actor

Missouri officials have determined the official cause of death for “Days of Our Lives” actor Robert Kelker-Kelly, who died this month at age 62.

Kelker-Kelly died of arteriosclerotic heart disease, the St. Charles county regional medical examiner of Missouri confirmed to The Times. The actor’s death was deemed natural. Arteriosclerosis occurs when blood vessels carrying oxygen and nutrients from the heart to the body become thick and stiff, according to the Mayo Clinic. The coroner’s report confirms details previously disclosed by law enforcement and emergency personnel.

The actor, who worked as a pilot later in life, died Oct. 3 after he complained of chest pain and became unresponsive, police confirmed earlier this month. Officers reported with paramedics to the actor’s home for a report of an unconscious man who was not breathing.

“Life-saving measures were administered but were unsuccessful,” police said.

Kelker-Kelly’s wife, Allison Kelly, informed authorities the actor complained of pain in his left arm and chest while on the drive home from Spirit Airport, People reported. The actor asked his wife to pull the car over to vomit and said he did not need to go to the hospital. He reportedly continued experiencing pain at home. Kelly found her husband unresponsive, alerted authorities and administered CPR.

Kelker-Kelly was best known for his work in long-running daytime dramas “Another World” and “Days of Our Lives,” where he portrayed the rebellious heartthrob Beauregard “Bo” Brady from 1992 to 1995. He began his turn as Bo, which lasted for more than 586 episodes, following the departure of original actor Peter Reckell, who would return to the show off and on in the following decades.

He debuted in “Another World” in 1987 and appeared in more than 400 episodes in a handful of roles until 1998, according to the actor’s IMDb page. He was also known for his work as Stavros Cassadine in “General Hospital” and its spinoff series “Port Charles.” Kelker-Kelly’s “General Hospital” tenure lasted from 2001 to 2014 and was his final TV role. His television credits also include “Jack’s Place,” “Touched by an Angel” and “Rescue 77.”

It’s Halloween weekend and that means it’s time to curl up on the couch to watch a blood-curdling scream erupt — from your television.

In the L.A. area, the forecast is looking pretty grim with showers expected this weekend (I am going to remain cautiously optimistic, however, because I do not want these bags of candy to remain in my house). If it does end up being a rainout, at least there are several very good new series and films to watch. Here are a few suggestions:

• One is Peacock’s “Crystal Lake,” the new “Friday the 13th” prequel series starring Linda Cardellini, who spoke to senior writer Greg Braxton earlier this month about taking on the role of Pamela Voorhees (you’ll see Voorhees in a new light). On the occasion of the show’s release, Greg also wrote this handy guide to all the “Friday the 13th” movies, grading each one on a hockey-mask scale to help you choose which to watch.
• If you prefer your horror to involve teen angst, I highly recommend Prime Video’s “Carrie,” a new adaption of Stephen King’s iconic novel by Mike Flanagan. We spoke to the horror auteur and stars of the series, Samantha Sloyan and Summer H. Howell, about how it modernizes the story’s terror.
• As far as films go, you can’t go wrong with this year’s top two horror hits: Kane Parsons’ ultra-creepy, internet inspired “Backrooms,” which is streaming on HBO Max, and “Obsession,” streaming on Peacock. Fittingly, Inde Navarrette, the star of “Obsession,” will host “Saturday Night Live” on Halloween. And if you want to keep the theme going, Curry Barker, the film’s director, made a surprise release on Thursday of a short called “Mama Bear” on YouTube (be advised, it’s NSFW; watch it in a dark room at night like I did).

Also in this week’s Screen Gab, Susan House, the showrunner of Hulu’s new reality competition series “The Mob,” stopped by Guest Spot to discuss the show, and our writers recommend a documentary about one of the finest comedy sketch series to emerge from Canada and a workplace comedy series that graduated from the web to streaming.

Before I go, I want to take a moment to remember the legendary actor Patrick Stewart, who died on Wednesday. From his stage work with the Royal Shakespeare Company to his iconic roles as Jean-Luc Picard in “Star Trek” and Charles Xavier in “X-Men,” few actors had Stewart’s range and depth, as television critic Robert Lloyd so adeptly writes in his appreciation of him. To use the words of another “Trek” great, may he live long and prosper in the afterlife. — Maira Garcia

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Recommendations from the film and TV experts at The Times

“SCTV: The Greatest Show You’ve Never Heard Of” takes a closer look at the Canadian sketch series. Andrea Martin, left, Catherine O’Hara, Joe Flaherty, John Candy, Dave Thomas, Eugene Levy and Harold Ramis.

(Netflix)

“SCTV: The Greatest Show You’ve Never Hard Of” (Netflix)

Speak for yourself, title. Some of us were there from the beginning. But the show is definitely having a moment, with Netflix streaming the entire series, and the documentary “You Had To Be There: How the Toronto Godspell Ignited the Comedy Revolution, Spread Love & Overalls, and Created a Community That Changed the World (In a Canadian Kind of Way),” currently in select theaters, featuring future “SCTV” cast members Eugene Levy, Andrea Martin, Dave Thomas and Martin Short (along with Gilda Radner). Jason Hehir’s “Greatest Show” film does a fine job of outlining the birth and death of what many consider the hipper cousin to “Saturday Night Live,” with lots of great photos and films of sketch comedians in their long-haired youth. The good times, the less than good times, the confusing times are all here, burnished with a warm glow of friendship. Gathered to reminisce are all surviving cast members (including the now-late Catherine O’Hara). Even the rarely seen Rick Moranis participates. (RIP John Candy and Joe Flaherty.) Creating comedy under less than glamorous circumstances, with no live audience or sense of whether anyone in the world was watching, they made the show for themselves and one another. Their instincts proved correct. — Robert Lloyd

Ryan Micho, left, Tommy Armstrong, Grace Reiter, Hyde Healy and Julia Dicesare play co-workers in “Minimum Wage.”

(Netflix)

“Minimum Wage” (Netflix)

The slip-slide from web series to streaming continues with American High’s workplace comedy that began on YouTube and is now appearing, in a slightly longer and moderately gussied-up adaptation, on Netflix. Shot in the now-standard mockumentary style, “Minimum Wage” chronicles life in a dumpy pizza place known as “The Slice Club,” where Grace (Grace Reiter, who recently joined the cast of “Saturday Night Live”) serves as the nominal manager of a wacky team of teenagers who occasionally make and serve pizza. More often, however, they engage in low-stakes antics: dealing with the local high school drama club, planning an ill-conceived birthday party, taking bets on a restaurant breakup or finding themselves stuck on the roof. Most of the cast, including Reiter, appeared in the original web series; this version adds Randall Park as CEO of the “The Slice Club” franchise, who is in mid-divorce and forced to sleep in the restaurant’s basement, and there is a more obvious attempt to underline various “chosen family” themes. They are an engaging, and occasionally hilarious group, and with episodes ranging from 15 to 22 minutes, “Minimum Wage” is an easy binge, or the perfect show to watch while waiting for that friend who’s always late, even when he’s the one who promised to bring the pizza. — Mary McNamara

Guest spot

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

The cast of “The Mob” in Episode 2, from left: Harry Jowsey, Aida Turturro, Shane Parton, Bruno Tonioli, Romeo Miller, Debi Mazar, Demi Engemann, Maria Georgas, Willam Belli and Chelsea Lazkani.

(Andrea Miconi / Disney)

Being in the mob is serious business, and for us normies, the idea of racketeering and plotting whackings is a no-go. But that doesn’t mean it isn’t entertaining to watch it unfold onscreen in iconic films like “The Godfather” or shows like “The Sopranos.” It’s that fandom that led to “The Mob,” the latest reality competition series from Hulu, co-produced by Primal Media and Studio Lambert, the production company behind “The Traitors.” It premiered earlier this week and drops new episodes on Mondays.

The series features 12 players who come from the reality TV world, including Demi Engemann from “The Secret Lives of Mormon Wives,” Joe Gorga from “The Real Housewives of New Jersey,” Bruno Tonioli from “Dancing With the Stars;” and the acting world like Debi Mazar (“Younger,” “Goodfellas”) and Aida Turturro (“The Sopranos”). Each week, they have to compete in games inspired by mob movies and avoid getting “whacked” or eliminated from the competition by the don, the head of the family who doles out cash in exchange for allegiance. It’s hosted by Parker Posey, who is living a very comfortable life in an Italian villa.

Showrunner Susan House, who has led reailty shows like Netflix’s “The Circle,” says “The Mob” is special because it isn’t just about money — though the participants are competing for thousands in cash. “It’s about the power, it’s about family, and it’s about all these human relationships and human dynamics,” she says over video call this week. “Plus, you’re in this beautiful Italian backdrop. You’ve got Parker Posey, there’s some comedy and there’s fun. This sounds cliche, but I do feel like there’s something for everyone.”

She shares what it was like to work with Posey and the rest of the cast and the drama she’s been watching lately. — M.G.

Tell me how the concept for this series came about, and why the mob theme.

The concept was developed by a U.K. company called Primal, and they developed [it] along with Hulu. And I think the mob theme came about because it’s such a lush kind of environment to do a show from, like it’s so cinematic. It has such an amazing place in pop culture. Everyone knows it. It’s about power. It’s about family. It’s about dynamics. All the fun subject matter that makes for a great TV show.

How was it working with Parker Posey as host of the show?

I grew up in the Midwest in Kansas City, and I was a huge fan of independent film. My best friend and I would go to the one art house [theater] that we had growing up, and we loved Parker Posey. I’ve been a huge fan of her since “Dazed and Confused.” And so when she signed on for the show, I called my best friend when I was allowed to talk, and I said to her, “Oh, my God, you’re not going to believe who is hosting the show,” and we both did a little scream. It was just an … incredible moment in my career that I’m doing a show where Parker Posey, she’s iconic to me, was the host. I think that she’s perfect choice, right? She’s unique. She’s artsy. She’s comedy. She’s done drama. She can embrace a character, a setting. It was for me … just like a dream come true.

I’m so excited you said “Dazed and Confused,” because that’s what I associate her with.

When she signed on, I went back and rewatched that movie. I hadn’t seen it in a while. I was just like, oh, my God, she is so good in that.

And “The Mob” is so different. But it seems like she’s trying so many different things in this later stage of her career.

I know, it’s so cool. “The White Lotus,” she was amazing in, and I feel like people sort of rediscovered her in some ways. Maybe younger generations did, and it’s great, it’s amazing. She’s trying all these new things. I just watched “Wild Horse Nine.” She was incredible in that.

The cast of “The Mob” features a mix of actors and reality TV personalities, which I thought was really interesting. How did you land on that combination?

I think the subject matter of the mob is universal, right? It’s about loyalty. It’s about power, it’s about respect, it’s about family, and I think combining all of these personalities, … from acting and reality, is a unique opportunity to get [them] … on one TV show and see how they react. It’s a super-fun dynamic, and it just adds another layer to the show that’s I think unexpected and really fun.

Debi Mazar, who was in “Goodfellas,” and Aida Turturro, who was in “The Sopranos,” add some authenticity to the mob theme. I imagine their casting was purposeful — how did they incorporate that into the show?

I love Debi Mazar so much. I’m also a huge fan of her, not just from “Goodfellas,” but I love the show “Younger.” She’s also just iconic … We joke it’s the summer of Debi Mazar, with all the Madonna and Coachella things [the pair made an appearance during Sabrina Carpenter’s set]. I agree, she does bring some authenticity to the show, and she’s definitely of that world. I can’t speak to whether she was playing a character or not. You’re supposed to be yourself. So she wasn’t necessarily [anything] other than Debi, unless she was doing something that I don’t know about. I think Aida is also incredible. She says in the show, I think … in one of the first episodes, “I’m not in the mob.” It’s kind of fun to see her play against type. Like, she is Janice Soprano. But then now we’re seeing the real Aida Turturro and how she plays the game as herself.

Joe Gorga is the family’s first don on “The Mob.”

(Andrea Miconi / Disney)

And you have Joe Gorga, who was picked as the first don of the house, and it felt really perfect because he is from Jersey and he has that voice that you associate with those characters.

