Lanterns finale: Kyle Chandler and Aaron Pierre talk about that twist

I am delighted to be here today with Kyle Chandler, who plays Hal Jordan, and Aaron Pierre, who plays John Stewart. Guys, congrats on an awesome finale and an awesome season.

I want to open with a question that's for both, and it's about Lanterns being a love story, which is what it wound up being, you know, at the end of the day, in a really deeply moving and affirming way. By the time we hear Hal and John say, I love you in the finale, the season has taught them and us as viewers alike that you can't make progress together if you're not doing the work individually, but also that you can't truly better yourself as a person individually without opening yourself up to other people and seeking help from other people. So I'm curious if that felt true to both of you in a meta-sense as way as performers, both with each other and with the other sterling members of this cast and this ensemble.

Aaron: I think this isn't a simple question to answer. I think it's, or rather, it's a simple question to answer, but there are, it's multifaceted in its, in its answer. And I think, I think perhaps more broadly first, before I speak about Kyle and I's dynamic, I think what this show does, in my opinion, subjectively, so beautifully is it highlights us as a global community.

And it does so in a way that doesn't feel like a lecture. It doesn't feel like you're being, uh, imposed upon. Um, I think what it highlights is that our, our differences and our nuances need not be a point of contention.

They can be a point of education. They can be a point of insight. They can be a point of connectivity, connective tissue.

I think the show does that in a way that isn't didactic. And I think so far as it relates to Kylan and I's dynamic specifically, that's true as well in the, in the more micro sense. You know, that, that first one is more macro, how the season engages with that.

But I think, uh, in a more micro sense with Kylan and I, you know, Kylan and I couldn't be any more different, you know, it's, it's, they, they, they, they literally, and I think they did that intentionally, you know, they, you know, Kyle and I are from two different places in the world. We have two very different upbringings, two very different, uh, journeys. But that is, but what Kyle and I discovered instantly, but also, of course, on a much more deeper level throughout the six months that we were filming is that we have far more in common than anything else.

And anything else was just a point of excitement, you know, teach me about that. I want to learn about that. What was that like for you? How did that, how did that formulate your perspective on this, that, and the third? Um, we wanted to learn about each other.

We wanted to learn about, uh, each other's respective parts and learn that actually, again, there's far more connective tissue than anything else. Um, and as it related to the performances, I think, I think that was just imperative. I think it was critical because you know, this shoot was 116 days or something like that. These are 12, 14, maybe plus 14 plus hour days. You know, these are not short days. Yes.

The entire experience was joyful and beautiful, but, um, it required, it required a lot of focus because of the intensity of it. And, um, you know, we, we, we, we needed to be able to be vulnerable with each other. We needed to be able to be completely open and honest very quickly because one of the pillars of this show is our dynamic and our, uh, connection as characters and actors.

And if that fell flat or if that fell short, we were going to be in a lot of trouble. And I think um, you know, I think a credit to Kyle and, and, and, um, and, and both of us actually for being open to just being so exposed and vulnerable very early on to be able to access whatever we needed to for these characters within the context of the story. And, and also, you know, just the icing on the cake was just that we, we genuinely sincerely developed a friendship and a closeness, um, and a brotherhood that is not, it's not a given in these situations.

Um, you know, there are, there are times where that doesn't happen and you still have to get the work done and you will get the work done because you're a professional, but whenever you're gifted with what we were gifted with, which was a genuine connection and friendship, I mean, it's just heaven. And I think the reason I'm sort of going on and on on this first question  is because I think I'm feeling quite emotional, to be honest with you, because seeing this release episodically, I've sort of been reliving it with the audiences and that eighth episode coming out, eighth and final episode coming out yesterday, just, just, I don't know, it just, I just sort of relived it. And, um, I don't know, I've said it a thousand times and I'll say it a thousand times more, everybody, every single person who had a hand in this show and every single department, like, you know, from, from the crafty to catering, transport, wardrobe, lighting, sound, every single, every single department, everyone gave everything. And we really were, we really were like a football team. We really were like a travelling company. And it, I think it, it demanded so much of every single department for that six months that we left, we left that first season being like, respectfully, what we, we actually, no matter what happens after this, we are so deeply proud of ourselves and our commitment to this project.

And we love it. And, uh, and, uh, just rewatching that, I just thought about, I just thought about so many people that we work with on this project. I just hope they're proud. I hope they're feeling like, yeah, we, I can't swear on this. I hope we did that. You know, I like that we did that, you know, I hope everyone's feeling proud and feeling a sense of real accomplishment because yes, yes, Kyle and I are, you know, our faces are in the world as it relates to lightings, but there is a, there is a village behind us and without that village, we, we couldn't have achieved a fraction of what we did.

So just, I don't know. I don't know if I'm even answering your question anymore, but for me, it's just like, it's just like, just shout out to the Lanterns team.  I just hope they hope that, I hope they feel accomplishment.

Kyle: I don't think I need to add anything. I think he said it pretty damn well.

And yeah, we were, I guess I'll say two things. We were fortunate as two, two actors to come upon the material that, that we didn't have to do much to elevate. And the material was really well-crafted.

