Esther McGregor and Emilio Sakraya are set to star in the small-screen adaptation of Rebecca Yarros’ hit romantasy novel “Fourth Wing” when it lands on Prime Video, industry outlets reported Thursday.
According to Deadline, Variety and The Hollywood Reporter, McGregor, who is the daughter of Scottish actor Ewan McGregor and appears in Prime Video’s mystery drama “We Were Liars,” will play protagonist Violet Sorrengail — an unassuming scholar who hopes to graduate as a historian but is forced to become a dragon rider by her ruthless army general mother.
German actor Sakraya, who starred alongside Anthony Hopkins in Peacock’s Roman gladiator saga “Those About to Die,” will reportedly take on the role of Xaden Riorson. As fearsome as he is ambitious, Xaden is determined to join the ranks as an elite dragon rider.
In Yarros’ novel, the pair are the antithesis of one another, making for a classic enemies-to-lovers arc as they battle their way through the tyrannous Basgiath War College where there are only two ways to leave: graduate or die.
CNN has reached out to Amazon MGM Studios, which has yet to confirm the rumored casting.
Published in 2023, “Fourth Wing” is the first of Yarros’ Empyrean series, which is set to run to five books. So far, three volumes have been published — selling millions of copies worldwide.
Book lovers took to the internet Friday to have their say on the rumored castings.
“I’m squinting and I can kind of see the vision,” widely followed social media book reviewer Kaila Anttila, who posts as Kaila Books, said in a Instagram video. “Prime… they never let us down,” she added.
Actor and creator Joel Wood also weighed in: “Violet’s not blonde,” Wood said, pointing at an image of McGregor sporting a short blonde cut.
“But I know we can fix that,” he added, before explaining, “I’m not loving it, but I’m not hating it.”
Others expressed greater excitement at the prospect of McGregor and Sakraya stepping into the roles.
“I know I speak for many people when I say: The biggest congratulations to these two,” Nicole Holleman, one of the hosts of the Fantasy Fangirls Podcast, said in a video — before squealing excitedly.

Jennifer Meyer gushed about her “unconventional” wedding to Geoffrey Ogunlesi — and having her ex-husband, Tobey Maguire, officiate.
“I genuinely felt like I was floating on cloud nine,” Meyer told Vogue Thursday about her wedding. “I had zero jitters, just pure happiness.”
“Having our three children and our parents walk down the aisle made it even more special. And having Tobey, my ex-husband, officiate was so special. A little unconventional, but so perfectly us.”
The jewelry designer and the billionaire tied the knot in a lavish Hawaii wedding on Oct. 10.
In addition to Maguire officiating, several other A-listers attended.
Page Six obtained photos of Lauren Sanchez, Jeff Bezos, Leonardo DiCaprio, Vittoria Ceretti, Courteney Cox and Kate Hudson at the star-studded nuptials.
The ceremony took place at the Four Seasons Resort Lanai, with Meyer and Maguire’s daughter Ruby, 19, and son Otis, 17, in attendance, as well as Meyer’s infant daughter, whom she welcomed with Ogunlesi in May.
Just days before the wedding, Meyer and Maguire finalized their divorce with a bifurcated arrangement nearly a decade after their separation.
The former couple split back in October 2016 after nine years of marriage, and Meyer began dating Ogunlesi in the summer of 2023.
Want more celebrity and pop culture news?
Start your day with Page Six Daily.
Thanks for signing up!
Enter your email address
Please provide a valid email.
By clicking above you agree to the Terms of Use and Privacy Policy.
Want celebrity news as it breaks?
Meyer, 49, has previously opened up about the bond she and the “Spider-Man” star still share as they co-parent their two kids.
Though she admitted it’s “a lot of work” in a 2022 interview on “World’s First Podcast,” Meyer ultimately called their breakup “beautiful” and said it was the “most beautiful experience” of her life.
“I can’t even explain [it],” she said of their bond. “He is my brother. I love him to death.”
Meyer also gushed that she would “do anything in the world” for her ex-husband.
As for her relationship with Ogunlesi, the two made their red carpet debut at the Baby2Baby gala several months later, in November 2023.
Ogunlesi subsequently popped the question in August 2024 during a romantic proposal.
Image gallery

About a third of the way through “You Can See Everything,” Nathan Fielder’s new documentary about Elizabeth Holmes, we watch the disgraced Theranos founder and convicted fraudster pose for the camera — more than 200 of them, to be exact.
