Bachman made the disclosure during an episode of the Creators Inc. Podcast, a program produced by the company that manages OnlyFans creators.

“You’re working with Creators Inc., and I can say that you are doing incredibly well,” Bachman told Mills before describing her earnings as “many six figures.”

The figure has not been presented as an independently audited financial statement, and the reports do not specify whether “many six figures” refers to gross revenue, Mills’ income after expenses, or a particular accounting period.

Us Weekly reported that the podcast appearance took place on an episode released in late August, approximately one month after Mills joined the platform.

A different use of OnlyFans

Mills joined OnlyFans on July 30, according to USA TODAY’s report on the podcast discussion.

Before the earnings report, Mills described the account as a way to offer supporters more direct access to her life, career memories and everyday routines.

“Social media has been a wonderful way to stay connected, but I’m excited to join OnlyFans because it offers the opportunity for a more personal and direct connection,” Mills said in a statement reported by Variety.

Mills added that she intended to share “moments from my daily life,” behind-the-scenes glimpses and opportunities to engage with fans while remaining true to herself.

The account’s launch drew attention partly because OnlyFans is widely associated with adult-oriented material, although the platform also hosts creators who publish other kinds of content.

Mills has said that her account is not intended to center on nudity or explicit sexual content.

In an interview reported by Page Six, Mills said she planned to share “sexy photos” from her past while clarifying that they were “never nude.”

What subscribers are seeing

Mills told USA TODAY that fans have shown interest in her home life, including what she does during the day and how she spends time away from work.

“They want to know me,” Mills said, according to USA TODAY.

“They want to know what I do during the day when I’m home,” she continued, adding that fans wanted to see her home and learn more about her personal life than audiences could during her television career in the 1980s and 1990s.

Reported examples of her posts include makeup-free images, videos of her morning and evening routines, and footage of her stomping grapes at her vineyard with bare feet.

Mills also discussed the contrast between her longtime public image as a glamorous television performer and the more informal material she is sharing with subscribers.

While acknowledging her status as a former sex symbol, Mills said explicit or sexually suggestive material was not the purpose of her account.

“That’s not what I’m about,” Mills said. “Never was.”

Fan interaction and platform economics

Mills has also spoken publicly about unusual requests from fans since opening the account.

E! News reported that one request involved her vineyard and a sensual barefoot activity, while Mills said the platform gave her latitude to decide what she would and would not do.

“The platform emphasized that I didn’t have to do nakedness,” Mills said, according to E! News.

Mills’ reported earnings are notable because coverage has described her account as initially free to follow, with some individual posts or additional content available for payment rather than relying solely on a standard monthly subscription.

The available reports do not provide a subscriber total, the prices of all paid posts, the platform’s share, or Mills’ net proceeds.

Consequently, the most precise description supported by the reporting is that Creators Inc.’s chief executive said Mills had generated “many six figures” during the early period of her OnlyFans presence.

Why the story drew attention

Mills’ launch and reported earnings have attracted coverage because they combine a recognizable legacy television career, an older public figure’s direct use of a creator platform, and a business model often associated with a younger demographic.

Mills is best known for portraying Abby Cunningham on CBS’ primetime soap opera Knots Landing.

Her stated approach frames the account as a form of fan communication and personal storytelling rather than a promise of explicit content.

The reported financial result remains a statement from the management company involved in the account, rather than a publicly documented independent audit.

The Daytime Emmy Award-winning talk show host and NAACP Image Award winner will slip into the magical role from Oct. 16 to Jan. 3.

“I’ve taken my family, my nieces and nephews, to see this musical and I never dreamed that I would one day be a part of the ‘Aladdin’ family. So I am beyond thrilled,” Shepherd tells The Associated Press.

“All of the children that are coming in that theater, I want them to feel the same way I felt when I was a little girl, and I saw Stephanie Mills in ‘The Wiz,’” she says.

Shepherd is taking dance and voice lessons and belting out her soon-to-be signature song, “Friend Like Me,” on long walks through the city to prepare for the wisecracking, high-energy role that won James Monroe Iglehart a Tony Award in 2014.

Weren't there any easier options? “My whole career has never been the easy way,” she replied. “My whole life is, ‘If it scares you, then you say yes.’ And this is no different because it’s completely out of my comfort zone.”