I mean, it was just a joy to do, literally. And the other thing is, after watching it this morning, there's something I, there's something that really struck me is the, is the, the last scene with Aaron and I in the show, because it, it is like, you know, when you win the state championship, your tears come to your eye because all the work that you put in slams into you at one moment, um, on the field. And, uh, and it happened to me this morning, watching it, uh, saying goodbye to him and the, and the whole thing.

And it, all of it, all of it really did compacted just a little shooting star. And, uh, and I did have to generally wipe away a tear. So my wife didn't make fun of me, but, um, it was like saying goodbye to a lot of old friends and a lot of great memories and a lot of experiences, uh, you know, temporarily until I think about them again.

And the other thing is just real quick, um, the father son aspect of this show, I think is for me, I lost my pop when I was 14 and it's just incredible. And, um, you know, uh, Hal had that going on with, uh, you know, with, uh, with John, that, that father son relationship, um, it, it, it became apparent while we were shooting it. And, um, uh, that, that wisdom and being able to give back a little bit and, uh, and yeah, so that love story is, he won my heart over in the end.

I was able to, to do what my father would have done for me. 

The relationship that each version of Hal forms with John and the, how the past informs the present and the future. Um, you know, our primary Hal and the hologram are ultimately both elemental to the events of the season and the conclusion of the season.

And the hologram is still snarky, still dubious, but he's, you know, he's less cynical. He's less jaded. He's better able to open up, to offer praise, to offer affirmation. Of course we also, you know, we get to see our primary Hal in both the 2016 timeline and the 2026 timeline where across in 2026, just mere moments of screen time, we watch him experience a romance, a revelation, a tragedy. We also get to briefly see you embody him earlier in his, his, uh, tenure as Green Lantern Youth or newsreel, etc. So how rewarding was that for you creatively to get to portray that many different versions of Hal across just eight episodes of a season when for many actors, you would, you would just hope and dream to get to access that over years and years and years of, of a show.

Kyle: I'm sorry. I think you were on mute.

No, I'm just kidding. Um, uh, my, uh, I'll, I'll give, I'll give, I'll give an example. I think that'll sum up all of what you said, if I can.And that is in the final scene today, when I'm watching, uh, when I'm watching Hal, a hologram, um, and, uh, look at, at that point, I think it is, it's, it's, it's, it's Hal as a young man going through all those experiences and then finally learning in the end what it's all about. He could never pluck that string as Hal in the show, but as hologram, he learned with Hal and he could pluck the string.

That's how I sort of look at it. Like the two of them were never fully separated. He is his subconscious. So there's a lot to play with there, but when, and this goes, this goes to the writers and that, that's another reason why this all was seamlessly, because the trust that goes into the material, you don't have to think too hard on it. You trust the writing and it worked in this case every time. And so when, you know, here's what the writers do to make this all work for the actors in such a great way.

When Hal says, what was the last thing that Carrie said to me? And of course, you know, uh, you know what John says and then, then Hal says, I love you too. I mean, that just sums up, that sums up Hal. It sums up the twos, if you will, whole meshing together, mixing the two together.

When you were talking earlier about, about like the, the values and the moral compasses of the show, if you will, um, the goodness in the show, the doing the right thing in the show, it could get very, uh, it could get very over the top, but they never allowed it to, they just never allowed it to, but there are a lot of good things to be said in the show, uh, for, there are a lot of good things to be said in the show that I think are, if I may, relevant to today. Um, so there you go. I, uh, I love it.

Aaron, I wanted to ask you - this season, it delves into so many deeply internal and emotional elements as we've been talking about, you know, from what we fear to, to how we're raised to whether we're defined by, uh, other people or, or by our own intentions. And it's a story about choice and consequence and inherited trauma and missteps and second chances. And of course, as we hear so memorably at the end about not being afraid to be afraid.

Sometimes the need to really spotlight a hero's, uh, strength and mightiness can mean suppressing the elements that might play more tenderly that might unlock some of the stuff that we've been talking about and lanterns just really defies that impulse. And John's journey, then to becoming earth screen lantern is ultimately as much about his ability to grant forgiveness to others and to ask himself what he needs in order to live his life truthfully and fully as it is about his ability to solve a case, right.

Or, or fight an enemy. So John, in other words, is a hero who, who shows us that strength can come in the form of a tear or a hug or a quiet conversation is just as well as it can come from firing a bullseye shot. What kind of gift is that for you as an actor, that nuance and that complexity in the character and what did it mean to you to get to bring not just such a fully realised person, but hero to the screen?

I, um, I think this was, I think, I think to, to call this opportunity to portray John Stewart, a gift, um, would be a massive understatement. Um, I said before, and you know, I'm going to repeat it now that if I had the choice today in the future or anytime in the past, you know, to portray any superhero, I would always choose John Stewart and season one of lanterns, uh, among other reasons, but speaking specifically about this season and how, you know, the, you know, Chris and Damon and Tom and all of the other creatives moulded this and put it together is one of the key foundation reasons. And it's because John, John was not born with superpowers.