In the days before she reported to federal prison in 2023, Holmes had her likeness captured and scanned so she can be reproduced via video, hologram and artificial intelligence while she’s locked up. It’s partly a business decision — she and partner William “Billy” Evans, with whom she shares two children, are launching a new healthcare startup (which they refer to as Theranos 2.0), and it might be useful to have access to a version of Holmes that can be programmed, say, to give pitches. And yet, we see Holmes crying. She’s been hurt before by putting her image too far out into the public. “I have a weird history with being on camera,” she says, sobbing.
Thanks to “You Can See Everything,” that history is only getting weirder.
The pre-release buzz around this new movie, which was made in secret and revealed via a surprise trailer that dropped last month, has been near deafening. Some of the critics who had been privy to its secrets have boldly declared it “the movie of the year” or wondered whether it might even become the first documentary to receive an Oscar nomination for best picture. With the film opening in theaters across the US on Friday, audiences now have their turn to see what all the fuss is about.
Fielder’s movie is a wholly unique and revolutionary one. Thanks to the unparalleled access to Holmes and her family in the days before her incarceration (at one point we even see Evans showering nude), as well as some truly jaw-dropping creative decisions later in the movie, the film is gripping and shocking. It is a bold, perhaps impossible, quest for truth about someone whom Fielder compares to a magician. At one point, he wonders if she may just be the most manipulative person who has ever lived.
Rarely, if ever, has a documentarian and subject been so perfectly matched. Through his shows “Nathan for You” and “The Rehearsal,” Fielder has established himself as someone pathologically obsessed with elaborate schemes, awkwardness, meta narratives and things that are not what they first appear. In these programs, Fielder plays both the straight man and the chaos agent, often appearing like an alien in human disguise sent to study our most inexplicable behavior, even if it means meddling in things himself.
If Fielder is again playing a version of himself here, Holmes seems to be offering near infinite versions of herself up for examination, like a set of unblinking reflections in a hall of funhouse mirrors. As the movie progresses, Fielder and the audience must question whether and how they’re being deceived. Is Holmes just weird, as Evans, her partner, insists? A victim of the men in her life, as her father seems to believe? Someone who may be on the spectrum and incapable of understanding how others perceive her words, as a revelatory sequence involving Holmes’ reaction to the Abbott and Costello “Who’s On First” sketch seems to suggest? Or is she just a compulsive liar who has somehow managed to delude even herself?
“The world believes a reality about me that isn’t true. So what is the reality?” Holmes says in the movie. It’s a question that hovers over the entire production and one that isn’t easily answered.
Co-directed by Fielder and Lance Oppenheim, who released “Primetime” also under the A24 banner last month, “You Can See Everything” is somehow visually gorgeous and yet profoundly ugly — almost intentionally so. Much of it is filmed in extreme close-up, replete with zits, wrinkles and sweat on Fielder and Holmes, as if we’re studying them under a microscope. As befitting Fielder’s style for leaning into artifice, we often see the crew and their boom mics, as they work to create something that ultimately mixes reality and recreation, fact and fiction.
A surprise person appears halfway through the movie — one being kept a closely guarded secret from audiences and which we won’t spoil here — but whose presence transforms it entirely, emerging as both co-documentarian and co-subject. “We’re working in Fiction Land,” this person astutely observes at one point. That feels like an understatement.
Fielder is a refreshingly candid guide through this strange land. He’s open about his insecurities as to why Holmes wanted him to capture her — does his lack of scientific understanding mean he’ll be an easy mark? — and the movie offers the case that he may have grown too close to or fond of his subject. When one person remarks that Holmes may be a victim of Stockholm Syndrome under Evans, viewers can only wonder if the same can be said for Fielder and Holmes.
When Holmes does eventually report to federal prison in Texas, she does so after Fielder injects his trademark cringe into her last moments of freedom, suggesting he leave Holmes and Evans alone so they can have sex — then asking how it was — and offering her a gag gift in front of her parents of hair dye and sunglasses so that she can go on the run. Then, as she prepares to get into the car to leave Fielder, they embrace and stare awkwardly at one another until we finally hear the words, “You’ve got this.”

Singer Tate McRae has released a teaser for her new single Housewife, and while the moody superyacht setting has sparked fan theories, there’s one detail designers can’t ignore. The font.
Featuring one of the most iconic typefaces of all time, the design has surprised creatives thanks to its unexpected appearance on the single’s branding. But while some are clutching their metaphorical pearls, others see the controversial font choice as a return to form for the pop music design world.
So what typographical sin has ol’ Tate committed? She’s used an ultra light Helvetica font. I know, the horror.