The role will mark Shepherd's second trip to Broadway. In 2014, she played the evil Stepmother in “Cinderella.” Her other theater credits include the off-Broadway shows “Love, Loss and What I Wore,” “Celebrity Autobiography: In Their Own Words” and Joy Behar’s “My First Ex-Husband.”

Shepherd, a podcaster and author who was a co-host of “The View” and had her own talk show, “Sherri,” said she's asked her Broadway friends for help.

“I’m talking to my friends, Kristin Chenoweth; Steven Boyer, who was in ‘Kimberly Akimbo;’ Wayne Brady — anybody I know who has been on Broadway. I am calling them up going, ‘Help me, help me, help me’ and getting a lot of advice.”

“Aladdin” is a musical adaptation of the 1992 movie starring Robin Williams. The musical’s story, by Chad Beguelin, hews close to the film: A street urchin finds a genie in a lamp and hopes to woo a princess while staying true to his values and away from palace intrigue. It's often the first Broadway show children see.

“I want the children to see the possibilities," said Shepherd. "I want the little girls to say, ‘Oh yeah. I know I used to dress as a princess, but I could be the Genie. I can make wishes come true. Maybe I could be president.’”

In 1998, the film received mixed reviews and had a modest box office performance. It has since become a cult favorite, embraced by a new generation who found the romantic comedy through social media clips. The two Oscar winners are returning to their roles of witchy sisters Sally and Gillian Owens in “Practical Magic 2,” in theaters on Sept. 10, giving them a chance to reckon with the original’s rocky reception and its unlikely second life.

Both films trace their roots to Alice Hoffman’s novels: “Practical Magic,” published in 1995, inspired the original film, while her 2021 novel “The Book of Magic” expands the Owens family’s story and provides inspiration for the sequel.

‘Maybe it needed to marinate’

Bullock recalls a promotional push for the original film that became memorable — for the wrong reasons.

“I had so much trauma from the press junket from the first one because it was brutal,” Bullock recalls. “We were not well-received because we were ‘too much,’ ‘too witchy,’ ‘too many women,’ ‘too many tones.’ I’m like, ‘Have you lived a day in a life as a woman?’ ”

“We didn’t stumble, but it stumbled, but it didn’t really stumble. Maybe it needed to marinate a little bit. We were marinating,” said Bullock. “But here we are, and how lucky are we that we’re still here to be able to go reap the benefits and the rewards of our work?”

The movie eventually found the audience it had missed in theaters, and Bullock said she realized there had been a reappraisal about six years ago.

“I was still harboring so much shame,” she said. “I was like, ‘Oh my god, the things that were said, I’m sorry, we thought we were doing something nice.’ And turns out we did. It was just 28 and change years too early.”

Reclaiming the witch

Part of that second life, Bullock believes, reflects a broader change in the way people have come to view the word “witch.”

“A witch has always been a negative connotation. It was presented that way. The word is being taken back, and there’s ownership of it from the community saying, ‘I’m a witch and I’m proud,’ ” Bullock said.

For Kidman, the film’s resurgence became personal.

“People started just coming into my life who would go, 'You want to know what my favorite film of yours is? ‘Practical Magic.’ And suddenly I was like, ‘What? Wow, OK,’ ” she said.

When it came time to make the sequel, Bullock sat down with her children and their friends to watch the original.

“I wanted fresh eyes,” she said. “Because we were embarking on the new chapter, the new baby witches coming in. I wanted to understand it from a point of view I didn’t have. I wanted to see what they had to say.”

Building the magic again

As producers, Bullock and Kidman also faced the practical realities of mounting a legacy sequel on a budget. Among the challenges was recreating one of the original film’s most recognizable elements: the Owens house.

The production rebuilt the house on a London back lot as a full structure, rather than the temporary exterior shell used for the original film.

“It was an incredibly tough fiscal time. We were hedging the dollar,” Bullock said. “We’re not a big superhero film, so you don’t get the luxury of a big price tag.”

Kidman added: “And we also knew the responsibility of bringing it in on a certain price because then you go, 'OK, we can breathe a bit,' ” she said. “I think when a budget blows out, you’re like, ‘Oh my gosh, the stress.’ And we don’t need any more stress in our lives. It’s stressful enough.”

