In a stunning reveal that has film enthusiasts buzzing, the first official images from Danny Boyle’s upcoming biographical drama Ink have dropped, offering a glimpse into the gritty world of 1970s British tabloid journalism. Claire Foy, the Emmy-winning star of The Crown, embodies the fierce determination of The Sun’s inaugural Women’s Editor, while Jack O’Connell, known for his raw intensity in Unbroken, steps into the role of the newspaper’s controversial founding editor Larry Lamb. Directed by the visionary Danny Boyle, the film also features Guy Pearce as media mogul Rupert Murdoch, chronicling the explosive launch and cultural upheaval sparked by The Sun’s debut in 1969.
Claire Foy’s Bold Reinvention as The Sun’s First Women’s Editor
Claire Foy’s portrayal in Ink marks a significant departure from her regal poise as Queen Elizabeth II, diving headfirst into the male-dominated newsroom of 1970s Fleet Street. The first-look images capture Foy in period attire—a sharp blouse and skirt ensemble that screams professional ambition amid the era’s gender barriers—her expression a mix of steely resolve and subtle vulnerability. Sources close to the production describe her character, based on the real-life trailblazer who broke glass ceilings at The Sun, as a woman navigating sexism while pushing for stories that resonated with working-class women.
Foy, who has long been celebrated for her nuanced performances, told Variety in a recent interview, “This role is about the unsung heroes of journalism—the ones who fought not just for headlines, but for voices that were ignored. It’s exhilarating to bring her story to life under Danny Boyle’s direction.” Her preparation reportedly involved months of research into the archives of The Sun, poring over yellowed clippings and oral histories from the paper’s early days. This transformation isn’t just physical; Foy has adopted a Brummie accent to authentically capture the editor’s Midlands roots, adding layers to her character’s outsider status in London’s media elite.
The historical context is rich here. When The Sun relaunched under Rupert Murdoch’s ownership in November 1969, it was a gamble that paid off spectacularly, outselling rivals like the Daily Mirror within months. Circulation soared from 3.5 million to over 6 million by 1972, fueled by sensationalism, Page 3 glamour shots, and populist appeals. Foy’s character represents the innovative edge that targeted female readers, introducing features on fashion, family, and feminism-adjacent topics long before they became mainstream. Critics are already speculating that this role could earn Foy another awards-season nod, building on her Golden Globe win for The Crown.
Beyond the visuals, the first look hints at intense on-set dynamics. Leaked set photos show Foy in heated discussions with co-stars, mirroring the real-life clashes that defined The Sun’s chaotic birth. Boyle, known for his kinetic energy in films like Trainspotting and Slumdog Millionaire, has infused the production with a verité style, using handheld cameras to evoke the frenetic pace of deadline-driven journalism. Production designer Alice Normington has recreated the dingy offices of Bouverie Street with meticulous detail, from clacking typewriters to stacks of inky proofs, immersing audiences in an era when print was king.
Jack O’Connell Captures Larry Lamb’s Ruthless Ambition
Jack O’Connell’s first-look appearance as Larry Lamb is nothing short of transformative, his boyish features hardened into the stern visage of a man who reshaped British media. Sporting a ill-fitting suit, slicked-back hair, and a perpetual scowl, O’Connell channels the Australian-born editor’s no-nonsense demeanor. Lamb, who helmed The Sun from 1969 to 1972 and again from 1975 to 1981, was the architect of its cheeky, irreverent tone—famous for quips like “We’re going to give them what they want,” referring to the paper’s mix of scandal, sport, and saucy content.
O’Connell, a rising star with credits in Skins and Godless, brings his signature intensity to the role. In a Guardian profile, he shared, “Larry Lamb was a bulldog—unapologetic, visionary, and deeply flawed. Playing him meant understanding the cutthroat world he thrived in, where every edition was a battle.” The actor bulked up for the part, spending weeks in the gym to match Lamb’s robust frame, and worked with dialect coach Jill McCullough to nail the editor’s distinctive North East England accent, a far cry from O’Connell’s Derbyshire roots.
The Sun’s rise under Lamb was meteoric and controversial. Launched as a tabloid after Murdoch acquired the failing News Chronicle, it introduced color printing and bold layouts that captivated readers. By 1970, it had poached top talent from competitors, sparking Fleet Street wars. Lamb’s innovations, like the infamous Page 3, drew ire from feminists and politicians alike—Prime Minister Harold Wilson once called it “a squalid little circus.” Yet, it democratized news, reaching blue-collar audiences with stories on strikes, soccer, and social issues. Ink promises to explore these tensions, with O’Connell’s Lamb depicted as both innovator and antagonist in the newsroom’s power struggles.
Behind the scenes, O’Connell’s commitment shines through. He shadowed journalists from modern tabloids and visited The Sun’s Wapping headquarters, absorbing the legacy of Lamb’s era. Co-star interactions, as glimpsed in first-look behind-the-scenes shots, show O’Connell barking orders, fostering an authentic atmosphere of urgency. Danny Boyle praised him in a press release: “Jack embodies the fire that ignited The Sun—relentless and unyielding.” This role could propel O’Connell toward leading-man status, especially as Hollywood seeks fresh British talent post-Brexit.
