actor

Jada Pinkett Smith is asking a judge to make Bilaal Salaam cover the $49,000 in legal fees she racked up fighting claims he made in a December lawsuit.

According to a motion filed April 20 and obtained by The Times, Pinkett Smith is asking that Salaam pay $49,181.23, consisting of “reasonable attorneys’ fees incurred” in connection with Pinkett Smith’s successful special motion to strike Salaam’s complaint, “plus further fees and costs associated with this motion.”

Salaam — Will Smith’s former best friend of 40 years who also goes by Brother Bilaal — filed a lawsuit against the “Bad Moms” actor in December, alleging emotional distress and seeking $3 million in damages.

Salaam claimed that in September 2021, he attended a private birthday party for Will Smith at the Regency Calabasas Commons. According to his lawsuit, he was in the lobby of the movie theater when Pinkett Smith approached him with about seven members of her entourage and threatened him. Salaam’s suit claims that Pinkett Smith told him he would “end up missing or catch a bullet” if he kept “telling her personal business.” She also allegedly pressured him to sign a non-disclosure agreement.

In November 2023, Salaam appeared on the “Unwine With Tasha K” podcast and alleged that he walked into Duane Martin’s dressing room and saw Will Smith having a sexual encounter with the “All of Us” actor. He also made claims about Pinkett Smith’s sexual habits.

Pinkett Smith swiftly responded during an appearance on “The Breakfast Club” and said that Salaam started the rumors as part of a broader “money shakedown” and that his claims were “ridiculous and nonsense.”

“It’s not true and we’re going to take care of it,” she said. “We’re about to take legal action.”

Salaam beat Pinkett Smith to the courthouse and sued her in December, but Pinkett Smith asked the judge to toss the case in February.

According to the motion filed this week, the former “Red Table Talk” host argues Salaam should pay her hefty legal bills because she “prevailed on her anti-SLAPP motion” and the court struck all allegations relating to media statements “that formed the basis for Plaintiff’s three causes of action, as well as additional allegations regarding a cease-and-desist letter.”

Russell Brand, the British comedian and actor who has been accused by multiple women of rape and sexual assault, said his sexual flings amid the height of his fame in the early aughts included sleeping with a 16-year-old girl.

Brand confirmed the relationship to Megyn Kelly on the the latest episode of her eponymous podcast and YouTube show published Wednesday. “I did sleep with a 16-year-old when I was 30,” he said, “but when I was 30 I was a different person. I was a lot younger and I was an immature 30-year-old.”

The “Get Him to the Greek” actor, 50, emphasized that the age of consent in the United Kingdom is 16 and reflected on his behavior at the time, adding that he thinks having consensual sex as a famous person “involved exploitation.” He said he felt fame and addiction paved the way for “opportunity for endless consent which led me to be a hedonist and a fool and exploiter of women.”

“That is wrong and that is something that needs to be redeemed and addressed and atoned for,” he added.

Brand’s relationship with a 16-year-old girl became public in 2023 when the Times of London and Britain’s Channel 4 published a joint investigation detailing allegations of rape, sexual assault and other abusive behavior against the once-in-demand actor. One of the women who raised allegations against Brand said she became involved with the former actor when she was 16 and he was 31, and that he referred to her as “the child” in their relationship. According to the woman, Brand reportedly forced his penis down her throat, making it difficult to breathe, and she fought him off by punching him in the stomach. Brand denied the claims at the time.

The investigation centered on alleged incidents that occurred between 2006 and 2013 — the peak of Brand’s Hollywood fame — and laid the groundwork for additional complaints against the raunchy comedian to come to light.

In April 2025, the Metropolitan Police Service charged Brand with single counts of rape, indecent assault, oral rape and two counts of sexual assault connected to alleged attacks on multiple women between 1999 and 2005. U.K. authorities pressed additional rape and sexual assault charges against the “Forgetting Sarah Marshall” actor in December. He will stand trail in October.

Brand, ex-husband to pop star Katy Perry (who is facing her own sexual assault scandal),fell mostly out of public favor within the past decade and pivoted his focus to religious and “free-thinking” content. Last year he appeared at Turning Point USA’s AmericaFest 2025.

At the beginning of the podcast episode, Kelly said that after learning about allegations against Brand she “felt anger for a couple years” toward the actor. However, Kelly said she grew open to speaking with him after some time and an “enormous amount of open-mindedness to [Brand] being railroaded and attacked by people.”

Notably, Kelly in November offered a flimsy definition of pedophilia when it came to late convicted sex offender Jeffrey Epstein. Citing “somebody very close” to Epstein’s case, Kelly said Epstein “ was into the barely legal type, like, he liked 15-year-old girls,” Kelly continued.

“I’m not trying to make an excuse for this, I’m just giving you facts — that he wasn’t into, like, 8-year-olds,” she added at the time. “But he liked the very young teen types that could pass for even younger than they were, but would look legal to a passer-by.”

Times staff writer Meredith Blake contributed to this report.

Plucked from a previous life as a working actor, Richard Gadd experienced a disorienting whirlwind less than two years ago. “Baby Reindeer,” his painfully personal 2024 Netflix show, based on the sexual assault he survived, instantly opened the floodgates of fame for him.

“The show came out on Thursday, and by Sunday, I could barely walk anywhere without being recognized, without being stopped,” Gadd says while visiting The Times’ offices earlier this month. “That’s an adjustment because I always thought if anything like that ever happened, it would be a bit more of a gradual process. But it was overnight, so I didn’t have time to adjust.”

Now the winner of three Emmy Awards and a slew of other accolades for that series, which he starred in, wrote and served as showrunner, Gadd, 36, has already helmed a new emotionally ferocious show.

Probing the tropes of rigid masculinity, “Half Man,” premiering Thursday on HBO, chronicles the destructive bond between two men over several decades. Niall and Ruben — whose respective mothers are romantic partners — call themselves brothers but they couldn’t be more dissimilar.

Bullied at school, meek Niall (played by Mitchell Robertson in his youth and Jamie Bell in adulthood) lost his father as a young boy. He dreams of being a writer. Meanwhile, the insolent and hyper-confident Ruben (Stuart Campbell as a teen and Gadd as a grown-up) has been in trouble with the law from a tender age. Facing any conflict, he resorts to brutal violence. When Ruben takes Niall under his wing, the two become inseparable. But as the years and resentments pile on, their cancerous brotherhood threatens to obliterate them both.

“Half Man” follows the destructive bond between Ruben (Richard Gadd), left, and Niall (Jamie Bell) over several decades.

(Anne Binckebanck / HBO)

“Richard’s writing is really unique and really singular,” Bell says on a video call from England, where he’s currently shooting the “Peaky Blinders” sequel series and is sporting a shorter haircut. “He identifies that real gray area of humanity really well and he puts a voice to the most uncomfortable places that we go into or things that we think when we’re alone in the dark, when we think no one’s watching.”

Gadd wrote the first episode of what would become “Half Man” back in 2019, while he still was performing the live version of “Baby Reindeer,” which he turned into the series. At the time, he recalls, society at large was seriously engaging in conversations around toxic masculinity and sexual violence as the #MeToo movement gained strength.

“It wasn’t necessarily that I set out going, ‘Oh, I want to make a show about that,’” Gadd says. “It was more that something must have just drifted into my head thinking, ‘You take two men repressed in their current life, repressed in the modern world. And then you go all the way back to their childhood. You contextualize learned behavior; you contextualize trauma and things they learned that make them these repressed adults. And you bring a bit of context to, I suppose, difficult male behavior in the present.’”

As “Baby Reindeer” launched his career as a creator, Gadd put “Half Man” on ice for four years but couldn’t stop thinking about returning to it. “Even as I was coming to the end of ‘Baby Reindeer,’ I thought, ‘I’m really looking forward to getting back to that project,” he recalls. “The second ‘Baby Reindeer’ finished, I thought, ‘This is what I’m going to do now.’”

Sitting across from the mild-mannered Gadd, the magnitude of his transformation on screen for “Half Man” becomes even more impressive. Gadd comes off as thoughtful and emphatic, while Ruben, his physically imposing character, commands trepidation.

“The second ‘Baby Reindeer’ finished, I thought, ‘This is what I’m going to do now,’” Gadd says about working on “Half Man.”

(Ian Spanier / For The Times)

Watching Gadd as the rage-fueled Ruben, one might be surprised to learn he originally had no intention of acting in “Half Man.” After wearing multiple hats on “Baby Reindeer,” Gadd thought this time around he could get a purely external bird’s-eye view of a project as showrunner and writer of “Half Man.” But eventually people around him suggested he should be in front of the camera once again.

“My initial response was always, ‘That’s just so far away from anything I’ve done before. It’s so far away from me. Are people going to buy it?’” he recalls. “And behind every single fear-based thought was a worry of what people might think, which in my opinion, isn’t a good enough reason to not do something.”

Convinced audiences would struggle to see the guy from “Baby Reindeer” as this “hard man,” a U.K. term for tough and intimidating men, he had to physically morph. To inhabit a new body, Gadd underwent a strict exercise regimen, and most importantly, a new diet.

“I had a chef make these meals in England, fun enough, and send them up to Scotland where I was filming,” he recalls. “I’d eat them at specific times. You go through periods of fasting and through dehydration whenever you had your top off. There was a real science to it.”

And yet, though he at first worried he wouldn’t look big enough, Gadd refused to portray Ruben with a chiseled physique conceived for mere aesthetics.

“I didn’t want him to have a six pack, I wanted him to feel like a real person,” Gadd says. “Sometimes when you see someone on TV and they’re ripped, I almost don’t think that’s real strength. Someone like Ruben, they wear their life in their body, they’re heavy set. It’s not ripped. It’s bulky. It’s natural to him.”

Before he agreed to play the character, Gadd auditioned numerous actors for the part, but with all of them he felt they were too focused on his appearance as an imposing figure and not his inner turmoil. “Ruben is extremely sad as a person. He’s terribly broken and traumatized,” he says.

For the series, Gadd bulked up to become more physically imposing: “Someone like Ruben, they wear their life in their body, they’re heavy set. It’s not ripped. It’s bulky. It’s natural to him.” Richard Gadd in “Half Man.” (Anne Binckebanck / HBO)

When asked if he sees himself as Ruben, Gadd contemplates the question, debating whether it’s his “jetlagged brain” or ambivalence about finding some of Ruben within him.