You know, he is, he is just like any of us, you know? And I think that that is, but yet he is so mighty. And I think that is what, that is what appealed to me so much. The, the, the, and appeals to me is the, the, the constant opportunity in portraying him to excavate his humanity, to explore his humanity, to explore his flaws, to explore his shortcomings, to explore his learning moments.

That's what is so exciting to me. That's what energises me. And I think that's also what makes audiences resonate with him.

And in fact, I think resonate with the entire, you know, the entire Lambton course so far as it relates to John and Hal and Guy, you know? And, and, and, and I think I mentioned just those three episodes are the three we see in, in, in the context of this series. And I think one of my hopes from the very beginning that when I first got the opportunity to, to read, you know, the pilot, I was like, I really hope that folks watch this at home and they, and that they're so excited by it that they, they kind of almost are like, if I can just, if I can just figure out where to get my own application and maybe I can be a Lambton as well, maybe I can be part of the Green Lantern Corps. I think that's what it's, that's what it's about for me.

You know, I think, you know, what, what the writer's room did in, in, in moulding this season was, I mean, again, subjectively and maybe unbiased, you know, what I am, but I think, I think what those folks did was amazing. You know, like, I really think they just moulded this beautiful, beautiful first season, you know, episodes one to four, you know, we set the stage and episodes five to eight, it's like the game really begins, you know? And one of the, one of the greatest challenges for me actually was, and I wonder if I've still got my notes somewhere of how I was breaking this down, but was, Jon Stewart really appears from episode five through to eight. That's, that's John Stewart.

Episodes one to four, yes, he's technically John Stewart, but you had to figure out who the man was before he became the man. You know, Jon Stewart in five to eight is who we're gonna, who we're going to over the years become familiar with and connected with. That's, that's our John Stewart. That's, you know, whether that's in the DC cinematic universe or whatever it is, but I was like, who, who is the, who is the, who is the boy before he becomes the man? I had to sort of reverse engineering and that was really challenging as, as a task because everything in me when I'm reading episodes one to four, you know, as a Jon Stewart fan myself, I'm going, ah, Jon wouldn't have that. I'm like, I don't think, I don't think Jon would let that slide. I had to remember that, that, that's, that's the boy. That's not, that's not, that's not the man yet. Yeah. Yeah.

And I had to, and I had to really lean into that truth and that reality. Episodes one to four, he's, yes, he's had a wealth of experience within the context of life and, you know, the Marines and, you know, being an elite Marine sniper, of course, you know, but in terms of understanding what it is to be a hero, in terms of understanding what it is to be in the business of saving lives on the scale of being in the Green Lantern Corps, he's, he's green, no pun intended. You know what I mean? He's, he's green.

I think that, that was, that was really challenging, but also really rewarding because when episode five comes along, I felt like Jon had earned those moments, you know, and, and beyond, I felt like he had earned those moments of, of confidence. Those moments of being sure, assertive, being able to take educated risks, you know? So I think that, that it was just the really, it was just a massive gift for them to allow me to do that. And it was really fun.

Now that you've seen where Hal and Jon end up in the finale, is there an earlier scene, either between them or any scene that carries a different meaning for you? And what do you hope viewers notice about it on a rewatch? So basically, you know, the version of what you're saying, Aaron, about the, you know, the different places that we find these characters across the episodes and thus their life.

When, when fans of the show and viewers return to Lanterns now with the full context and clarity of where these characters wound up, which scene or moment are you hoping stands out to them in a new light? Is there something that pops to mind? 

Aaron: I think, I think that's a, that's a, that's a fantastic question. I think the first thing I want to say is I'm really excited that people are even considering rewatching it because that's something we found when we, when we got to the end, we were like, I hope people will rewatch this. And I hope they see things that they didn't see before because they now have the full context.

But I think, I think for me, it's, um, one of the things I hope that people, uh, catch about Jon Stewart in one to four is, is this, it's, uh, I think just the, the, the very, the, is the conception of, of him, of him understanding how much he has to learn. I think that's what people, I hope people catch, you know, the conception of that, but him, but again, as it relates to the series and, and fear and all of this stuff, that is Jon's superpower. Jon's superpower, in my opinion, subjectively is not being fearless.

It's the ability to acknowledge, acknowledge fear and overcoming. And I think, I hope what people catch is in one to four, he sort of quietly, quite stoically accepts the fact, maybe he doesn't articulate it to half, but he's like, yeah, I'm not ready for the job yet. But he, but he leans into it so heavily.

He doesn't lean away from it. He doesn't lean away from it with arrogance or with this delusion. He leans into it and actively searches for ways to become everything he knows he can become.

If he just makes himself the student that absorbs versus, uh, deflecting when he doesn't know something. 

Kyle, how about you? 

I don't know what episode it was, but when Jon and I are travelling in the car and we have this long conversation, I think it's the second time I jump out of the car. Yeah. Do you know what I'm talking about? Oh yeah, sure. Yeah. Aaron, remember that night when we had to reshoot because of the lighting on the side of the mound of the wall and the dirt berm next to us and all, remember that long, all that driving? I do, I do, yeah.