A new generation of witches

The sequel continues the story of the younger generation of Owens women, with Joey King and Maisie Williams playing Kylie and Antonia Owens, the daughters of Sally.

“I really appreciate that it’s like a passing of the baton. I think it’s beautiful,” King said. “It just felt like we were stepping into their world and doing this with them, and it’s a real gift and honor to be considered the people who are taking the batons.”

Producer Denise Di Novi, who also produced the original and cast King in her first leading role in 2010's “Ramona and Beezus,” said the new characters could carry the story forward.

“We would love to make a third one, and I think there’s so much more to do with Kylie and Antonia," she said. “At the end of the movie, spoiler alert, but you kind of feel like the Sally and Gillian characters are kind of the elder aunts, you know, and Kylie and Antonia are the ones launching off into the world as witches.”

Williams is also hoping to expand on the younger Owens women’s story: “We’re so there for it. There’s so much more of ‘Book of Magic’ that we didn’t get to explore,” she said.

The returning performers also include Sophie Nélisse as Rose, Ksenia Daniela Kharlamova as Svetlana, Christina Chang as Yuna, Dylan Walsh as David, Callan Potter as Hayden, Benjamin Roy as JJ and Kamilla Kowal as Jackie.

They will appear alongside Connor Storrie and Hudson Williams, who lead the series as Russian hockey player Ilya Rozanov and Canadian hockey player Shane Hollander.

The newly announced returning cast members join previously announced additions Justice Smith as Harris, Charlie Gillespie as Troy, Daniel Diemer as Ryan, Shaheen Jafargholi as Fabian, Emily Hampshire as Vanessa, Edvin Ryding as Luca, Robert Naylor as Wyatt, Sabrina Jalees as Farah and Priyanka as Tarek.

Entertainment industry coverage has independently reported the same September casting developments, identifying Arnaud, G.K., Nélisse, Kharlamova, Chang, Walsh, Potter, Roy and Kowal as returning performers.

Out also reported that Arnaud and G.K. would reprise their roles in the second season and confirmed the participation of Smith and Gillespie in the expanded ensemble.

The September 1 announcement is the most substantial recent development surrounding the series, because it confirms the return of multiple supporting characters while adding further detail about the story’s next chapter.

A sequel to “The Long Game”

The second season is being developed as an adaptation of “The Long Game,” Reid’s novel about Shane and Ilya, with reported elements from “Role Model,” another book in the author’s “Game Changers” series.

“The Long Game” follows Shane and Ilya after they have been involved for a decade while continuing to keep their relationship private.

The central conflict described in coverage of the book concerns Ilya’s desire to make the relationship public and Shane’s fear that coming out could damage his standing in professional hockey.

The first season was based on Reid’s novel “Heated Rivalry,” which introduced the long-running romance between the two hockey players.

Jacob Tierney created the television adaptation and serves as a writer, director and executive producer.

Brendan Brady and Jayme Alter Wilson are also executive producers, while Reid is credited as a consulting producer.

The series is produced by Accent Aigu Entertainment in association with Bell Media’s Crave and is distributed internationally by Sphere Abacus, a Bell Media company.

The program is available in more than 130 countries, according to Deadline.

Coverage has placed the second season’s release in spring 2027, although an exact premiere date has not been definitively established in the sources reviewed.

Some reports have referred to April 2027 as the target, but that timing should be treated as unconfirmed unless Crave or HBO Max announces a specific date.

Connors on intimacy and performance

The casting news arrives as Connors reflects on making the first season’s intimate scenes with Storrie.

Connors, who portrayed Sasha, said that professionalism was central to the process.

He described the work as similar to a dance, explaining that the performers know in advance what is supposed to happen while retaining room to respond to the chemistry of the moment.

Connors also credited choreography and an intimacy coordinator with helping the actors remain comfortable while the director captured the scene.

The role of an intimacy coordinator is to help establish boundaries, communicate between performers and the production team, and support agreed choreography during intimate filming.

Chala Hunter, who worked as the series’ intimacy coordinator, has separately described the preparation of intimate sequences as detailed physical choreography designed to protect consent and performer safety.