“Do I see myself in Ruben?” After a pause, he concedes: “All of his behavior is a reaction to a deep traumatic happening in his life. I can relate to finding it extremely difficult to get past big traumatic events and coming to terms with them and coming to terms with yourself even as a result of them.”

With less hesitation, Bell, 40, acknowledges that he finds a certain kinship with his character. As a teenager, Bell flocked to people with a defiant edge. “I grew up without a father in an all-female household and I felt very naked as a child in terms of needing to be protected by someone who was dominant and aggressive,” he says. “I totally understand why Niall seeks solace in someone like him. No one will touch Ruben. There is a safety in that.”

Gadd says he doesn’t think about celebrities when searching for the actors. “I’m quite fame-averse when it comes to casting because I think sometimes it can get in the way,” he explains. “You can have a show, which starts up with all the best intentions, turn into a sort of acting vehicle for someone, or the discussion becomes about the actor doing this role.”

That said, when the casting director on “Half Man” asked him about his “dream cast,” Gadd expressed Bell was the only one who would genuinely excite him. But could that happen? “In my head, I was still in pre-‘Baby Reindeer’ time where I thought, ‘Well, somebody like him is not going to be interested.’ And then I thought, ‘Well, he might be,’” Gadd says.

For his part, Bell found the “nihilism” in Niall, a man desperately running from his true self and living in Ruben’s shadow, an enticing and complex character to play. “[Niall] conceals himself in many different ways, and has a lot of self-loathing, but at the same time has all these ambitions and actually is incredibly egotistical and thinks that his way is the correct way, and that other people don’t understand that he is terminally unique,” Bell explains with a chuckle.

Bell, who plays Niall, says his character “conceals himself in many different ways, and has a lot of self-loathing, but at the same time has all these ambitions and actually is incredibly egotistical …”

(Anne Binckebanck / HBO)

Aside from a tight schedule to produce “Half Man,” the challenge for Bell was adjusting to the dramatic intensity that Gadd was after. “I wasn’t particularly prepared for that, therefore sometimes my reading of certain scenes I’d get wrong. We’d start scenes and Richard was like, ‘You are pitching it at like a six, and this is very much an 11,’” Bell recalls laughing. I was like, ‘Oh, OK.’ That took some modulating.”

In Gadd’s mind, Bell remains an “underrated” artist. A proud Scotsman, Gadd recalls loving Bell in the 2007 romantic dramedy “Hallam Foe,” where the British actor played Scottish. For “Half Man,” Gadd thought Bell could convey the pain that haunts Niall, even as his actions paint him less like Ruben’s victim and more like a vengeful participant in the chaos.

“There’s always something I find so vulnerable about Jamie and I knew that I was going to take Niall in some really big journeys where he was going to almost test the audience’s love for him,” Gadd says. That Niall finds Ruben so alluring is natural to Gadd, who believes the notion of a valiant male figure has been bred into everyone via fables and fairy tales.

Gadd adds that whether or not we like to admit it, we’re drawn to alpha male characters. “Because from an early age, we’ve been told they are always at the top of the social hierarchy. And as a result, we’ve always, as a society, answered to those kinds of people as some sort of leaders.”

And though he says he’s unfamiliar with the “manosphere,” the misogynistic and chauvinistic online community, Gadd doesn’t believe Ruben would fall for the gurus in those circles who claim to have the answers for young guys to become “real men.”

“Ruben carved his own masculinity. To give him credit, if that’s even something you can give him, those spaces wouldn’t hold any weight for him. He’s his own man,” Gad says. “He would never follow anyone on social media. He’s the person to be followed.”

Based on the tone of Gadd’s output thus far, it may come as a surprise that as a young person he dreamed of creating a show along the lines of the U.K.’s “The Office,” which he considers a “perfect piece of art.” The stories he is telling now better reflect his “neuroses” and the experiences he’s endured.

“My life just took a very dramatic turn, and my sensibilities weren’t workplace sitcoms anymore. When I grew up and I was doing comedy I thought, ‘I’ll write a sitcom one day and every character will be sort of funny in it,’” he says. “But my life just took a turn to the point where I needed my writing and my art darkened because what I went through was very dark.”

Humor is not entirely absent from “Half Man,” some of the characters’ reactions to their distressing realities earn a chuckle. Still, Gadd’s funny bone might also find an outlet in other people’s narratives. He was recently announced as part of the cast in Apple TV’s upcoming high-concept series “Husbands,” for which he already shot his scenes. Adapted from a bestselling novel of the same name, it stars Juno Temple as a woman who gets to experience life with a different partner every time she changes the light bulb in her attic.

“I’m very picky with stuff I take on. Because I love writing my own work so much, anything that takes me out on someone else’s show has to be very special. And this was very special,” Gadd says.

“Everything I do doesn’t have to be dark,” he adds with a soft smile.

Patrick Muldoon, known for his roles on “Days of Our Lives,” “Melrose Place” and “Starship Troopers,” has died. He was 57.

The actor and producer reportedly died Sunday, his manager confirmed to Variety. According to Deadline, Muldoon died suddenly after a heart attack. The Times has reached out to Muldoon’s reps for comment.

Muldoon originated the role of Austin Reed on the daytime soap opera “Days of Our Lives.” He first portrayed the aspiring boxer and brother of Lisa Rinna‘s Billie Reed from 1992 to 1995, and returned to reprise the role from 2011 to 2012 (the character had since become a forensic accountant).

“Austin is a wonderful role,” Muldoon told The Times in 1995. The actor explained he took his “sweet time” mulling over whether to leave the show because “it was one hell of a decision to make.”

“I’m leaving for no other reason than why other people leave soaps,” Muldoon said at the time. “To take a shot at doing other things like nighttime, movies and other things. … I feel confident right now so I figured I better take the shot sooner than later. If I don’t, I’ll always wonder ‘what if.’ ”

He played the recurring villain Richard Hart on the primetime soap “Melrose Place” for three seasons beginning in 1995. Muldoon’s big-screen roles include Zander Barcalow, a pilot and rival of Casper Van Dien’s Johnny Rico, in Paul Verhoeven’s 1997 movie “Starship Troopers.”

Born September 27, 1968, in San Pedro, Muldoon’s early passions included football. He started playing at the age of 6 and would go on to play at Loyola High School and then at USC.

“I did fairly well for being a smaller tight end,” Muldoon told The Times in 2012, adding that getting run over during practice by USC teammate Junior Seau — the late linebacker who had a 20-year NFL career — was among the factors that led him to pursue acting instead. Muldoon began his acting career during the sport’s offseason, and his earliest roles were on shows such as “Who’s the Boss?” and “Saved by the Bell.”

In addition to acting, Muldoon was a producer with credits on films such as “Riff Raff” (2024), “Marlowe” (2022), “The Card Counter” (2021) and “The Comeback Trail” (2020). Most recently, he shared on Instagram his excitement of being among the executive producers for the upcoming film “Kockroach.”

The co-creators of the new Prime Video series “Kevin” tried to make the show “as personal as possible,” says Joe Wengert, explaining that he and Aubrey Plaza looked back to the end of their relationship nearly two decades ago for inspiration. Then, Wengert says, they focused on “the emotional story and investing in the inner lives” of the main characters. (Plaza’s production partner, Dan Murphy, was a third co-creator.)

And, Plaza adds, they strived to give the show a real “groundedness” in its specific New York neighborhood — Astoria, Queens, where she and Wengert lived together — while also “infusing some of my film nerdiness and love of New York films.” There’s even a rooftop scene that’s a homage to Al Pacino’s first leading film role, in “The Panic in Needle Park.”

OK, so all of that’s totally true, but “Kevin” is mostly a silly, raunchy animated series with a star-studded comedy cast about talking animals and their escapades in a life generally free of human owners.

The show opens with a couple, Dan (Mike Mitchell) and Dana (Plaza), breaking up and their cat, Kevin (Jason Schwartzman), deciding he’s done with both humans and will find his own way in the world.

“Joe and I were talking and realized we both weirdly wanted to do a cat comedy, and he had this idea and I loved it,” Plaza says, explaining that when they broke up, Kevin and another cat, Howard, passively went with Wengert. (Howard died relatively young, but, spoiler alert, Plaza says a cat named Howard will make an appearance as a tribute.)

“Joe was then doing a lot of comedy about being a single guy with cats.”

Wengert, who serves as showrunner, says the breakup was “a significant moment in my life” and he wanted to explore that, but a sad man going off to reconnect with his friends was not as funny as this concept. “The idea of this just made us laugh,” he says.

The real Kevin was a homebody, not a cat who looked longingly out the window, Wengert says, adding that he always felt bad for Kevin: “You could have been with Aubrey Plaza but you’re stuck with me in my studio apartment.”

In the series, Kevin soon lands at an animal rescue where he falls in with Cupcake (Whoopi Goldberg), a self-declared feral cat with a kinky and rebellious side; Armando (John Waters), an aristocratic cat with a haughty attitude; Judy (Aparna Nancherla), a cat with gross eye infections who is way more upbeat and hopeful about the world than she should be; and a shrill and bossy dog named Brandi (Amy Sedaris), who runs the human Seth (Gil Ozeri) — ostensibly the operator of the shelter.

After his owners break up, Kevin decides to stay at an animal shelter, where he makes friends with a rag-tag group of cats, dogs and other animals.

(Courtesy of Prime)

“This idea of fending for yourself and trusting your instincts is part of checking off boxes to show you have lived a quote unquote real life,” says Schwartzman, briefly growing philosophical about what intrigued him about playing a neurotic cat.

The cats encounter plenty of other animals on their adventures, from a drunk spider to a deer that gets hit by a car and curses out the driver. “That made me laugh out loud,” says Plaza, who also voices numerous animals, including the spider and a pitbull love interest for Cupcake. “I’ve always wanted a love story with Whoopi Goldberg,” she adds.

(Wengert voices a parrot named Paco, among others, and says there’s talk of adding a tortoise.)

One secondary character is a horse named Patti Lupony, who, naturally, is voiced by Patti LuPone. She’s part of a stacked guest star roster that includes Addison Rae, Cary Elwes, Charles Melton, Nicole Byer, Jim O’Heir, Maria Bamford, Quinta Brunson and Tig Notaro. Many of the actors, including Schwartzman, Waters, LuPone and O’Heir, are Plaza’s friends.