That did work out perfectly. It was good because he has a lot of these kind of qualities and stereotypes, but he also is fun and funny. And the show is a comedy in some ways … it’s an homage to the genre. Having Joe as that first don and playing that up a little bit is was fun. We were we were thrilled.

Something people will identify are the allusions to mobster TV shows and movies, like the horse head from “The Godfather.” They’re also incorporated when someone gets whacked.

We’re all huge fans of of that genre, and so many people just wanted to drop these little breadcrumbs for the audience who also love it. Our set decorator, John Sparano, is a huge movie buff. He did things that were like, I don’t think anyone would ever understand this. There was a picture of some pool table balls that were about “The Godfather.” I have to ask him, or it’s like, “No one is going to know these three numbers, John. But OK, I’m glad you’re doing it.” In terms of the whackings, we just thought … this genre gave us the opportunity to have fun with those, make those cinematic and honor those films and and how they did things.

Is there anything you are watching lately that you are recommending to other people right now?

I like the show “War” on HBO Max, and I guess that’s apropos for being a reality TV producer. There’s so much drama, and it’s about a relationship. I’m really enjoying watching that, and I feel very nervous sometimes before the end of the show. I’m like, “Oh, my God, what’s going to happen?”

ICYMI

Must-read stories you might have missed

Halle Berry’s efforts against ex-husband Olivier Martinez’s domestic violence restraining order have proved successful, after two weeks of hearings in Los Angeles.

A Los Angeles County Superior Court judge ruled to dissolve Martinez’s temporary restraining order against the Oscar winner during a closed hearing on Thursday and denied his request for a protective order, according to a minute order reviewed by The Times. Judge Shelley Kaufman granted Martinez’s restraining order earlier this month after he accused the actor of physically abusing their 13-year-old son Maceo. The court document states that Martinez “did not sustain the applicable burden of proof” in favor of his protective order request.

“We are extremely pleased that the Court has dissolved the [temporary restraining order],” Berry attorney Marina Beck said in a statement to The Times. “As we move forward, Halle is determined to continue to focus on the well-being and best interests of her family.”

While the decision might alleviate some legal tension for the film star, the Thursday filing also stated that Berry’s visitation time remains limited to Monday and Tuesday from 10 a.m. to 8 p.m., and every other weekend Saturday and Sunday from 10 a.m. to 8 p.m. When Berry and Martinez (married from 2013 to 2015) settled their divorce in August 2023, they agreed to joint physical and legal custody of their son. Kaufman modified the terms of visitation, barring the child from staying overnight with Berry, when she granted Martinez’s temporary restraining order.

Martinez’s attorney Patrick Baghdaserians told The Times his client was “very happy” with the judge’s order keeping Berry’s limited visitation. Thursday’s decision was “really focused on the best interests of the minor child,” he said.

According to the filing, Kaufman decided “all other orders regarding custody and visitation remain in full force and effect including holidays and vacation.” Previous legal custody orders will also remain in full force and effect, Kaufman said.

Berry and her son must attend 12 sessions of “safe haven joint therapy” in six months after a therapist has been appointed, the order said. A hearing to appoint that therapist is scheduled for Nov. 4.

Thursday’s judgment came down weeks after Martinez raised scathing abuse allegations in a request for a domestic violence restraining order against Berry filed Oct. 1. Martinez’s request centered on an alleged Sept. 26 incident involving Berry and their son. Martinez alleged the actor “physically abused our son, Maceo, by jumping on him, putting her hands around his neck, and choking him,” according to court documents. His filing also included a declaration of Berry’s alleged history of abuse, and screenshots of his text conversation with Berry following the alleged September incident in which she appears to have written, “I feel terrible about what happened last night.”

Berry’s legal team downplayed Martinez’s restraining order and allegations, telling The Times in a statement, “to say this filing is entirely meritless and deliberately misleading would be an understatement.”

Her attorney added: “In a way, today’s filing is not entirely unexpected from an individual with a well-documented history of erratic, possessive and violent behavior. Fortunately, Halle is used to this kind of outrageous conduct from Mr. Martinez and, while she is deeply saddened, she will not allow it to deter her from fighting for Maceo’s best interests and providing him with the love and support he needs.”

In his request, Martinez also asked a judge to bar Berry from contacting and coming within 300 feet of him and their son. Additionally, Martinez requested that the judge order Berry to refrain from drinking during her agreed-upon parenting time with their son and that she undergo sobriety testing “before, during and after visitation” at intervals the court deems fit. He requested that the judge order Berry to pay legal fees, grant him sole legal and physical custody of the 13-year-old boy and do away entirely with Berry’s visitation time.

After the restraining order, several of Berry’s loved ones voiced their support for the actor. Nahla Aubry, the 18-year-old daughter Berry has kept largely out of the public eye, was among them. Aubry spoke out against her former stepfather Martinez and said of Berry, “I have never witnessed her act violently toward anyone.” She also pointed to a 2012 brawl between her father, Gabriel Aubry, and Martinez.

Berry’s fiancé, Van Hunt, and her attorneys also filed declarations vouching for the “Monster’s Ball” actor. Hunt accompanied Berry during the past weeks’ hearing. Berry and Martinez’s son also testified on the restraining order, despite Berry’s objections.

Times editorial library director Cary Schneider contributed to this report.

Patrick Stewart, the acclaimed British actor who played Captain Jean-Luc Picard in “Star Trek” and Professor Charles Xavier in the “X-Men” films, has died. He was 86.

Stewart died on Wednesday in Los Angeles following “a brief and poignant journey” with Alzheimer’s disease and Lewy body dementia, spokesperson Kelly Bush Novak said in a statement on Thursday.

Although best known for his film and television roles, Stewart spent much of his career onstage, performing Shakespeare and other classics.

His career included performances as Claudius and Macbeth, a one-man adaptation of “A Christmas Carol”, and West End and Broadway productions of Harold Pinter’s “No Man’s Land” and Samuel Beckett’s “Waiting for Godot” alongside longtime friend Ian McKellen.

Stewart earned some of the best reviews of his career for his 2007 portrayal of Macbeth, including his only Tony Award nomination. The Times of London described his Macbeth performance as “an enthralling creation of frailty, appetite, egotism and grim humour”.

“Nearly 50 years I’ve waited,” Stewart told the Associated Press news agency in 2008. “I learned it when I was 14. I memorized all the soliloquies just because I thought they were great. And they stuck, so I didn’t have to learn those bits of the play, which is a blessing, because learning lines has now become the one curse of this job.”

From working-class Yorkshire to Shakespeare

Raised in Mirfield, West Yorkshire, a working-class corner of northern England, the future 24th-century commander of a starship grew up without a bathroom in his house.

He joined an amateur drama group at 12 and, as a teenager, memorised Shakespeare for fun. A scholarship to the Bristol Old Vic Theatre School helped launch his acting career.

Stewart, who developed alopecia at a young age, had been bald since he was 19.

His childhood was also marked by domestic violence. His father, a former regimental sergeant major in the British Army, was prone to outbursts of “repeated violence against my mother,” as Stewart wrote in a newspaper piece. “Violence is always a choice a man makes and he alone is responsible for it.”

Stewart later became a patron of Refuge, a charity supporting survivors of domestic abuse.

From Shakespeare to Captain Picard

Stewart spent 14 years with the Royal Shakespeare Company, playing everyone from Mark Antony and Henry IV to Shylock and Oberon.

“People who were not in the company would say to me, ‘Give it a break. Why don’t you go somewhere else?’ And I would say, ‘To do what?’” he told the AP. “Telly?”

He eventually left and appeared in the 1981 film “Excalibur”. In 1987, shortly after performing in “Who’s Afraid of Virginia Woolf?”, he was offered a role in a science fiction series.

“I found myself in Hollywood shooting a syndicated science fiction series, which I was assured would fail,” he said.

But “Star Trek: The Next Generation” ran for seven seasons and 178 episodes. Stewart became known worldwide as Captain Jean-Luc Picard, whose command, “Make it so”, became one of the show’s best-known lines.

Stewart also played Professor Charles Xavier, the leader of the X-Men, beginning with the 2000 film “X-Men”. He returned to the role in several sequels, including 2017’s “Logan”, alongside Hugh Jackman as Wolverine.

Stewart died just days after Walter Koenig, who played Ensign Pavel Chekov in the original “Star Trek” series, which aired from 1966 to 1969.

Queen Elizabeth II knighted Stewart in June 2010. He also served as an ambassador for the International Rescue Committee.

Halloween costume inspiration can arise from anywhere but one spectacular, often-overlooked source is right here in our trusty home of Los Angeles. This city is a hotbed of festive ideas, as witnessed in the IYKYK costumes of yore: the Sweet James billboard, the Oceanwide Plaza graffiti tower, Bob’s Big Boy, Angelyne and Stuart the Minion over Universal Studios.

And no Angeleno with an L.A.-centric social media algorithm could forget Jason Radovan and Hannah Webb, who reigned as “The Mother & Father of the 110” on Halloween 2023. Radovan, an artist and actor, said the idea came to him after driving past the Los Angeles Chamber Orchestra mural countless times on his commute, and then Webb, also an artist, suggested adding a freeway and cars, which “really cemented the concept.” Finding inspiration while in traffic? Now that feels like L.A.

This Halloween, if you’ll be debuting a costume inspired by weird and wonderful Los Angeles, we’d love to see it. Upload a photo below, along with a few words about it, and we may feature it in an upcoming story.

Actor Barbara Barrie, best known for films in which she elevated the role of Mom — including her Oscar-nominated turn in “Breaking Away” (1979) — died Wednesday in her Manhattan home. She was 95.

Barrie’s death was confirmed to the L.A. Times by the actor’s representatives, who said it was medically assisted. Her daughter, Jane Harnick, told the New York Times that her mother’s death followed a terminal cancer diagnosis.

Barrie’s representatives said in a statement to the L.A. Times that the actor was a proponent and advocate of New York’s Medical Aid in Dying Act, a law that took effect on Aug. 5.

Born Barbara Berman in Chicago in 1931, Barrie and her family moved to Corpus Christi, Texas, where she attended Del Mar College. She would later transfer to the University of Texas, where she received multiple awards for drama.

After graduation, she took her acting dreams to the Big Apple, where she made her Broadway debut in the 1955 play “The Wooden Dish.” Throughout her career, Barrie starred in various Broadway productions, among them “The Selling of the President” (1972), “California Suite” (1976) and, most notably, the 1970 musical “Company,” by Stephen Sondheim, for which she received a Tony Award nomination for featured actress in a musical.

Her last Broadway stint was in 2017 in the original role of Helene Berman in the Joshua Harmon play “Significant Other.”

Barrie extended her acting expertise beyond the stage, however, making her first television appearance on “Kraft Television Theater” in 1955. A year later, she made her film debut, albeit uncredited, in the western epic “Giant” while she was in Texas visiting her family.

With more than 120 credits to her name, Barrie began appearing in popular TV shows in the 1950s and ’60s, such as “Naked City,” “The Twilight Zone,” “The Alfred Hitchcock Hour,” “The Nurses” and more. Later TV credits included “Barney Miller” and “Suddenly Susan,” where she played an on-screen grandmother to Brooke Shields.

Her first major film role came in 1964, when she played divorcée Julie Cullen Richards in “One Potato, Two Potato.” She portrayed a white woman who falls in love with a Black man, Frank Richards (played by Bernie Hamilton). The film was released during a time when interracial marriage was not yet legalized nationwide. Barrie earned a Cannes Film Festival Award for the performance.

The actor went on to star as the mom Evelyn Stroller in the 1979 coming-of-age comedy-drama “Breaking Away,” which earned her an Academy Award nomination for supporting actress, and later an Emmy nomination when she reprised the role for the 1980 television series.

Other film credits include 1980’s “Private Benjamin,” 1997’s “Hercules” (where she voiced Alcmene, Hercules’ mortal mother) and 1999’s “Judy Berlin.” According to her IMDb profile, her last credit was in 2025 for the queer romantic comedy “Things Like This.”

