I'm fortunate enough to live by myself, which means that if I want to watch nothing but Grey's Anatomy reruns, I absolutely can. I'm only ever a few clicks away from The Departed (again) and my go-to horror films are on a constant viewing loop.

But as a creature of comfort, it also means I'm notoriously picky when it comes to watching new things. The benefit of living with housemates or a significant other is that they usually have something to say if you're hogging the TV with vintage Made In Chelsea every night. So this year, I made a conscious effort to break out of my telly rut - and it has led to some pretty excellent finds. Thanks to early nudges from industry insiders, I make a note of what's coming up and pick out the best bits.

So, what's making the cut in November? This month Netflix is releasing the hotly-anticipated musical crime drama Emilia Pérez starring Zoe Saldaña and Selena Gomez, but if you need a bit of fluffy, light and festive entertainment, try The Merry Gentlemen. Prime Video is finally giving us the TV reboot of the 90s cult classic, Cruel Intentions, and Sahra Mani's unflinching documentary Bread & Roses is landing on Apple TV+.

Take a look at my 7 picks from Netflix, Disney+, Prime Video and Apple TV+ this November.

Shows coming to Netflix, Disney+, Prime Video and Apple TV+ in November

Emilia Pérez, Netflix

What to expect: This bold, punchy musical crime drama premiered at Cannes earlier this year and won two awards - so it's safe to say it's expected to be one of Netflix's biggest additions of 2024. Starring Zoe Saldaña, Karla Sofía Gascón and Selena Gomez, it tells the story of lawyer Rita (Saldaña) who is recruited by cartel leader Emilia (Karla Sofía Gascón) to help her fake her own death.

Starring: Zoe Saldaña, Karla Sofía Gascón, Selena Gomez

Release date: 13th November 2024, Netflix

Cruel Intentions, Prime Video

What to expect: Whether you were here for the OG film or it's your first foray into the world of Cruel Intentions, it's time for the TV show based on the cult 90s classic. It might be a reboot, but it's set in a social media-free world (very 20th century), and follows two step-siblings in Washington DC who attempt to seduce the Vice President's daughter. Starring Zac Burgess, Khobe Clarke, Sarah Catherine Hook and Savannah Lee Smith, it's hoping to grab Gen Z's attention as much as it did millennials back in 1999.

Starring: Zac Burgess, Khobe Clarke, Sarah Catherine Hook, Savannah Lee Smith, Sean Patrick Thomas

Release date: 21st November 2024, Prime Video

The Merry Gentlemen, Netflix

What to expect: If you're looking for some frivolous fun with a sprinkle of topless noughties heartthrobs, then The Merry Gentlemen is for you. A struggling bar recruits locals - including Chad Michael Murray himself - to put on a male strip show and get the punters in. Think Magic Mike in Santa hats.

Starring: Chad Michael Murray, Britt Robertson

Release date: 20th November 2024, Netflix

Joy, Netflix

What to expect: Joy tells the story of how the world's first 'test-tube baby' came to be in 1978. It follows nurse and embryologist Jean Purdy (Thomasin McKenzie), scientist Robert Edwards (James Norton) and surgeon Patrick Steptoe (Bill Nighy) as they pioneer groundbreaking IVF treatment against a backdrop of opposition from both the church and the medical community.

Starring: Thomasin McKenzie, James Norton and Bill Nighy

Release date: 22nd November 2024, Netflix

Beatles '64, Disney+

What to expect: This is one for Beatles fans. It documents John Lennon, Paul McCartney, George Harrison and Ringo Starr's first trip to the USA in February 1964, and includes previously unseen footage of the musicians and their fans at the exact moment they reached stratospheric fame. Martin Scorsese produces and David Tedeschi directs.

Release date: 29th November 2024, Disney+

Blitz, Apple TV+

What to expect: Saoirse Ronan stars as Rita in Steve McQueen's war drama, Blitz. It follows the story of a mother who sends her 9 year-old son George (Elliott Heffernan) to the country during World War II - but when he attempts to make his way back to her, she finds herself frantically looking for her lost boy.

Starring: Saoirse Ronan, Paul Weller, Elliott Heffernan, Kathy Burke, Stephen Graham

Release date: 22nd November, Apple TV+

Bread & Roses, Apple TV+

What to expect: This unflinching documentary follows three women in Afghanistan as they navigate life under Taliban rule. The film illustrates the challenges they face day-to-day following the fall of Kabul in 2021, and while it depicts a brutal reality for Afghan women, there's an undercurrent of hope that change will come.