“I like to do things that people don’t expect me to be in, and this is definitely one of them,” says Waters, adding that “Armando is not a real fan of humans, and as a human, I’m not a real fan of cats.”

Still, Waters, who prefers dogs, says he was easily able to get into Armando’s skin. “I’m a Method actor, so I was crawling around the floor,” he jokes, before adding, “If I was a cat, I would probably act like Armando.”

For what it’s worth, Schwartzman also owns dogs, though he’s quick to point out that growing up in Los Angeles, he volunteered at a cat shelter, and these days Plaza actually owns a dog, too. But as anyone who has seen her in “Parks and Recreation” or other roles would surmise, Plaza says, “I have cat-like tendencies and relate more to cats.”

Plaza and Wengert also incorporated the actors’ sensibilities and personalities.

“We would change things on the fly based on the actor’s input,” Wengert says.

Plaza says that Waters is known for being provocative and loves reading tabloids but that he asked to tone down Armando’s snide put-downs of celebrities. “I felt ill at ease about them,” Waters says. “I’ve gotten away with my career for 50 years because I’m not mean. My specialty is praising things other people hate, not the other way around.”

Wengert says the change “forced us to dig deeper and find something more unique in the character, so I’m happy that he asked us to make the change.”

(He adds that he expected Goldberg to object more “because we gave her so many outrageous lines” but she rarely did, except “to pitch something that was even funnier that worked better.”)

Plaza knew Kevin’s neuroses fit Schwartzman but also that he could bring his own touches while improvising. “He’s really funny about his own body,” she says. “We were hanging out once and he just said, ‘Feel this, my leg is really heavy.’ So we put that in for Kevin.”

Schwartzman says, seemingly seriously, “Wow, I don’t have a memory of that exact moment, but it is true that my leg does feel heavy.” And he adds that his friendship with Plaza enabled him to feel comfortable throwing out ideas during recording, adding that the improvising and tweaking went both ways, with the writers constantly adding new ideas. “It was a collaboration and an evolution,” he says.

The writers room is stacked with people who, like Plaza and Wengert, hail from the Upright Citizens Brigade improv world. (Wengert, who also imported writers he’d worked with on Netflix’s “Big Mouth,” was running the UCB school when they met.) “Our sense of humor is very aligned,” Plaza says.

While Plaza loves how “freeing” animation is — “your imagination can run totally wild” — she says that even though it’s out of character for her, she’d play the “bad cop” in the writers room. Wengert says one day she brought Schwartzman in and he and the writers pitched some wild ideas that made them say, “What the f— is going on.”

“We’re just building the world, so you need some rules, otherwise all the inanimate objects can start talking,” Plaza says. “When things started getting too crazy, I’d say, ‘Let’s rein it in.’”

The example Wengert gives is that they can briefly have a talking pizza slice (it is New York, after all) but they don’t want it to become close friends with Kevin in a major plotline.

But if they get to produce a second season — the scripts are already written — Plaza says the leash will get looser “and it will get more insane.”

Natalie Portman is going to have another baby.

The actor is pregnant with her third child, the first with partner Tanguy Destable. The Oscar winner told Harper’s Bazaar that she and Destable, a French music producer who goes by the stage name Tepr, are “very excited.”

“I’m just very grateful,” she told the outlet. “I know it’s such a privilege and a miracle.”

Portman, 44, said that she grew up hearing about how difficult it can be to become pregnant. As the child of a fertility doctor, the actor said she has many loved ones who’ve struggled in their journey and she wants to be considerate and respectful. “I know how lucky it is,” she continued. “I’m very aware, and I’m very grateful. I have deep appreciation and gratitude.”

The “Black Swan” actor has two children from her marriage to ex-husband Benjamin Millepied — a son Aleph, 14, and daughter Amalia, 9 — and told Harper’s that knowing this is “probably the last time,” she is cherishing every moment.

The actor also said she’s been enjoying the spring weather in Paris, where she has lived on and off for years. One other perk of being pregnant in Paris? “In France, they consider full term to be 41 weeks rather than 40, so I guess I get an extra week to be pregnant this time around.”

Portman split from Millepied in 2024 after more than a decade of marriage. The two met on the set of Darren Aronofsky’s 2010 film “Black Swan.” Millepied — a former principal dancer with the New York City Ballet — served as a choreographer on the movie. In 2023, French outlet Voici claimed Millepied had an extramarital affair with a climate activist. Shortly after, Portman quietly filed for divorce in Paris, where the two lived.

Last year, she told Jimmy Fallon during an appearance on “The Tonight Show” that an unexpected encounter with Rihanna at Paris Fashion Week in 2024 helped get her through the split.

“I think every woman going through a divorce should get to have Rihanna say to her that she’s a bad b—,” she joked to Fallon. “It was exactly what I needed.”

Fallon played a clip of the actor’s exchange with the “Diamonds” hitmaker in which Rihanna hugs Portman and says, “You are one of the hottest b— in Hollywood forever.”

Portman replies, “Excuse me? I’m going to faint.”

Portman has been romantically linked to Destable since March 2025.

Actor Ruby Rose’s public allegations of sexual assault against pop star Katy Perry have made their way to Australian officials, days after the former raised her claims on social media.

A spokesperson for the Victoria Police in Australia confirmed in a statement to The Times on Wednesday that its Melbourne Sexual Offences and Child Abuse Investigation Team launched an investigation into a “historical sexual assault that occurred in Melbourne in 2010” but did not confirm the identities of the involved parties. The spokesperson said police were informed that the alleged assault occurred “at a licensed premises” in Melbourne’s central business district, a metropolitan hub that hosts a number of nightclubs among other cultural establishments.

“As the investigation remains ongoing, it would be inappropriate to comment further at this stage,” the spokesperson said.

Representatives for Rose and for Perry did not immediately respond Wednesday to requests for comment.

Rose, the 40-year-old Australian actor known for “Orange Is the New Black” and the CW series “Batwoman,” accused Perry, 41, of sexual assault in a series of Threads posts over the weekend. In the comments section of a Complex Music post about Perry’s reaction to Justin Bieber’s Coachella set, Rose wrote “Katy Perry sexual assaulted me at spice market nightclub in Melbourne.” In other replies, Rose said the incident occurred when she was in “my early 20s” and alleged the “Teenage Dream” and “I Kissed a Girl” singer “bent down, pulled her underwear to the side and rubbed her disgusting” genitals on the actor’s face “until my eyes snapped open and I projectile vomitted on her.”

Perry — via a representative — denied the allegations in a Monday statement shared with The Times. “The allegations being circulated on social media by Ruby Rose about Katy Perry are not only categorically false, they are dangerous reckless lies,” Perry’s rep said.

“Ms. Rose has a well-documented history of making serious public allegations on social media against various individuals, claims that have repeatedly been denied by those named,” the statement said.

Rose, amid her departure from “Batwoman” in 2021, was accused by Warner Bros. Television of spreading “revisionist history.” When she publicly raised allegations of toxic working conditions against the series’ production team, the studio responded by noting it had parted ways with the actor after “multiple complaints” involving her workplace behavior.

Perry previously faced allegations of sexual assault in 2019 when an actor who starred in her “Teenage Dream” music video accused her of verbally bullying him during the video’s production and exposing his genitals to others without his consent during a party held separately from the shoot. Shortly after those allegations surfaced, a TV host in Georgia also reportedly accused the singer of harassing her that same year at an industry party.

During the weekend, Rose posted on Threads that she went to the police station to file a report about the alleged assault, despite expressing in an earlier post she had no interest bringing her allegations to officials. In another post shared Tuesday, Rose said she had “finalized all of my reports.”

“This means I am no longer able to comment, repost, or talk publicly about any of those cases, or the individuals involved,” she wrote, adding that she “can start the healing process now.”

BATMAN Begins and Dunkirk actor John Nolan has reportedly died age 87.

The star and uncle to famous director Christopher Nolan reportedly died today.

The British actor’s cause of death has not been revealed, according to local paper, the Stratford-upon-Avon Herald.

John was known for playing Wayne Enterprises board member Douglas Fredericks in Batman Begins and The Dark Knight Rises.

The theatre veteran appeared in several of his nephew’s blockbusters including the 1998 crime thriller Following and in Dunkirk.

In 2013 he starred as former MI6 agent John Greer in the second season of Person of Interest, created by his other nephew Jonathan.

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He later helped out behind the camera for the fifth and final season.

John featured in a variety of BBC series throughout the 1970s including Daniel Deronda and Doomwatch.

He also appeared in ITV‘s miniseries Shabby Tiger.

John’s last appearance was in a 2024 episode of American science fiction series Dune: Prophecy.

Before he got his break in film and TV, John spent two years with the Royal Shakespeare Company where he played roles in Julius Caesar and The Merry Wives of Windsor.

He played at the well-known Richmond Theatre and appeared on stage with the Royal Court Company.

John is survived by his wife, actress Kim Hartman, and their children Miranda and Tom.

Mere hours after gracing the “Euphoria” Season 3 premiere red carpet, disrobing to reveal a sheer top, beige corset bottoms and lace stockings that became the talk of the town, then jetting over to LAX to catch a red-eye to New York, Natasha Lyonne was reportedly removed from her Delta flight.

According to Page Six, the “Poker Face” star hadn’t changed out of her red carpet look before taking her seat in first class, where she promptly dozed off. Flight attendants tried to rouse Lyonne and asked her to close her laptop and fasten her seatbelt, but the outlet reports she was incommunicado and appeared to be zonked out behind her shades.

Onlookers said that, as several flight attendants tried to stir Lyonne, removed her laptop and asked if she needed medical attention, she seemed out of it, and asked, “Where are we?”

Attendants ultimately had to tell Lyonne the plane wouldn’t be going anywhere until the actor got off, to which she reportedly obliged.

Due to the series of events, Lyonne missed her scheduled Wednesday morning appearance on “The Drew Barrymore Show.”

“My heart is with all the unpaid TSA agents at our airports,” she wrote on X alongside a pink heart emoji. “Sure was looking forward to speaking honestly with @DrewBarrymore yesterday but guess wasn’t in the cards.”

