
Home and Away star finds love after 'unhealthy' relationship with co-star ex
Home and Away star Sarah Roberts has revealed that she has finally found love again with a new man following her 'unhealthy' marriage to soap co-star James Stewart
Home and Away star Sarah Roberts has revealed that she has finally found love again, following her tumultuous marriage with co-star James Stewart. The TV star, 40, who played Willow Harris in the Australian soap, split from James last year and described their relationship as something that "wasn't healthy."
But now, Sarah admitted that she has fallen in love with a new man who allows her "to grow in beautiful and unexpected ways." Speaking on the Stellar's Something to Talk About podcast, she said: "I've fallen in love with a man, I'm so in love. I finally found myself, as clichéd as that may sound."
Soon after the couple called time on their marriage, reports surfaced that he too had found love again with fellow Home and Away star Ada Nicodemou.
And while Sarah appeared to beam with delight when talking about her new love, it seems dealing with her split in the public eye took its toll.
She explained: "Dealing with it in the spotlight, and then everything that came out in the media after, absolutely ripped my heart into a million little pieces. But I can't change anyone else's actions or the way people behave. What I can take responsibility for is the way that I feel."
She said: "And I know that hurt people hurt people, but healed people can heal people – and I'm so happy with where I'm at today. I've finally found a love for myself which I didn't have. I have beaten myself up for a long time over the fact I stayed in something that wasn't healthy."
Sarah found fame after landing the role of Willow in the Aussie soap between 2017 and 2021. But despite leaving the soap, it seems Sarah still has ties to the cast.
Back in February Sarah told Daily Mail Australia: "One of my best friends was one of my cast mates on Neighbours. That goes way back. Another one of my best friends, Emily Weir, she's from Home and Away."
She added: "I've also made friends with a lot of the new cast from Home and Away because Emily is friends with them and we all hang out together. I just had my 40th birthday party at the end of last year and I had a party on a boat on the Sydney Harbour. It was full of a lot of the Home and Away cast. I get really close to people and really value my friendships.'
Sarah continued: "You share so many deep dark secrets about yourself and you have to develop a lot of trust between each other. That lends itself to strong friendships."
While Sarah craved out a career for herself in Australian soaps, it looks as though she has now set her ambitions on landing a role on a HBO series in Hollywood.
She told the publication: "My next dream it would be to book a television show where I'm in a contract for five years. I would like that to be a character I can sink my teeth into. "
Sarah added: "I'm not sure I'd want to do another soap. I would have loved to have done something like Breaking Bad or Game of Thrones. That would be a dream job for me."
Hashtags

Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles


Metro
2 hours ago
- Metro
Doctor Who icon favourite to play Lucius in controversial Harry Potter show
The Muggle world has been set alight with rumours and fan favourite picks for who could play who in the upcoming TV adaptation of Harry Potter. HBO has already selected three young actors from the sorting hat to play Harry, Hermione and Ron, with Dominic McLaughlin, Arabella Stanton and Alastair Stout now on the precipice of international fame. They will be joined in the wizarding world by John Lithgow as headmaster Albus Dumbledore, I May Destroy You star Paapa Essiedu as Severus Snape and Nick Frost as Hagrid. The casting news has been met with a mixed reception, given how contentious JK Rowling has become in recent years amid her anti-trans views. A number of actors have ruled themselves out entirely. There are still several key players from Hogwarts who have yet to be cast – with the cruel Lucius Malfoy among them. Wake up to find news on your TV shows in your inbox every morning with Metro's TV Newsletter. Sign up to our newsletter and then select your show in the link we'll send you so we can get TV news tailored to you. The current favourite to sport the straightened blonde wig and do terrible things to Dobby is none other than the Eleventh Doctor Matt Smith. Senior TV Reporter Rebecca Cook shares her take… It's obvious where the thought behind this came from. Take one look at Matt Smith in House of the Dragon and you'll think 'Now who does this hair remind me of…?' Between that and his fiery yellow mohawk in Darren Aronofsky's new film, Smith has proven he's willing to put the hair transformation work in to get the results on screen. But would he be any good as the Death Eater? His wolfish part in House of the Dragon would suggest he could – but it's hard to argue with some of the other (perhaps better) names in play here. Tom Felton would be a wink and a nod to the original films (if he would want to return) while a gender flipped Lucius with Streep would provide a fresh dimension to the Draco relationship. Although, given that the Thrones spin-off is another HBO title, casting Smith would certainly save the props department a wig-sourcing job. The 42-year-old is currently top of a bookmaker's list of favourites to take on the character from Jason Isaacs' portrayal in the films, sitting with 6/4 odds. However, he's closely followed by Potter alum Tom Felton, who played Lucius's similarly peroxide blonde son Draco, and has 13/8 odds to reprise a Malfoy role in the TV show, according to Unlike his co-stars from the original films, Felton has not completely disavowed JK Rowling over her anti-trans views. Instead, he acknowledged the author was responsible for the franchise while also saying he is 'pro-human rights across the board' in an interview with The Independent. The next person in the list might have something of an edge, because not only do they have Isaacs' approval, but several Oscars on at home to boot. Isaacs said the Death Eater should be played by Meryl Streep, telling Variety: 'She can do anything, that woman. There's literally no limit to what she can do.' Who would make the best Lucius Malfoy? Plus, we know Streep has a villainous role in her arsenal after her terrifying turn as Miranda Priestly in The Devil Wears Prada, with 2/1 odds for the role. More Trending Isaacs was also asked if he had any advice for whoever is next to take on the role and questioned whether he needs to bother offering pearls of wisdom. 