Latest news with #ELLEUS
Daily Mail
2 days ago
- Entertainment
- Daily Mail
Esme Creed-Miles appears to confirm engagement to girlfriend Daisy Maybe as Hanna actress shares adorable new snaps with very telling clue
Soon to play hopeless romantic Marianne Dashwood in the new film adaptation of Sense And Sensibility, Samantha Morton's daughter Esme Creed-Miles is enjoying her own love story off screen. After coming out as a lesbian earlier this year, the 25-year-old has made a very modern declaration of love for her girlfriend Daisy Maybe. Esme, whose father is actor Charlie Creed-Miles, posted a picture of the British singer and model, and captioned it with engagement ring and love heart emojis, prompting much speculation the couple plan to tie the knot. They were congratulated by friends such as Noel Gallagher 's daughter Anais, who wrote in a caption: 'Congrats.' DailyMail has contacted Esme's representative for comment. It comes after it was announced that Esme is set to join Daisy Edgar-Jones in a new adaptation of Jane Austen's novel. Esme, whose father is actor Charlie Creed-Miles, posted a picture of the British singer and model, and captioned it with engagement ring and love heart emojis, prompting much speculation the couple plan to tie the knot Sense and Sensibility is the story of two sisters, Elinor and Marianne Dashwood, as they come of age. They are forced to leave their family estate after the death of their father and move with their mother and younger sister, Margaret, to a cottage in rural Devonshire. The novel details their experiences of love and loss, and the pressures of late 18th-century England. The upcoming remake will follow the 1995 Oscar-winning film starring Emma Thompson and a 2008 mini series which featured on the BBC. The first cast member to be announced last month was Daisy, who will take on the leading role of eldest sister Elinor Dashwood. She is no stranger to book adaptations, having already starred in the BBC's version of Sally Rooney's Normal People. In her ELLE US cover story, she spoke about the importance of playing layered characters. She said: 'It's great that more and more stories are being made with women front and centre.' She continued: 'I feel lucky that a lot of the characters I've played have had that. 'They aren't defined by their actions or their experiences, or by the men in their life.' On July 11, Deadline reported that Esme had been cast as Marianne Dashwood, Elinor's emotional sister. She shared an Instagram post celebrating the big news with a shot of the book and her script next to Daisy's. Alongside the post, she penned: 'Gratitude beyond. ❤️' Other cast members include Caitríona Balfe, George MacKay, Fiona Shaw, Frank Dillane, Herbert Nordrum, and Bodhi Rae Breathnach.
Elle
23-07-2025
- Entertainment
- Elle
'Sense and Sensibility': What We Know So Far About the New Adaptation Starring Daisy Edgar-Jones
Good news has arrived for Jane Austen fans. The author's classic novel, Sense and Sensibility, is returning to the big screen. (The book was previously made into the Oscar-winning 1995 film starring Emma Thompson and Kate Winslet.) Here's everything we know about the remake. Sense and Sensibility follows the three Dashwood sisters and their mother, now a widow, in 18th-century England. The family is forced to leave their lavish Sussex family estate and move in with a distant relative who lives in a quaint cottage. There, the two eldest sisters, Elinor and Marianne, begin contrasting journeys of love and loss. Daisy Edgar-Jones is set to lead the film. She'll play Elinor Dashwood, the eldest sister of the three siblings. In her ELLE US cover story, Edgar-Jones spoke about the importance of playing layered characters. 'It's great that more and more stories are being made with women front and centre,' she said. 'It's also an interesting thing, being a woman in your 20s, wanting to find characters who are not always ingenues. You want to find characters with agency. I want every character I play to be complicated and deep and have layers to them, because that's what it is to be human. I feel lucky that a lot of the characters I've played have had that. They aren't defined by their actions or their experiences, or by the men in their life.' Edgar-Jones celebrated the Sense and Sensibility news on Instagram in a photo posted today that shows her holding the book. She wrote a simple caption, '👀.' On July 11, Deadline reported that Esmé Creed-Miles (Hanna) has been cast as Marianne Dashwood, Elinor's emotional and impulsive sister. Miles shared an Instagram post celebrating the big news with shots of the book and her script side-by-side with Edgar Jones's. On July 21, Variety reported that Caitríona Balfe (Outlander), George MacKay (1917), Fiona Shaw (Killing Eve), Frank Dillane (Fear the Walking Dead), Herbert Nordrum (The Worst Person in the World), and Bodhi Rae Breathnach (So Awkward Academy) have joined the cast. Balfe will play Mrs. Dashwood, Elinor and Marianne's mother; MacKay will play Edward Ferrars, Elinor's love interest; Shaw will play Mrs. Jennings, the woman whom the sisters stay with in London; Dillane will play John Willoughby, Marianne's first love interest; Nordrum will play Colonel Brandon; Marianne's other love interest; and Rae Breathnach will play Margaret, Elinor and Marianne's younger sister. The Sense and Sensibility remake will be brought to you by Focus Features and Working Title Films. Georgia Oakley (Blue Jean) will direct, and the bestselling author Diana Reid (Love & Virtue) will write the screenplay. Yes! According to Reid, the film was set to start shooting in July 2025, and it has. Filming has officially commenced in the United Kingdom. Not yet, though according to Focus Features, 'it's coming soon.' This story will be updated. ELLE Collective is a new community of fashion, beauty and culture lovers. For access to exclusive content, events, inspiring advice from our Editors and industry experts, as well the opportunity to meet designers, thought-leaders and stylists, become a member today HERE. Juliana Ukiomogbe is the former Assistant Editor at ELLE. Her work has previously appeared in Interview, i-D, Teen Vogue, Nylon, and more.