Fans of Lyonne commented on the post, worried and checking in with the actor, who has long been candid about her battle with addiction. After 10 years of sobriety, the “Orange Is the New Black” star revealed that she relapsed earlier this year in a social media post that has since been deleted.

In March, she checked in with her online followers again, reassuring fans she was on the mend.

“Proud to report this kid is doing a whole lot better & back on her feet. Want to thank our recovery communities & the fans who stood by & were so supportive,” she wrote on X. “Aiming to keep the journey somehow private, but look forward to sharing my experience, strength & hope as makes sense. My heart is with everyone ever going through it.”

Representatives for Lyonne have not responded to a request for comment.

When the first two seasons of HBO’s teen drama “Euphoria” aired on Sunday nights, 25-year-old actor and singer Al-akhir Fletcher remembers racing online the second each episode ended, toggling between X (then Twitter) and FaceTime just to keep up with the collective reaction.

“I felt like I had to watch because I didn’t want any spoilers,” he recalled. “I didn’t want anyone to tell me about it. There was maybe one week I tried to wait to binge-watch it, and I couldn’t. Everybody was talking about it.”

That anticipation for Season 3, premiering Sunday, still lingers for Fletcher, though it’s tempered now by doubt and distance, thanks to a four-year gap between seasons. Nevertheless, Fletcher said he’ll finish the show.

“Only because I feel like I’ve invested so much already into the show and into the characters and in their stories,” he said. “So I do want to see it through. I want to know what happens, but there is a little bit of hesitation, especially with hearing about all of the politics and the behind-the-scenes drama of what’s happened with the show.”

When Euphoria last aired in 2022, it turned Maddy Perez’s cutout dresses into a going-out uniform, transformed Cassie Howard’s unraveling into a meme with a saying that everyone understood (“I have never, ever been happier”), and sent Labrinth’s score ricocheting across TikTok in slow-motion edits and tear-streaked montages. It also made bona fide stars out of its cast: Zendaya became an Emmy winner, in-demand actor and fashion icon; similarly, Sydney Sweeney has become an onscreen mainstay, and Jacob Elordi, an Oscar nominee this year.

And, crucially, for a stretch, “Euphoria” made HBO feel like a destination again, with episodes that demanded to be seen in real time and dissected instantly before the night was over.

In the four years since its previous season, though, Hollywood has endured dual labor strikes, streamers have tightened budgets and audiences have fractured into increasingly niche viewing habits. The monoculture that once lifted “Euphoria” has thinned, if it even exists at all.

So as the show returns after an unusually long hiatus, the question isn’t just what happens next for Rue and the gang, but whether “Euphoria” can still hit the way it once did. What we do know is the series isn’t picking up where it left off. Season 3 leaps forward five years, aging its characters out of high school and into a much murkier version of adulthood. Maddy (Alexa Demie) is working for a talent agent and navigating the blurry line between managing actors, influencers and potentially sex work-adjacent clients. Cassie (Sweeney) and Nate (Elordi) are set to marry, all while Cassie is attempting to start an OnlyFans account. And then there’s Rue (Zendaya), whose story can’t outrun the looming debt she owes a drug dealer.

“Euphoria’s” Season 3 returning cast, clockwise from left: Jacob Elordi, Alexa Demie and Sydney Sweeney. (Partick Wymore / HBO) (Jeremy Colegrove / HBO) (HBO)

Can a series disappear for four years and reclaim its choke hold on the culture?

Uncertainty hangs over its return and whether more seasons could be expected. (The show’s creator, Sam Levinson, has been evasive about declaring it the final season, while Zendaya told Drew Barrymore this week she believed it was.)

Interviews with fans and media experts suggest there’s no consensus on whether viewers will flock back like before. Some see “Euphoria” as too big to fail, a brand with enough residual heat to dominate conversation on arrival. Others aren’t so sure, pointing to the long hiatus, the off-screen turmoil and a television landscape that no longer moves in lockstep.

What made the show a breakout hit

Part of what makes questions around the show so difficult to answer is how singular “Euphoria” felt when it first arrived in 2019. At the time, HBO wasn’t in the business of teen dramas. The network had long built its identity on adult prestige — crime sagas, antiheroes and sprawling family epics — not stories centered on high schoolers. “Euphoria” marked a strategic shift, one that aimed to pull in younger viewers without diluting the network’s edge.

“I think this was supposed to be their first foray into quote-unquote young adult programming,” said Michel Ghanem, who writes about television. “They were interested in capturing a younger viewership who maybe hadn’t watched that much HBO up until then.”

What emerged didn’t resemble the traditional teen drama playbook. “Euphoria” was moodier and leaned into storylines rooted in addiction, sex and emotional volatility. HBO began experimenting more broadly with shows like “The Sex Lives of College Girls” and “Generation,” but “Euphoria” stood apart in both tone and ambition. The risk paid off.

“It grabbed on to an audience that loved the cast and the performances and the soundtrack and the cinematography,” Ghanem said. “So I think all of those elements together sort of made it into appointment television.”

Hunter Schafer, left, and Zendaya in Season 1 of “Euphoria.” The show premiered in 2019, becoming a hit for HBO.

(Eddy Chen / HBO)

Beneath the glitter and surreal visuals, some viewers saw versions of people and situations they already knew.

“I found a lot of familiarity in it because of being from L.A.,” said Darryl McCrary, a creative artist who is based here. “I felt like I knew the teenagers. I knew the secret drug addict and the out drug addict and the drug dealers. It felt very familiar. It felt like home in a way.”

Aspiring actor and “Euphoria” fan Cheyenne Washington, who grew up in a small town in Connecticut, also recognized the characters. “I went to high school with people like this. My high school isn’t like how it is on Disney Channel. My high school was ‘Euphoria.’”

By its second season, “Euphoria” had become one of HBO’s most-watched series, with episodes drawing millions of viewers. The Season 2 finale pulled in more than 6 million viewers across platforms, cementing the show as a crossover hit.

“That was the show that my students were talking about,” said Jason Mittell, professor of film and media culture at Middlebury College. “‘Euphoria’ is the buzz show amongst younger people, amongst people who were sort of hyper-online, amongst critics; it was something that was really talked about. That’s the thing that sort of raises it up.”

Why production stalled

While the dual Hollywood strikes were one factor in the delay in production, “Euphoria” was also affected by the sudden deaths of actor Angus Cloud, who played Fezco, and executive producer Kevin Turen, who was considered a key force in the show. There were reports of creative tension between Zendaya and Levinson. At the same time, its young cast had transformed into a roster of in-demand movie stars, with schedules and expectations that look very different from when the show began.

“This new season has to kind of do something new and really break new ground to gain the buzz,” Mittell said. “There is a scenario, depending on how they market it, that it actually could get pretty good viewership. But I think that it’s also just ripe for disappointment. Can you just imagine all the takes that are being written right now? Like, ‘Why “Euphoria” shouldn’t have come back.’ There’s so many people eager to write that.”

And yet, the show’s scale and the fame of the people in it may insulate it from outright failure. “Jacob Elordi, Sydney Sweeney — these are some of the biggest actors on the planet now,” Ghanem said. “Even if the show ends up being a creative flop, I think we’re all going to tune in because we want to see those actors together again and see what storyline Sam Levinson will come up with. There’s no possible world where this third season isn’t a massive hit. There’s just no way.”

Angus Cloud, who played Fezco in “Euphoria,” died in 2023 after an overdose. (Evan Agostini / Invision / AP)

“Euphoria” executive producer Kevin Turen also died in 2023. (Jack Plunkett / Invision / Associated Press)

What has shifted more dramatically is how the show and its creator are perceived, experts and fans said. Since “Euphoria” first aired in 2019, Levinson’s profile has evolved, particularly following the backlash to his HBO series “The Idol,” which was widely panned by critics and plagued by reports of behind-the-scenes turmoil. That scrutiny has extended back to “Euphoria,” with renewed criticism around its portrayal of sex, nudity and teenage characters.

“Since 2019, when the first season aired, there have been a lot of conversations around what Gen Z really wants to see on screen,” Ghanem said. “The show’s reputation isn’t unscathed. And I think people are more critical of Sam Levinson’s work.”

That shift may be especially pronounced among younger viewers, who may have been turned off by “The Idol’s” gratuitousness.

“We’ve had all of these recent studies about younger people who don’t necessarily want to see sexually explicit material anymore,” said Brandy Monk-Payton, assistant professor at Fordham University. “They want to see more development of platonic relationships and asexual connections.”

Can a time gap still lead to success?

Long breaks aren’t unheard of on TV, but they’re rarely this long for a show that’s still trying to hold on to cultural urgency. And history suggests that returning is one thing, but recapturing the same intensity of viewership and fandom is another.

Several recent dramas have tested that gap. “Stranger Things” stretched years between seasons as its young cast aged into adulthood, returning to massive viewership, but, some critics and fans argued, with an ending that felt obligatory.

“They weren’t reckless enough with their characters,” McCrary said.

“The Handmaid’s Tale,” once a defining show of the late 2010s, continued after extended pauses but struggled to maintain the cultural grip it once held.

“I think because of the social and political climate of that show, the interest in it waned,” Monk-Payton said. “We didn’t want to be in the world of Gilead anymore. So do fans want to reenter the world that is ‘Euphoria,’ that sensational world of drug addiction and sex and violence?”

Even “Severance,” which earned critical acclaim and awards recognition after its long-awaited second season, sparked debate among viewers about whether it matched the precision and novelty of its first. The pattern, experts say, is less about whether the audience comes back and more about what they come back expecting.

For Monk-Payton, that expectation functions almost like an unwritten agreement between a show and its viewers.

“It has to retain its contract with the audience,” she said, pointing to the balance between continuity and change. “There has to be some kind of familiarity in the characters and relationships, but also growth — something new that justifies coming back.”

That balance, she argues, is where many returning shows falter. Monk-Payton said in the case of “Severance,” what began as a sharply observed workplace sci-fi story expanded into denser mythology in its second season. Though Apple TV announced that “Severance” had become its No. 1 series, she said the show’s evolution didn’t land the same way for all viewers.

“When shows come back after a gap, they can misread what audiences connected to in the first place,” she said.

The risk for “Euphoria” is similar. If its return leans too far away from the emotional core that defined it, or reshapes its characters beyond recognition, it could strain the connection.