'I know some of the people they're casting already,' he said. 'They're brilliant actors. It's going to be fantastic, and the last thing they need is advice from some old fart like me.' There's every possibility Lucius won't be cast anytime soon, as the character doesn't appear in the first film. Although given that the TV show plans to be a more detailed adaptation, Lucius might be bumped up a season. View More » The Harry Potter TV show will air in 2026. Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. MORE: I love Billie Piper but her return proves Doctor Who is doomed MORE: What Billie Piper said in the past about Doctor Who being a woman MORE: Is Billie Piper the 16th Doctor? Everything we know about her Doctor Who return


The Guardian
4 hours ago
- The Guardian
Tech-bro satire Mountainhead is an insufferable disappointment
Picture this: a group of very rich people gather at an ostentatiously large, secluded retreat. The SUVs are black, tinted, sleek. The jets are private. The egos are large, the staff sprawling and mostly unseen, the decor both sterile and unimaginably expensive. This is the distinctive milieu of Succession, the HBO juggernaut which turned the pitiful exploits of a bunch of media mogul failsons into Shakespearean drama for four critically acclaimed seasons. It is also the now familiar aesthetic of a range of eat-the-rich satires plumbing our oligarchic times for heady ridicule, if increasingly futile insight – The Menu, Triangle of Sadness, Knives Out: Glass Onion, Parasite, The White Lotus and the recent A24 disappointment Death of a Unicorn to name a few. (That's not to mention countless mediocre shows on the foibles of the wealthy, such as this month's The Better Sister and Sirens.) So suffice to say, I approached Mountainhead, Succession creator Jesse Armstrong's first post-series project about four tech billionaire friends gathering for poker as one's AI innovation wreaks havoc on the globe, with a sense of pre-existing fatigue. The market of ultra-rich satire is, to use the logic of Armstrong's characters, saturated. (Or, to use their language: 'I would seriously rather fix sub-Saharan Africa than launch a Sweetgreen challenger in the current market.') There's more than a whiff of Argestes, the second-season Succession episode at a billionaire mountain retreat, to these shots of private cars pulling up to a huge chalet hugged by snowcapped peaks. And though Armstrong, who solely wrote and directed the film, continues his avoidance of easy one-to-ones, there's more than a whiff of Elon Musk to Venis (Cory Michael Smith), an AI company CEO and the richest person in the world with a tenuous grasp on reality, a stupendous sense of nihilism and unrepentant need to assert his own virility (the landscape, he notes, is 'so beautiful you can fuck it'). In some ways, it's a relief to see tech bros, especially AI entrepreneurs, reach full, unambiguous movie-villain status. Already, there is a competently made movie for the Doge era, and Armstrong, as ever, can nail hairpin turns of phrase on the sentence level. But as much as I hate to contribute to the 'anti anti-rich content' discourse, on which much ink has already been spilled, I can't say Mountainhead refuted any expectations of reality fatigue; watching Venis, host Soup (Jason Schwartzman, playing the least rich of the group, and thus nicknamed after a soup kitchen), Marc Andreessen-esque venture capitalist Randall (a miscast Steve Carell), and fellow AI wunderkind Jeff (Ramy Youssef) brainstorm plans for the post-human future as more of a slog than if I were high-altitude hiking with them. To be honest, I'm not sure any classic satire – as in, using irony or exaggeration to highlight hypocrisies, vices and stupidity – could work for the second Trump administration, at once dumber and more destructive than the first, nor the release of generative AI on the public. Both require a level of hypernormalization and devaluing of reality that make the idea of enlightening ridiculousness feel, well, ridiculous. Even the most inventive writers and performers will struggle to craft humor out of beyond farcical political figures and norms degraded beyond recognition (see: Mark Ruffalo's effete and grating parody of Trump in Bong Joon-Ho's Mickey 17). Succession, which ran from 2018 to 2023, soared on its 'ludicrosity', to borrow a made-up term from its billionaire patriarch Logan Roy, with a precise critical distance from reality. The deeply cynical, psychically fragile, acid-tongued media conglomerate family loosely based on the Murdochs were just far enough removed from the real Fox News timeline. Its inverted morals, barren decadence and high irony the right angle of fun-house mirror to become, in my view, the defining show of the Trump era, without ever mentioning his name. But we are in a different era now, and the same tools feel too blunt to meet it. Mountainhead shares much of the same DNA as Succession, from Armstrong to producers to crew, to trademark euphemisms (why say 'murdered' when you can say 'placeholdered'?) It was completed on an extraordinarily fast timeline – pitched in December 2024, written (partly in the back of cars while scouting locations) this winter, filmed in Park City in March and released by end of May – giving it the feel of a streaming experiment for the second, more transparently oligarchic Trump term. How fast can you make an HBO movie? How can you satirize current events moving at a speed too fast for any ordinary citizen to keep up, let alone be reasonably informed? 