Hunter said the process includes confirming consent and boundaries, limiting unnecessary people on set and ensuring that previously agreed actions are not changed without discussion.

The production approach described by Connors and Hunter presents the scenes as simulated performances constructed through preparation, communication and camera technique rather than unscripted sexual activity.

Connors has previously spoken about working with an intimacy coordinator on “Heated Rivalry” and about his collaboration with Storrie.

In that earlier interview, Connors said the intimate material was scripted and developed with the creative team, while actors could explore the emotional journey of their characters within that framework.

What is known about Sasha

Connors’ comments do not confirm that Sasha will appear in season two.

Sasha was presented in the first season as a former intimate partner of Ilya.

Reports have noted that Sasha does not appear in “The Long Game,” the principal source material identified for season two.

Connors has expressed interest in returning to the role, but prior interviews have also made clear that he could not confirm Sasha’s participation.

As of September 3, the confirmed season-two announcements identify a broad returning and new ensemble but do not list Connors among the officially announced performers.

The verified development, therefore, is the expansion of the cast and the continued preparation of a sequel centered on Shane and Ilya, while Sasha’s possible return remains unconfirmed.

The 24-year-old actor, known for playing James McEwan in Netflix’s Heartstopper and Lewis Copland in ITV’s Emmerdale, said he had been nervous about speaking publicly about his experience.

“I always get nervous talking about my experience and my life, but I want to share this,” Riches wrote, according to reports on the post.

He added: “And hopefully don’t get scared and delete it.”

Riches then stated directly: “In 2020, I tried to end my life.”

“At the time, I couldn’t see a life beyond that moment,” he wrote, adding that he did not know who he was or whether circumstances could feel different.

The disclosure was presented as a reflection on the six years since that crisis, rather than as a report of a current suicide attempt.

A message focused on survival and support

In the post, Riches described the changes in his life since 2020 and listed achievements including writing a bestselling book about autism, receiving awards and marrying his partner earlier in 2026.

He ended the message with a series of affirmations directed at people who may be struggling: “You are loved. You are important. Your story is not finished.”

Riches also wrote that he was “so, so glad” he stayed, and encouraged anyone experiencing suicidal thoughts to tell someone rather than carrying the burden alone.

The actor’s post appeared during a month in which public bodies and organizations place additional emphasis on suicide prevention, awareness and access to support.

The governor of Michigan also formally designated September 2026 as Suicide Prevention Month, describing suicide as preventable and calling attention to hope and the treatability of mental illness.

Riches’ wording placed particular emphasis on the difference between a campaign month and the reality of ongoing support.

“September is Suicide Prevention Month,” he wrote, “but trying to stay is a whole year thing.”

Riches’ public profile

Riches became widely known through Heartstopper, the Netflix series centered on the lives and relationships of teenagers Charlie Spring and Nick Nelson. He played James McEwan, a student at Truham Grammar School, in the series.Riches later joined the cast of Emmerdale, where he plays Lewis Copland. His work has also included public discussion of autism and his experiences as an autistic performer.

In a 2024 interview with the BBC, Riches discussed how autism affected his experience as a contestant on ITV’s Celebrity Big Brother.

The BBC reported that Riches had been non-verbal until around the age of 10.

In 2026, he published Autistically Me: How to Understand and Celebrate Our Autistic Minds, a book described as seeking to elevate neurodivergent voices.

Riches has also spoken publicly about growing up non-verbal and masking both his autism and sexuality during secondary school.

Those earlier comments provide context for his decision to discuss difficult personal experiences publicly, although his September post did not attribute his 2020 suicide attempt to any single cause.

Response to the disclosure

Coverage by The PinkNews, Attitude and Metro independently reported the central details of Riches’ disclosure: that he said he tried to end his life in 2020, that he described feeling unable to see a future at the time, and that he encouraged people experiencing suicidal thoughts to tell someone.

The reports did not identify a specific medical diagnosis, treatment, crisis service or other intervention connected to the 2020 incident.

They also did not report that Riches was in immediate danger at the time of publication.

For readers affected by the subject, Riches’ own message centers on disclosure, connection and seeking help from another person.

His account does not establish that sharing personal stories alone prevents suicide, but it does show why he chose to connect his disclosure with an appeal to people who may be struggling.