“If we don’t recognize Rue or the others in some fundamental way, that’s risky,” Monk-Payton said. “Some viewers will keep watching to see how it ends because they’re completionists. But others may feel that disconnect.”

Key dates for next year’s awards season — and the one after that — are already on the calendar.

The Academy of Motion Picture Arts and Sciences on Tuesday announced the dates for the 2027 and 2028 Oscars ceremonies, on March 14, 2027, and March 5, 2028, respectively. The awards show’s 99th and 100th iterations will be its last hurrahs with longtime distributor ABC before a move to YouTube.

In another nod to streaming, the Actor Awards (formerly known as the Screen Actors Guild Awards) also set the dates for their next two shows, which like this year’s ceremony will stream live on Netflix. Presented by SAG-AFTRA, the 33rd Actor Awards are slated for Feb. 28, 2027, and its successor for Feb. 20, 2028.

The Producers Guild of America also announced its 2027 ceremony will take place on Feb. 27, 2027, and its 2028 iteration, on Feb. 19, 2028.

The 2027 and 2028 Oscars will also be the last two ceremonies held at the Dolby Theatre after more than a quarter century at the Hollywood mainstay. Beginning in 2029, the Academy Awards will move to L.A. Live’s Peacock Theater, which is expected to be renamed before the Oscars arrive. The new agreement runs through 2039.

Anchoring the ceremony at the sprawling L.A. Live campus rather than in the heart of Hollywood is expected to allow the academy greater control over crowd flow and event programming, and provide better means for hosting visitors. Similarly, the Oscars’ move to YouTube is aimed at expanding the show’s reach in a streaming-dominant era.

This year’s ABC telecast averaged 17.9 million viewers, a 9% drop from last year’s 19.7 million viewers on ABC and Hulu. The dip ended a four-year streak of ratings bumps.

Paul Thomas Anderson’s “One Battle After Another” led this year’s Oscars with six wins including best picture, director and adapted screenplay. “Sinners,” which earned a record 16 nominations, followed behind with four awards.

“Sinners” also won big at the Actor Awards, with television categories dominated by “The Studio” and “The Pitt.”

Times staff writers Josh Rottenberg and Stephen Battaglio contributed to this report.

“Little House on the Prairie” alumna Melissa Gilbert remains steadfast in her support for husband Timothy Busfield, the Emmy-winning actor who has been embroiled in a child sex abuse scandal since earlier this year.

Gilbert, in her first sit-down interview since Busfield’s indictment in February, told ABC News’ George Stephanopoulos she trusts her husband “with my children’s lives, my grandchildren’s lives, my nieces and nephews” and said she expects the “Thirtysomething” star will be exonerated at trial next year.

“Believe me, if I thought for a second that Tim Busfield hurt a child, he’d have a lot more to worry about than prison,” she said in part of the interview that aired Monday on “Good Morning America.”

In February, a New Mexico grand jury indicted 68-year-old Busfield on four counts of criminal sexual contact of a child. A month prior, New Mexico officials accused Busfield of of inappropriately touching two child actors, who are brothers, during his time as an actor, director and producer on the Fox crime drama “The Cleaning Lady.”

One child actor alleged that Busfield had first touched his “private areas” multiple times on set when he was 7, according to the complaint. He said Busfield touched him inappropriately again several times when he was 8. The affidavit also detailed a police interview with Busfield in which he suggested that the boys’ mother might have sought “revenge” on the director for “not bringing her kids back for the final season.”

Busfield turned himself in to law enforcement days after the warrant was issued and denied the accusations. He was jailed at the Metropolitan Detention Center in Albuquerque but was released on his own recognizance Jan. 20.

For Gilbert, 61, the allegations and ensuing chain of events have been “hell.” Recent months have brought “the most traumatizing experiences of our lives,” she told Stephanopoulos, adding, “Our life as we knew it is done.”

The couple married in 2013. “The West Wing” actor Busfield has three adult children from two previous marriages and is the stepfather to Gilbert’s two adult sons from her two previous marriages. When the allegations first surfaced, a publicist for Gilbert said the actor would not comment on her husband’s case, denounced “any purported statements” and said that Gilbert was focused on caring for her and Busfield’s family.

During the Monday interview Gilbert said she and her husband are “grieving what we had: all of our plans, all of our dreams, all of our ideas, all of our projects.” She said her husband has become persona non grata — “canceled,” in her words — and that the allegations will continue to cast a shade over his career “even if he’s exonerated.” Busfield’s lawyer Larry Stein and Gilbert both told Stephanopoulos they are confident that will be the case.

When asked what justice for her husband might look like, Gilbert replied: “Exoneration and apology. Free him from this cloud.”

Elsewhere in the interview, attorney Stein doubled down on his belief that the child actors and their parents are “absolutely” making false allegations against Busfield. The actors’ parents did not respond to ABC News’ request for comment.

Gilbert also told Stephanopoulos that before she married Busfield, she was aware he had been accused of sexual harassment twice by different women, once in 1994 and another time in 2012. Those two cases were mentioned in the January complaint against Busfield.

“I didn’t go into my relationship with him blind. I am neither naive nor am I complicit,” she said, adding she and her husband discussed those claims. “I heard his side of the story which no one has ever heard which is the truth. And when the time is right, and that is not now, Tim will tell the truth of all of these past allegations when he needs to.”

Todd Bridges has taken steps to make his split from Bettijo Hirschi official after announcing in January that he and his spouse had separated.

The former “Diff’rent Strokes” actor, 60, filed paperwork asking to end his marriage Tuesday in Arizona, Us Weekly reported Thursday. This will be the second divorce for both parties.

A representative for Bridges didn’t respond immediately to The Times’ request for confirmation and comment.

Bridges announced in January that he and Hirschi were heading their separate ways after getting married in 2022. At the time, he called the decision a “difficult” one for him.

“This was not an easy choice, and it comes with a heavy heart, but also with love and gratitude for the life we shared,” he said in a statement to The Times. “I thank God for the time we’ve had together, the lessons we’ve learned, and the family we’ve built. Even in this season of change, I trust He is guiding us both toward healing, peace, and new beginnings.”

Bridges said at the time that he would “continue to lift my former partner up in prayer, wishing them joy and fulfillment in the chapters ahead.”

The two met in January 2022; they married nine months later, after a brief engagement. Hirschi told Tamron Hall last year that a friend who wrote a new dating profile for her showed it to Bridges as “market research.” The friend then told Hirschi that Bridges wanted to get in touch.

“She’s a lot like my mom,” Bridges told Hall.

During a contentious spousal support dispute in 2025, Hirschi described the “Everybody Hates Chris” veteran as “semi-retired,” Us Weekly reported in February. The documents came as part of a battle Hirschi fought with first husband Heath Hirschi after marrying Bridges. At the time, Us said that Bettijo was claiming monthly expenses of around $16,550 and said Bridges made only “about $700” a month in 2024 unless he obtained “contract work.”

The Hirschis, who divorced in 2020, share four children, two of them minors, the outlet said. Heath Hirschi wanted out of paying $2,700 a month in spousal support payments after his ex married someone his legal team called a “well-known Hollywood actor.” Us said that in December 2025, the court revised the former couple’s agreement to $1,206 per month in child support, with $43,401.96 due for unpaid past support.

Bridges, meanwhile, has about a dozen acting credits since 2020, according to IMDb, which also says he worked on several new projects in various stages of production.

He also has two adult offspring: Daughter Bo is from a previous relationship with Amanda Rushing; he shares son Spencir, 27, with his first wife. Spencir Bridges was, like his dad, a child actor, with roles in the 2007 movie “Daddy Day Camp” and, in 2005, the TV series “ER.” Spencir’s most recent acting credits were in 2009 when he appeared in the series “iCarly” and in the TV movie “The Three Gifts.”

Todd Bridges is the last surviving original cast member of the hit sitcom “Diff’rent Strokes,” which ran from 1978 to 1986. Conrad Bain played Phillip Drummond, a wealthy Park Avenue businessman and father of Kimberly (Dana Plato). Drummond adopted sons Arnold (Gary Coleman) and Willis (Bridges), who were from Harlem. The character of housekeeper Edna Garrett, played by Charlotte Rae, was spun off in 1979 into a second hit series, “Facts of Life,” which ran until 1988.

Plato, who played Bain’s daughter Kimberly, died in 1999 from an overdose when she was 34. Bain died of natural causes in January 2013, at age 89, while Rae died in August 2018 at 92.

Gary Coleman died in May 2010 at age 42 after suffering a brain hemorrhage in an accidental fall at his home in Utah.

“Bob’s Burgers” voice actor and comedian Eugene Mirman was pulled from a fiery car crash and hospitalized with serious injuries.

Before noon on Tuesday, Mirman’s Lucid Gravity struck the Bedford Toll Plaza in New Hampshire as he was traveling northbound on the F.E. Everett Turnpike. Callers reporting the crash said the vehicle had caught fire and the driver appeared to be trapped inside. New Hampshire State Police said that while units were responding to the 911 calls, Gov. Kelly Ayotte and her security detail came upon the crash and stopped to help.

A trooper assigned to the governor’s detail and two others pulled Mirman from the burning car through a window before first responders arrived. Gov. Ayotte retrieved a fire extinguisher, according to State Police Col. Mark Hall.

“Certainly, their actions were heroic in what they did,” Hall said. “Without hesitation, they put themselves in danger to render aid to someone who was in need of it.”

The actor was transported by ambulance to a nearby hospital with serious injuries. Videos of the incident show the vehicle badly damaged and engulfed in flames.

“Eugene was in a very scary car accident,” Mirman’s agent, Jay Glassner, confirmed in a statement Wednesday. “He wants to thank the bystanders, state police, first responders and hospital staff who saved him. He is grateful to be on the mend. At this time, we kindly ask for privacy for Eugene and his family as he focuses on recovering from his injuries.”

The crash remains under investigation.

The animated series “Bob’s Burgers,” which centers on a family that runs a restaurant, celebrated its 300th episode, titled “Grand Pre-Pre-Pre-Opening,” when the Fox favorite premiered its 16th season in the fall.

Often referred to as a “comfort show,” the series features Mirman as kid brother Gene Belcher.

“It’s just a mix of warmhearted and funny and sort of grounded,” the actor told The Times last year.