'The way it was shot naturally simulated Adderall,' Youssef told the Atlantic, and it shows. Mountainhead plays out less like a drama between four tenuously connected, very rich friends, and more like a random word generator of tech and finance bro jargon – decel (deceleration, as in AI), p(doom) (the probability of an AI apocalypse), first principles. (Armstrong, by his own admission, binged episodes of the All-In podcast, which features prominent investors and Trump's AI/crypto czar David Sacks.) The backgroup of this billionaire conclave are series of escalating crises from Venis's guardrail-less AI that feel themselves AI generated – women and children burned alive in a mosque, a deluge of deepfakes that imperils governments in Armenia, Uzbekistan, Japan, Ohio. Italy defaults on its debt. Should they take over Argentina? Buy Haiti? 'Are we the bolsheviks of a new techno world order that starts tonight?' The deluge of contextless, characterless chaos – Succession's Kendall would call this dialogue 'complicated airflow' – succeeds in highlighting the depersonalizing effect of Silicon Valley's many innovations. None of this feels real, because none of this is real to these characters. Millions of No Real Persons Involved. But that is undercut by a pervasive sense of self-importance. Like the irksome climate-change satire Don't Look Up, directed by Succession executive producer Adam McKay, the exaggerated hijinks of Mountainhead reveal a deep self-assurance of its politics that border on smug. It's not that it doesn't, like Succession, attempt to humanize these figures – each billionaire has an Achilles heel of morality or mortality, though by now the fallibility of Musk-like figures is far from a revelation. It's that the drama between these billionaires felt frictionless – mostly unchallenged by secondary figures and impervious to other perspectives, at once predictable and insufferable to watch. Every human has their unique foibles and contradictions, but Mountainhead found itself too enthralled by figures who are no longer interesting, if they ever were. I found myself longing for more than two minutes with the girlfriend, the ex-wife, the assistant, the board member, let alone one of the many staff at the house – anyone to de-center a perspective that has already claimed far too much oxygen in the public sphere. For a Real Person to get involved. But that may be beyond this flavor of satire, now in an era of diminishing returns.


Metro
4 hours ago
- Metro
Colin Farrell had to work '18 hour days' as Penguin transformation wrecked skin
Colin Farrell has spoken about why he could only go through the process of disappearing behind a pile of prosthetics and makeup for The Penguin every other day while filming. Farrell was completely unrecognisable as the DC villain in the hit HBO series, after hours in the make-up chair every morning to transform into the gangster Oz Cobb. The 49-year-old said it took around three hours to turn into the Penguin and he would run lines and listen to music to pass the time. Farrell spoke about the transformation process in a new sit down interview with Danny DeVito – who also played the Penguin in Tim Burton's 1992 film Batman Returns – for Variety. Farrell explained the production would not let him work for two days in a row because his skin would start breaking out under the make-up and prosthetics designed by makeup artist Mike Marino. He told DeVito: 'I'd come in my pajamas every morning, because I just wasn't willing to commit to wearing a pair of jeans. To view this video please enable JavaScript, and consider upgrading to a web browser that supports HTML5 video 'The music was already playing; the coffee was ready to go. I'd top up on the lines and the day's work. It was good catch-up time. 'They couldn't work me two days in a row because of the makeup. The skin was breaking out. Most weeks it was three 16-, 17-, 18-hour days.' DeVito went on to say that was a 'cakewalk' compared to his own experience of transforming into the Penguin, which required him to be on set every day for 66 days. Metro spoke to Colin at the time of the eight-part show's release about reprising the role, after he made his debut in the 2022 film The Batman starring Robert Pattinson. More Trending Farrell said he stayed in a hotel room thousands of miles away from his family during filming, which resulted in him becoming 'obsessed' with the project. 'So you lean into that, and you spend most of your waking hours going over it and thinking about it, and thinking about backstory, and thinking about certain scenarios and situations the character might find themselves in that aren't in the script or are. 'All of a sudden it begins to have a life's energy of itself. So it's of you, but outside of you, you know?' he said. View More » The Penguin will return for season 2. Got a story? If you've got a celebrity story, video or pictures get in touch with the entertainment team by emailing us celebtips@ calling 020 3615 2145 or by visiting our Submit Stuff page – we'd love to hear from you. MORE: British acting legend new frontrunner to play Voldemort after Harry Potter casting updates MORE: Harry Potter fans annoyed about casting detail no one's got right in 25 years MORE: Here's why fans think Arabella Stanton as new Hermione is 'perfect casting'