Elle
18-06-2025
- Entertainment
- Elle
How To Watch 'Materialists' In The UK - See Celine Song's Reinvention Of The Rom-Com
Director Celine Song returns with her highly anticipated sophomore feature, Materialists, a sharp, modern take on romance rooted in New York City's elite dating scene. Following her Oscar-nominated debut with Past Lives, Song shifts from quiet longing to a more incisive, but equally intimate, look at how the search for true love intersects with money and class. The film stars Dakota Johnson as Lucy, a professional matchmaker whose career revolves around helping others find love based on compatibility metrics—sometimes as straightforward as income, age, and status. But when her personal life collides with her work, Lucy finds herself at the center of her own complicated love triangle, torn between Harry (Pedro Pascal), a wealthy private equity client who seems to check every box, and John (Chris Evans), her struggling actor ex who still knows her in a way few others do. While Materialists carries the breezy energy of a classic rom-com, Song layers the story with a deeper examination of the transactional facets of modern dating. As she explained to ELLE US, her time spent working as a real-life matchmaker while building her playwriting career exposed her to the unsettling ways people sometimes quantify love. 'While I was a matchmaker, I was asking my clients to describe their ideal partner and the answers were all numbers: height, weight, income, age… While I understood why they were asking for those things, I knew from being in love myself that that's just not at all what love is about or feels like. So [making this] movie was about [striking] the balance between the practical and the fantasy of true love,' she said. For Johnson, Lucy's internal conflict lies at the heart of the film.'She's at a very interesting time in her life where she's sort of teetering between two worlds,' Johnson told Entertainment Weekly. 'Allowing yourself to be loved is scary, and really loving another person is scary. It's a story of bravery.' Though the film nods to the feel of '90s romantic comedies, Song is clear that Materialists isn't simply a lighthearted love triangle. 'I would actually be more interested in it being talked about as a story of Lucy as she navigates not just the love and dating world in her clients' lives, but also her own personal reality and beliefs about love,' she added. One of the film's most memorable moments comes early on, when Lucy casually orders a 'Coke and beer' at a wedding—a strange combination that, as Song explained to GQ, reveals much about her character's working-class roots and serves as a quiet signal of her history with John, who knows her well enough to bring her the drink without asking. 'It speaks to Lucy's character, about her background, and where she comes from,' Song said. 'It's meant to be a weird thing—which is why it's so special that John knows her drink order.' Materialists is released in the UK on August 15 in cinemas.. While A24 has not yet confirmed an exact streaming release date, the film is expected to eventually land on HBO Max in the US, as part of A24's ongoing streaming partnership with Warner Bros. Previous A24 titles like Priscilla and Babygirl have followed a similar release pattern. If this is the case, it then usually follows that the film comes to Sky and NOW TV in the UK. For now, the film is exclusively available in cinemas from August. ELLE Collective is a new community of fashion, beauty and culture lovers. For access to exclusive content, events, inspiring advice from our Editors and industry experts, as well the opportunity to meet designers, thought-leaders and stylists, become a member today HERE. Moriel is the editorial and social media assistant at covering celebrity, culture, and fashion. She previously wrote for The Daily Front Row. When she's off work, you can find her with her nose in a book, taking a dance class, or online shopping.
