Welcome to Screen Gab, the newsletter for everyone who loves Saturday college football games and … catfish?
This week saw the premiere of “Chad Powers,” Hulu’s new comedy starring Glen Powell, who co-created and co-wrote the series with Michael Waldron. It’s based on a viral sketch by former NFL Giants quarterback Eli Manning (he’s a producer on “Chad Powers” as well), who birthed the character. But Powell and Waldron have expanded the premise and backstory of a man named Russ Holliday who makes another go at playing college football by donning a disguise à la “Mrs. Doubtfire.” In a conversation with reporter Kaitlyn Huamani, Powell said the show was an attempt at making the “greatest football experience, whether in movies or TV shows, that people have ever seen.” Times TV critic Robert Lloyd says while the show has some tropes, characters played by Steve Zahn, Perry Mattfeld and Wynn Everett add drama and laughs. Waldron, whose previous TV work is instrumental to the show’s ethos, stopped by Guest Spot this week to talk more about “Chad Powers,” and what he’s watching lately.
Meanwhile, if you’ve been staying up this week, late-night TV has been not only a hotbed of laughs, but also political discourse. On Tuesday, Jimmy Kimmel, who has been taping his L.A.-based show in Brooklyn this week, and Stephen Colbert took turns as guests on each other’s shows, creating a memorable crossover event thanks to some fortuitous timing. It was the first time either has discussed in detail how their shows were disrupted this year — Colbert’s “Late Show” was canceled in July (it will air through May 2026) and Kimmel was suspended by Disney for several days in September. We have a rundown of the conversations along with clips of their visits, which are worth watching. And don’t forget “Saturday Night Live,” another late-night show that’s been in the crosshairs of politicians, returns this weekend for its 51st season, with Bad Bunny as host and Doja Cat as musical guest (we’ll be recapping the show again this season).
This week, our streaming recommendations include films from a master of horror, who is much more multifaceted than he might get credit for, and a new action-packed film on Prime Video.
ICYMI
Must-read stories you might have missed
Loren Bouchard, creator of the adult animated comedy series “Bob’s Burgers.”
Recommendations from the film and TV experts at The Times
Jeff Bridges in John Carpenter’s 1984 movie, “Starman.”
(Sony Pictures)
John Carpenter (Criterion Channel)
An extensive October series on the director who redefined the season of the witch — but one without “Halloween” or “The Thing”? We love it. John Carpenter contains multitudes and it’s high time people began thinking beyond his twin horror landmarks. You could think of these collected movies as being about antiheroes navigating a broken America (“Escape from New York,” “They Live,” “Assault on Precinct 13”). Or maybe they’re cracked romances (the Oscar-nominated “Starman,” “Christine”). Vicious comedies? (“Dark Star” and “Vampires” both have their share of laughs.) One thing they’re decidedly not is boring. And if you let a more metaphysical dimension in (“Prince of Darkness,” “In the Mouth of Madness”), Carpenter suddenly becomes profound. I’m stoked to return to the ones that let me down at first — looking at you, “Memoirs of an Invisible Man” — because I know I’ve grown up since. This is a filmmaker who was always a few steps ahead of me. — Joshua Rothkopf
Chai Hansen, left, Mark Wahlberg and LaKeith Stanfield in “Play Dirty.”
(Jasin Boland / Prime)
‘Play Dirty’ (Prime Video)
It’s Christmas in New York, and one pack of amoral thieves with little regard for human life are at odds with another pack of amoral thieves also with little regard for human life in this action film based on Parker, the Donald E. Westlake character. The inspiration under another name (Walker) for John Boorman’s “Point Blank” and (in a very roundabout way) Jean-Luc Godard’s “Made in USA,” the character is played here by Mark Wahlberg, with a cast that includes LaKeith Stanfield, Rosa Salazar, Tony Shalhoub, Keegan-Michael Key and Gretchen Mol dignifying the violent fluff. (Shootings, crashes, runaway subway train and the like.) Many things go wrong before they go (sort of) right, heists follow heists, and there’s a high body count, mostly of characters without names, but some with. (You do need to be in the right mood for this.) I am here above all for “Atlanta’s” Stanfield, as Parker’s laconic partner, who brings spacey warmth to the icy goings-on. — Robert Lloyd
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Glen Powell, left, with Michael Waldron on the set of “Chad Powers.”