“There’s a sibling camaraderie that is really lovely,” Mirman continued. “It reminds me of the camaraderie on TV and movies in the ’80s. That era of the stuff I grew up watching.”

The Associated Press and Times staff writer Tracy Brown contributed to this report.

Actor James Tolkan, known for his role as the Hill Valley High principal in “Back to the Future” and the no-nonsense commanding officer in “Top Gun” has died. He was 94.

Tolkan died Thursday in Lake Placid, N.Y., where he lived, his booking agent, John Alcantar, told the Associated Press on Saturday.

In “Back to the Future,” Tolkan portrayed Vice Principal Gerald Strickland, who surveyed the school’s halls with a whistle around his neck and a tardy slip burning a hole in his pocket.

“You got a real attitude problem, McFly,” Tolkan’s character snaps at Michael J. Fox’s character, Marty McFly, in the cult classic 1985 film. “You’re a slacker. You remind me of your father when he went here. He was a slacker, too.”

The line became one of Tolkan’s most famous, and mega-fans would flock to Comic-Cons around the country to ask the star to call them a slacker, requests he typically obliged.

The actor had a number of film and television gigs through the 1960s and ’70s, but he was doing David Mement’s Broadway play “Glengarry Glen Ross” when he got the offer to play Strickland in “Back to the Future.”

“I always said, ‘I’m never going to Hollywood until they send for me,’ ” he told T.C. Restani during a 2015 interview. “And I said, OK, this is my chance. And of course, nobody realized that it was going to be such an important picture. But it was. It was one of those marvelous events where all the planets were aligned and ‘Back to the Future’ became this shooting star of a movie.”

Tolkan was also well known for drilling Maverick and Goose with swift reprimands and tough love between puffs of his cigar as their commanding officer, Tom “Stinger” Jardian, in the 1986 blockbuster “Top Gun.”

“That was very special, because when you make a movie you never know, but in ‘Top Gun,’ everybody felt like it was going to be a success,” Tolkan told Bob McCarthy during a 2016 Comic-Con interview. “ They just felt it, knew it right from the first day.”

Born June 20, 1931, in Calumet, Mich., Tolkan was the son of a cattle dealer — Ralph M. Tolkan. He moved around in his adolescence, spending time in Chicago and landing in Arizona after his parents’ divorce. It was there that his athletic skills got him noticed by the Eastern Arizona College football coach. Tolkan landed a scholarship to the college, but his academic career was short-lived, and he left to enlist in the U.S. Navy.

After a year of service during the Korean War, he was discharged due to a heart ailment, and with $75 to his name he set out for the Big Apple to try his hand at acting. In New York, Tolkan studied under Stella Adler and Lee Strasberg at the famed Actors Studio and started landing stage roles before working his way to the big screen.

Although his experience in the military informed the types of roles Tolkan would play — Army office, Air Force commander, police lieutenant, attorney — his work as an actor was his passion. “If you choose to be an actor, you have to choose to be an actor, and you have to stick with it through thick and thin,” he told a FanX audience member during a 2023 panel at the Salt Lake City pop-culture convention. “When things get tough, you can’t think about doing something else. You’ve got to say to yourself, ‘I’m gonna do this.’ ”

Other notable acting projects of Tolkan’s include the 1973 film “Serpico,” starring Al Pacino; the 1981 movie “Prince of the City”; the role of Napolean in Woody Allen’s 1975 film, “Love and Death”; and the 1983 film “WarGames,” in which he acted alongside Matthew Broderick.

Tolkan is survived by his wife of 54 years, Parmelee Welles.

COMEDIAN and actor Alex Duong has died aged 42 after a year-long battle with cancer.

The funny man was known for his appearances on Jeff Ross Presents Roast Battle and Blue Bloods.

A close friend who was by his side confirmed to TMZ that Duong passed away 11am Saturday at St. John’s Hospital in Santa Monica, California, surrounded by family and friends.

Duong reportedly went into septic shock Friday night.

He was diagnosed with alveolar rhabdomyosarcoma – a rare and aggressive cancer – last year.

A biopsy found an extremely aggressive tumour after he had experienced headaches behind his eye.

He eventually lost sight in his left eye.

In August, his comedians contemporaries hosted the The Alex Duong Has Cancer In His Eye Comedy Benefit Show in LA.

Ronny Chieng and Atusko Okatsuka were among the comedians involved.

He leaves behind his wife Cristina and daughter Everest, 5.

Duong grew up in Dallas, Texas as the youngest of six children.

He graduated high school and went on to pursue medicine before finding success in the creative industries.

His writing about the Vietnam War gained him meetings with producers in California, according to IMDB.

Duong left school to pursue a feature development deal with Melody Phan of Zenoost Media.

More to follow… For the latest news on this story keep checking back at The Sun Online.

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The “Harry Potter” team did not need a divination expert to know its cast would encounter some “unpleasant and aggressive behavior.”

HBO boss Casey Bloys told multiple outlets this week that the network had taken precautions anticipating the vitriol the “Harry Potter and the Philosopher’s Stone” actors would face. Ghanian-English actor Paapa Essiedu recently spoke out about the racist abuse and death threats he has received since the announcement that he had been cast as potions professor Severus Snape.

“With all actors on any kind of big IP shows — and this is obviously one of those where you’ve got, you know, passionate fans, people with a lot of opinions — it can get scary in places,” Bloys told Variety in an interview published Tuesday. “So for any show like that, we anticipated it and tried to have training, you know, best practices in terms of social media and how to handle it. And obviously we’ve got a serious security team.”

Essiedu, who is portraying the enigmatic but ultimately heroic Hogwarts professor first brought to life by Alan Rickman in the original “Harry Potter” films, has opened up about the racist abuse he has received from those who believe a Black man should not be playing the fictional wizard.

“I’ve been told, ‘Quit or I’ll murder you,’” he said in an interview with the Times of London. “The reality is that if I look at Instagram, I will see somebody saying, ‘I’m going to come to your house and kill you.’”

“[N]obody should have to encounter this for doing their job … And I’d be lying if I said it doesn’t affect me emotionally,” Essiedu added.

This is not the first time that fans of J.K. Rowling’s Wizarding World novels expressed outrage over the casting of a Black actor in an adaptation. There was a similar outcry in 2016 when Noma Dumezweni was cast to play Hermione Granger in the original London production of “Harry Potter and the Cursed Child.”

It’s also not a situation unique to “Harry Potter.” Racist vitriol has been hurled toward actors in other genre franchises, including fantasy shows such as “House of the Dragon” and “The Lord of the Rings: The Rings of Power,” as well as those involved in “Star Wars” and the Marvel Cinematic Universe.

Bloys also told Deadline in an interview published Wednesday that they had “anticipated there would be a lot of interest in all of [the actors], and interest can tip over into more unpleasant and aggressive behavior.”

“We talked to them about what to expect, what to expect on social media and how we handle it, but any kind of security that’s needed is an unfortunate aspect of doing IP shows,” he said. “We just try to be mindful and monitor it.”

Essiedu also told the Times of London that “the [racist] abuse fuels” him.

“[It] makes me more passionate about making this character my own, because I think of how I felt as a kid,” he said. “I would imagine myself at Hogwarts on broomsticks, and the idea that a kid like me can see themselves represented in that world? That’s motivation to not be intimidated by someone saying they’d rather I died instead of doing work I’m going to be really proud of.”

There’s a lot of chatter around reality TV right now and the hazards of leaning into mess for the sake of potential viewership. Before Utah-based reality star and social media influencer Taylor Frankie Paul was making national headlines over domestic violence allegations brought against her by former boyfriend Dakota Mortensen — putting “The Bachelorette” and “The Secret Lives of Mormon Wives” series under interrogation — The Times was working on a group of stories that captured the longevity and cultural impact of the unscripted format.

News and culture critic Lorraine Ali took a look at the reality TV-to-politics pipleline. Writer Pamela Chelin spoke with “Survivor” host Jeff Probst and others to discuss why CBS’ competition show continues to endure after more than 25 years. And I wrote an oral history on the first episode of “The Real Housewives of Orange County,” which premiered 20 years ago and, in that time, expanded and morphed into a franchise, spreading to 12 other U.S. locales, including the upcoming series set in Rhode Island.

Speaking of reality TV — Valerie Cherish and “The Comeback” have returned for another round of the showbiz satire. The HBO comedy, which blends scripted comedy with a mockumentary format, originally premiered a year before the “Real Housewives of Orange County” and lampooned the effects of the early-2000s reality TV boom. It followed Valerie (Lisa Kudrow), a former sitcom star from the ’90s, as she attempts to revive her career by starring in a new sitcom while allowing a reality TV crew to document her journey. When the short-lived series was revived in 2014, it poked fun at the rise of prestige TV and the evolution of celebrity culture in the social media era. Now, its third and final season finds our favorite leading lady navigating Hollywood’s AI revolution. Michael Patrick King, who developed the series with Kudrow, stopped by Guest Spot to discuss the show’s latest timely exploration.

Also in this week’s Screen Gab, we take a breather from current programming and dust off two bygone titles. One is an animated sitcom that revolves around a mild-mannered therapist and his sessions with a notable clientele of real-life comedians playing exaggerated versions of themselves; the other is a mid-aughts thriller (of the Lifetime TV variety) that follows a heroic doctor who moonlights as a dangerous predator — its Letterboxd rating spread is something to behold. And it’ll make you wonder what Valerie Cherish might have brought to camp like that.

Let it all be incentive to spend some extra time on the couch this weekend — it’ll cut down on trips to the gas pump! Until next week.

— Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

Dr. Katz, played by creator Jonathan Katz, invites his ex-wife, Roz, played by actor/author Carrie Fisher, to indulge in a dysfunctional family Thanksgiving on “Dr. Katz, Professional Therapist.”