In 1994, Barrie was diagnosed with rectal cancer, prompting her to raise awareness about the disease. She published two books on the matter, including “Second Act,” a 1997 memoir about resolute optimism and acceptance, and “Don’t Die of Embarrassment: Life After Colostomy and Other Adventures,” a 1999 memoir where she dives deep into her diagnosis and experience with a colostomy procedure.

Barrie married actor, director and producer Jay Harnick in 1964. He died in 2007. The two are survived by their children, Jane and Aaron.

Actor and singer Cheyenne Jackson, who has starred on Broadway and held roles on dozens of television series including “American Horror Story,” “30 Rock” and “Glee,” had never considered that he might lose his health insurance.

But in a grim moment last year, he realized he was several thousand dollars short of the roughly $28,000-annual minimum to qualify for healthcare through actors union SAG-AFTRA. Otherwise, he would lose the plan that also covered his husband and their 11-year-old twins.

“Auditions weren’t coming in. It was just a really lean, lean time,” Jackson said. “I think I just took my insurance for granted. I thought it would always happen.”

Jackson and other actors are speaking openly about struggles qualifying for SAG-AFTRA healthcare amid declines in film and television production in Hollywood, an exodus of film jobs abroad, job loss from industry consolidation and concerns of AI incursions.

Jackson reflected on the experience while on a layover Sunday in Atlanta’s airport for his one-man musical act, “Midlife Torso Tour.” He decided to offer to spotlight other union members on social media who were short on their earnings. Within 24 hours of posting about the project idea on Instagram, he had received hundreds of messages, he said.

Jackson credited his friend Kathy Bates, the Oscar- and Emmy-winning actor he worked with on four seasons of “American Horror Story,” for helping him pull through last year. He had texted her describing his plight. She called him back within five minutes and told him, “I have good news and bad news,” he recalled.

The good news, she explained, was that she got him a part on “Matlock,” the CBS reimagining of an ’80s legal drama where she stars as a brilliant criminal defense attorney. The bad news was that he would have only four lines and his character wouldn’t have a name.

“I was like, ‘Sign me up!’” Jackson said. “I was grateful, and I showed up and did my four lines.”

Bates had “really paid it forward,” he said.

Actors’ health insurance plans are typically managed by performing arts unions rather than dispensed by a single corporate employer. Producers and studios contribute to a shared health fund based on union contracts, wages and hours worked. If workers accumulate a preset number of hours or pay, they can qualify for up to a year of coverage.

But dry spells and uncertainty in the industry because of the COVID-19 pandemic shutdown and industry strikes have shed light on actors’ struggles to keep insurance as work dwindles. Several years ago, stories proliferated of performers losing health insurance as they contended with heart problems or underwent cancer treatment, and in recent months, actors have again aired concerns.

“I Saw the TV Glow” star Jack Haven posted a video on YouTube in September saying they were “in a bit of an emergency situation.” Haven said they needed to earn $4,000 by the end of the month to keep their insurance. In the video, Haven said they would do “pretty much any job.”

This month, former Nickelodeon star Drake Bell of “Drake & Josh” posted a screenshot of SAG-AFTRA’s health plan website showing that he needed to earn about $11,450 more to qualify.

“Do not become an actor. Do not join SAG,” Bell wrote, using a middle finger emoji and tagging the union’s president, Sean Astin, in the post.

SAG-AFTRA spokesperson Pamela Greenwalt did not respond to a request for comment. But the union has long been open about the financial effects of the pandemic and other industry headwinds that have led to lower employer contributions.

In December 2020, a group of SAG-AFTRA members sued the union’s board of trustees over changes to the health plan. Actors 65 years and older who vested their pensions could no longer count their earnings from residuals in the annual threshold. A provision allowing actors older than 40 with a decade of credits to qualify for coverage at a reduced level of $13,000 in annual earnings was also eliminated.

The union acknowledged renewed challenges during the SAG-AFTRA strike in 2023. The union’s national executive director, Duncan Crabtree-Ireland, told The Times that year that earning enough to qualify for health coverage had become a “real source of anxiety and concern for many members.”

At a meeting of the union’s national board over the weekend at its Miracle Mile office, Astin in a recorded speech addressed members’ frustrations about economic pressures, saying that the union is using “every bit of leverage we have to make sure working performers have a place in whatever this industry becomes.”

It can take years for members to build up enough union work to qualify for the health insurance. Some who have worked in the industry for years never do. Reportedly only about 14% of the union’s 160,000 members qualify for the union’s healthcare. Of SAG-AFTRA’s membership, which also includes dancers, DJs, journalists and radio program hosts, more than 100,000 members are actors and performers.

Miller Tai, a voice actor on the new Paramount+ animated film “Avatar Aang: The Last Airbender,” said he joined the union in 2017 and had not struggled in recent years to meet the earnings minimum, having qualified for the last seven years. He feels that the noise on social media obscures the actual problem: a broken healthcare industry that is hurting people beyond just actors.

“We have a greedy system raising prices by the second,” Tai said. “This is a problem for any sector where we rely on our employers for healthcare.”

In 2027, the earnings minimum will rise to $28,933. Quarterly premiums will rise from $375 to $390 for one participant, with higher amounts for added dependents. Actors with certain credits who lose their eligibility can temporarily keep their health coverage at a reduced rate for up to 18 months through the federal program known as COBRA, according to the union’s website.

Jackson said starting over every year is tough and unpredictable even for people like him who have been in many television shows and make “OK money on residuals.” He said that although one year he might make $300,000 from acting, the next he might make closer to 5% of that amount. He said that he scraped together his minimum earnings this year by taking on more commercial gigs and acting in a vertically filmed microdrama.

“I ended up doing a few things that I have never done before and never thought I would,” Jackson said.

Jackson’s social media project now has a home on Instagram called One Job Away, and he began posting Tuesday morning. His manager’s assistants and others on his team are combing through requests, he said. More than a dozen photos of actors have already been posted, with captions listing the amount they need to make to hit their earnings minimum and describing their past credits.

“To me, it didn’t seem that big of a deal to say I’m struggling and I need to find that next gig,” he said. “But I understand why for a lot of people they don’t want to say that. They don’t want to look needy or look whatever. I do get it, but I think the more we talk about it, the less shame and the less stigma there will be around it, because it just is happening.”

Imprisoned “That ’70s Show” actor Danny Masterson on Tuesday suffered a legal blow that ensures he will remain behind bars for at least another decade.

Three California appeals court judges rejected Masterson’s efforts to overturn his 2023 rape convictions and allegations that he did not receive a fair trial, deciding in an opinion filed in the state’s 2nd District Court of Appeals that “judgment is affirmed.”

The decision “ignores the extraordinary new evidence that has been before them for more than a year,” Masterson attorney Cliff Gardner said, referencing statements from “both complaining witnesses that their sexual experiences” with the actor were “both consensual and positive.”

“Danny is serving a life sentence for crimes he did not commit,” Gardner added in his statement. “No one in California — not defendants and not victims who have actually been the victim of a sex crime — is safer by virtue of today’s unfortunate decision.”

Masterson’s legal team is seeking further review in California Supreme Court and exploring additional legal action regarding evidence presented to the jury.

Attorneys for Masterson first filed their notice to appeal the actor’s conviction in November 2023, then filed a 242-page opening brief in December 2024. Key witness testimonies changed over time, the court excluded significant exculpatory evidence and judicial rulings skewed the jury’s view of the evidence against Masterson, his lawyers alleged at the time. The attorneys also argued that “jurors had significant reservations.”

A mix of errors by another defense attorney and a law enforcement investigation heavily biased against Masterson’s faith led to a wrongful conviction, the actor’s attorney Eric Multhaup alleged in another motion filed November 2025. Multhaup said Tuesday in a statement that the appeals court judges’ recent decision “are fundamentally wrong.”

“The Court of Appeal did not address any of the exculpatory evidence that was contained in the habeas corpus petition, and instead justified the denial with a one-paragraph summary of the one-sided evidence presented by the prosecution,” Multhaup alleged. “This cursory treatment reflects poorly on the administration of justice in the Court of Appeal, and will be rectified by a petition to the California Supreme Court.”

Los Angeles prosecutors charged Masterson in 2020 for three counts of rape involving three different women in the early 2000s. He denied all wrongdoing and maintained all sexual encounters were consensual. He also framed the accusations as an attack of the Church of Scientology. The women said they took years to report the rapes to police out of fear of retaliation from the church.

Masterson first went to trial in 2022, but jurors failed to reach a verdict on any of the three counts, leading the case to end in a mistrial. He was tried a second time in 2023 and found guilty of raping two women, both former members of the Church of Scientology. The jury was deadlocked on a third woman’s accusations. His attorneys argued in December 2024 that there was “no physical evidence supporting the state’s theory [of rape]” and the case was a “a pure credibility contest.”

The actor is currently carrying out his sentence at the California Men’s Colony prison in San Luis Obispo. According to a state database, he will be eligible for parole in June 2042, but is scheduled for a consultation in May 2038.

Times staff writers Clara Harter and James Queally contributed to this report.

TWO major stars have been ruled out as the mystery fourth actor currently vying to be the next James Bond.

The coveted role has been up for grabs following the release of 007 blockbuster No Time To Die in 2021, Craig’s fifth and final outing as the Martini-swilling secret agent.

Final screen tests were held with four remaining hopefuls at London’s Bray Studios over the weekend, but an official announcement is yet to be made by new franchise owners Amazon MGM Studios.

It’s understood that three of those actors – understood to be Jack Lowden, Callum Turner and Josh O’Connor – were joined by a fourth, currently unnamed star, as decisive auditions got underway.

But two British actors, both previously linked with the role, have been ruled out as the final candidate – widely thought to be Jack Barton.

“We’ve heard, reliably so, that Harris Dickinson and Nicholas Hoult are not the 4th person. Testing is said to be occurring today and going into the weekend,” read an article shared by The Hollywood Reporter on Friday.

READ MORE ABOUT BOND HERE

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James Bond fans ‘work out’ secret fourth actor up for 007 role

Dickinson, 30, is currently in the midst of back-to-back shooting schedules for director Sam Mendes’ ambitious four-film Beatles project, in which he will play John Lennon.

Meanwhile, Hoult, 36, has four major films in post-production – among them the eagerly anticipated DC adventure Man Of Tomorrow, which sees him reprise his role as Superman nemesis Lex Luthor.

Australian star Jacob Elordi is also out the running, while the much-fancied Idris Elba, Theo James and James Norton are believed to be out of contention.

Instead, Amazon MGM Studios are said to be keen on the lesser known Barton, 31, whose past screen credits include the popular Netflix drama Heartstopper.

Other than a handful of other minor TV roles, little else is known about the young actor, but he reportedly impressed producers enough to earn critical screen tests alongside his three Bond rivals.

Despite Barton’s emergence, fans remain convinced they have already worked out who the final star in the James Bond race is – and Taylor Swift fans will be very familiar with him.

The latest Bond theory suggests that the singer’s ex-boyfriend Joe Alwyn, 35, who she dated for six years until 2023, is the secret actor.

Fans believe the link to the actor and the 007 role is Bond casting director Nina Gold, 59.

Taking to Reddit to discuss, a fan wrote: “Nina Gold was one of the casting directors for Thor, too, and cast Joe in his first movie role. She knows him as far back as drama school”

Agreeing this person penned: “Nina Gold is doing the casting and knows Joe and cast him in the brutalist and Hamnet so he’s known by the department and may be on the radar of the casting team”

A third added: “Yeah, and he is supposed to be filming in NYC for a Rom com. but was in London this week for a friend’s wedding and potentially this audition.”

A fourth agreed: “Never thought about him as a contender before, but it makes sense.”

Daniel Craig’s fifth and final outing as James Bond was five years ago, and since then a whole host of high-profile actors have been linked to the famous franchise.

But Amazon MGM Studios, who paid $20million for full creative control of the franchise, is said to be picking a more “alternative” actor, rather than a mainstream Hollywood star.

THE dreary Coronation Street cobbles were left behind on Tuesday as soap star Ryan Prescott prepared for a new role in a Hollywood film.