Well, maybe you'll recall which episode exactly this is. It's episode four, episode four. Okay.

Yeah. So, um, this was a really, uh, it was a great, really great honest moment for me. That was very exciting to play.

There was none of the wonderful humour I got to do and the, this and that. It was just straight up real question, a real statement. When I said to him, I said, I really did trust you.

And that moment for me was like, uh, that was, there was a different moment in the show because I, I tried, I made it very real. I really did trust him. And, uh, that was kind of a great moment for me to fall back into, you know, it gave me a restart if you will.

That was a, that was a really, really, that was a great moment. I really liked that moment. And of course I liked the moment that it comes in the very end of the show, but when I, when I trick him into saying, I love you, I think that was just, I thought that was just brilliant, uh, that they wrote that for me.

Ah, yeah. That, that car ride is, is fantastic. That's a great pick for what plays on a rewatch because like you see where they end up and you see that the seeds of a genuine desire to connect actually were there, even though things went, went so wrong.

Aaron: You know, something funny about that is, um, that, that night was a long night that we did that scene. And just like, I mean, fun fact, maybe no one cares, but fun fact anyway, um, that night was really long and it was so long that eventually Kyle and I decided to just hang out in my trailer together. And, um, we just started watching, um, clips from the original Oliver Twist.

And so like, and like, despite how heavy that scene is, just know that we were watching musicals, that whole, that whole night shoot. 

Kyle: That's true. He had me, he had me humming a particular song from that, that damn show.It lasted for weeks, I think.

The show has so many plot twists all through the season. How much did you both know in advance and how much did you learn with every new script? Which twist surprised you the most? 

Kyle: I can't pick a twist that surprised me the most. I gotta be, I'll have to be really quite honest. It's been a year and some since we shot that and I just watched the final episode today and, and I was trying to catch up with all the twists and turns. There was a lot going on. Um, but, uh, um, uh, yeah, I think, I think once you found out the main question of, you know, how did, uh, how did Hal end up with a bullet in his head? That was, that was under everyone's, uh, uh, uh, microscope. So that was a big one, obviously. But I do want to say too, though, one thing I've not said during any of these interviews or these two that we've done, um, I want to say just a shout out and I'll speak for Aaron on this, but all the other actors, all the other actors and Kelly, Kelly was so good.

Big Girls Don't Cry: Q&A with Ani Palmer, Beatrix Rain Wolfe

New Zealand coming-of-age film Big Girls Don't Cry releases on Thursday October 8 following its successful premiere at the 2026 New Zealand International Film Festival.

Actor Beatrix Rain Wolfe and lead actor Ani Palmer, who plays Sid, spent some time reflecting on their roles, their characters and the filming experience.

Beatrix Rain Wolfe:

Tell us about your character Lana

Lana is an adventurous soul who undeniably gets caught up in validation from others. I believe a lot of this stems from insecurity within herself — something I myself have related to, and I think, in some form, most of us have too. She definitely enjoys portraying that effortless ‘cool girl’ image, which she executes pretty well alongside her other half, Stevie (Sophia Kirkwood-Smith).

There’s a really interesting contrast within Lana because, on the surface, she can seem incredibly sure of herself, almost untouchable at times, but underneath that there is still this search for reassurance, belonging and identity. I think that contradiction is what made her so much fun to play. She can be bold, intimidating, hilarious and completely carefree, but there are little moments where you begin to understand there’s more going on underneath. I loved being able to explore those different layers of her rather than viewing her as simply one thing.

What was it about this role that spoke to you?

I remember the day I read the audition script for Lana. I was instantaneously struck with curiosity and immediately began exploring who she might be beyond the few pages I had in front of me. What spoke to me most about Lana was how confident and sure of herself she liked to seem.

Throughout my teens, I remember always being on the hunt for movies and TV shows that gave me some sense of relatability or curiosity around teen-hood. When I eventually read the entire script, I felt this huge wave of nostalgia for that time in my own life. I myself have been on the receiving end of not-so-kind-seeming girls throughout school, alongside experiencing that constant searching and longing for security in my own identity, which felt almost perpendicular to Lana. There were parts of her I recognised and other parts I wanted to understand.

I think that was what drew me in so much. Rather than immediately judging her, I wanted to know why she behaved the way she did, what she was protecting and what mattered to her. I knew she would be such a fun role to explore because there was this really exciting balance of confidence, humour, insecurity and chaos within her. I remember a few months prior to filming we worked through the script with Paloma, and she gave us an activity to write a Diary entry of who each of our characters are. I would say that embedded this clear image of Lana, who was a dream and she came true.

What was the filming of this like? Can you share any memorable anecdotes at all?

Filming Big Girls Don’t Cry was truly so special to me. I remember walking into the final round of auditions — the third audition — and there were so many talents going for the roles of Lana and Stevie. It was rather overwhelming, but awesome at the same time.

