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Lucifer followed Tom Ellis’ eponymous character as he abandons Hell and moves to Los Angeles to work as a consultant for the police department. Lucifer Morningstar helped solve crimes for six seasons, but the show’s lead actor won’t return for a seventh. However, Ellis did clarify that if two particular conditions are met, he’d consider reprising the role.

In an interview on the Inside of You with Michael Rosenbaum podcast, the actor was asked about the possibility of Season 7. Ellis explained that although a seventh season of the show does not interest him, he’d consider returning to the role for a film, and if the script was good. The actor also emphasized his distaste for reviving a show for financial reasons. "It’s not just doing it for the sake of doing it," he said. He cites his experience on the British sitcom Miranda as part...

Tom Ellis reveals he would consider reprising his role as Lucifer only if a movie sequel with a good script is offered. Ellis emphasizes not reviving the show just for financial reasons, citing his experience with the British comedy Miranda. Lucifer's series finale provides a reasonably definitive ending, making a movie return more plausible than a new season of television.

Actor Tom Ellis reveals his two conditions for reprising the role of Lucifer. Ellis' run as the charming titular character ended in 2021, concluding the saga of the devilish protagonist as he abandoned Hell to live in Los Angeles and work as a consultant for the LAPD. Lucifer Morningstar would go on to have a memorable relationship with his partner Chloe (Lauren German) in the supernatural drama, which was based on the DC Comics character and ran for 93 episodes.

In an interview on the Inside of You with Michael Rosenbaum podcast,...

No jokes about fish and visitors please — Agnieszka Smoczyńska’s horror fantasy musical is indeed about delectable creatures from the deep, but these particular mythical misses have their own agenda, and woe to the man who trifles with their affections. What’s today’s catch? A Polish phantasmagoria seemingly teleported from the glitzy 1980s.

The Lure

Blu-ray

The Criterion Collection 896

2015 / Color / 2:39 widescreen / 92 min. / available through The Criterion Collection / Street Date October 10, 2017 / 39.95

Starring: Kinga Preis, Michalina Olszańska, Marta Mazurek, Jakub Gierszał, Andrzej Konopka, Zygmunt Malanowicz, Marcin Kowalczyk.

Cinematography: Kuba Kijowski

Film Editor: Jarosław Kamiński

Production Design: Joanna Macha

Costume: Katarzyna Lewińska

Special Effects makeup: Tomasz Matraszek

Choreography: Kaya Kołodziejczyk and Jarosław Staniek

Original Music and Lyrics: Barbara Wrońska and Zuzanna Wrońska

Written by Robert Bolesto

Produced by Włodzimierz Niderhaus

Directed by Agnieszka Smoczyńska

I’m normally an easy mark for bizarre genre-bending horror fare. I also like musicals of all sorts,...

On this day in showbiz history...

Still undersung: the great Glynis Johns in "The Ref"

1902 Ray A Kroc, who popularized the McDonald's empire is born. The Founder which is about his business shenanigans/success opens this December (it was already supposed to have opened but we can't have movies for adults in the summer for some reason).

1908 Joshua Logan is born. He later makes famous movies like Bus Stop, Picnic, Camelot and South Pacific.

1923 Happy 93rd birthday to Glynis Johns, one of the greats! Her classics include: Mary Poppins, While You Were Sleeping, The Court Jester, The Ref, and Miranda. Why she doesn't have an Honorary Oscar is simply beyond our understanding. She was nominated only once for fine supporting work in The Sundowners

1945 A strike by set decorators turns into a riot "Blood Friday" at Warner Brothers studios. Are you still enjoying our series "The Furniture" on the work...

In her new book Rachel Cooke re-examines the 1950s through 10 women who pioneered in their careers. In this extract she tells the stories of sisters-in-law Muriel and Betty Box, two prominent women in the British film industry

Until recently, anyone who wanted to see the film To Dorothy a Son had to lock themselves deep in the bowels of the British Film Institute off Tottenham Court Road, London, and watch it on an old Steenbeck editing machine. A little-known comedy from 1954, To Dorothy is no one's idea of a classic. It has an infuriating star in Shelley Winters, a creaky screenplay by Peter Rogers (later the producer of the Carry On series) and a set that looks as if it is on loan from a local amateur dramatics society.

We are in the home of Tony (John Gregson) and his baby-faced wife, Dorothy (Peggy Cummins). Dorothy is heavily pregnant, and confined to bed.

1948 was a good year for mermaids.

In Britain, producer Betty E. Box presented Miranda, starring Glynis Johns as a Cornish water-nymph who goes on dry land disguised as an invalid, making merry with the menfolk. Six years later, a sequel, Mad About Men, continued the character's amorous adventures in Technicolor.

Meanwhile in America, William Powell romanced mute mermaid Ann Blyth, an apparent manifestation of his mid-life crisis, in Mr. Peabody and the Mermaid. (Tarzan and the Mermaids, the same year, did not supply any true amphbious ladies.)

What do these fish stories reveal about their respective countries of origin? None of the films' directors have much in the way of auteur credentials—Ken Annakin directed the first Miranda film, staying true to the tradition of innocuous entertainment which was the defining quality of his career, and Ralph Thomas directed the second: though his son Jeremy has produced major films for Bertolucci and Cronenberg,...

A striking presence on stage and in the great days of British film, she played the prison governor of TV's Within These Walls

Followers of postwar cinema may well recall Googie Withers's striking presence in It Always Rains On Sunday, an unusually intense film for the Ealing Studios of 1947. A bored wife, she gives shelter to an ex-lover, now a murderer on the run, played by John McCallum, soon to be her real-life husband. The lovers were shown as unsympathetically as they might have been in French film noir, and the weather was bad even by British standards.

What Withers, who has died aged 94, brought to that performance was to define her strength in some of her most powerful roles. Too strong a face and too grand a manner prevented her being thought conventionally pretty, but she was imposingly watchable because of an obvious vigour and sexuality. Thus equipped,...