The actor, best known for playing Ryan Connor in the long-running ITV show, has won a part in director Rocky Rodriguez Jr.’s forthcoming comedy drama, Waif.

Currently filming on location in London, Ryan, 37, shared a selfie with established co-stars Jason Flemyng and Dexter Fletcher during a break between scenes.

Sharing the photos with Instagram followers, he wrote: “We are rollllliiiing, first week in to the WAIF shoot and loving it, thank you all for the amazing energy on set!” [sic]

The Mancunian actor will play ‘a drifting art collector living life on his own terms amid the skateparks, guitar shops and art openings of east London.’

Actress Helen Foster has been cast as Prescott’s romantic interest in the new film, writer-director Rodriguez Jr.’s third feature.

READ MORE ABOUT RYAN HERE

hard watch

Corrie actor breaks silence on acid-attack scenes after soap is slammed by fans

HORROR SHOW

Coronation Street’s Brooke Vincent and Ryan Prescott reunite in thriller

Commenting on the post, one enthusiastic follower wrote: “Love this!!!!!!”

A second added: “Love it .. smash it Ryan. Can’t wait to see it.”

While a third shared: “Top drawer actor my favourite on the cobbles at the moment.”

Ryan broke into acting with a short-lived role as Flynn Buchanan on ITV soap Emmerdale before winning a prominent role on Coronation Street in 2018.

Drafted in to play the returning Ryan Connor, a role previously played by Ben Thompson, and later, Sol Heras, the actor has tackled a series of turbulent storylines on the hit soap – among them a bitter feud with gangster Ronald Truman.

In 2023, Ryan was central to a harrowing new storyline that saw his character bear the brunt of a vicious acid attack.

Connor was left with horrific burns to his face and neck after protecting intended target Daisy Midgely from the attack, orchestrated by crazed stalker Justin Rutherford.

Discussing the storyline on This Morning shortly after the episode aired, Ryan said Coronation Street would be focusing on his character’s slow recovery long into the future.

“That’s one thing we wanted to include was to have some longevity within the parameters of soap, which obviously moves very quickly,” he confirmed.

“We wanted to have some kind of longevity in the aftermath.

“Acid attack survivors go through hundreds of operations, multiple skin grafts and quite often a lifetime of post-traumatic stress disorder.

“We want to show the different stages of his recovery.”

Susan Saint James, the TV star who shared the screen with Rock Hudson as his on-screen wife in “McMillan & Wife” and co-led the heartfelt, blended family comedy “Kate & Allie” with Jane Curtin, has died.

The Los Angeles native died Monday after being diagnosed with pancreatic cancer, according to People, which first reported the actor’s death. She was 80.

Saint James’ family remembered the actor for her warm personality and kindness, writing in a statement shared with the magazine, “Every person she met became the most important person in the room at that moment, from a fellow board member to the clerk at the shoe store, who usually walked away knowing her entire life story.”

Her acting career spanned almost six decades — she broke out as Peggy Maxwell in NBC series “The Name of the Game” — from the mid-1960s to the 2020s across TV and film, but audiences know the actor best for starring as Hudson’s detective wife in “McMillan & Wife.” The NBC series, which aired from 1971 to 1977, centered on San Francisco police commissioner Stuart “Mac” McMillan and wife Sally McMillan as they solve a variety of crimes. Saint James earned four Emmy nominations for her work.

She pivoted to film and TV movies after the series ended, garnering roles in “Love at First Bite,” “The Kid from Nowhere,” and “Don’t Cry, It’s Only Thunder.”

After nearly a decade away from the TV series scene, Saint James returned in CBS’ unconventional sitcom, “Kate & Allie.” She starred as Kate McArdle, one of the series’ titular divorcées who decide to raise their children under the same roof. Saint James’ Kate was the modern and no-nonsense counterpart to Curtin’s old-fashioned, sweet Allie. The series aired from 1984 to 1989 and earned Saint James two additional Emmy nominations.

When the stars and creative team of “Kate & Allie” reunited amid the COVID-19 pandemic in 2021, Saint James reflected on how the show was representative of a same-sex household and how mothers raising their own children related to the show’s material. She and her co-stars also said they knew at the time that the series was something special.

“It wasn’t like we went back and said, ‘You don’t know what you got ‘till it’s gone.’ It was just fun,” she said.

Saint James mostly stayed away from Hollywood in the decades following “Kate & Allie,” save for brief appearances in series including “Law & Order: SVU,” “Suits” and “Upload.” She notably found herself in the spotlight again in the early 2000s, but for family tragedy.

Her son Edward “Teddy” Ebersol died at age 14 in a 2004 Colorado plane crash that also claimed the lives of two other people. Teddy Ebersol, whom Saint James shared with husband and former NBC Sports Chairman Dick Ebersol, was aboard a chartered Canadair CL-601 Challenger jet with his father and older brother, Charles, on Nov. 28, 2004, when it crashed during takeoff in light snow and freezing temperatures from the airport near Montrose, Colo. The pilot and a flight attendant were also killed in the crash. Dick and Charlie sustained injuries in the crash, and a copilot was critically injured.

“Here’s the bad part … I’ve never touched his clothes, I’ve never been able to move his things,” Saint James told Oprah in a 2006 interview. She continued to speak publicly about her grief in the following years.

“The thing that could move me on was that I could embrace Teddy finally in a way that was, ‘he’s my kid,’” she said during a 2009 panel on grief. “They can take his body, but I own that boy and I love that boy.”

Beyond her screen work and family tragedy, Saint James was also known for her longtime advocacy in the sports world. Saint James supported the mission of the Special Olympics since an early iteration of the games in California in 1972. The first Special Olympics was held in Chicago in 1968.

In a statement published Tuesday, Special Olympics said Saint James “believed deeply in the power of inclusion” and she served as a board member and a campaign co-chair for Special Olympics Connecticut. Her advocacy included founding the annual Susan Saint James poker tournament fundraiser. The organization’s Susan Saint James Leadership Award honors individuals who “embody her remarkable spirit of leadership, generosity, and dedication to our mission,” the post said.

“Thank you, Susan, for being an extraordinary champion of our athletes,” Special Olympics added in its statement. “Your legacy will live on through the lives you touched and the inclusive future you helped build.”

The actor, born Aug. 14, 1946 and raised in Rockford, Ill., received her star on the Hollywood Walk of Fame in 2008 and partially attributed her success in the industry to her connection with Special Olympics. Former California first lady Maria Shriver, daughter of Special Olympics founder Eunice Kennedy Shriver, attended the ceremony.

During that ceremony, Saint James said she managed to achieve her dream of becoming a Hollywood movie star “through the good works of a lot of wonderful people that created a loving and home-like environment for me all those years.”

“But the thing that really contributed to my success and happiness with my career was coupling it up with the work that I did with the Special Olympics,” she said, adding, “you can guess that being associated with them turned out to be getting to know some pretty amazing people since I’m now really cozy with the first lady of the state of California.”

Saint James was married three times, first to scriptwriter Richard Neubert from 1967 to 1968, according to People. She remarried in 1971 to makeup artist-turned manager Thomas Lucas. They share two children — daughter Sunshine and son Harmony — and divorced in 1977.

Saint James remarried to then-NBC executive Dick Ebersol after they met in 1981 when she hosted “Saturday Night Live.” They welcomed children Charles, William and Edward (Teddy.)

LOONEY Tunes actor Eric Bauza, who voiced iconic cartoon characters such as Bugs Bunny and Daffy Duck, has died aged 46.

The award-winning star’s family posted on Instagram that he had died “suddenly” and there would be “more details to come”.

The Canadian voiced dozens of beloved characters over more than 25 years in the industry, winning three Emmys for his Looney Tunes roles.

He died as a result of heart disease, according to Los Angeles County Medical Examiner records.

Bauza had multiple characters in this summer‘s hit animated comedy Coyote vs. Acme.

These included Bugs Bunny, Daffy Duck, Foghorn Leghorn, Pepé Le Pew, Porky Pig, Elmer Fudd and The Road Runner.

The actor told NBC News in 2021 that he was a huge fan of Looney Tunes growing up and used to copy the voices.

He said: “Looney Tunes transcends all languages and all cultures.

“It doesn’t matter what part of the planet you’re from. You get the comedy.”

Bauza was also known for playing Toad General in 2023’s The Super Mario Bros. Movie and its sequel The Super Mario Galaxy Movie, this year’s fifth highest-grossing film internationally.

He won three Emmy Awards for outstanding voice performance in 2022, 2023 and 2025 for different animated shows.

Channing Dungey, the chairman of Warner Bros. Television Group and US Networks, said in a statement: “Eric Bauza was a unique voice talent who brought joy and laughter to millions around the world.

“He followed in the footsteps of giants like Mel Blanc. Eric said that carrying on the legendary legacy of the Looney Tunes was among the greatest honors of his life.”

Born in the Toronto suburb of Scarborough in Ontario, Bauza made his voice acting debut in the Canadian animated series The Ripping Friends.

Before stepping behind the microphone, he began his journey in animation as a character designer for Hollywood production studios.

He would go on to have more 421 voice acting credits in film, television and video games listed on his IMDb profile.

Bauza’s extraordinary vocal range allowed him to become the definitive modern successor to legendary voice actor Mel Blanc, and he first took on the iconic Bugs Bunny role in 2018.

He was hired by showrunner Peter Browngardt to audition during breaks in recording sessions for Uncle Grandpa.

His official debut episodes eventually premiered with the launch of the HBO streaming series Looney Tunes Cartoons in 2020.

Film producer and screenwriter Christopher DeFaria, who worked with Bauza on Coyote vs. Acme, told Variety the voice actor would be remembered for his “incredible impact”.

DeFaria said: “He’s a voiceover artist for animated characters that have historic precedents and roles, and somehow out of that, he carved out a place in this business.

“This past year, he had such an incredible impact, both on our movie, of course, but also on bringing attention to this amazing art form.”

Bauza is survived by his son and his family.

Raise your hand if your group chat is still talking about “You Can See Everything.”

For anyone who has watched Nathan Fielder and Lance Oppenheim’s documentary about former Theranos CEO (and convicted felon) Elizabeth Holmes and her partner Billy Evans in the past week, every new think piece, funny meme, discussion thread or video parody about the film has been something to revel in. I’ve personally spent several hours messaging or speaking to friends and colleagues over the phone about the documentary, and it seems like a lot of people similarly can’t stop obsessing about it.

The film has sparked renewed interest not only in Holmes, but also in works previously released about her, including “Bad Blood,” written by John Carreyrou, the journalist who exposed Holmes and Theranos’ fraudulent practices, and Alex Gibney’s 2019 documentary “The Inventor,” which senior writer Greg Braxton rewatched and analyzed in the context of the new documentary. Also notable has been the resurgence of Hulu’s “The Dropout,” the 2022 limited series created by Liz Meriwether (“Furious”) that stars Amanda Seyfried — Variety reported this week that the series has seen a jump in viewership over the past month. And of course, there’s been lots of interest in Fielder; we’ve put together a guide to his work if you’re looking to understand him and his style.

But with all the attention on Holmes, Times culture critic Mary McNamara raises an important question: Why are we still so fascinated by Holmes, despite her track record as a con artist and fraudster? There are many answers to the question, but there’s no denying the public’s renewed fascination with Holmes, and now Evans as well.

However, if you prefer to think about lighter relationships that are less perplexing, NBC’s latest sitcom will do the job and remind you of what it’s like to be immediately swept off your feet. “Newlyweds,” starring Téa Leoni, Tim Daly and Jamie Lee Curtis arrives on NBC today. Curtis, who co-created the series, stopped by Guest Spot to talk about what inspired it and the recent changes behind the scenes.

Also in this week’s Screen Gab, our writers recommend a documentary about a saga surrounding one of the greatest hip-hop groups of all time and a cult-classic horror film that’s perfect for spooky season. — Maira Garcia

Turn on

Recommendations from the film and TV experts at The Times

Tarik Azzougarh, left, and the RZA in Netflix’s “The Disciple.”