Starring: Directed by Sahra Mani, and produced by Malala Yousafza, Jennifer Lawrence, Justine Ciarrocchi and Farhad Khosravi

Release date: 22nd November 2024, Apple TV+

Vacuous though it may sound, I am more inclined to watch – and enjoy – a TV series if the fashion’s good. The latest show to pique my sartorial interest is Palm Royale, which premiered on Apple TV+ this week. It’s a veritable ‘60s style fest, which feels especially relevant given what we’ve seen on the Spring/Summer ‘24 runways – but more on that later.

Based on the book Mr. & Mrs. American Pie by Juliet McDaniel, Palm Royale tells the story of the ambitious Maxine Simmons (played by Kristen Wiig), trying to reach the upper echelons of South Floridian high society in 1969, complete with a wardrobe of ‘60s shift dresses, diaphanous kaftans and flashy florals in a vivid, pastel palette. It’s all very Slim Aarons – and you’ll be unsurprised to hear that the photographer’s work heavily inspired the styling of the show.

It was costume designer Alix Friedberg who had the (dream) job of outfitting each character. Kristen Wiig’s Maxine starts the show in candy-hued mini dresses, with matching shoes and bags and an abundance of bows, swapping these for airy kaftans as she ascends the social hierarchy.

Meanwhile, Alison Janney’s Evelyn is dressed in jewel-hued, bell-sleeved gowns, most of which are custom-made but influenced by Pucci, Saint Laurent and Christian Dior, and accessorised with big hats and even bigger sunglasses. As well as commissioning bespoke designs, Friedberg pulled vintage finds from the likes of Courrèges, Chanel and Givenchy.

As compelling a rhinestone-laden cocktail dress and matching elbow-length gloves may be on-screen, it’s probably not the best outfit to wear to that wedding you’ve been invited to this summer. Use the high-octane styling as mere inspiration, and let me invite you to look at the Spring/Summer ‘24 runways for more wearable ways to interpret the trend.

First, let’s discuss the mini dress. It’s everywhere this season – in black, babydoll form at Chanel and as a white satin shift at Versace. It’s short – micro-mini in some cases – but don’t let that put you off. A pair of semi-sheer tights temper thigh-grazing lengths, or do like they did at Gucci and layer a pinafore dress (in this case, in crystal-embellished, pea-green satin) atop blue jeans. It’s a wholly modern way of wearing the ‘60s staple. If you go bare-legged, a pair of Mary Jane or ballet flats keeps things from feeling too trussed-up.

A pastel tweed suit is an excellent idea – see Chanel and Versace – but if a full look feels intimidating, break up the pieces; style a boxy jacket with wide-leg jeans or a mini skirt with a fine-knit cardigan in black or grey. See too MSGM’s punked-up ‘tweed’ dress with exaggerated fuzz and matching earrings – not one for the wallflowers amongst us, but a good example of a contemporary take on an old-school fabric.

If you hadn’t already guessed, matchy-matchy is trending. Tory Burch styled Jackie O-worthy wool and satin coats with matching dresses, but these pieces work equally well with T-shirts and jeans. If you are ready to embrace head-to-toe (or at least neck-to-thigh) coordination, consider Emilia Wickstead’s wonderfully retro, lemon-yellow tunic and shorts, or a floral blouse-and-shorts set from Zimmermann, a brand that, incidentally, features in Palm Royale.

Want to embrace ‘60s styling in subtler ways? A printed silk shirt (seen at Versace and on Palm Royale’s Robert, played by Ricky Martin) looks effortless teamed with a simple white tank and linen trousers, while a pair of oversized glasses or structured, top-handle bag lend a vintage sensibility to otherwise pared-back looks. For more ideas, scroll to see our ‘60s-inspired edit.

Our Palm Royale-inspired picks:

In 1947, Christian Dior presented his first collection to an audience who had crammed themselves into rooms of his fashion house – it was a collection that would forever change the course of fashion history. It was dubbed the ‘New Look’ – a hyper feminine style composed of graceful, curving lines, cinched waists, and yards upon yards of fabric. In the face of the bleak uncertainty in post-war France, it was a daring, even audacious introduction for the young designer. It paid off.

While the New Look remains a key period in French fashion, the personal story that inspired Dior's groundbreaking designs is, perhaps, not quite so well known. This is the story told in Apple TV+'s The New Look.

The series, which premieres this Wednesday, traces the divergent paths of Coco Chanel (Juliette Binoche) and Christian Dior (Ben Mendelsohn) in Paris during and after the war.

Marie Claire chatted with costume designer Karen Muller Serreau about Dior, Chanel, and how Apple TV+'s The New Look explores one of the most pivotal periods in fashion history.

Congratulations on The New Look. It's a fascinating exploration of such a pivotal, emotional moment in the history of French fashion. For a designer, it must have been a dream job, exploring Chanel and Dior and the other French designers of the time?

