Popularity: 4 (history)
| Director: | Philip Martin |
|---|---|
| Writer: | Peter Moffat, Sam McAlister, Geoff Bussetil |
| Staring: |
| Inspired by real events, this fictional dramatization gives an insider account of how the women of Newsnight secured Prince Andrew's infamous interview. | |
| Release Date: | Mar 27, 2024 |
|---|---|
| Director: | Philip Martin |
| Writer: | Peter Moffat, Sam McAlister, Geoff Bussetil |
| Genres: | Drama |
| Keywords | journalist, journalism, prince, royal family, british royal family, biographical drama |
| Production Companies | Voltage TV, The Lighthouse |
| Box Office |
Revenue: $0
Budget: $0 |
| Updates |
Updated: Aug 04, 2025 Entered: Apr 13, 2024 |
| Name | Character |
|---|---|
| Gillian Anderson | Emily Maitlis |
| Billie Piper | Sam McAlister |
| Rufus Sewell | Prince Andrew |
| Keeley Hawes | Amanda Thirsk |
| Romola Garai | Esme Wren |
| Richard Goulding | Stewart Maclean |
| Amanda Redman | Netta McAlister |
| Connor Swindells | Jae Donnelly |
| Lia Williams | Fran Unsworth |
| Charity Wakefield | Princess Beatrice |
| Jordan Kouamé | Freddy |
| Paul Popplewell | Editor |
| Zach Colton | Lucas |
| Kate Fleetwood | Annette Witheridge |
| Aoife Hinds | Rebecca |
| Alex Waldmann | Jason Stein |
| Colin Wells | Jeffrey Epstein |
| Raffaello Degruttola | Cab Driver |
| Vangelis Christodoulou | Kebab Server |
| Gordon Warnecke | Man in Toilet |
| Christopher Fairbank | Elderly Man |
| Tim Bentinck | Dave (Lawyer) |
| Mark Noble | Nicholas Witchell |
| Nicholas Murchie | Politician |
| Charlotte Avery | Journalist |
| Mia Threapleton | Maid |
| Jonathan Rhodes | BBC Newsreader |
| Charlie Roe | Equerry |
| Harriet Benson | TV Presenter |
| Nicholas A. Newman | Security |
| Andrew MacBean | Tony Hall |
| Jon De Ville | Donal McCabe |
| Kayla Rowe-Wilson | Freya |
| Name | Job |
|---|---|
| Peter Moffat | Writer |
| Nina Gold | Casting |
| Kristina Hetherington | Editor |
| Matt Hermiston | Stunt Double |
| Sam McAlister | Book |
| Eimhear McMahon | Line Producer |
| Anne Nikitin | Original Music Composer |
| Hannah Peel | Original Music Composer |
| Nanu Segal | Director of Photography |
| Stéphane Collonge | Production Design |
| Matthew Price | Costume Designer |
| Andrew Daniel | Colorist |
| Byron Broadbent | Supervising Art Director |
| Lily Houghton-Freeman | Art Direction |
| Jenny Ray | Art Direction |
| Glen Young | Art Direction |
| Konstantinos Katsaras | Assistant Art Director |
| Jan Gronczewski | Assistant Art Director |
| Robert Haynes | Standby Art Director |
| Daryl MacNeill | Art Department Coordinator |
| Naomi Reed | Set Decoration |
| Sue Lloyd | Assistant Set Decoration |
| Ed Clark | Steadicam Operator, "A" Camera Operator |
| Sally Low | "B" Camera Operator, Additional Photography |
| Jon Garwes | First Assistant "A" Camera |
| Robbie Chapman | First Assistant "B" Camera |
| Lily Taylor | Second Assistant "A" Camera |
| Lucas Campain | Second Assistant "B" Camera |
| Charlie Bayley | Camera Trainee |
| Joe Dibble | Digital Imaging Technician |
| Nathan Snoddy | Digital Imaging Technician |
| Connie Fyans | Script Supervisor |
| James Harris | Production Sound Mixer |
| Kian McClure | Boom Operator |
| Thomas Kennedy | Boom Operator |
| Peter Taylor | Gaffer |
| Tom Pittman | Key Grip |
| Rosie Stoward | Costume Supervisor |
| Jennifer Geach | Assistant Costume Designer |
| Sharon O'Brien | Makeup Supervisor, Hair Supervisor |
| Kirstin Chalmers | Makeup Designer, Hair Designer |
| Geoff Bussetil | Writer |
| Sophie Dolan | Thanks |
| Cammy Millard | Researcher |
| Zoe Morgan | Script Supervisor |
| Denson Baker | Additional Director of Photography |
| Jenn Egan | Music Supervisor |
| Jan Chalupecký | Conductor |
| Philip Martin | Director |
| Rachael Evelyn | Stunt Coordinator, Stunt Double |
| Martin Ware | Casting |
| Name | Title |
|---|---|
| Hilary Salmon | Producer |
| Radford Neville | Producer |
| Eimhear McMahon | Co-Producer |
| Sam McAlister | Executive Producer |
| Sanjay Singhal | Executive Producer |
| Organization | Category | Person |
|---|
Popularity History
| Year | Month | Avg | Max | Min |
|---|---|---|---|---|
| 2024 | 4 | 123 | 210 | 72 |
| 2024 | 5 | 55 | 120 | 33 |
| 2024 | 6 | 33 | 57 | 19 |
| 2024 | 7 | 27 | 51 | 18 |
| 2024 | 8 | 37 | 65 | 17 |
| 2024 | 9 | 23 | 36 | 17 |
| 2024 | 10 | 25 | 49 | 13 |
| 2024 | 11 | 23 | 49 | 12 |
| 2024 | 12 | 18 | 32 | 12 |
| 2025 | 1 | 20 | 33 | 12 |
| 2025 | 2 | 13 | 20 | 3 |
| 2025 | 3 | 7 | 24 | 1 |
| 2025 | 4 | 2 | 3 | 1 |
| 2025 | 5 | 2 | 3 | 1 |
| 2025 | 6 | 2 | 4 | 1 |
| 2025 | 7 | 2 | 3 | 1 |
| 2025 | 8 | 2 | 3 | 1 |
| 2025 | 9 | 2 | 2 | 1 |
| 2025 | 10 | 3 | 4 | 2 |
Trending Position
This film is yet another poor attempt at a Spotlight ripoff, and the primary reason it fails is that it takes itself too seriously. Unlike Spotlight, which focused on the journalism process without turning the journalists into heroes, this movie falls into the trap of hero-worship and overblown "got ... cha" moments set to the backdrop of the Prince Andrew scandal. The storytelling in this movie focuses too much on elevating the journalists rather than the story they are uncovering. This approach detracts from the gravity of the subject matter and shifts the focus to the individuals rather than the issue at hand. The execution of the film is heavy-handed, with a tone that feels preachy and self-important. This undermines the potential impact of the story, as it becomes more about showcasing the journalists as crusaders rather than highlighting the importance of their findings. A more effective approach would have been to focus on the investigative process and let the story unfold naturally. By avoiding sensationalism and sticking to a realistic portrayal of journalism, the film could have achieved a more authentic and impactful narrative that could inform a mass audience. Overall, this film's attempt to spotlight journalism falls flat due to its overemphasis on heroics and dramatic flair. It misses the mark by failing to capture the essence of journalistic integrity and dedication that films like Spotlight managed so well. By focusing less on glorifying the journalists and more on the meticulous work they do, future films in this genre could avoid the pitfalls seen here and deliver more meaningful and resonant stories.