(Netflix)

“The Disciple: A Wu-Tang Fable” (Netflix)

In 2015, the only copy of the Wu-Tang Clan’s “Once Upon a Time in Shaolin” sold at auction for $2 million. The buyer was revealed to be hedge fund and pharma dirtbag Martin Shkreli, who infamously raised the price of an antiparasitic drug by 5,000% overnight and later went to prison for securities fraud. Joanna Natasegara‘s enchanting documentary “The Disciple” explores the long run-up to this Guinness Book of World Records event, and its aftermath, through the surprising, touching, funny and sometimes sad story of the album’s co-producer, Tarik Azzougarh, a.k.a. Cilvaringz. A Dutch Moroccan superfan whose freestyling and persistence earned him a place in the group’s auxiliary, it was Cilvaringz who first proposed the idea and brought it to fruition with Wu-Tang main man RZA — both a culmination and the beginning of an end. The film raises questions of art and ownership, friendship and business, creativity and capitalism, asking the questions who is music for, and what is it for. — Robert Lloyd

‘Highway to Hell’ (Tubi, Prime Video)

This is the perfect spooky-season flick to pop on when you don’t mind interruptions from trick-or-treaters or your buddy who treats movie night like an audition for “Mystery Science Theater 3000.” Directed by Ate de Jong (“Drop Dead Fred”), this 1992 comedy-horror cult classic stars Chad Lowe and Kristy Swanson as an eloping couple who take the wrong shortcut and wind up in Hades — basically, an even worse version of the drive to Vegas — where a young Ben Stiller works the roadside diner and Gilbert Gottfried plays Hitler. Every shot has a snort-worthy gag: a stop-motion Cerberus, a casino-bar called Hoffa’s, a cop whose handcuffs are literally a pair of severed hands. A flop at the time, “Highway to Hell’s” breakneck mix of smart and stupid was applauded by former L.A. Times film critic Kevin Thomas as “the Greek legend of Orpheus, revved up ‘Mad Max’-style.” Screenwriter Brian Helgeland would eventually win an Oscar for “L.A. Confidential.” Somehow, I never hear him brag about this goofy delight. He should. — Amy Nicholson

Guest spot

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

Jamie Lee Curtis as Claudia in “Newlyweds,” a sitcom she co-created and executive produces.

(Nicole Weingart / NBC)

Jaime Lee Curtis has been in showbiz for a very long time. And when she sets her mind to something, like returning to a sitcom, she’s going to make it happen.

“It’ll be 50 years next January that I have been a professional actress,” she says over a video call earlier this week. “It’ll be 50 years that I’ve been driving on the lot at Universal.”

Over the course of her long career, Curtis, 67, has developed a lengthy résumé in film and television, winning numerous accolades along the way, including an Oscar and an Emmy (she’s been nominated for a Grammy too — there’s still time for an EGOT). But she longed to return to a sitcom ever since wrapping her lead role on ABC’s “Anything but Love,” a series that premiered in 1989 and ran for four seasons.

While she’s had guest appearances and some recurring roles on sitcoms over the years, including on shows like “New Girl” and “The Drew Carey Show,” NBC’s “Newlyweds” was an idea she had gestated for years, and now it’s set to arrive as part of the network’s Friday prime-time lineup. The actor, who executive produces “Newlyweds” and has a recurring role, took some time to discuss how she came up with the idea for the show, her co-creator’s firing and the political thriller series she’s watching with her spouse, filmmaker Christopher Guest. — M.G.

Jamie, you co-created this series and it’s loosely based on your relationship with your husband, Christoper Guest. Tell me how it came about and how you wanted to tell that story in this show.

It was April 25, 2019. I was in New York City … I was in a car being driven by a man in his 60s in a suit with gray hair on his temples. We were chatting, as one does in the back of a car, and I asked him if he was married, and he said he was divorced. I said, “Do you have kids?” And he said, “No.” And I said, “Well, that’s the blessing that you know you’re not dealing with divorce and children, which I’ve dealt with a lot.” And he then said, “But my new wife.” In that second, I went, “Oh, my new wife.” That’s a sitcom about people in their 60s hooking up, similar to the way my husband and I met, which was we met and married very quickly. And in fact, we would have gotten married had we gone out on our first date. We have said we would have gone and gotten married that night. So the idea popped in my head: What happens if two people in their 60s get married on a whim, and decide to just throw caution to the wind and go for it? What happens to the families and the friends and their own lives and the very routinized lives that they had led leading up to that moment? I knew it was a sitcom.

It wasn’t until years later I was put together with Gail Lerner, and we — during COVID actually — started working on the idea. But much of what’s in that script was kind of what happened to me and my husband … it’s something that’s been around for a while, and I’m just really excited finally that it has turned into this version, “Newlyweds” starring Tim and Téa.

Let’s talk about Tim and Téa. They’re the newlyweds, but they’re also married in real life. What was it like playing off their dynamic and vice versa?

When the pilot got picked up, … it was what they call “cast-contingent,” which means they like the idea, but they want to make sure that the right person gets in … so they wanted us to find Jeanie first, and it was a very short list of actresses they would bank a show on. Téa, luckily, was one of those actresses and had been looking for something on the lighter side. … and it so happens she’s married to a guy IRL who happens to have a lot of experience in the comedy space on TV shows, and all of a sudden we were like, oh, wouldn’t that make a kind of fantastic bit of pairing.

What do you think we’re going to learn about Claudia? She seems so liberated, but we’ve only seen the surface. She’s got a soft spot for Jeanie and even James.

I think you’re gonna see, in fact, that she becomes not just a foil but a friend. I feel like her acceptance of Jeanie … we’re going to mine it for its comedy. I mean, I think at the end of the day, she will always shake things up because that’s just her nature. We get to meet Claudia’s mother. I can’t tell you because we haven’t announced it yet, who plays my mother. I can tell you that she’s over 90.

You’re going to have me Googling.

We get to see a little bit of the oak tree and the acorn. We definitely get the snarky oak tree and the snarky acorn.

I want to come back to your co-creator Gail Lerner, who was recently dismissed from her role as showrunner, and has been replaced with Bruce Helford. Regardless of the news, she has called it “the most joyous TV experience of her life.” How are you and the cast moving forward after these changes?

Well, you can imagine it was a bummer. You know, network television has a whole series of requirements, way beyond … my little creative ideas. It has to do with management of scripts and the amount of early drafts of things, and it’s required within a network structure. And to run a show on television, and to consistently run a show, is a different animal than just the creativity that it takes to think of a show or to develop a show. That’s why Bruce has stepped in very quickly because Bruce has proven over and over again that he’s a guy who can make 100 episodes of a show with a much bigger worldview.

It was beautiful that Gail said the very things she said because we all felt that way too. It was joyous, fun, but there were a lot of things that were way beyond my understanding. What I’ve come to learn, I’m 67, is that creativity is a continuum. That it is not rigid and binary. That I had an idea that then Gail took and built on that idea, and now Bruce has come in and taken Gail’s idea … and is building out another version of the show.

Bruce Helford was the second in charge at the TV show “Anything but Love” when I did it back in the day, so I’ve known him.

So y’all are back together.

The only other time I was ever on a sitcom was “The Drew Carey Show” when Bruce Helford wrote me a part of this crazy hairdresser who … goes on a date with Drew Carey and ends up doing bungee jumping with him on the date. It’s a funny continuum for me to be back with Bruce, who weirdly enough was the actual first person I called when I had the idea [for “Newlyweds”]. I called Bruce because I knew him as a showrunner for sitcoms. We talked about it very briefly, and then he went off to something else. I went off to something else, and it kind of fell apart. So it’s slightly weird to me, and beautiful in that way that the person I actually called when I had the idea is now the one running the show.

It’s a full–circle moment.

Completely full-circle moment.

Has Christopher seen the show? What does he think?

I will say this: Christopher Guest is not a sitcom fan. You know, my husband is a very specific person and makes very specific, very funny movies and television shows. [Sitcoms are] not the thing that he is drawn to. But he genuinely understands that I’ve wanted to do a sitcom for a long time.

Because it’s spooky season right now, and you’re one of the OG scream queens, I have to ask you: Do you watch anything in that vein?

So I’m boring because the truth is, I don’t like scary things. I don’t like scary movies. I have zero interest in scary movies, and I think if someone ended up doing some analysis of me as a human once I’m dead, they would understand that actually my natural fear of scary things is what, in fact, made me such a good actress in them, and I don’t pretend to like them. I like the fans of [scary movies] because there’s a passionate group of people that love them. But I don’t have to love the movies, I just have to love what I do.

Is there anything else you’re watching right now?

My husband and I just started watching the [fourth] season of “The Diplomat” [Netflix], which the writing is so great. Last night we watched an episode written … by Peter Noah, who was the guy who took over “Anything but Love” … and was the showrunner. This episode last night [Episode 4, “Pagliacci”] was what Chris and I watched, and I wrote to Peter last night to say, “Bravo, bravo! Oh, the writing is so gripping.” Of course the writing leads the performances, which lead the filmmaker. It’s always the writing.

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Liev Schreiber appeared to be scolding an interviewer Tuesday during the red-carpet premiere for his new Apple TV series, “Nocturne.”

A bystander captured a behind-the-scenes snippet of the 59-year-old, who was seen speaking to a female reporter, likely part of the Apple TV team.

“Talk to people like they value what they do,” Schreiber said in the clip. “It’s not a f— sound bite, especially when we’re doing it in-house for our own people.”

The Tony Award winner added, “We’re trying to make the show compelling” and suggested that the reporter “engage” with the individuals involved in the project.

It is unclear what question was asked in the lead-up to the awkward interaction, although the “Ray Donovan” actor followed up with: “Three words isn’t gonna do anything for anybody and the monkey who f— thought of that is shooting themselves in the foot.”

The woman, who was holding an Apple TV microphone, continued to smile, telling someone in the background, “I hope you’re rolling on this.”

“What I’m trying to say is,” Schreiber continued, “if you wanna give them something that they can use, talk to people like they’re humans, not like they’re social media.”

The woman then appeared to reframe her question, to which the “Spotlight” actor agreed to respond on camera, adding, “That’s a real question; let’s talk about that.”

The Times reached out to Schreiber’s representatives and Apple TV but did not hear back.

Schreiber is both executive producer and star of “Nocturne,” which is set to premiere Oct. 30.

The drama is based on the Lars Kepler crime novels, including “The Sandman” and “Lazarus.” The series follows Jonah Lynn (played by Schreiber), an ex-soldier turned homicide detective who moves from Philadelphia to western Pennsylvania for a quieter life. But the town is shaken up by an imprisoned serial killer, Jurek Walter (“Adolescence” actor Stephen Graham), which prompts FBI agent Saga Bauer (“Atlanta’s” Zazie Beetz) to go undercover.

US actor Tom Skerritt, who starred in the TV series Picket Fences, and the films Alien and Top Gun, has died aged 93, his family says.

Skerritt died on Wednesday of natural causes, his family said: “While the world knew Tom through his remarkable acting career, we knew him for his humor, curiosity, wisdom, generosity, and the love he brought into our lives.”

In a six-decade career, he took on film and television roles, appearing in the film Mash, A River Runs Through It and Ted. He also co-founded TheFilmSchool in Seattle to support next-generation filmmakers and storytellers.

His family said he will be remembered “for his belief that stories can help people heal, find purpose, and create change.”

The mustachioed star of several 20th century hit films was born on 25 August 1933 in Detroit, Michigan, and served in the US Air Force before pursuing an acting career that boasted several military roles.

He made his film debut in 1962 alongside a young Robert Redford ​in War Hunt and years later re-teamed with Redford in the 1992 period drama A River Runs Through It, which starred Brad Pitt.

Skerritt’s breakthrough role came when he played US army surgeon Duke Forrest in the 1970 Korean War comedy Mash, which also starred Donald Sutherland, Elliott Gould and Sally Kellerman.

The hit film, which was released amid unrest over the Vietnam War, was nominated for five Academy Awards and was adapted for television two years later.

He also starred alongside Sigourney Weaver in the 1979 sci-fi film Alien, which earned two Oscar nominations, and led to three sequels and several crossover projects.