The actor’s statement adds a high-profile personal account to September’s wider suicide-prevention conversation while preserving the focus of the message on people currently experiencing distress.

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If you or someone you know is struggling or in crisis, help is available. In the US, call or text 988 or chat at 988lifeline.org. In the UK, call 111 to reach the NHS mental health services, or call the Samaritans at 116 123.

Balegde, whose real name is Max Trobe, discussed the breakup in an emotional TikTok video posted on September 2. He said the couple had separated “around two weeks ago” and described the period since the breakup as “a really sad and tough time.”

The creator said he had made the decision to end the relationship for “personal reasons” that he did not want to discuss on the internet. He also said he did not want to elaborate out of respect for Spann.

“There’s so much love there. It’s not hate,” Balegde said in the video. He added that, when a person cannot get everything they need from a relationship, they may have to “face reality,” describing the situation as devastating.

A long public relationship

Balegde and Spann began dating in 2021 after matching on the dating app Hinge, according to reports. The pair celebrated their five-year anniversary in April, when Spann posted photographs from their relationship with the caption, “Half a decade of us, no biggie.” Balegde referred to the relationship as lasting five and a half years in his own account.

The couple had regularly appeared together in social-media content, and Spann also developed a public profile during their relationship. Their separation therefore became visible to followers before Balegde addressed it directly.

Reports about the breakup followed after Balegde and Spann unfollowed each other on Instagram. The Sun reported that the two still appeared on each other’s Instagram grids and had posted about each other during August, despite the change in their following status.

Balegde responds to Ibiza reports

At the time he spoke publicly, Balegde was in Ibiza with friends. Earlier reporting described the trip as taking place amid the breakup and said Balegde had been sharing videos from the island on Instagram.

Balegde disputed the impression that he had travelled to Ibiza simply to party after the separation. He said the holiday had been booked and paid for before the breakup.

He explained that Spann had moved in with his family, while Balegde’s own family were away and did not live nearby. Balegde said that, because friends who remained near him were unavailable and other friends were travelling to Ibiza, he decided to join them rather than remain alone.

“I’ve been going to the gym, I’ve been looking after myself,” Balegde said, adding that he had not been going out much or drinking heavily. He described the friends accompanying him as supportive and said their presence had helped him through the immediate aftermath.

Balegde also said he had been posting humorous TikToks as a way of coping with the breakup. He told viewers that he had never experienced a breakup like this before and did not yet know how to navigate it.

Public identity and representation

Balegde is a prominent British social-media creator who rose to fame during the 2020 lockdown for his comedic pop-culture commentary, dramatic storytelling, and viral TikTok videos. He has since parlayed his internet success into a mainstream media career, which included co-hosting the hit podcast The Useless Hotline alongside creator Beau King.

In his video, Balegde addressed the significance of having publicly represented a long-term same-sex relationship... He said that representation mattered to the LGBT community and that the visibility of his relationship had meant a great deal to his followers.

Balegde said he felt as though he was “failing” followers who valued that representation, while also saying he expected happiness in the future. He asked viewers to give him time while he processed the separation.

The available reports do not identify the specific personal reasons behind the breakup, and Balegde has expressly declined to discuss them publicly. Neither the reports reviewed for this article establishes allegations of misconduct by either person.

For now, Balegde has said his focus is on himself and his career. His public statement presents the separation as painful but not rooted in hatred, while leaving the private circumstances of the breakup undisclosed.

The Depth of the Villa Bromance

Bryce Alakai clarified that his connection with Zach Georgiou was a "bromance" that, while intense, was "blown out of proportion" by some interpretations . The friendship, which featured moments of cuddling, emotional conversations, and a viral "girth check," led some viewers to speculate about a romantic element between the two men .

Alakai recounted that their close bond began on the very first night in the villa, a challenging period for many Islanders . He explained that the unique, isolated environment of the Love Island villa, without phones or outside entertainment, fostered rapid trust and deep friendships among contestants . Alakai likened the camaraderie to that found in a sports locker room, where men engage in "crazy things" to elicit reactions from each other . He specifically recalled sharing a bed with Georgiou during the "Paradise Cove" twist, which further cemented their closeness and shared humor .