Danny Boyle’s Directorial Flair Brings ‘Ink’ to Life
Danny Boyle’s involvement in Ink is the project’s secret weapon, infusing the biopic with his trademark blend of energy and social commentary. The Oscar-winning director, whose films have grossed over $1.5 billion worldwide, chose Ink as his return to British roots after global hits like 127 Hours. The first-look images, released via Entertainment Weekly, showcase Boyle’s visual style: dynamic compositions that juxtapose the newsroom’s chaos with intimate character moments, lit by the harsh fluorescents of 1970s offices.
Boyle’s script, co-written by Jack Thorne (His Dark Materials), draws from historical accounts like The Sun Also Rises by Peter Chipman. It focuses on the 12-month sprint to launch The Sun, highlighting rivalries with the Mirror Group and internal Murdoch machinations. Boyle told Empire Magazine, “This is the story of how a newspaper changed Britain—stirring class divides, empowering the masses, and igniting cultural wars. It’s raw, it’s real, and it’s ripe for the screen.” His direction emphasizes practical effects, with no CGI for the era’s grit; actors handled real props like Linotype machines, evoking the tactile world of pre-digital journalism.
The production, filmed in Manchester and London from late 2023 to early 2024, faced challenges recreating the pre-digital press. Boyle assembled a crew of 200, including cinematographer Greig Fraser (Dune), whose work promises a vivid palette of newsprint grays and bold inks. Budget estimates hover at $25 million, backed by distributor Searchlight Pictures, signaling awards potential. Boyle’s track record—four BAFTA wins, an Oscar for Slumdog—positions Ink as a prestige contender, especially amid renewed interest in media ethics post-Leveson Inquiry.
Historical depth adds weight: The Sun’s launch coincided with social upheavals like the miners’ strikes and women’s lib movement. Circulation stats tell the tale—peaking at 4.3 million daily by the 1980s, it became Britain’s top seller. Boyle’s film doesn’t shy from controversies, including Lamb’s clashes with unions and Murdoch’s expansionist vision. Early test screenings rave about the pacing, with Boyle’s rhythmic editing mirroring a printing press in overdrive.
Guy Pearce as Rupert Murdoch: The Media Mogul’s Shadow Looms Large
Guy Pearce’s casting as Rupert Murdoch adds gravitas to Ink, his first-look image portraying the Australian tycoon as a calculating force in tailored suits and piercing stares. Murdoch, who bought the News of the World in 1969 and relaunched The Sun, was the catalyst for its success, investing £12 million and greenlighting Lamb’s bold vision. Pearce, acclaimed for Memento and The King’s Speech, brings subtlety to the role, avoiding caricature to reveal Murdoch’s strategic mind.
In interviews, Pearce noted, “Rupert Murdoch isn’t a villain in this story—he’s a disruptor who saw untapped potential in the British public. Exploring his early ambitions was fascinating.” The actor, drawing on biographies like William Shawcross’s Murdoch, immersed himself in footage of the mogul’s News Corp empire, which now spans Fox News and The Wall Street Journal. His Australian accent grounds the performance, contrasting with the British cast and underscoring Murdoch’s outsider influence.
The Sun’s impact under Murdoch was profound. It shifted tabloid norms, embracing celebrity gossip and anti-establishment rants that influenced elections—famously backing Thatcher in 1979. Yet, it faced backlash: the 1986 Wapping dispute saw violent clashes with print unions, costing 2,000 jobs. Ink teases these elements through Pearce’s scenes, showing boardroom decisions that ripple into the newsroom. First-look photos capture tense exchanges with O’Connell’s Lamb, hinting at the power plays that built an empire.
Pearce’s preparation included meetings with media historians, ensuring accuracy in depicting Murdoch’s hands-off yet visionary style. The role revives Pearce’s career, post-Awards Chatter podcast buzz, and could spark debates on Murdoch’s legacy amid ongoing phone-hacking trials. Boyle’s direction elevates Pearce, using wide shots to symbolize Murdoch’s overarching control, much like in The Social Network‘s tech titans.
Anticipation Builds for ‘Ink’s’ Premiere and Cultural Impact
As Ink wraps post-production, excitement mounts for its fall 2025 release, timed to coincide with the 56th anniversary of The Sun’s launch. Distributors are eyeing festivals like Toronto or Venice for debuts, where Boyle’s track record could secure buzz. Early marketing teases trailers focusing on the first-look transformations of Claire Foy and Jack O’Connell, positioning the film as a timely look at media’s power in an AI-disrupted age.
Industry insiders predict Ink will resonate amid discussions on fake news and press freedom. With a cast including rising stars like Pearl Chanda and Tom Brooke, it promises ensemble depth. Box office projections estimate $50 million globally, bolstered by international appeal—Murdoch’s story transcends borders. For fans, this first look is just the appetizer; the full feast of Danny Boyle’s Ink could redefine biopics, blending history with high-stakes drama.
Looking ahead, Ink may inspire renewed interest in journalistic origins, prompting documentaries or books on The Sun’s era. As streaming platforms vie for rights, its legacy could extend beyond theaters, educating a generation on how ink—and ambition—shaped society. Stay tuned for more updates as production insights emerge.