“It is spontaneity and impulse ​that make the difference, and that is ⁠what I felt we had with ‘Alien,'” Skerritt said in a 2019 interview, according to Reuters news agency.

“Every one of us had that immediate rapport with each other.”

Skerritt said that one of the things he liked most when he first read the script was that “the woman becomes a hero”, referring to Weaver’s character, Ripley.

During his career, he starred opposite several strong female leads.

He appeared with Shirley MacLaine in the 1977 film Turning Point and played Sally Field’s husband in 1989’s Steel Magnolias.

As Commander Mike “Viper” Metcalf in the 1986 classic Top Gun, the versatile actor appeared alongside a young Tom Cruise in the blockbuster.

On television, he won an Emmy Award in 1993 for his role as Sheriff Jimmy Brock in David E Kelley’s drama Picket Fences.

The procedural’s ensemble cast was nominated for SAG Awards in 1995 and 1996, and he received a nod for male actor in a drama series in 1995.

Skerritt also had guest roles on the small screen in The West Wing, Madam Secretary, Law & Order: SVU and Huff. He reteamed with Field as the family patriarch, William Walker, in the drama Brothers & Sisters from 2007-09.

He had a six-episode stint on Cheers playing Rebecca Howe’s crush-worthy boss Evan Drake.

In a statement, Skerritt’s family said that he leaves behind a “legacy that reaches far beyond the screen”

A deep believer in the power of storytelling, Skerritt helped found the TheFilmSchool in Seattle and co-founded the Red Badge Project, which helps veterans work through PTSD, anxiety and depression by writing and sharing their experiences.

Inspired in part by his experience filming A River Runs Through It, he also believed in protecting the natural world.

He created the documentary series Reflections of the River about America’s rivers and supported river conservation.

Richard Riehle, a prolific character actor who portrayed Tom Smykowski, the product manager with “people skills” in Mike Judge’s cult classic, “Office Space,” has died. He was 78.

Riehle died Thursday of natural causes in Los Angeles, his representatives from Artists & Representatives and Wright Entertainment Inc. confirmed Monday to The Times. No additional details were provided.

“A remarkable actor whose career in theater, film, and television spanned nearly five decades and more than 400 projects, Richard leaves behind an extraordinary legacy,” read the joint statement from his talent agency and management company. “Beyond his immense talent, he will be remembered for his genuine goodness, boundless kindness, and unwavering generosity, particularly toward emerging actors and filmmakers, whom he encouraged and supported at every opportunity.

“Our industry has lost an exceptional talent, and our community has lost a truly wonderful man,” it continued.

In the 1999 corporate comedy “Office Space,” Riehle portrayed Tom, a middle manager who is laid off by the company before being seriously injured in a hit-and-run accident and winning a large settlement.

“We didn’t have a regular effects person to put me into a body cast for my scene after the character’s accident, so we hired an EMT guy to put me in a real cast,” Riehle said in an interview with Notre Dame Magazine. “I couldn’t get out of it for 8 hours — and when the EMT had to go to work he left a cast-cutter for the PA [production assistant]. That was fun.”

Richard Riehle, right, portrays a co-worker of Ajay Naidu, left, Ron Livingston and David Herman in the 1999 classic “Office Space.”

(20th Century Fox)

Riehle’s other credits include portraying the guard who lets Harrison Ford’s character escape custody in “The Fugitive” (1993); the mechanic with a punny name, Bill Cozbi, in “Bridesmaids” (2011); and the proprietor of a local diner in “Pee-wee’s Big Holiday” (2016).

His wide-ranging resume also includes TV roles in episodes of “Star Trek: The Next Generation,” “Star Trek: Voyager” and “Star Trek: Enterprise,” as well as multiple stints in shows including “Quantum Leap,” “Murder She Wrote,” “L.A. Law” and “Drunk History.” He was also a voice actor on animated projects such as “The Legend of Korra” and “Home on the Range.”

For five seasons, Riehle portrayed Walt Finnerty, the father of Donal Logue’s Sean Finnerty, in the sitcom “Grounded for Life,” which aired from 2001 to 2005.

“Richard Riehle was an amazing human being,” Logue wrote in a tribute shared Monday on Instagram. “A consummate professional, he was an actor’s actor — humble, kind, and incredible at his craft.”

Logue said that he “loved every minute” he spent with Riehle and recalled how the late actor made him laugh so hard during his final audition for the show that he fell to the floor.

“I’ll always remember small details — how he always had a novel (never pulp stuff — always Hugo or Dostoevsky or another classic) stuffed into the back pocket of his old-school slacks,” Logue added. “He loved the House of Pies on the corner of Franklin and Vermont (I did, too).”

Richard Mathias Riehle was born May 12, 1948, in Menomonee Falls, Wis. He graduated from Notre Dame with a degree in speech and drama in 1970 before pursuing a master’s in fine arts at the University of Minnesota.

He started his acting career in local theater. His first uncredited onscreen role was in the 1975 western “Rooster Cogburn,” though he mentioned that he couldn’t find himself in it in a 2017 interview with the A.V. Club. His first screen role “with lines” came a couple of years later, in the 1977 movie “Joyride.” One of his earliest breakout roles was in the 1989 Civil War film “Glory.”

“I always wanted the role that would bring something out of me, force me to find something extra,” he said in the Notre Dame Magazine feature. “As I get older, the roles may not be there as much on high-profile projects, but I’m always going to look for ways I can work and maybe even be a part of ways to change the business. When I work, I feel great. That doesn’t ever have to stop.”

In the mindbending documentary “You Can See Everything,” comedian Nathan Fielder and professed inventor Elizabeth Holmes sit in her beach house staring at each other like gunslingers. Fielder is the creator of the TV series “The Rehearsal” and “Nathan for You” who constructs discombobulating sham realities that include bogus businesses such as Dumb Starbucks. Holmes is the former billionaire CEO of Theranos who pretended she’d built a revolutionary blood testing machine to squeeze investors for a few dollars more.

Each is an expert in the con. But Fielder is deadpan and cold where Holmes is earnest and warm — and he’s been nominated for Emmys while, in May of 2023 when the film begins, she’s about to serve an 11-year sentence in federal prison. As the camera cuts between close-ups of his narrowed eyes and her big, blue ones, Fielder tries to suss whether he can trust the famous fibber to be honest with him. The showdown is riveting.

“You’re being real right now?” Fielder asks, dubious.

Holmes beams. “I’m always being real,” she swears with a smile.

Her charm hits Fielder in the gut. His face stays neutral yet you can see his own confidence bleed out across the screen.

Co-directed by Fielder and Lance Oppenheim (“Primetime”), “You Can See Everything” is the closest Fielder has come to making a traditional documentary. A thrillingly cringe-tastic interviewer, he blurts out blunt questions like a bungee jumper leaping off a bridge, including asking Holmes’ romantic and business partner Billy Evans, the heir to a San Diego boutique hotel chain, whether it’s possible a woman convicted of fraud might be with him for his money.

At nearly three hours long, “You Can See Everything” won’t bore you for a minute. The hook is right there in the title, Fielder’s challenge to the audience: Here’s how Holmes held up to his scrutiny — do we think she’s telling the truth? But be alert. Fielder remains a trickster. One shot in particular proves you can see everything while being blind to what you’re actually watching.

In the first half of the movie, Holmes and Evans, the father of her two young children, give the small crew complete access to their lives during her last weeks of freedom, including inviting Fielder to sleep in their guest bedroom. It’s an act of “radical transparency,” Evans says. As evidence, there’s a fully nude shot of Evans in the shower, testifying to the intimacy the subjects claim they’re granting the team and the confidence they have that the documentary will make them look great. (Evans also boasts that he’s “excellent” in the sack.)

Holmes maintains both her innocence and her eerie smile, a rictus of empathy. She constantly nods, subliminally snake-charming the listener into a sense of agreement. That assessment might be fair or it might be her reputation making you over-analyze her tics. Doubling down, she even insists she’s never told a lie in her life — a claim that momentarily leaves Fielder at a loss for words.

Yet at times, Holmes really does appear to be sincere. Once she surrenders herself to the Bryan Federal Prison Camp in Texas (where, in an unmentioned coincidence, Epstein collaborator Ghislane Maxwell is also incarcerated), the tone shifts into film noir as Fielder struggles to reconcile Elizabeth Holmes’ dual identities. Is she the sweet-natured scientist, the only version of her he’s ever met, or a femme fatale who may still be running a scam?

“It’s personal,” Fielder says of his fixation. How frustrating that he of all people — the dark prince of pranks — may be Holmes’ latest patsy. Composer Ari Balouzian borrows bits of Bernard Herrmann’s violin score from “Vertigo” while cinematographer David Bolen makes the audience hold its breath by framing an image of Fielder and Holmes like they might kiss.

When the movie’s style gets weird, that’s when Fielder is most in his wheelhouse. Stop reading now if you want to preserve the surprise. Micro-analyzing his encounters with Holmes, he reenacts them with an actor, Amanda Seyfried, whose emotional intensity blows into the film like a gust of fresh air. Seyfried, of course, won an Emmy and a Golden Globe for playing Holmes in the 2022 miniseries “The Dropout.” The twists to come, however, feel as much like last year’s naughty hit “The Housemaid,” the domestic thriller in which Seyfried played a shady wife with a marriage made of lies.

Evans initially seems to think they’re participating in a project closer to Netflix’s glossy portrait of Meghan Markle and Prince Harry. The couple doesn’t know much about humor, pop culture or Fielder himself. Fumbling to figure out what makes him tick, Evans attempts to neg the provocateur as someone who lacks the passion to think differently. (Evans may also be the person who used Holmes’ social media account to write a flattering post calling JD Vance “Lisan al-Gaib,” revealing he’s entirely missed the point of “Dune.”)

But thinking differently is Fielder’s awkward superpower. Sooner or later, all of his projects circle around to his concern that he’s simply wired to be unpleasant. His interactions with Holmes are pure cringe comedy, like when she starts to cry perhaps a bit on cue and he stiffly sputters, “Do you want, like, a tissue?” For the record, he brings her one.

As a viewer, the biggest strike against Holmes is this documentary’s very existence. Whether or not you think she’s guilty of fraud, she is about to be separated from her infant and toddler until they’re in grade school. Who on Earth would genuinely want Fielder, the human equivalent of a skunk, to crash their last moments with their loved ones as he does his darnedest to stink up the place?

Fielder is most comfortable as the film’s villain, shooting himself lurking in the couple’s house like “Halloween’s” Michael Myers. At times, his presence does feel monstrous. In one scene, he needles Evans about whether he thinks his soulmate has ever lied to him while Holmes is on the phone in the next room, tearing up as she asks how often she’ll be able to bathe in prison.

The film doesn’t drill into the technical details of Theranos beyond one dizzying scene where Fielder tries to pin Holmes down on exactly what she meant when she said her machine can run hundreds of different tests. She means it just as I would if I bragged I can benchpress a beer keg — that is, once I strength-train beyond my piddly 5 lb dumbbells.

Instead, it tilts into becoming a caper flick as Seyfried’s commitment to understanding her character’s motivation inspires the actor to invite herself along. The drama they uncover is psychological, as befits an era where Silicon Valley CEOs are closer to cult leaders than engineers, making their cash from being televangelists for their IPOs. And both are attuned to the moments when Evans lets his aggravation slip. One scene is a doozy.

Ultimately, suspicion reigns. “You Can See Everything” is an absorbing study of public presentation and private doubts, a documentary that asks more questions than it answers. I hope Fielder will smile and nod approvingly at me if I say I left the film distrusting him, too, especially Seyfried’s re-staging of a long monologue Holmes delivered in prison where recording devices aren’t allowed. Can we believe that Holmes really did say, “I’m tired of having other people speak for me,” or was that laugh line written by the master manipulator himself? I’m now as paranoid as he is — and what a pleasure.

Selma Blair’s team has released a lengthy statement regarding the actor’s recent arrest following an incident while aboard a flight.

“Selma Blair experienced a medical emergency on the flight,” said the statement provided to People on Friday. “There was no attempt to open the door of the aircraft. Selma did not intend to harm anyone.”