Addressing Homophobic Reactions

A significant part of the post-show discussion, as highlighted by Alakai, was the "homophobia in the response" from some viewers . He emphasized that many men can relate to the playful and close interactions seen among friends or sports teammates .

Trinity Tatum, Alakai’s partner, also spoke out against what she perceived as a double standard within the fandom . Tatum pointed out that "nobody said anything about the women-on-women kissing," yet the closeness between Bryce and Zach garnered significant, often negative, attention . She expressed that seeing men comfortable enough to joke around and be close while still being committed to their female partners should be viewed as "a breath of fresh air" . Initially, Tatum admitted she playfully felt like Zach was "taking my man," but ultimately found their friendship "so cute" and beneficial to the overall group dynamic, especially given her own close friendship with Zach's partner, Kayda Bosse .

Broader Context and Reality TV's Portrayal of Queerness

The discussion around Bryce and Zach's connection mirrors broader conversations about the representation of queer relationships on reality television. Love Island, particularly its USA iteration, primarily operates within a heterosexual coupling format . Frankie Grande, a gay alumnus of Big Brother, previously commented on the "bromance" between Zach and Bryce, drawing parallels to his own "showmance" with Zach Rance on Big Brother 16 . Grande expressed concern about the potential negative impact of public perception on the mental health of reality TV contestants when their relationships are intensely scrutinized, particularly in a way that implies or questions their sexual orientation without their explicit statements . He also voiced hope that if such connections were to be further explored or revealed, the individuals involved would not resort to homophobic sentiments .

While Love Island USA Season 8 concluded with Alakai and Tatum as the winning couple, the ongoing conversation surrounding Alakai and Georgiou's friendship underscores the evolving landscape of how platonic male intimacy is perceived and discussed in popular culture, particularly within the often hyper-sexualized context of reality dating shows .

“Third week in to weight training again,” Bautista wrote in the caption. “Two more months to get to where I need to be. Like ridin’ a bike!”

The approximately 40-second Instagram reel shows the actor displaying his muscular build and tattoos while continuing the training process required for the role.

Bautista’s post arrived shortly after Prime Video confirmed that he would take over as Kratos, the central character in the God of War television project.

A Change in the Lead Role

Bautista replaced actor Ryan Hurst, who had originally been cast as Kratos. Hurst reportedly suffered a torn biceps while performing a stunt during production.

According to reports, the injury required surgery and a recovery period that would have delayed the production schedule. Amazon MGM Studios and Sony Pictures Television therefore recast the role rather than wait for Hurst’s return.

IGN reported that Hurst’s recovery timeline was considered too long for the production, while Variety reported that restarting with Hurst could have pushed filming into 2027.

The casting change means scenes filmed with Hurst will need to be reshot with Bautista. Variety also reported that the series received a two-season order, with the seasons planned to film back-to-back.

The Physical Demands of Kratos

Kratos is the protagonist of the most recent God of War games, which shifted the character’s setting from ancient Greece to the Norse world. The television series is expected to draw on the two latest games and follow Kratos as he raises his son, Atreus, while confronting gods from the Norse pantheon.

The story described by Prime Video centers on Kratos and Atreus as they travel to spread the ashes of Faye, Atreus’s mother and Kratos’s wife. The journey is also framed as an attempt by Kratos to teach his son how to become a better god while Atreus challenges his father to become a better human being.

Bautista is a former professional wrestler and mixed martial artist who has played physically imposing characters in major film franchises. His previous roles include Drax the Destroyer in Marvel’s Guardians of the Galaxy and Avengers films.

His casting consequently connects the role with the muscular screen image he developed through professional wrestling and action-oriented film work. However, Bautista’s own caption makes clear that the physical preparation shown in the video is still underway rather than complete.

Production and Public Reaction

The training video drew attention because Bautista’s casting had prompted online discussion about how closely his current physique matched the appearance associated with Kratos. Gizmodo described the video as a direct response to criticism of Bautista’s body and reported that the actor used the post to demonstrate his current build.

That discussion has focused on the expectations placed on performers portraying established video-game characters, particularly characters whose visual identities are closely associated with strength and combat. The available reports document the online conversation and Bautista’s response, but they do not establish a final target weight, measurement or completed physical transformation.