Oh, absolutely. Although I design costumes for films, I've always been interested in fashion. And there's so much in this show as well. There are the fashion shows, of course, which are absolutely amazing, but there are also the concentration camps, the military, the liberation of Paris. It was always really exciting. 

How did you first become involved with the project? You were previously the assistant costume designer on the 2009 film Coco Before Chanel, so you must have already been very familiar with this world. 

I was contacted by the production team then had interviews and was taken on board. I'm English, but I've lived in France for 45 years, so I have a good feeling of French fashion and of life in France, as well. 

The costumes in this show are meticulously accurate. The process must have involved extensive research to begin with.

Of course, I got a hold of everything I possibly could find about the fashion and about the different designers of that time. There's also a lot in the show about people just before that time in the '30s, and I got absolutely everything I possibly could – there were a lot of photographers around in France at that time.

For a basic start, I documented each scene of the script. As we went along, we selected images for each scene so that I could give myself a sense of the atmosphere that we wanted. And then we worked to each character individually, doing a mood board with the colours and types of cloth that we would use for them. 

For the fashion shows, we went to Dior Heritage. They have a lot of archival photos of Dior and his family and they told us as much as they could about his life and about the people that had witnessed working with him. I worked very closely with Helene Starkman [Cultural Projects Manager at Dior] on the fashion shows. That was a very close collaboration to get that absolutely right.

Was your aim to recreate those designs as meticulously as possible? Or were you ever actually sourcing real vintage Dior pieces?

For the fashion shows, we completely recreated them. There aren't really any [usable dresses] left. We saw a couple of dresses in the museum archives in Paris – you touch them with white gloves. I managed to get as much detail as I could out of them but they weren't dresses to be worn. 

But then for individual characters, we were looking for inspiration rather than trying to get absolutely everything to be identical.

Was there a lot of collaboration with Juliette Binoche and Ben Mendelsohn, who played Chanel and Dior?

We always worked together. I've usually done quite a lot of documentation by the time I meet the actors, but then we talk and we give each other ideas about the feel of what we want. 

Every day with Juliette, I would go in while she was being dressed. When she was putting on her jewellery, for example, we would always take off the last one, as Chanel said that one should. We would work like that together a lot. Every day we would discuss the scene and why she was wearing that particular costume in that scene. I do remember in my first meeting with her, she saw a dress for a scene that we were shooting at the beginning – an evening dress. She says in the text, 'This dress took 350 hours to make.' Juliette said, 'Yeah, but this dress doesn't look like it's got 250 hours in it.' And the seamstress looked up and said, 'It's got lots of hours! Many hours in it!' 

I had a wonderful tailor making Ben's outfits. He irons them to his shape. It's pretty extraordinary. And Ben would always ask me, Do I roll up my sleeves in this scene? Or don't I?' Ben also spent a lot of time in our workshops seeing how we made outfits so that he could get a feel of it.

Chanel has a very striking, very chic look. Her palettes are almost entirely black and white with those statement pieces of jewellery. 

That was all created by building on existing information. I just wanted to capture the essence of her. There's hardly any documentation of her during those years. And she wasn't creating during those years. So, I was looking at photos from before and after the war. We were working on what we know about her ideals of fashion. She was freeing women and bringing in high waisted trousers. We always wanted to keep her with the casual, chic, stylish look. She and Dior had two very opposite visions of fashion, so in her wardrobe, I was keeping that in mind as well – always using comfortable fabric and giving that comfortable, chic look.

Do you have a particularly favourite of Chanel's looks on the show?

I do love some of the eveningwear that we did. And she's got a trench coat that I really loved that she wore with a hat. And I liked during the liberation, we had her all in white with a very big red flower that we put on her. 

It must have been a very different process for the characters who exist outside of the fashion world. 

One of the characters that I thought was really interesting was Catherine. You slightly want to glamorise her because she's Dior's sister. Yet she was in the resistance – really hardworking. And they didn't have much money at that time. Their father had lost his money in the 1929 crash. I found it really interesting to try to give a really everyday feel to her costumes. It really was quite a challenge. 

And then we had these big street scenes. I colour coded it before and after liberation. In the pre-liberation scenes, it was about keeping everything in browns and greys and keeping any floral materials out of it. Then when we get to the liberation, it was bringing in red, white and blue and flowered cloth to give that feeling of suddenly being liberated and free. 

With all of the concentration camp scenes, that was a huge amount of breaking down costumes and finding old original costumes. We used a lot of vintage to make it feel real. 

The military was another challenge because it's so coded. We had a military expert help us make sure we were getting medals right and things like that. 

The show opens with Dior's revolutionary 1947 fashion show in Paris where he introduced his groundbreaking 'New Look' to the world. Could you talk a bit about that moment in fashion?