I remember locking eyes with Sophia, who plays Stevie, almost instantly, and we just clicked so well. Meeting her definitely eased the nerves a little bit before we went into our audition with Paloma. There was a scene we had together where Paloma suggested that we improvise completely, and we just had the time of our lives with it. It honestly felt like we had known one another for far longer than we actually had.

I remember walking out of the audition pretty certain I hadn’t been gifted the role of Lana. However, I was over the moon that, no matter what happened, I could walk away having met what already felt like a new lifelong friend. A wee while later, I received a phone call from Sophia saying, “I GOT IT!” and I was absolutely thrilled for her. Sure enough, about half an hour later, I was given the news of a lifetime — I got to play the one and only Lana Crawford alongside my new friend Sophia. What were the chances, right?

The filming itself was such a special time and completely new territory for me. Meeting the entire cast and crew was so exciting. I remember walking onto set and slowly learning how everything worked — all the moving pieces behind creating something that, eventually, an audience will only see as one seamless world.

There were so many laughs, so much patience and, most importantly, we built this little family out of all of those moments together. It was also crazy cold at times, despite the fact that we were often supposed to look like we were living through the middle of summer, which made for some very funny moments between takes. I think that mixture of excitement, chaos, cold weather, long days and constantly laughing together is something I’ll always remember so fondly.

What was the moment that you found hardest to film and why? And what was the best and why?

I wouldn’t say there was one particularly difficult moment, but the scenes I worked on with Ani were probably some of the hardest emotionally. We would hug before and after scenes before stepping into character because sometimes it was genuinely difficult having to say certain things to her face and those eyes. You become so fond of the people you’re working with, so then having to switch into a completely different dynamic once the camera starts rolling can feel quite surreal.

In a strange way, though, those scenes were also some of the most rewarding because they reminded me that what Lana says or does isn’t necessarily a reflection of who I am. I had to trust the character and allow myself to be uncomfortable when the story required it.

As for the best moments, I would probably say all of the laughter surrounding filming. There were moments where it genuinely felt as though we were living inside a movie. I especially remember filming in the rain or freezing cold and all of us collectively pretending that the weather was gorgeous, that it was the middle of summer and that the pool was most definitely heated.

Those little moments felt so ridiculous and magical at the same time. Helping bring what felt like my dream teen-hood film to reality was truly so special, particularly because I had spent so much of my own teenage years searching for stories that made that period of life feel seen.

What was the best piece of advice you got from Paloma, your director?

The best piece of advice Paloma gave me would probably have to be something along the lines of, “Just have fun, girly.” It sounds so simple, but I think that was genuinely one of the greatest things she could have said to me, especially as this was my first experience working in film.

Her approach to improvisation also taught me so much. From the very first audition I had with Paloma, improvisation was always part of the picture. It was incredibly unique having such an open-minded and freeing first experience in film because I never felt as though there was only one ‘correct’ way of performing a scene.

Between takes, Paloma would often plant the seed of an idea — something like, “Hey, try this as an idea, but make it your own” — and suddenly the scene would feel completely fresh again. She created this environment where experimentation wasn’t something to be scared of; it was encouraged.

That was exhilarating for me. It taught me to trust my instincts more and not become too rigid with a performance. Sometimes the most natural or unexpected moments came out of simply allowing myself to play around and have fun with it.

What was the moment when you thought you had a perfect handle on Lana and her character?

I don’t think I can say there was one particular moment where I suddenly felt Lana come to life, because for me it felt like the Lana I walked into the audition room with just kept flourishing from there. My familiarity with her as a character was constantly evolving as more pieces of her world began to fall into place.

Every new element would bring another little flicker of Lana to life. I remember every time I walked into costume design with the one and only Miss Karen Inderbitzen-Waller, I would begin seeing more and more of her (Thanks Queen). Clothes can say so much about somebody before they’ve even opened their mouth, and suddenly seeing what Lana might choose to wear, how she presented herself and the image she wanted to create helped me understand her even further.

And then, of course, whenever I was with my Stevie — Sophia Kirkwood-Smith — another side of Lana naturally appeared. So much of Lana exists in that friendship and in who she becomes around Stevie. I think rather than one defining moment, it was all those pieces gradually coming together: the script, costume, improvisation, friendships and being on set. She just kept becoming clearer and clearer to me.

What's your most awkward memory growing up? And how much do you relate to the friendships and relationships which are a big part of all of this?

I think my most awkward memory growing up was honestly just feeling awkward a lot of the time. That sounds vague, but I think there’s something very specific about being a teenager and constantly being hyper-aware of yourself — how you look, how you sound, whether you’re saying the right thing, whether people like you and where exactly you’re supposed to fit. I remember easily feeling embarrassed and my cheeks went as bright as cherry tomatoes and then someone would point it out and they then turned into heirloom tomatoes :)

I relate to the friendships and relationships explored in Big Girls Don’t Cry a fair amount because being a teenage girl can be incredibly challenging, right? And I don’t think the messy parts of it are talked about enough. Some of the toughest moments of my life came from that timeframe, and while you’re living through it, everything feels enormous. Your friendships feel like your entire world, rejection can feel completely devastating, and you’re constantly learning who you are through the people surrounding you.