The statement is intended to “correct the record on a few points already in public circulation” regarding Blair’s alleged violent conduct aboard a Delta Airlines flight. The Times has reached out to Blair’s reps for comment.

The “Cruel Intentions” star was arrested at John F. Kennedy International Airport late Sunday after an alleged altercation with staff during a flight from Los Angeles. Upon landing, Blair, 54, was taken into custody, then transported to Jamaica Hospital Medical Center. In addition to her alleged actions aboard the flight, the “Legally Blonde” star has been accused of kicking a Port Authority Police Department officer as she was being transported to the hospital, as well as kicking a nurse.

“Since Sunday night, the public account of what happened to Selma aboard a flight to New York has been built almost entirely on a police statement and a decade-old headline,” Blair’s spokesperson said in the Friday statement to People.

The spokesperson called out the lack of “fair reporting” around the situation, adding that they are grateful for the “handful of journalists [who] have taken the time to report on Selma as a human being rather than a headline.”

Blair was charged with two counts of second-degree assault on Monday for her alleged actions involving the police officer and nurse. Blair pleaded not guilty to the charges. At the hearing, her attorney, Shawn Barnes, reportedly told the judge that “this was not an intentional assault” and that the actor had “missed several doses of … a powerful medication that controls severe neurological symptoms,” per the New York Post.

Blair lives with multiple sclerosis, a chronic neurological disorder and autoimmune disease, which she has been open about since 2018.

The statement also addressed Blair’s medical condition — denouncing any who suggest the actor does not have multiple sclerosis — how and why she travels with a service dog, her activism and her busy schedule as an actor and entrepreneur.

“Selma had never been arrested before Sunday night,” the statement said. “There is much more to this story than has been reported, and we ask to consider the entirety of the facts before rushing to judgment, whether in the courtroom or in the court of public opinion.”

LONDON — It’s the day after the London premiere of “Sense and Sensibility,” and its stars, Daisy Edgar-Jones and Esmé Creed-Miles, have shed the glamour of the evening before. Both are curled in chairs in an otherwise empty room in an upscale Hyde Park Corner hotel, modestly dressed in jeans, sneakers and casual tops. Each drinks from an enormous glass bottle of water rather than wasting time with a cup.

The spectacle of a blockbuster red carpet is familiar for Edgar-Jones, whose career took off after the 2020 limited series “Normal People” and has since included “Where the Crawdads Sing” and “Twisters.” But last night marked the biggest such occasion so far for Creed-Miles, best known for the Prime series “Hanna.”

“I was a bit nervous with my friends and family all there,” admits Creed-Miles, who plays the more emotional of Jane Austen’s Dashwood sisters, Marianne. “I’m very lucky because Daisy has done it before and she’s so cool about it.”

“Absolutely not,” says Edgar-Jones, who plays the sensible Elinor. She grins sheepishly. “If anything, I think I’m getting more nervous.”

Both actors understood the high stakes of remaking Austen’s 1811 debut novel, most famously adapted in 1995 by screenwriter and star Emma Thompson and director Ang Lee — a movie that became a generational touchstone nominated for seven Oscars. The new version, in theaters Friday, was adapted by Diana Reid and directed by Georgia Oakley, best known for her evocative 2022 feature debut, “Blue Jean.”

Oakley wanted to re-create the emotions of reading the book as a teenager.

“In comparison to other Austen novels, I remember it feeling quite wild,” Oakley says, speaking separately over Zoom. “I also wanted to capture the spirit of the two older sisters as the beating heart of the story. My memory of it was that their story was the main love story of the book.”

Daisy Edgar-Jones, left, as Elinor and Esmé Creed-Miles as Marianne in a new version of “Sense and Sensibility.”

(Focus Features)

Oakley’s “Sense and Sensibility” emphasizes that relationship between Elinor and Marianne. Although they approach the world differently, they find common ground in each other. It was essential to find the right actor for each role, but also to ensure there was both tension and chemistry between them. Edgar-Jones, 28, was cast first without an audition. There was never any question as to which sister she would play.

“I have played a significant Marianne before,” Edgar-Jones says in a nod to affluent, tortured outcast Marianne Sheridan, her role in “Normal People.” “And I love both characters, but I’m moving into my late 20s now. Elinor has a maturity and a wise older soul quality that I really liked and felt I was right to occupy. I have always been attracted to characters who don’t necessarily have the words to express how they feel.”

Oakley appreciated Edgar-Jones’ restraint. “She is able to show so much by seemingly doing very little,” Oakley says. “Elinor has a lot on her shoulders, so I was looking for an actor who could give a sense of that from the very beginning.”

Creed-Miles, 26, faced a more uphill climb to become Marianne. She describes her first audition as awful.

“It was really bad,” she says. “Maybe I was nervous. I can be a bit of a mess. But someone saw something in me, I guess, and they called me back. This time I worked my ass off and spent days preparing the scenes. They liked that audition enough to bring me in for chemistry reads with Daisy and some of the boys.”

“There’s an earthy, undone nature to the world Georgia made,” Edgar-Jones says of director Oakley’s take on Austen.

(Erik Carter / For The Times)

“The first audition didn’t go exactly to plan,” says Oakley, who didn’t expect to see the actor again. “But [the second time] I was so moved by Esmé performance. We have this idea of how we think people are supposed to speak in a period drama, and Esmé seemed to not be affected by any of that.”

Edgar-Jones and Creed-Miles had previously worked together on the 2018 drama “Pond Life,” which was an asset going into “Sense and Sensibility.”

“It’s a summer I have never forgotten,” Edgar-Jones says of the experience, her first film role. “I met Esmé and we fell in love. We watched a lot of ‘Love Island.’ And then COVID happened and we weren’t reunited until our chemistry read.”

Although they hadn’t completely stayed in touch, there was a natural rhythm between them. “We had so much history and nothing was ever overly discussed,” Edgar-Jones adds. “It was instinctual. That level of intimacy takes time to develop and the fact that I already had years with Esmé meant that it felt very lived in.”

“Sense and Sensibility” was filmed entirely on location around England, primarily in the sweeping countrysides and dramatic coasts of Devon and Dorset. Oakley wanted to emphasize nature and to show how the Dashwood women’s emotional landscapes evolved alongside the shifting landscapes around them, both in the countryside at Barton Cottage and in the more confining social landscape of London. There is a naturalistic aesthetic to the film, augmented by the locations, the costumes and the hair and makeup design. The characters wear muted, sweeping gowns, their hair often loose.

“There’s an earthy, undone nature to the world Georgia made,” Edgar-Jones says. “Sometimes there’s distance you can sometimes get from watching a period drama because obviously we no longer wear corsets and bonnets and ride in horse-drawn carriages. But even though this feels very much of the Regency time, it also feels very close.”

“I loved how authentic everything felt,” Creed-Miles adds. “It didn’t feel frilly for the sake of itself. The clothes helped me find a sense of Marianne. I needed the costumes to close that gap.”

“We wore no makeup, even to the point where sometimes I’d put on some lip balm and Georgia would be like, ‘Take it off,’ ” Edgar-Jones recalls.

“The characters started to feel like real people in my life who I knew,” says Creed-Miles. “It was almost like a split personality.”

(Erik Carter / For The Times)

Creed-Miles says the unbuttoned aesthetic felt more true to the time, even if some commenters online have claimed it’s not period accurate.

“We don’t have depictions of women’s internal lives in the way that we do now,” she says. “When you look at a portrait there’s a composure that’s not the same as having a phone picture of someone when they’re getting out of bed in the morning.”

Oakley fills the screen with a palpable yearning. The camera often lingers over the actors’ faces, revealing Elinor’s inner turmoil and Marianne’s dramatic heartbreak. For many scenes, Oakley asked the cast to do silent takes.

“We wanted to tell a story that had space for some quieter moments,” the director says. “The actors were free to speak or make noises, but they couldn’t say the words of the scene.”

“In making this, I realized Elinor isn’t devoid of emotion,” Edgar-Jones says. “She’s full of it, but she’s learned how to govern it. Realizing that she was an extraordinarily passionate person and not a stone was really important for me. By the end, I felt completely marinated in it.”

“The characters started to feel like real people in my life who I knew,” Creed-Miles agrees. “It was almost like a split personality.”

“Circumstances have changed for young women quite drastically over the past 200 years,” director Oakley says. “But the fundamental contradictions around what it means to be a young woman haven’t changed nearly as much as we would like to think.”

(Erik Carter / For The Times)

Oakley’s interpretation of “Sense and Sensibility” has a wistful, almost Brontë-like quality. You can feel each character’s pain and joy and hopefulness. At the premiere, the audience audibly gasped and cheered, even though Austen’s story is well known to many. Oakley didn’t want to make her film overly contemporary, but she feels the story resonates today because Austen is so timeless.

“Circumstances have changed for young women quite drastically over the past 200 years,” Oakley says. “But the fundamental contradictions around what it means to be a young woman haven’t changed nearly as much as we would like to think. There’s this enormous gap between what we tell young women that they can reasonably expect from their lives and what the world is prepared to offer them.”

Creed-Miles admits that she’s recently fought with someone on Instagram about whether Austen was a feminist.“They didn’t have that terminology back then, but she was a rebellious author in that she used these sociocultural structures to explore the trials and tribulations of femininity,” Creed-Miles says. “It was really important to Georgia that we kept that alive. Reading Austin as an adult, I have so much respect and admiration for the themes she was exploring with a really deft hand. It’s never rammed down your throat.”

Edgar-Jones, an Austen fan, agrees that she captured a truth about the human experience. That’s what allows the author’s work to be retold and reimagined over decades.

“The joy of adaptation is that every new person who says these words will bring a piece of themselves and give it new meaning,” Edgar-Jones says. “And every time we explore something again, it will be colored with the context of today. Great art, like this, should be brought to life again and again.”

Mitte, who grew up in Louisiana, was a young teen when he auditioned for the breakthrough role after moving to Los Angeles to support his younger sister’s acting career in 2005.

He had said that his first audition in Los Angeles was for a California state public service announcement for an anti-meth commercial.

“Fast forward to auditioning for Breaking Bad, which is still, in my opinion, an anti-meth thing because it doesn’t end well for anyone,” he said on the Joe Vulpis Podcast earlier this month.

His character was based on Gilligan’s late friend who had a more severe case of cerebral palsy and used forearm crutches, which Mitte did not require.

Mitte was seen as playing the role with honesty and accessibility, cracking jokes as a teen whose health condition was rarely mentioned in the series.

Breaking Bad aired on US cable broadcaster AMC for five seasons from 2008-13.

After shooting to fame, Mitte fought for more varied roles and complex depictions of characters with disabilities, both visible and invisible.

“Whenever awards season rolls around, we always hope to see a diverse group of projects that reflect all of us, in body and mind,” he told the BBC in 2021.

“Watching the awareness grow around disability representation has been great to see, but breakthroughs sometimes come in pieces and moments instead of larger change,” he said.

Mitte’s other on-screen credits include Hannah Montana, Switched at Birth, Westhampton and his latest project, Talking to Strangers, which came out earlier this year.

Additional reporting by Rebecka Pieder.

If you have been affected by the issues raised in this story help and support is available via the BBC Action Line.

Danny Trejo made his stance on Immigration and Customs Enforcement tactics clear.

The actor spoke out Friday after it was revealed last week he was cast in the film “Pawn Shop,” which is reportedly inspired by the fatal shooting of Renee Good by an ICE officer in Minneapolis.

The feature is co-produced by the Daily Wire — the right-wing media company launched in 2015 by conservative political commentator Ben Shapiro — and Bonfire Legend, a production company formed by prolific producer Dallas Sonnier in 2021.

Frequently featured in movies targeting Latino audiences, Trejo built a devoted following within the demographic over the years as one of the more prominent Mexican American actors in Hollywood.

He was criticized online for his involvement in “Pawn Shop” due to its positive portrayal of ICE agents, who have been antagonizing the Latino community at an accelerated clip over the last two years. Trejo was called a “sellout” and a “traitor” across social media in recent days.