(Daniel Delgado Jr./Disney)
How do you attempt to create a show that you hope is the best depiction of college football ever? Well, it helps to be a superfan of the sport, which is precisely what Waldron and Powell are (ESPN’s Tori Petry even spoke to Powell on the sidelines of the Texas vs. Sam Houston game last week). Deep knowledge of college football was essential because Waldron wanted to convey to fans that they were not going to leave any detail untouched. While the school the show is set at, South Georgia, is fictional, the rest of the world on “Chad Powers” is not. “We always wanted real schools to be the teams that they were playing, just to ground our show and the world in authenticity, the real world of college football,” Waldron told The Times this week. “I think that’s what fans want to see.”
But even if you aren’t a superfan of college football or sports in general, Waldron, whose work on television includes creating Marvel’s “Loki” on Disney+ and “Heels” on Starz, a short-lived but critically acclaimed show about pro wrestling, knows that the writing on a TV show is key to getting viewers hooked and wanting more. “Chad Powers” is infused with references to internet personalities and memes, which anyone who is very online will understand and relate to, giving the series an opportunity to spark interest with a more expansive audience. And it works, especially if you are a looking for a comedy that will deliver some easy belly laughs. The Hulu series drops new episodes every Tuesday through Oct. 28, easily filling the time between the next Saturday game. Here, Waldron tells us about how he and Powell first connected, a special cameo on the series and a couple of films you should watch. — Maira Garcia
How did you and Glen Powell first meet and how did it lead to your new show? Are you big followers of sports or football?
Like all legendary Hollywood friendships, ours began on a Zoom general meeting during a pandemic. We hit it off talking about our mutual love of college football (I went to UGA [University of Georgia] and Glen went to [University of] Texas), which is why we were both excited to do a series set in this world.
You were a writer on “Community” and “Rick and Morty,” both shows that have reverberated among millennial viewers because of their self-awareness and/or pop culture references. Did either of those shows inform your approach to “Chad Powers”?
Well, to be clear, I was just the writers’ PA on “Community,” but that show might have been where I learned the most. Dan Harmon is one of the best writers alive and was doing “meta” before we had a word for that. In writing stuff that is “self-aware,” there’s an instinct to be cynical. Dan runs in the opposite direction, and he taught me that genuine earnestness can be a very subversive tool.
A very surprising and funny moment we get right at the start of the show is a cameo from Haliey Welch, aka Hawk Tuah Girl. How did that come about?
We were reshooting the nightclub sequence in Act 1 of the pilot to get more comedy and L.A. scope, and include the character of Russ’ agent. We wanted to populate his world with other people who felt defined by a singular viral moment, and for a show set in 2025, who better than Haliey?
What have you watched recently that you are recommending to everyone you know?
Tyrese Gibson faces one charge of cruelty to animals stemming from a September incident in Fulton County, Ga., that left a neighbor’s 5-year-old dog mauled and dead.
The Fulton County Sheriff’s Office booked the 46-year-old singer-actor, a staple in the “Fast and Furious” film franchise, on Friday. He was released on a $20,000 surety bond. Attorney Gabe Banks said in a statement that Gibson voluntarily turned himself “to answer for a misdemeanor warrant.”
“Despite what others might say, throughout this entire process Mr. Gibson has cooperated fully with legal authorities and will continue to do so until this matter is resolved,” Banks said. “Mr. Gibson once again wants to extend his deepest condolences to the family who lost their dog and respectfully asks for privacy and understanding as this matter is handled through the appropriate legal channels.”