Then suddenly you’re an adult and that period has passed, but you still carry so much of it with you. I’ve felt like Sid before. I’ve known a few Lanas and definitely encountered a few Omaha boys. That familiarity was such a big part of what made filming special for me. I also loved that we were bringing a recognisably Kiwi, Aotearoa reality to life. There is a particular way of growing up here — the humour, the friendships, the parties, the language and the way people interact — and it’s really awesome seeing that represented on camera without it feeling like it has been translated into somebody else’s version of teenage life.

What's next for you?

What’s next for me? I’ve recently come to terms with the fact that I don’t feel any rush to get through experiences or immediately know exactly what I want to do with my life. I think slowly figuring life out is actually teaching me far more about who I am as a person than having everything mapped out ever could.

I want to see things. I want to travel, learn, create, meet people and experience as much as I possibly can. I want to keep following opportunities that excite me rather than feeling like I have to choose one path and have the rest of my life completely figured out already.

Acting has opened up this whole new world for me that I’m incredibly excited to continue exploring, but more than anything I want to keep allowing myself to be curious. I want to thrive, make things, experience different places and keep finding out what I’m capable of.

Of course, I’m dreaming of a second Big Girls Don’t Cry. I don’t think I’m quite ready to say goodbye to Lana Crawford just yet.And one big shout out to the most awesome director I think anyone could ask for, Paloma, you are sensational ! Thank you!

Ani Palmer:

Tell us about your character Sid

Sid is a 14 year old small-town girl from New Zealand  who grows bored and restless during her summer school holidays. She idolizes girls who she thinks are cool and beautiful, trying on different personalities as she desperately wants to be accepted and liked by the people she admires. She is determined, brave, a bit of a weirdo, and really just wants to be loved and accepted in this ‘transitional’ phase in her life. What I love best about Sid is that she is so specific yet so vague, allowing the audience to see themselves through her despite having different upbringings.

What was it about this role that spoke to you?

The first thing that jumped out to me when I got the audition script was actually the name Sid - which is a nickname that I used to call my younger sister. The Character reminded me a lot of her (as well as heavily relating to the Character myself), which immediately made me feel protective of Sid, like I wanted to do this character justice. I think that right from the beginning I could tell that this was a very soulful story, and I especially connected to Sid's desperation and longing to be seen and loved. I'm so grateful to have been trusted with bringing Sid's story to life.

What was the filming of this like? Can you share any memorable anecdotes at all?

I was lucky to be working with the most amazing cast and crew (predominantly women) who were all incredibly passionate and made me feel so safe and supported throughout the process. I made so many memories that will stick with me forever, of which I could go on about forever. An example that jumps to mind is a game I started playing with my co-star Rain Spencer - where the goal was to see how many words that sounded like ‘Paloma’ that we could call our director without her noticing. I think I lost at ‘melanoma’.

What was the moment that you found hardest to film and why? And what was the best and why?

The scene that I dreaded the most right from first reading the script was the final hug scene with the dad. I've never been much of a cryer and I was really nervous that I wouldn't be able to pull off what is arguably the most impactful scene in the film. Thankfully I had a lot of support and guidance to help me reach that emotional space and I think it turned out pretty alright! But honestly the hardest scenes were often the least expected. For example my least favourite scene to shoot was the jeep scene on the beach, where I was freezing my butt off in the rain with soggy sand spraying into my eyes and mouth all while trying to act like I was having the time of my life.

You act opposite Noah Taylor as your dad - he's been around for a bit, what was the best piece of advice you got from him?

While I can't think of any specific advice that Noah gave me, he was always such a guiding light. He really looked after me especially during the bigger emotional scenes, and he always made sure I got the space and support that I needed to build that emotional intensity all while making me feel very safe and cared for.

What was the moment when you thought you had a perfect handle on Sid and her character?

I was so lucky to have Paloma who guided me a lot throughout the process of creating Sid. We had a pretty extensive rehearsal process where instead of rehearsing scenes we spent a lot of time journaling, researching the 2000s and improvising/creating memories. But I feel like I always had a pretty clear picture of Sid in my head from the start or auditioning, and I don’t think there was ever an ‘aha!’ moment - I would say I even continued to discover new things about Sid throughout filming.

What's your most awkward memory growing up? And how much do you relate to Sid's being stuck in the middle of all of this?

It’s weird because obviously I have the universal teenage experiences of embarrassing myself, but for some reason it’s always been the most small/random things that stick in my mind. Like for example I remember in primary school when I accidentally got on the wrong school bus, and the feeling of everyone’s eyes on me has always haunted me even though it’s such a nothing burger. But there is so much of Sid’s situation that I can relate to. I relate to her desperation and longing to be accepted, I relate to that small-town boredom that comes with summer breaks and the desire to make something interesting happen. I relate to her confusion and her awkward attempts to appear ‘cooler’ than she is, even though she is incredibly cool just she is. The list could go on and on.

What's next for you?