Elle
21-05-2025
- Entertainment
- Elle
Bradley Whitford Explains Commander Lawrence's Bold Decision On ‘The Handmaid's Tale'
Spoilers below. The penultimate episode of The Handmaid's Tale puts multiple characters in the crosshairs of the war against Gilead. One of them is High Commander Lawrence (Bradley Whitford), who makes the ultimate sacrifice when he literally blows up the fabric of the totalitarian state he helped create. 'I'm an economist, I'm not James Bond,' Lawrence says before agreeing to the daring mission. Unlike 007, Lawrence can't parachute from the plane full of commanders (including Nick Blaine) before it explodes. Having joined The Handmaid's Tale in its second season, Whitford's Lawrence has played antagonist and ally to June Osborne (Elisabeth Moss) throughout the series. In the final season, Lawrence learns his reforms are being used to lure former Gilead residents back to the country that abused and tortured them under the banner of change. When enough people have returned, the Gilead leadership will revert to the oppressive rule of law. Siding with the Mayday resistance is an act of self-preservation to stave off his future execution; Lawrence doesn't volunteer to give his life for the cause. Instead, he intended to leave the bomb on the plane before the commanders arrived, but when they showed up early, he had no way to exit without drawing attention. Lawrence climbs the stairs, puts his hand on his heart, and says a silent farewell to June in a tear-inducing, emotionally charged exchange. FIND OUT MORE ON ELLE COLLECTIVE It was a bittersweet moment for Whitford. Even though this isn't the first time the three-time Emmy-winner has experienced the conclusion of a long-running TV cultural touchstone, it doesn't get easier. He first worked with Moss on The West Wing more than 25 years ago and is in awe of her work on The Handmaid's Tale as both a scene partner and director. (Moss was behind the camera of the penultimate episode and finale.) Whitford speaks fondly of shooting his final scene to ELLE US. 'It was sitting next to Nick on the plane right before it exploded. It was really heartbreaking,' Whitford says. 'Max [Minghella] is someone I love with all my heart, and working with Lizzie [Moss], I was just so sad. I feel lucky. A weird mix.' In fact, when I ask what Whitford took from the set, he doesn't say a costume, accessory, or object: 'I took Max Minghella, and he's tied up in the basement. I make him do monologues for me, but he tells me he's very happy and grateful.' All joking aside, Whitford mentions that he had texted Minghella the day before our conversation, 'and told him I missed him.' Like his experience on The West Wing (that iconic cast 'texts each other all the time'), Whitford has formed lifelong bonds with his co-stars that starkly contrast the divided Gilead landscape. Whitford doesn't just choose politically charged projects, as he has long been using his platform on the campaign trail, calling out hypocrisy, and advocating for reproductive rights (his father was president of the Dane County, Wisconsin chapter of Planned Parenthood). Below, Whitford talks about shooting his final scenes, keeping things light on set, the story's real-life parallels, and why he's drawn to political TV shows. I feel such parental affection for this kid, who I have a very clear memory of — I worry about kids in show business — and she wandered onto the set of The West Wing, and I remember thinking that kid really wants to be here, and she was a ringer. Then she becomes the poster girl for the golden age of television, and then I get to work with her again, all grown up. Very much like Lawrence's initial condescension about June, I don't even realise it, but she's mentoring me. She's leading me. Leading Lawrence, blowing on the spark of his decency, but leading me as a human being. Lizzie is the least precious, the opposite of a method actor, to the point where it's ridiculous. I think that is an act of unconscious method acting of the way this extraordinary performer, who is playing June, ends up being the creative centre of the show, directing, taking control of all aspects of it, was an amazing thing. It was the second-to-last thing I would shoot. It was a fraught day on the set because, as lucky as I've been, it makes me more acutely aware of what kismet it takes for a show to work. So, to say goodbye to one of those experiences, it's this very weird mix of gratitude and sorrow. Even though we were just pretending, I knew I was kind of saying goodbye to her [Lizzie]. Initially, in the script. I think it was a salute. That [the hand on the heart] was one of the moments [where] Lizzie thinks she's got it; she knew that was an important moment. This is not humility [on my part]; it's desperation. You don't know what works — you really don't. But I trust her eye. I feel sorry for the showrunners because the good news and bad news for the showrunners is that you have a bunch of actors who really care [laughs]. I became very anxious about where this was gonna end. I mean, really neurotic about it, like boring my very supportive wife with repetitions about 'Where is this going?' I was worried that there was going to be a repetition of what happened to Lawrence before you met him, of being seduced by power, so much so that I talked to [creator] Bruce [Miller] about it. They're wonderfully collaborative, and that was never where it was going. Before they started writing [season 6], I called [showrunners] Eric [Tuchman] and Yahlin [Chang], and they said, 'Oh yeah, come over, we'll talk. They just started the writers' room' I just gotta know where this ends, it really means a lot to me. I'm 65 years old; this is a big part of my creative life; I'm not a child. I want to know where this goes. The moment they started talking, I was like, Oh, this is [great]. So I knew. I thought one of the tragedies of somebody like Lawrence is