(Comedy Central)

“Dr. Katz, Professional Therapist” (YouTube)

Once in a while the algorithms that rule our lives do us an actual favor, and so it was that YouTube alerted me that the entirety of this great turn-of-the-century cartoon lives there, hosted unofficially on a variety of channels. (Just type in the title.) Created by star Jonathan Katz with Tom Snyder, the inventor of an animation workaround called Squigglevision — in which vibrating outlines give a crude effect of action — and co-produced by Loren Bouchard, who would go on to co-create “Bob’s Burgers,” this six-season, semi-improvised, Peabody Award-winning Comedy Central series is founded on the notion that a comedian’s patter can resemble the neurotic unloading one might encounter in a psychotherapist’s office. And so onto Katz’s couch comes a parade of future comedy elder statespersons, naively but recognizably rendered, including Ray Romano, Lisa Kudrow, Dave Chappelle, Garry Shandling, Marc Maron, Catherine O’Hara, Margaret Cho, Wanda Sykes, Patton Oswalt, Sandra Bernhard, Paul F. Tompkins, David Cross, Jim Gaffigan, Steven Wright and Conan O’Brien. Rodney Dangerfield, already an elder comedy statesperson, has some things to say about his wife. Framing the therapy sessions are the domestic misadventures of Katz and his adult child son, Ben (H. Jon Benjamin, the Mel Blanc of adult animation, if Mel Blanc only used his own voice). Can’t-be-bothered secretary Laura (Laura Silverman, recently seen as Jane the documentarian on the new season of “The Comeback”), fills out the regular cast. — Robert Lloyd

“Stalked by My Doctor” (Tubi)

Last weekend, the Museum of Home Video hosted an interactive game at Vidiots where the sold-out crowd watched the first five minutes of 10 films and then voted on which flick to finish. “Stalked by My Doctor” won in a landslide. This 2015 Lifetime TV movie is one of the most bizarrely watchable trash films of the 21st century. Eric Roberts stars as Dr. Beck, a lovelorn, egotistical California cardiologist who is convinced he’s a catch. This graying bachelor falls for his patient, a high schooler named Sophie (Brianna Joy Chomer) and, when rejected, threatens to clobber her disabled boyfriend (Carson Boatman) with the guy’s own crutch. Filmmaker Doug Campbell makes B-pictures like a plastic surgeon does liposuction: He hacks off all the fat. Subtle? Absolutely not. Yet, there’s not a single dull scene and the characters make smarter moves than you’d expect. By the end, I was hooting and clapping, and giddy to hear that this top-notch schlock launched a five-film franchise. Some night soon, you can bet I’ll put on “Stalked by My Doctor: Patient’s Revenge.” — Amy Nicholson

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Lisa Kudrow as Valerie Cherish in “The Comeback.”

(Erin Simkin / HBO)

Could ChatGPT deliver a script worthy of Valerie Cherish’s talents? More than 11 years after it was last revived, “The Comeback” returned this month with a third season that explores the fear of technology replacing artists, and the ethical compromises that arise, through its sharp and uncomfortable comedic touch. Valerie is offered the lead in a new sitcom, “How’s That?,” on a faltering streaming service called the New Net. But there’s a catch. It’s the first-ever TV series to be written by AI — a fact that network brass wants to keep secret to avoid industry backlash. Valerie is initially resistant to the idea, but a humiliating experience on an indie shoot has her reconsidering. Is she about to be part of the new future of TV? A new episode of “The Comeback” drops Sunday on HBO and HBO Max. Over email, King shared his worries over how AI may transform the entertainment business and the series he’d pick to join the comeback circuit. — Y.V.

This season has Valerie Cherish starring in the first sitcom written by artificial intelligence. The series has always hilariously explored industry shifts. What concerns or curiosities do you have regarding AI, and did those evolve as you worked on the season?

Concerns — yes, many. They range from young writers with nowhere to learn their craft to no writers, young or seasoned, anywhere but the Coffee Bean & Tea Leaf. And yes I’m curious — white-knuckle curious — to see how the threat of AI (Season 3) will change how we make TV compared to how way the threat of reality TV (Season 1) and the threat of prestige cable and streaming (Season 2) did. Spoiler alert …television and TV writers are still here. When is this being published?

Without spoiling anything, there’s a scene in this week’s second episode where Valerie takes a meeting with some Hollywood folks — and it’s an odd experience. Do those meetings feel any more confusing or bizarre to you, in terms of how network brass thinks about the landscape, than they did a decade or two ago?

That billion-participant Zoom scene in the episode is very reflective of the “pitch process” today — in fact more than reflective — it’s a documentary … minus the occasional “pop-up pet.” What’s missing from this current Zoom pitch process is the in-person connection, which also accounts, I think, for why you no longer hear the phrase: “I sold it in the room.” No room, more people — less sales?

What does your writing process with Lisa Kudrow look like? Place me in those weeks of writing the first episode of this season.

The first and every episode has the same process. We talk, we laugh, we eat, we improv, we take turns writing it down — you know, things human writers do.

In addition to this third go with “The Comeback,” you worked on multiple seasons of “… And Just Like That.” What have you found interesting about the process of revisiting characters at a different stage in your life? Has one felt easier to navigate than the other in the current entertainment landscape?

I’m fascinated by a character’s personal evolution — how they can grow over the years. Who they were, who they might be now, what they’ve let go of — how they’ve changed. I’m also fascinated by how some fans of these characters don’t want them to change. In the current TV landscape — the fans are very vocal.

What have you watched recently that you are recommending to everyone you know?

“The Pitt” [HBO Max]. In addition to the good characters, it’s the thrill of being introduced to new actors.

As a viewer, which show — excluding those in your catalog — do you think would be worthwhile to revisit in 2026?

“Freaks and Geeks” [Prime Video, Paramount+]. One season only. Sometimes … a special show that was canceled — deserves a comeback.

ICYMI

Must-read stories you might have missed

BACK to the Future and Top Gun actor James Tolkan has sadly died aged 94.

The Hollywood star passed away peacefully at his New York state home on Thursday after a celebrated TV and stage career spanning 55 years.

His death was announced on the Back to the Future website as well as by writer-producer Bob Gale, but a cause was not provided.

Tolkan played the slacker-hating teacher Mr. Strickland in the first two films of the iconic 80s franchise, returning as the grandfather of his character in the third.

He was also known for his performance as air group commanding officer “Stinger” Jardian in the 1986 blockbuster Top Gun, alongside stars Tom Cruise, Val Kilmer and Meg Ryan.

Tolkan’s five-decade-long career started in the 1960s series Naked City and called it a day after the 2015 film Bone Tomahawk.

He was born on June 20, 1931 in Calumet, Michigan and served in the brutal Korean War as part of the United States Navy.

The young sailor was discharged due to a heart condition and set his sights on becoming an actor, earning a BA in drama from the University of Iowa.

An obituary on the Back to the Future website says that he then “got on a bus for New York City with $75 in his pocket, went to work on the docks and enrolled with both Stella Adler and Lee Strasburg to learn the art of acting. 

“He spent 25 years in New York theater, from off off Broadway to the great White Way.

“Notably, he was a member of the original ensemble cast of the  ‘Glengarry Glen Ross’.”

Tolkan moved his career from New York to California and Canada in 1983 when he was cast in War Games.

After his roles in Back to the Future and Top Gun, Tolkan had a dual role in Woody Allen’s Love and Death.

Tolkan is survived by his wife of 54 years, Parmelee – whom he met in the off-Broadway play Pinkville in 1971 – and his three nieces in Des Moines, Iowa.

The late actor adored animals and the obituary asked for donations in his memory to your local animal shelter, animal rescue organisation or Humane Society chapter.

Breaking news… More to come…

Singer-songwriter FKA twigs is suing her ex-boyfriend, actor Shia LaBeouf, claiming that he is trying to “silence” her from speaking out against sexual abuse through the use of an “unlawful” nondisclosure agreement.

The complaint, filed in Los Angeles Superior Court on Wednesday, seeks a court order to prohibit LeBeouf from enforcing sections of an NDA which Tahliah Barnett — the Grammy Award-winning singer’s legal name — says violates California law.

“Shia LaBeouf has tried to control Tahliah Barnett for the better part of a decade,” the filing states.

“This action was taken in response to Mr. LaBeouf’s attempt to bully and intimidate twigs through a frivolous and unlawful secret arbitration he filed against her in December in which he sought to extract money from her,” said the singer’s attorney Mathew Rosengart, national co-chair of media & entertainment litigation at Greenberg Traurig in Century City, in a statement.

Rosengart added that twigs “refuses to be bullied anymore. She is instead standing up for herself and other survivors of sexual abuse who have improperly been silenced. This is the unusual case that is not about money but about justice and upholding and enforcing California law and policy designed to protect survivors by nullifying illegal NDAs.”

LaBeouf’s attorney Shawn Holley of Kinsella Holley Iser Kump Steinsapir denied the claims.

“When Ms. Barnett and Mr. LaBeouf both decided to resolve their differences and move on with their lives, no one forced her or ‘bullied’ her to stay silent,” Holley said in a statement.
“As a woman with agency, she decided to settle the case and accepted money to dismiss her lawsuit.”

The suit arises out of litigation that Barnett brought against LaBeouf in 2020, when she accused the actor of “physical, sexual, and mental abuse” during their relationship,” as well as “knowingly infect[ing]” Barnett with a sexually transmitted disease.” That case was settled last year.

In a response to the suit, the actor told the New York Times that “many of these allegations are not true.”

But he added, “I am not in the position to defend any of my actions. I owe these women the opportunity to air their statements publicly and accept accountability for those things I have done.”

In the statement Thursday, Holley added that the claim of sexual battery “was disputed, as were the other claims made in Ms. Barnett’s lawsuit.”

Shia LaBeouf poses for photographers upon arrival at the premiere of the film “The Phoenician Scheme” at the 78th annual Cannes Film Festival May 18, 2025.

(Lewis Joly / Invision / AP)

According to the new lawsuit, LaBeouf filed a secret arbitration complaint and “improperly sought exorbitant monies” from Barnett last December, claiming she had breached their agreement by violating its nondisclosure provisions after she gave an interview to the Hollywood Reporter in October.

In the interview, Barnett was asked if she felt safe and answered that as a woman of color in the entertainment industry, she “wouldn’t feel safe” and discussed her involvement with organizations that support survivors, saying, “I think it’s less about me at this point and more about looking forward. Just, you know, moving on with my life.”

The agreement Barnett reached with LaBeouf “contained a deficient and unlawful NDA that is unenforceable,” under California’s Stand Together Against Non-Disclosure Act, according to the complaint. The law forbids NDAs from being used to silence victims of sexual misconduct.

“As the California Legislature has made clear, survivors should have the right to tell their stories without fear or coercion, and California law does not and must not allow abusers and bullies to silence them through secret agreements containing unconscionable, unlawful gag orders,” the complaint states.