Well one of the most amazing things to come out of this experience has been the opportunity to discover new places and meet new people. I fell in love with acting while working on this film and would absolutely love to be in more films, but I think my favourite part has been having lots of interesting experiences and meeting likeminded creatives. So really I would love to just do more things and experience all the sensations of life while continuing to meet people who help me grow.

Octopath Traveler I & II | Out Now for Switch 2

OCTOPATH TRAVELER AND OCTOPATH TRAVELER II NOW AVAILABLE ON NINTENDO SWITCH 2

 

Experience the Acclaimed HD-2D RPG Adventures at Home or On the Go

 

SQUARE ENIX’s beloved RPG OCTOPATH TRAVELER and its sequel OCTOPATH TRAVELER II are now available to play on Nintendo Switch^™ 2. Players can experience two acclaimed HD-2D RPG adventures with improved resolution and frame rates optimized for Nintendo’s latest console.

 

The OCTOPATH TRAVELER series has captivated players around the world with its distinctive HD-2D visual style, strategic turn-based combat and stories centered around a diverse cast of travelers, each with their own unique journeys and stories. Since the series first debuted on Nintendo Switch in 2018, OCTOPATH TRAVELER and OCTOPATH TRAVELER II have shipped and sold more than 7 million copies worldwide, inviting players to explore richly detailed worlds where every adventure can unfold in its own way.

 

About OCTOPATH TRAVELER

In OCTOPATH TRAVELER, players will set forth on an epic adventure through the enchanting yet perilous continent of Orsterra, stretching across vast landscapes, from lush forests to desert outposts and snow-swept cathedrals. Featuring eight distinct characters each with their own tales to enjoy, ranging from journeys of self-discovery to quests for revenge, each traveler will start their journey in a different land so players can steer their own journey depending on whom they choose.

 

OCTOPATH TRAVELER brings to life the game’s unique HD-2D visuals, blending striking 2D character designs with beautiful 3D world elements.

 

About OCTOPATH TRAVELER II

OCTOPATH TRAVELER II introduces players to the world of Solistia, where eight travelers with unique storylines and motivations must navigate treacherous lands, conquer enemies in strategic turn-based battles and navigate the perils and promise of a new industrial era.

 

OCTOPATH TRAVELER II tells an epic story set in a new world independent from the original title. Players will be introduced to eight original characters and experience new features and gameplay elements. OCTOPATH TRAVELER II preserves the charm of the original game by improving upon the series’ iconic HD-2D visuals, which feature a striking blend of retro 2D characters in a beautiful 3D world.

 

Additionally, on Oct. 8, OCTOPATH TRAVELER and OCTOPATH TRAVELER II will be released on the GOG store for the first time. From 12 a.m. PT on Oct. 8 until midnight on Oct. 18, both titles will be offered at a discounted price:

 

• OCTOPATH TRAVELER – 70% OFF
• OCTOPATH TRAVELER II – 60% OFF

 

OCTOPATH TRAVELER and OCTOPATH TRAVELER II are now available as individual games on Nintendo Switch 2 alongside previous releases for Nintendo Switch^™, PlayStation^®5, PlayStation^®4, XBOX Series X|S, XBOX One and PC. For more information, visit https://square-enix-games.com.

The Lord of the Rings: War in the North - Legacy Edition announced for modern consoles

It’s Time for War! Limited Run Games Brings Action Role-Playing Classic The Lord of the Rings: War in the North™ - Legacy Edition to Modern Consoles

 

Shipping in Standard and Deluxe Edition, Loaded with Collectible Treasure From

Middle-earth: Pre-Orders Open Now!

Limited Run Games, a premium publisher of physical video games, announced today that action role-playing classic, The Lord of the Rings: War in the North™ - Legacy Edition is coming to PlayStation® 5™, Nintendo® Switch™2 and XBOX, via physical Standard and Deluxe Editions! 

 

Pre-orders are open today and extend until December 13, 2026, so if you or your Fellowship is yearning for adventure, you’re advised to pre-order today! 

 

Originally developed by Snowblind Studios, and then by Aspyr for the Legacy Edition, The Lord of the Rings: War in the North™ – Legacy Edition was first released in 2011 and fast became a fan favorite thanks to its action packed third-person gameplay, mixed with a compellingly authentic storyline and deeply engrossing RPG elements.

 

Play solo or team up with a friend online or via split-screen co-op as you battle for the survival of your Fellowship. All of Middle-earth depends on your uniquely skilled heroes working together. Fight together, or die alone!

 

The Lord of the Rings: War in the North™ - Legacy Edition delves into the brutal, untold story of Agandaûr, a Black Númenórean and servant of Sauron who has rallied an immense force in the ruins of Fornost. While Frodo and Samwise embark on their journey to Mount Doom, a new Fellowship must rise and defend the North. Let this be the hour when we draw swords together!

 

Seamlessly hot swap between three uniquely skilled characters:

 

• Eradan: Dúnedain Ranger – Stealth and precision with bows and swords

• Andriel: Elven Loremaster – Magical support with healing and area-of-effect spells

• Farin: Dwarven Champion – Tank-like durability and devastating melee attacks

 

Featuring deep RPG progression, gamers can customize their hero with unique skills, abilities, and gear, as they collect powerful weapons and armor to shape their individual playstyle.