that the consequences of what he has done do not hit home until he loses [his wife] Eleanor. It was always very important to me that it was a real love and connection. Julie [Dretzin] made that happen because she was so good [as Eleanor], but I always thought that part of our backstory was that we had lost a child. It was always an opportunity whenever I was around kids, no matter how sort of ornery and Scrooge-y I might appear to be, that there was always the open part in there. I loved that moment with Ever [Carradine], I loved having that with [new wife] Naomi. She was such a joy to work with, and have that just real connection of a lot of unspoken stuff meant a lot to me. If we were doing another year, it would have been a lot more raucous. So within the reality of the show, very grim scenes, I think it's a way to deal with the darkness of it. By all accounts, it is everybody's experience of it and a lot of it that comes from Lizzie. There was no screaming on the set. It was all very loose. Lizzie is not precious, no matter what she has to do. It's an affirmation for me that it's a confusing thing about performing, because I've always found, no matter what the material, keeping it as loose as possible and screwing around as much as possible is the best preparation. I think it opens you up, and when it becomes somber and this anvil of artistry is on you, you can't act. It's only a slight exaggeration, but these are Canadians, the sweetest people on the planet, despite what the current president may be saying. It's very cheerful, very sweet people saying things like, 'Okay, I don't want to rush you, but I think we should get the nooses on the girls.' The combination of the toughness of the material and the joy with which we got to do it was really bizarre, but I think it's compensating. It wasn't disrespectful. It was a remarkably safe place, and the kindness and looseness of it were a big reason for that. When the show started (before I was on it)—they were shooting in 2016—this idea that women's access to healthcare would be politicised was remote. I do stuff with Planned Parenthood and this year, there's 64,000 pregnant rape victims in the United States without access to health care. It is a testament to the necessity of storytelling and the limits of storytelling. It goes to something I've always felt; I think part of the reason we're where we are politically is that I have grown up at a time where [I believed] democracy was inevitable, where, as flawed as it was, an expansion of agency within democracy was inevitable, and a more inclusive society was inevitable. They are not. I think, part of the reason we're here is we [people who agree with me politically] have tended to think that culture alone is the way you create your moral vision, and the people on the other side have understood that politics is the way you create your moral vision. Culture is incredibly important, but West Wing won't help you if you have a pre existing condition, this show's [The Handmaid's Tale] a big hit, [but it] won't help you if you're a 13-year-old rape victim in Ohio. I think at the core of this obviously very dark show is—the way I articulate it—the heart of June's character is this idea that despair is a luxury your children can't afford. Action's the antidote to despair under the most harrowing of circumstances. This is a fictional circumstance, but you can look all around the world and see people resisting under extraordinary conditions, and you can see it in history. It's a reminder of the possibility of the kind of resilience we need at this moment. We used to get crap about how paranoid we were being, and how unrealistic it was. Margaret Atwood herself almost put the book aside a couple of times because she thought it was a little outrageous. It turns out it's not. I always joke that my career is tracking the death of democracy. But none of it is intentional. What's really funny to me is when West Wing was just an idea, Aaron [Sorkin] had to fight [for it]. The notion was that you couldn't do a television show about politics. I remember having these conversations with him, and we're like, 'it has conflict, it has stakes.' It's typical of the way they think in Hollywood, they dismiss a genre if a movie doesn't work: it's idiotic. Now, we've had Veep, Scandal, House of Cards. It's a very rich arena with high stakes. We see so many iterations of it now, and it was something that was considered to be box office poison. I don't know if it's just because I'm interested in politics or active in advocacy, but I was always thinking of different parallels that make me understand the argument between June and Lawrence about whether we should reform this from the inside; the sort of Hillary [Clinton] wing versus the more radical way of approaching it. It's endlessly fascinating and unfortunately, relevant. I can't believe it. I am basically a progressive Democrat, and we're the bed wetters, right? We're the hysterics who always overstate what can happen. Well, there is no diaper big enough. We clearly underestimated, and it's why the show is so, unfortunately, prescient. What we're seeing is the weaponisation of a perverted idea of Christian faith to use as a delivery system for the accumulation of power. This stuff's right out of the fascism colouring book. It's flabbergasting that we're in this moment, but again, I hope people find some hope and inspiration in the fight against it. This interview has been edited and condensed for clarity. ELLE Collective is a new community of fashion, beauty and culture lovers. For access to exclusive content, events, inspiring advice from our Editors and industry experts, as well the opportunity to meet designers, thought-leaders and stylists, become a member today HERE. Emma Fraser is a freelance culture writer with a focus on TV, movies, and costume design. You can find her talking about all of these things on Twitter.