“She will pay for her crimes,” one X user wrote, while another joked, “It’s grotesque tbh.” While one critic claimed “Tate McRae has NO REASON to be using an ultra light Helvetica font,” others gestured to album covers of the early 2000s, like Britney’s I Love Rock ‘N’ Roll, and Madonna’s Bedtime Stories. Remember those? Exactly… that’s why we don’t use ultra light Helvetica, folks.

Elizabeth Holmes famously does not blink, whether she’s pitching investors or, by her own admission, flirting with a guy.
Is her moony gaze haunting or hypnotic? A calculated act or proof of her naivete? At various points in A24’s new documentary, “You Can See Everything,” I vacillated between each of the above.
A good portion of Nathan Fielder and Lance Oppenheim’s movie could be classified as a provocative staring contest, as Fielder probes Holmes about her life and the demise of her company, Theranos, in the weeks before she reported to prison to serve an 11-year sentence in May 2023.
The answers he gets from Holmes are rarely satisfactory. (At one point, she insists she’s never told a lie in her entire adult life; despite being convicted of fraud, she maintains her innocence throughout the film.) But with the camera zoomed in tight on Holmes’ every micro-expression and clump of mascara, the movie’s power is in the questions it raises in the space between her words.
In these profoundly uncanny scenes, I found myself fluctuating between being freaked out by the lack of emotion in Holmes’ vacuous gaze and, to my surprise, pitying her. Then I’d quickly shift back to being freaked out, because what if pity was exactly the reaction that Holmes — a talented, convicted fraudster — was angling for? If she could manipulate her voice to sound more authoritative in the workplace, she could certainly adapt her face to appear more sympathetic onscreen.
It turns out that just because you can see everything, that doesn’t mean you know anything. At least not for sure.
‘You Can See Everything’ is not the movie it appears to be
Much like its subject, “You Can See Everything” is a slippery mind-trick of a film — part character study, part psychological thriller, part surrealist thought experiment. What it is not, despite its subject, is a movie about a tech company.
The story of how Holmes went from being named the youngest self-made female billionaire by Forbes to being convicted of defrauding investors as the founder and CEO of the blood-testing startup Theranos is well documented. Holmes has already been the subject of a more traditional documentary, Alex Gibney’s “The Inventor: Out for Blood in Silicon Valley,” which exhaustively maps the discrepancies within Theranos, and a scripted Hulu miniseries, “The Dropout,” which dramatizes Holmes’ origin story and attempts to illustrate how her ambitions outpaced her abilities.
Both of those works lean into the prevailing narrative about Holmes, who was often pitched as “the next Steve Jobs” and proved especially skilled at wooing powerful men to her cause.
“You want it to be true so badly,” Tyler Shultz, a former Theranos employee-turned-whistleblower, says of Holmes’ vision in Gibney’s doc. “I was working with these devices every single day, and she could still kind of convince me. When I think back on those conversations, I just think, ‘How did she do that?'”
The Holmes we see in “You Can See Everything” is tamer, gentler, and, at times, far more submissive than many headlines would have us believe. Yet even Fielder isn’t immune to her strange charisma.
Early in the film, Fielder admits to Holmes that he did a lot of research about her tenure at Theranos. He challenges her answers to questions, at one point telling Holmes, “I don’t think anyone will ever believe you ever again.”
Yet, as time goes on, Fielder seems alternately bemused and unnerved by the onetime wunderkind — though never to the point of aversion. On the contrary, Holmes seems to draw Fielder ever closer, like a close-up magician with a deck of cards in her hands and a trick up her sleeve.
Toward the end of the film, Fielder’s memory is called into question. A friend asks if Fielder is retroactively polishing his interactions with Holmes, perhaps unconsciously, because he’s grown to care about her. Maybe he wants to protect her.
Seemingly taken aback, Fielder replies, “I’m not putting my feelings into this. I’m just trying to be accurate.”
It’s one thing to be told someone is a master manipulator, as “The Inventor” and “The Dropout” plainly do. It’s quite another to experience the manipulation firsthand. “You Can See Everything” offers audiences the latter.
During a Q&A after an early screening of “You Can See Everything” in New York, Oppenheim described how he, Fielder, and the crew would swap interpretations of what they’d just seen and heard after the cameras were switched off. “The disagreements were so dynamic,” Oppenheim recalled.
It’s been over three years since their close encounter of the Holmesian kind, and Fielder said he’s still trying to process what he felt in her presence.
“I’m really curious to hear what everyone else thinks, and what they make of certain things,” Fielder said. “I think it will actually help me understand.”
“You Can See Everything” is in theaters now.