Bautista’s post indicates that he expects to continue weight training for approximately two additional months. It does not provide a detailed workout plan, diet, body-weight goal or medical information about the preparation.

The project’s production circumstances add urgency to that timeline. With Hurst’s previously filmed material requiring replacement and the production seeking to continue its planned schedule, Bautista is preparing for the role while the series undergoes a significant recast.

What the Video Confirms — and What It Does Not

The footage confirms that Bautista has resumed weight training for the Kratos role and that he expects the process to continue for at least two more months.

It does not confirm when filming with Bautista will begin, the final appearance of Kratos in the series, or whether the actor will match the character’s exact video-game design. Those details have not been specified in the reports reviewed for this article.

For now, the clearest update is Bautista’s own: three weeks into training, he says he has two more months to reach the condition he wants for the role.

The film, directed by Simon Stone, dramatizes the final chapter of Charleson’s career, centring on his preparation for and performance as Hamlet at the National Theatre in London.

The recent attention follows an interview with Scott published by The Hollywood Reporter on August 31 and the British Film Institute’s announcement on September 1 of the 2026 London Film Festival’s Screen Talks programme, which will include Scott discussing his work, including Elsinore.

Charleson’s Hamlet

Charleson was a Scottish actor known internationally for playing Eric Liddell in the 1981 film Chariots of Fire.

He was also a gay actor working during the AIDS pandemic, a period when public discussion of HIV and AIDS was frequently shaped by stigma and discrimination.

In the film’s central story, Charleson prepares to play Hamlet while seriously ill with AIDS, confronting the physical demands of the role as his health deteriorates.

The National Theatre performance became Charleson’s final stage role, and he died in January 1990 at the age of 40 from AIDS-related illness.

The title Elsinore refers to the Danish setting of Shakespeare’s *Hamlet*, while the film itself focuses on the real-life circumstances surrounding Charleson’s late-career performance.

Scott’s approach to the role

Scott is an openly gay actor who plays Charleson, an openly gay actor whose sexuality and illness form part of the historical context of the story.

Speaking to The Hollywood Reporter, Scott said Charleson’s decision to perform Hamlet while facing a terminal illness remained “completely mind-blowing” to him.

Scott also connected Hamlet’s famous question—“to be or not to be”—with Charleson’s circumstances, while distinguishing the character’s existential dilemma from the actor’s real-life medical condition.

The production marks Scott’s first credited producing role, in addition to his lead performance.

Olivia Colman co-stars as Charleson’s doctor, and the ensemble also includes Billie Piper, Johnny Flynn, Luke Thompson, Joe Locke, Juliet Stevenson and Peter Mullan.

The screenplay was written by Stephen Beresford, whose previous work includes Pride, and Stone directs the project.

Festival premiere and release plans

Elsinore will open the 70th BFI London Film Festival on October 7, 2026, with its European premiere at the Southbank Centre’s Royal Festival Hall.

The festival will run from October 7 through October 18 and will present a programme of 251 titles from 88 countries.

The BFI said cast members are expected to attend the opening-night event, although the available announcement does not specify which members will appear.

Scott is also scheduled to take part in a BFI Screen Talk examining his career and his performance as Charleson in Elsinore.

The film is scheduled to receive its North American release in select United States theatres on November 20, 2026, through Focus Features.

STUDIOCANAL is scheduled to release the film in UK cinemas on January 29, 2027.

The film is also set to appear at the 2026 Toronto International Film Festival, where Scott is scheduled to participate in an on-stage conversation about his career and the new film.

A story shaped by queer history

The project places a gay actor at the centre of a major historical drama without separating his professional achievements from the conditions under which he worked.

Charleson’s story is situated in the history of the AIDS crisis, when many people living with HIV or AIDS faced widespread fear, misinformation and social prejudice.

By focusing on Charleson’s work on Hamlet, Elsinore links a canonical theatrical role with the lived experience of a gay performer whose illness was not publicly known to everyone around him at the time.

The film’s release arrives as contemporary audiences continue to reassess the contributions of LGBTQ+ artists whose careers unfolded during the AIDS crisis.

Its festival rollout will therefore give audiences in Toronto and London an early opportunity to encounter Scott’s interpretation of Charleson before the film reaches cinemas more widely.