“I want to address some social media comments about me. Make no mistake. I am a proud Mexican who has always been and will always be a supporter of my community,” Trejo wrote in an Instagram post. “I am also obviously pro-immigrant. I am not pro ICE. I know where I come from and I know our struggles. I am an actor. My job is to tell a story.”

Trejo’s casting was first announced by the Montana newspaper Bozeman Daily Chronicle after speaking with one of Trejo’s cast members on the film’s set in Livingston, Mont., as well as Livingston locals who had seen and photographed the actor in the city’s downtown area.

Deadline confirmed that Trejo, along with “Reservoir Dogs” actor Harvey Keitel and “E.T. the Extra-Terrestrial” star Henry Thomas, was scheduled to appear in the film after reviewing the call sheet.

The 82-year-old Trejo has previously voiced support for immigrant communities. During the initial onset of the COVID-19 pandemic in spring 2020, he was part of a coalition of Latino actors who pushed forward the #AyudaEnEspanol campaign, which advocated for providing COVID-19 resources kits in Spanish for Latino migrant farmworkers across the U.S.

In an interview with TMZ in fall 2025, the actor, who has appeared in over 400 films and television programs, was asked to give a message to the families that had been affected by ICE raids.

“To the families, keep up hope,” Trejo said. “Help your neighbor and do whatever you can for people in need.”

His recent statement came after “Pawn Shop” made headlines for hitting snags in its production in Livingston following local protests. Residents claimed the movie’s production interrupted local businesses’ operations — and that the crew did not properly communicate with businesses about its schedule.

Production on the film was temporarily paused on Oct. 3 from an order by the Livingston city commission. Filming resumed on Oct. 6 after Livingston officials reinstated permits for the movie.

Movie stars are an endangered species. They still exist, sure. Their beautiful faces still fill 50-foot screens, beaming down on us. Yet, there is a shortage of, say, Michael Douglas. A man who, over the span of decades, played an American president, a troubled detective, and a Wall Street tycoon so convincingly that the FBI recruited the actor to do a PSA for investment bankers about the perils of financial fraud.

The night before I meet Michael Douglas on Zoom, I have a hard time sleeping. I want to be well-rested before I meet the leading man — perhaps one of the last leading men from an era in Hollywood that felt limitless. What do I mean by that? He’ll tell you. His new memoir details his movie-making career as a prolific producer and actor, along with his affair with his “Romancing the Stone” co-star Kathleen Turner, mudslides in Mexico, snorting cocaine with O.J. Simpson, encounters with Princess Diana and screaming matches with Paul Verhoeven that end in blood. In short: the life of a movie star.

“People say to me: Michael Douglas. When I see your name, I don’t know what I’m going to get, but I know it’s going to be good,” Michael Douglas says.

(David Urbanke / For The Times)

Halfway through our conversation, something unanticipated happens: Douglas reveals that he doesn’t quite see himself as a movie star. After gentle pushback, he elaborates. Instead, Douglas sees himself as a chameleon.

“People say to me: Michael Douglas. When I see your name, I don’t know what I’m going to get, but I know it’s going to be good,” he says.

He’s speaking from his home in New York. Behind him is a moody 18th-century Orientalist painting, its scene too indistinct for me to make out. His smiling face — which, like most American moviegoers, I had watched 50 feet tall in the dark — glows with warmth even on my laptop screen. It seems abnormal even to witness him in miniature.

To be clear: Michael Douglas is a movie star, whether or not he wants to cop to it over Zoom. It’s in his blood. His father, Kirk Douglas — born Issur Danielovitch to Russian Jewish immigrant parents — was a legendary actor whose shadow Douglas struggled to escape, as he details in the early chapters of his memoir. He spent his childhood on movie sets, watching his father spar with iconic directors like Stanley Kubrick. Michael Douglas was subject to violent and angry outbursts as well. “Dad’s volatility kept us on edge,” he writes. He felt suffocated by his father’s legacy, often hoping to shake the title of “Kirk Douglas’ son.”

Early in his career, Douglas left his starring role on TV’s “The Streets of San Francisco” after producing his first film, “One Flew Over the Cuckoo’s Nest,” which became a breakout success. On that film, he had to deliver the shattering news to his father that he was too old to play the lead — essentially, firing his father from his dream role. It was a betrayal. Instead, the role went to Jack Nicholson, who would later win an Academy Award for his humanizing portrayal of Randle McMurphy. The film won multiple Academy Awards, launching Douglas’ career as a heavyweight producer and later an actor. Escaping the shadow of being Kirk Douglas’ son has been a lifelong battle for the actor.

(Grand Central Publishing)

Occasionally, inheritance can be a burden. In his own life, Douglas details how he was a distracted father and husband who lost sight of his son, Cameron Douglas. During Cameron’s childhood, Douglas was elsewhere — on location in the Mexican jungle in “Romancing the Stone,” then a disastrous film production in Morocco for “Jewel of the Nile” that included a fatal plane crash that resulted in three crew members’ deaths. To cope with the breakneck pace of show business, Douglas sought refuge in women, cocaine and work.

Cameron’s troubled youth reached a crescendo when he was sentenced to five years in federal prison for drug smuggling, with an additional sentence for drug possession in prison — serving seven years in the end. It was enormously painful for Douglas, who also struggled with addiction, and had sought out treatment to provide an example to his son.

In a late chapter, he recalls confiding in Rob Reiner, who also had a son who struggled with addiction issues. In the memoir, Douglas addresses the killing of Rob and Michelle Reiner in December 2025; their son Nick has been charged with murder. “We both had sons with serious drug issues and we both, at times, had been at the end of our rope,” Douglas writes. “It was a heartbreaking confessional for us, but I know we gave each other some measure of comfort during the hard times.”

Why trudge through movie history, turning over every stone and every wound, in a nearly 500-page memoir? Because, according to Douglas, it’s time.

“Your 80s may be a good time to share,” the actor says, who recently turned 82. “People interested in movies, we give them a certain insight into the process, and maybe they could learn something. For others, it’s just gossip.” His battle with Stage 4 oral cancer brought the contours of his life into stark relief, sharpened by seven weeks of radiation and chemotherapy. His official diagnosis was tongue cancer, but he told the public he had throat cancer, hoping to stall speculation in the press about the possibility of disfigurement — and, more specifically, the prospect of losing his tongue. It was isolating, and Shane Salerno — the memoir’s co-author — stayed by Douglas’ side.

Michael Douglas.

(David Urbanke / For The Times)

As much as Douglas’ memoir, “One Helluva Ride,” is a revealing and delightful account of a life in show business, it is also a love letter to California — a place where Douglas spent much of his adult life, beginning at UC Santa Barbara. The college travel brochure read: campus by the sea. “I remember the cover of it was a guy walking down the beach with a surfboard, two girls in two-piece bathing suits. In 1963, I never saw a two-piece bathing suit back east.” He was sold.

The California years made an impression. Douglas is still, at heart, a hippie. Raised in stiff East Coast prep culture, he was reborn in the California sunshine. “I transferred into becoming a hippie, influenced by the Maharishi Mahesh Yogi, hallucinatory drugs, and the world that existed in the early ‘60s in San Francisco.”

Strangely, Douglas argued that some of the utopic sentiments of the 1960s are returning. “People are beginning to look back at that time, and realize how important family is — cooperation, sharing,” he says. “Socialism is not a four-letter word or something that’s terrible. There are other things to pursue in life other than just making money.”

“Your 80s may be a good time to share,” Michael Douglas says.

(David Urbanke / For The Times)

Like the characters he portrayed, Douglas is far from perfect. He admits that he struggled — in his first marriage, and later as a father. After marrying Diandra Luker, Douglas was unfaithful, having relationships with co-stars, most notably Turner on the set of “Romancing the Stone” in the Mexican jungle. The two denied the relationship for years. Now, with Turner’s blessing, Douglas writes about their involvement in his memoir.

Before Turner, there was Diane Thomas, the film’s waitress-turned-screenwriter, with whom Douglas had an affair. Thomas’ life was tragically cut short in a car accident involving a Porsche that Douglas had gifted her.

Then there were the rumors. On the set of “Basic Instinct,” some speculated that Douglas and Sharon Stone were having an affair. They weren’t, he explains. Douglas was instead locked in a power struggle with director Verhoeven, who, during one particularly heated argument with the actor, suffered a burst artery in his nose, turning the confrontation into a bloody scene. Douglas, meanwhile, was involved with another co-star, Jeanne Tripplehorn. “They were so focused on a possible relationship between Sharon and me, they missed the real relationship happening between me and Jeanne,” he writes.

When he and his current wife, actor Catherine Zeta-Jones, made it official, Douglas went to the other room to make breakup calls to five other women. (By this point in the memoir, Douglas has enough goodwill to pass this off as charming.) “From the moment I met Catherine, and we formed our family, I was a new man,” he writes.

The memoir enshrines Douglas’ petty show-business grievances too: a repaired grudge against David Letterman, a TV co-star who stole his longtime girlfriend, and a bouquet sent to Julia Roberts to apologize for his drunken buffoonery. In Douglas’ words: “There’s two or three people that I share my hostilities with.” He clashed with Brian De Palma, who was originally attached to direct “Fatal Attraction” and tried to have Douglas fired. De Palma underestimated Douglas and was replaced by Adrian Lyne. Years later, De Palma apologized, but Douglas rejected it.

It is impossible to tell the story of Douglas’ career without the women he encountered. The films he championed helped establish a new type of female lead — in all their powerful, morally ambiguous and deranged glory. “An actress was not allowed to play a villain,” he says. In “One Flew Over the Cuckoo’s Nest,” the actor struggled to cast Nurse Ratched. “A whole number of leading actresses turned that part down until we found Louise Fletcher, who went on to win an Oscar.”

For Glenn Close, Sharon Stone and Kathleen Turner, acting opposite Michael Douglas was transformative. After her role as a murderous, sex-crazed bisexual in “Basic Instinct,” Stone became one of the biggest stars of the 1990s and earned an Oscar nomination for Martin Scorsese’s “Casino.” Close‘s portrayal of the mistress-turned-lovesick psychopath in “Fatal Attraction” earned the actor her first lead Oscar nomination after three supporting nods. Turner went from being primarily known as the sexy femme fatale of “Body Heat” to a Golden Globe-winning star with box-office clout after her collaboration with Douglas. Sure, she sued him, too, but their friendship survived.

However, it wasn’t until his role as Gordon Gekko, the fast-talking, impulsive tycoon in 1987’s “Wall Street,” that Douglas was in full force, winning an Academy Award for lead actor. Directed by Vietnam veteran Oliver Stone, Douglas delivered an unforgettable performance about the dangers of unchecked capitalism and greed. At an early New York screening, Douglas recalls Wall Street traders being stunned by the film’s stinging accuracy. “A lot of the Wall Street characters were there, very cocky at the time; they all were shocked because we caught them.”

To his surprise, Wall Street financiers approached him on the street to praise Gekko — anointing him as their hero. “I said, ‘I was the villain.’ ‘No, no, no,’” he said. “So it showed me a lot.”

It speaks to Douglas’ gifts as an actor that he could transcend the caricature of white male entitlement he portrayed with such precision. In “Falling Down,” filmed during the 1992 uprising triggered by the Rodney King verdict, Douglas plays an unemployed defense worker, a man so consumed by disillusionment and blinded by his own sense of victimhood that he cannot recognize the harm he inflicts on others. The character would prove eerily prescient, anticipating an archetype that would take shape in the decades to come. An entire generation mistaking the actor’s brilliance as an invitation.

Perhaps that is the strange thing about being a movie star: Audiences decide who you are, and what you mean to them. For a chameleon, an actor who spent a lifetime resisting other people’s definitions of him, that might be the ultimate paradox.

As our conversation winds down, I remind him of his immense contributions to filmmaking, through producing and acting. It seems redundant, but I say it anyway. His response is polite.

“Quirky,” he said. “‘Falling Down,’ ‘The War of the Roses’ — I love those quirky films.”

“I’m proud of my movies,” he says. “I’m very proud of my movies.”

Connors is a culture journalist in L.A. She covers books, food, entertainment and offbeat Los Angeles. She’s currently at work on a book of essays about tourism in all its forms.