 

A darker, grittier take on Middle-earth, in The Lord of the Rings: War in the North™ - Legacy Edition, gamers will witness first-hand the brutal reality of war with mature storytelling, blood-soaked battlefields, and the desperate fight to defend the North against Sauron’s advancing armies.

 

The Lord of the Rings: War in the North™ - Legacy Edition will be shipping physically via Standard and Deluxe editions of the game. Included in each edition is as follows:

 

The Lord of the Rings: War in the North™ - Legacy Edition (Standard Edition) – PlayStation 5, Nintendo Switch 2, XBOX - $49.99 / €55.95 / £45.00 / CAD $70.99.

 

• Physical version of the game (Disc or Game Card)

• O-Ring Slipcover

• 8-page Booklet “A Wayfinder’s Ledger,” featuring riddles from in-game and/or the official riddles for the ‘Riddles in the Dark’ activation

 

The Lord of the Rings: War in the North™ - Legacy Edition (Deluxe Edition) – PlayStation 5, Nintendo Switch 2, XBOX - $79.99 / €88.95 / £73.00 / CAD $112.99.

 

• Physical version of the game (Disc or Game Card)

• SteelCase

• Exclusive letter written by actor Jed Brophy on weathered-looking paper, closed with a wax seal sticker

• Full Color Cloth Map 

 

Pre-orders for The Lord of the Rings: War in the North™ – Legacy Edition are open now and extend until December 13, 2026, at 11:59 PM ET. To pre-order, please visit: https://limitedrungames.com/lotr 

VisionQuest trailer offers tantalising hints

The all-new original series coming exclusively to Disney+ October 14, concludes the epic trilogy that began with 2021’s groundbreaking, award-winning “WandaVision” and 2024’s acclaimed “Agatha All Along.” 

Vision, rebooted and having escaped from those who sought to weaponise him, has been in hiding. Searching for new meaning, he consults the AI personas embedded in his programming, including F.R.I.D.A.Y., E.D.I.T.H., J.A.R.V.I.S., and the infamous Ultron. His discreet existence ends when a bounty placed on his head thrusts him on the run with Thomas Shepherd, a mysterious boy who may be Vision’s son, reincarnate. As Vision evades capture, he must confront his nature, resist Ultron's influence, and unravel the enigma that is his young companion if he’s to survive.

“VisionQuest” stars Paul Bettany, James Spader, Ruaridh Mollica, Todd Stashwick, T’Nia Miller, Lauren Morais, Orla Brady, Diane Morgan, Polly Frame, Henry Lewis, Jonathan Sayer, with Emily Hampshire and James D’Arcy. The series is directed by Christopher J. Byrne, Gandja Monteiro, Vincenzo Natali, Terry Matalas, and written by Terry Matalas, Cindy Appel, Christopher Monfette, Nicole Falsetti, and Matthew Okumura. “VisionQuest” is created for television by Terry Matalas, based on the Marvel Comics. The executive producers are Kevin Feige, Louis D’Esposito, Brad Winderbaum, Paul Bettany, Mary Livanos, Terry Matalas, Jac Schaeffer, and Christopher J. Byrne, and the producer is Roopesh Parekh.

Pulp: What Do You Do For An Encore?: Movie Review

Director: Garth Jennings

There's a moment in director Garth Jennings' blisteringly good concert-cum-doco feature where UK band Pulp's de facto leader Jarvis Cocker asks what's next for the band in a contemplative voiceover as they perform to sell-out crowds as part of their 2025 More tour.

It's an intriguing insight for a group which went nearly a decade and a half in various iterations before exploding into the collective consciousness of the British music-loving public thanks to their Different Class anthems of the mid-90s.

Meshing live footage of their More tour with archival footage of both the band and Jarvis' early life proves to be a potent mix in this movie that finds a way to elevate the concert experience while furthering the group's standing.

Their first new studio album in 24 years, More, came out to universal acclaim in June 2025 and off the back of its success, a live tour saw them rekindle their ferocious performances and reconnect with their fans. It's some of that energy and excitement which Jennings collects together for Pulp: What Do You Do For An Encore, spinning together essentially some of the greatest hits of Different Class and showcasing their live versions through a lens.

But what Jennings, along with collaborator Jarvis Cocker, do in terms of selecting both musical and personal highlights is to coalesce the experience and recollections of the band as they marched on their way to success, which was in no form, guaranteed.

Pulp have always managed to speak to the masses via their music, and in truth, perhaps portions of this film won't enhance or capture a legion of new fans. But the documentary shows a clever way of capturing the artful energy of the More tour, its theatrical ambitions and how its stripped down moments proved to be deeply cathartic.

As a film about musical connection, of missed opportunities and of the terrors of triumphing, Pulp: What Do You Do For An Encore? deserves plenty of plaudits for gifting the musical movie a brand-new lease of life.

It's an exuberant, joyous celebration of alchemy and eclectic eccentricities and as such, is well worth watching.