic is it?

I’m not just a hater – I will freely admit that Love Actually also has funny moments and some positive attributes too. I’m not going to launch a full assassination attempt on the movie that brought us the joy of Bill Nighy’s swaggeringly awful Billy Mack, or Dame Emma Thompson’s devastating reaction to her husband’s betrayal. 

And which British viewer hasn’t quietly fantasised over the section where dad dancer extraordinaire PM David publicly stands up against the sleazy US President, played by Billy Bob Thornton?  

The overall issue with Love Actually though is its hollowness, like it’s had its soul sucked out, in comparison to some of Curtis’s other efforts. 

It also sells an overly glossy, surface-level Christmas that doesn’t really reflect the celebrations most of us have in the UK.

It feels like unwrapping the most lavishly gift-wrapped (*cough* Rowan Atkinson) present as a child, only to find a pair of socks. Or a Joni Mitchell CD.

And you don’t even have to dive too far into Curtis’s back catalogue to find true heart and soul.

That’s why I never look any further than the absolutely underrated About Time.

The last feature film that he wrote and also directed, which coincidentally turned 10 earlier this year, contains a father-son relationship between Bill Nighy and Domhnall Gleeson that is more poignant than anything in Love Actually. 

It’s all about treasuring the moments with your loved ones as you have them, without knowing what the future holds, reminding us to consider them as precious as they are. 

Or there’s Four Weddings and A Funeral, a nostalgic 90s classic, which is again relatable thanks to the madness of wedding season once you hit a certain age. 

It also did seem progressive for the time with its inclusion of a gay relationship between John Hannah and Simon Callow’s characters. 

Even Bridget Jones, which is certainly questionable in parts too thanks to its obsession with its protagonist’s weight, at least celebrated a ‘regular’ woman striding through life, one mistake and embarrassment at a time.

Curtis’s more recent efforts like The Boat That Rocked and Yesterday have also seemingly flown under the radar in comparison to the annual sensation that is Love Actually, but I would argue that they also have more authenticity thanks to exploring Britain’s role as a rock music tastemaker – as well as our defining musical export in The Beatles.

By all means watch whatever you want this December, including Love Actually – I’m not going to stop you (but your schedule should definitely involve The Muppet Christmas Carol too, otherwise we can’t be friends) – but maybe live a little on the wild side and celebrate Christmas with something not quite so commercially packaged and poorly-aged. 

And failing that – just watch About Time.

Do you have a story you’d like to share? Get in touch by emailing jess.austin@metro.co.uk. 

Share your views in the comments below.

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Love Actually officially turns 20 today, which means it has been 20 years since we first saw Hugh Grant dancing to Girls Aloud around 10 Downing Street – while also sobbing as Alan Rickman handed Emma Thompson another Joni Mitchell CD.

The Richard Curtis flick, also starring Keira Knightley, Andrew Lincoln, Bill Nighy, Colin Firth, Liam Neeson and Martine McCutcheon, first hit the big screen on November 14, 2003, and has remained a Christmas staple ever since.

Let’s be honest, is it really the festive period until Rowan Atkinson has spent an alarming amount of time wrapping presents? Absolutely not.

However, it’s fair to say that a lot has changed since the release and casting director Fiona Weir, who worked alongside the late Mary Selway on the movie, opened up about how they would portray the differences in the present day.

‘The first thing is I would cast a female prime minister,’ she told Metro.co.uk when asked who would make the cut if Love Actually was released now.

‘I think if we were doing it today, Richard would write it very differently. 20 years on, it’s a different country, it’s a different world, a lot has changed.

‘So, I think it will be a very different script, you can’t really sort of transpose actors on it. But the one thing I can declare is that we would definitely, definitely cast a female prime minister.

‘Adjoa Andoh would be brilliant. I think she’d be wonderful.’

Seeing how effortlessly Adjoa rules the world as Lady Agatha Danbury in Bridgerton, we would definitely be on board with this.

Richard has previously opened up about his biggest regrets while behind the camera on Love Actually, sharing that the ‘lack of diversity’ made him feel ‘uncomfortable and a bit stupid’.

He also voiced his remorse over ‘jokes’ at the expense of Martine’s character’s weight, as Natalie was described as ‘plumpy’ with ‘huge thighs’ throughout.

When asked how she believes the film has held up over the last two decades, Fiona agreed that certain lines wouldn’t be included today, but praised the overall timelessness of the majority of the material.

‘Of course, there’s a couple of things in it, which I would rather weren’t,’ she continued. ‘There’s a certain comment about Martine McCutcheon’s physicality which Richard himself would say, he’d wished that wasn’t in there.

‘It was something that he felt was humorous at the time, but now realizes it’s not appropriate. I think that is obviously the case.

‘But where it does hold up is that the emotion in it is completely authentic. As it says, love is all around, it’s not always seen. All the characters, they’re wonderful actors.

‘Nothing is sent up, it’s not cynical in any way. It’s joyous and celebratory. I think that’s why it holds up, because it was done with a complete lack of cynicism, which is Richard.

‘Richard is completely without cynicism.’

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