Absolutely. It was a revolution because it was symbolic of a brighter, more glorious future. He was using so much cloth. Up until then, everything has been so skimpy. Then after years of deprivation it was suddenly yards and yards and yards of cloth. There were 9,800 yards of cloth used in the 1947 presentation and I think it gave people hope. And it was really creating a very feminine beauty, really. Each piece was a sort of architectural sculpture emphasising the feminine shape. They were all incredibly corseted and structured inside to get them to hold them that shape. 

But also, at the time, there were people in the street that attacked it; [the house] went out one day to take photographs in the street and lots of people attacked them because they were so shocked about the amount of cloth that had been used. 

Was the idea of revealing the past for a present audience important to you? 

Oh, extremely. We nearly lost the fashion industry in France. During the war, the Germans wanted to take it to Germany and it would be a totally different story today had that happened. I think that side of it is really important. And we're still recreating [Dior's New Look] in fashion today. I think Dior's upcoming shows, from what I've seen of them, are very much [evocative] of the New Look. It keeps coming back. It did just have such a powerful feeling of brighter things and I think it still has that strong feeling about it.

The New Look is available to stream on Apple TV+ from 14th February

Selena Gomez has opened up about the struggles she faced releasing her documentary My Mind & Me and the vulnerability she felt 'letting people into my life'.

My Mind & Me is available on Apple TV+ and depicts six years of Selena's life and the mental health struggles she has faced along the way. The documentary has been highly praised by critics and viewers alike, who have applauded her honest approach. 

However, opening up wasn't easy for the singer and actor, who has recently revealed that she'll 'never watch it again'. 

"I was very against it," Selena said during the Music & Health conference in Los Angeles, California on Tuesday (via The Hollywood Reporter).

"There was a very long period of time where I just didn’t know if it was a good idea. I knew, eventually, one day I wanted to maybe just be an actress for a while, and I didn’t know if it would jeopardise things in my life."

"I don’t know what I’m doing, letting people into my life. And then the moment it was released… I had no choice at that point. And I was relieved. I felt like a huge weight was lifted."  

Selena went on to say how the experience was cathartic for her, explaining: "I felt like I got to say things that I’ve been keeping in for years.

"It’s very hard for me to watch. I will never watch it again, but I’m very proud of it. I couldn’t have been luckier to have the people that worked on it with me."

Ahead of the documentary's release last year, Selena talked to Rolling Stone about how she almost didn’t sign off on the film’s release, but changed her mind after seeing the emotional impact it had on viewers during a screening.

The Only Murders in The Building star said: "I was like, 'OK. If I can just do that for one person, imagine what it could do. Eventually I just kind of went for it. I just said, 'Yes.'"

My Mind & Me is available for streaming on Apple TV+ now.

The Apple+ Documentary will be out in November.

Selena Gomez has frequently spoken about her mental health, and as part of the singer's upcoming Apple TV+ documentary Selena Gomez: My Mind and Me she is sharing a behind-the-scenes look at what really goes on when she's not in the spotlight.

The trailer for the documentary, which follows the singer for over six years, was released yesterday during World Mental Health Day and shows the star dealing with and talking about her mental health struggles, at one point saying: "I'm just grateful to be alive."

Selena has previously spoken out about own experience with mental health, and in May this year she teamed up with MTV to host the first-ever Mental Health Youth Action Forum at the White House. The former Barney & Friends actress, who started her career at just 7 and went on to launch a pop career in 2009, was diagnosed with Lupus in 2014 and then bipolar in 2020 after many bouts of anxiety and depression.

From the same director and producer behind Madonna's Truth or Dare documentary, Alek Keshishian, the singer's My Mind and Me film shows the ups and downs of her mental health journey.

The trailer highlights how the Only Murders in the Building actress deals with her mental health and takes an honest look at her life. At the beginning of the trailer she says: “Just be who you are, Selena. No one cares about what you’re doing. It’s about who I am, being okay with where I am. I am grateful to be alive.”

Fans and celebrity friends of the singer flooded to Instagram as she posted the trailer, leaving love heart emojis and commenting on how the trailer had them in floods of tears.

Selena, who was an executive producer on Netflix show 13 Reasons Why - a story which revolves around suicide and the pressures on young people - also spoke about mental health during the pandemic and stressed why 'checking in on your emotions' is so important.

At the White House forum in May, Selena said: "I felt like once I found out what was going on mentally, I found that there was more freedom for me to be OK with what I had.

"Bringing attention to mental health through media or just talking about your own journeys can help. It sets the example that it's a topic that can and should be discussed freely and without shame."

Selena Gomez: My Mind and Me will be released on Apple+TV on November 4th.