The lawsuit further alleges that while LaBeouf has sought to prohibit Barnett from talking about her abuse, he has “repeatedly brought up his relationship with Ms. Barnett—on his own and without being directly asked about her—materially breaching the very confidentiality provisions that he had just contended were fully enforceable against Ms. Barnett.”

While the actor agreed to drop the arbitration in February, he has “refused to acknowledge, however, that the NDA provisions are illegal and unenforceable,” the filing states.

The latest round in LaBeouf’s legal battle with Barnett comes just weeks after a New Orleans judge ordered the actor to begin substance abuse treatment and undergo weekly drug testing after he was arrested on suspicion of assaulting two men in the city’s French Quarter. LaBeouf was also required to post $100,000 bond as part of the conditions of his release. He was charged with two counts of simple battery, the Associated Press reported.

I am blindfolded and seated in a vintage armchair set in the center of a darkened, red-lit room with Gothic accents. An actor is performing nearby. I hear their voice, but cannot, of course, see them. I suddenly spring upward in my seat, alarmed at the touch of some sort of cloth — or perhaps a feather? — across my ankles.

I’ll never be entirely sure. For wearing the small veil across my eyes was a requirement to participate in “Poe: Pulse & Pendulum,” the debut offering from new troupe Theatre Obscura L.A. The company’s initial performance contains two one-act plays, modern interpretations of Edgar Allan Poe’s “The Pit and the Pendulum” and “The Tell-Tale Heart.”

While the stories are familiar to many, Theatre Obscura increases the levels of discomfort. In this room, I am at times unsettled, at once tracking the movements of the actors while attempting to remain hyper aware of any sudden touch or scent. “The Pit and the Pendulum,” the first half of the program, translates especially well to this setting, its dark sense of demented confinement keeping my nerves on high alert.

Conjuring such a state of anxiety was the point.

“If you take the visual away, it’s going to make you feel uneasy,” says Paul Millet, who devised the concept.

There are jump scares. Downtown event space the Count’s Den has been outfitted with about 50 speakers for the Obscura shows, which run through April 12. Some are visible before one puts on the blindfold. Many, though, are hidden under seats or couches, as the audio will trail the actors around the room, or perhaps a sudden crash or door opening will have me jolting my attention elsewhere.

“The Pit and the Pendulum” is a story of torture, and as the narrator, here played by Melissa Lugo, desperately speaks of a blade swinging above, actors will fan us, timing their waves with each swoosh of the audio. I was prepared for that one, as a fellow theatergoer nearby let out a soft yelp when the unseen gestures first arrived above their head.

For many, sight is the most coveted sense. “If you take that away, you’re already naturally uncomfortable,” Millet says. “So we lean into that. We know you’re going to be uncomfortable. We know this is not the norm. But get on that ride with us. Be willing to be uncomfortable. Discomfort, I think, helps to heighten the experience, and ideally allow it to trigger the emotional reactions that the story does.”

“Poe: Pulse & Pendulum” is two one-act, audio-focused performances of Edgar Allan Poe stories.

(Joe Camareno / Theatre Obscura)

Still, touch is limited in the show. Occasionally a rattling of a chair, but little more. The fluttering I felt near my ankles was to mimic the sensation of a running critter. The troupe will ask for audience consent, and participants can opt out. While I went in wondering if “Poe: Pulse & Pendulum” would seek to recall more extreme haunt experiences with lengthy waivers, Millet wanted to keep it light — an audio play, primarily, with just a few in-the-flesh signals.

“We want people to feel unease, but I don’t want anyone taken out of the story because a boundary or line was crossed,” Millet says.

Scent, too, is used with restraint. There are moments when guests will get a whiff of a fragrance that pairs with the storyline. Millet considers the first run of Theatre Obscure to be an experiment in how much touch and scent audiences may want to endure. Smell, he says, is tricky, as the aroma may linger and become a distraction.

Millet has been honing the concept since 2023. Previously, he was part of the team behind Wicked Lit, which ended in 2019 after running for a number of years at unique locations such as Altadena’s Mountain View Mausoleum. Those immersive performances would feature casts and guests walking the venue. Theatre Obscura, however, is fully seated.

“Poe: Pulse & Pendulum” focuses on the fear that something may happen to us when stripped of sight.

(Joe Camareno / Theatre Obscura)

And while the stories of Poe lend themselves to the Halloween season, spooky events increasingly occur year round. Long-running production “The Willows” is set to wrap in early April, and “Monster Party,” a period piece that takes guests to a devilishly extravagant cocktail party, is re-launching in mid-April. Millet, a longtime theater producer who has a day job in television editing, is hoping to stand out by avoiding “the glut” of horror events that occur each September and October.

Theatre Obscura may face challenges, namely persuading potential guests that “The Pit and the Pendulum” is more than simply a live reading with audio effects.

“You can feel the movement of the characters around you,” Millet says. “You’re in the environment with the story as it unfolds. You can experience it on a more visceral level.”

Blindfolded, I felt Theatre Obscura was mostly playing off our fears rather than giving in to them, largely keying in on our anticipation that something may happen to us when stripped of sight. Lugo in much of “The Pit and the Pendulum” circles guests, who are seated sporadically around the room, allowing each of us to imagine how close or far we may be from the hole we are told is at its center. Each show deals with claustrophobia in some way, either of a space, or of a mind.

“The Tell-Tale Heart” is louder, more crowded. The sounds of crashing glass and creaky floorboards had my head working overtime to draw a floorplan, only to then have it distorted when actors would unexpectedly whisper in both of my ears to bring forth the protagonist’s nightmares. While I expected Theatre Obscura to be slightly more aggressive in its uses of touch and scent, it’s a show that asks us to live in our heads, and to sit in our own feeling of trepidation.

“I was intrigued,” Millet says, “with really trying to engage the audience’s imagination.”

Riz Ahmed has created and stars in a marvelous new series, “Bait,” premiering Wednesday on Prime Video. There are no worms in it, though viral video plays a part, and fame — the pursuit of which is a subject — is a lure.

But what’s in a name? A comedy by any other name would be as funny — if it was funny, and this one very much is, in a way that’s crazy and serious and human, built around a character in crisis who refuses to believe his life is out of control and is so invested in putting up a front that he’s begun to believe his own lies. Almost. It’s a series in which hallucinations, dreams, magical realism and memories, which punctuate and interfere with the “normal” business of the story, all amount the same thing, and in which the style of the filming shifts with the action.

Ahmad plays Shah Latif, a British Pakistani actor, who, owing to the exertions of his faithful, often frustrated agent, Felicia (Weruche Opia), is improbably auditioning to be the next James Bond. But he repeatedly forgets his line when his scene partner, a girl with a gun, asks, “Tell me, when it’s just you all alone, how do you live with yourself? Do you even know who you are?” establishing a theme. (The line he can’t recall: “I don’t live with myself, I live with whoever you need me to be.” Spies and actors!)

Leaving the audition, he contrives to be photographed by one of the paparazzi lurking outside, sniffing for a Bond scoop; his picture is published, which creates a stir and some racist blowback, culminating in a package thrown through the front window of his parents’ home. (It is not a window that opens.) What’s inside the package I’ll leave for you to discover, but it will play a part through the rest of the show.

The recurring question of who will be the next James Bond generates a lot of pop cultural heat in our world; just type “next James Bond” into your search engine of choice. At one point, you may recall, Idris Elba was regularly bruited as a potential 007, which occasioned enough anti-Black reaction that he officially took himself out of the unofficial running. It may have been on Ahmed’s mind here — Shah claims high purpose for his Bondean aspirations, that he wants “to show them that this too is what British looks like.”

On the one hand, Shah has had enough of a career to have been made into a “limited edition collectible action figure,” starred in a well-regarded but underseen small film, played “the translator in ‘Homeland’ series seven” and earned a rising star award from some French festival; on the other, he is, professionally speaking, no Idris Elba — not a nobody, but not too many rungs above it. (He’s not Dev Patel, either, with whom he’s repeatedly confused.)

At the top of the second episode, Shah is seemingly being interviewed on a podcast, “Sir Chatwick Stewart, with me, Sir Patrick Stewart” — played by the man himself, whom we hear but never see — about his ambitions, though it’s soon clear that Stewart is a mental projection, an inner critic and inquisitor. He’ll stick around through the series, offering barbed commentary and something like support: “If I humiliate you, it’s to save you from the bigger humiliation of remaining as you are.”

As a protagonist continually getting in his own way, Shah is a classic sort of comic character. He creates opportunities only to squander them; finds himself voiceless after forcing himself onstage at a black-tie gala or in an underground club (he was once a politically provocative MC). After a newsworthy mishap, his agent advises him to lie low, which is impossible for him to do; there is no itch he won’t scratch, and no good advice he’ll actually follow. Apart from a rival actor (Himesh Patel) he’s a protagonist without antagonists, excepting himself. He’s insufficiently grateful to the people he owes, and insufficiently apologetic to those he’s wronged.

Shah’s self-involvement will be challenged by ex-girlfriend Yasmin (Ritu Arya), encountered first by accident, then sought out — a writer, she has published an op-ed headlined, “No, Shah Latif, We Don’t Need a Brown Bond” — in which she accuses him of “exchanging his political art for vanilla distraction.” His family, whom he neglects to visit for months, includes warm-hearted cousin Zulfi (Guz Khan), who has started a Muslim ride share company; a no-nonsense sister (Aasiya Shah) — the name of her character is rendered as “Q” on IMDb and elsewhere, but in the series itself she’s called Ainy — doting mother Tahira (Sheeba Chaddha); and his skeptical father, Parvez (Sajid Hasan), who has not been keeping his doctor appointments and asks Shah, “What do you even do? I watch TV all day — you’re never on it.”

Appropriate to a character who lives for being onscreen, “Bait” plays with the language of film — gritty procedural, a burst of Bollywood, romantic comedy — though not necessarily to the usual ends. Frame-filling titles identify the London neighborhoods where the action takes place — Wembley, Kentish Town, Brick Lane, Ladbroke Grove — as Paris, Moscow and Mexico City might appear in an international thriller. The series is at once satirical and celebratory; “Bait” feels abundant, both in its presentation of a culture, which has the ring of documentary truth, and as a beautifully realized work of art.

Bond can wait.