Police said earlier this week that Gibson failed to turn himself into law enforcement after an arrest warrant was issued stemming from a violent incident involving the actor’s Cane Corso dogs. On the night of Sept. 18, a neighbor of the “Morbius” star let her small spaniel out to her yard and returned five minutes later to find the dog had been attacked. The dog was rushed to a veterinary hospital but did not survive, police said.
The Cane Corsos were then seen at the house, where the owner called police, saying she was afraid to go outside. Animal control officers responded and were able to keep the dogs back while the neighbor went to her vehicle.
The arrest warrant issued for the movie star was part of an “ongoing issue” following multiple calls about the dogs in the last few months, Fulton County Police Capt. Nicole Dwyer said. Gibson received multiple warnings before the warrant was issued, and police also attempted to cite him before the attack, Dwyer said, but Gibson was not at his Atlanta home.
Police had a search warrant for Gibson’s property on Sept. 22, but the actor and the dogs were not there.
In a statement shared to the actor’s Instagram page on Wednesday, Gibson and Banks expressed condolences to the family “who lost their beloved dog in this tragic incident.” The “Transformers” and “Baby Boy” star said his heart “is truly broken,” the note said, and that “he has been “praying for the family constantly, hoping they may one day find it in their hearts to forgive him.”
The statement said that the attack occurred while Gibson, who “accepts full responsibility for his dogs,” was out of town. The actor has since rehomed the two adult dogs and their three puppies, the statement said, adding “the liability of keeping them was simply too great.”
Gibson also issued a personal statement, describing his passion for dogs and declaring that his animals have “never been trained to harm.” He said he has been in Los Angeles with family, mourning the death of his father.
“Please know that I am praying for you, grieving with you, and will continue to face this tragedy with honesty, responsibility, and compassion,” he added.
In another Instagram statement shared Tuesday, Banks explained that Gibson’s decision to bring the Cane Corso dogs into his home was for security against stalkers who had been “randomly showing up at his home” in recent years. Banks said that the dogs “never harmed a child, a person, or another dog” until the September incident.
Gibson said Tuesday: “I had no idea I would ever wake up to this nightmare, and I know the family must feel the same way. To them, please know that my heart is broken for you. I am praying for your healing and for your beloved pet, who never deserved this. I remain committed to facing this matter with honesty, responsibility, and compassion.”
Those were among the visceral reactions this week from Emily Blunt, Whoopi Goldberg, Natasha Lyonne and many other actors and filmmakers over the sudden fame of Tilly Norwood.
Norwood isn’t real — the brunette who appears in a comedy sketch on her Instagram page is in fact a computer-generated composite.
“I may be AI, but I’m feeling very real emotions right now,” states a message on Norwood’s Instagram page. “I am so excited for what’s coming next!”
The sentiment was not widely shared, at least in Hollywood, where anxieties about the use and abuse of artificial intelligence replacing actors runs deep.
Norwood’s creator ignited a furor after she announced that the digital actress would soon be signed by a talent agency.
This week, SAG-AFTRA weighed in with a withering response. Two years ago, the union’s members engaged in a 118-day strike to fight for more AI protections in their contracts with major studios.
“To be clear, ‘Tilly Norwood’ is not an actor, it’s a character generated by a computer program that was trained on the work of countless professional performers — without permission or compensation,” the guild said. “It doesn’t solve any ‘problem’ — it creates the problem of using stolen performances to put actors out of work, jeopardizing performer livelihoods and devaluing human artistry.”
Norwood was created by AI through Xicoia, a London-based AI talent studio launched by Dutch actor Eline Van der Velden. Xicoia is working with estates and Hollywood stars who want to appear as their younger selves on screen, according to Deadline, which first reported talent agency interest in Norwood.
Van der Velden, who is also the founder of AI production company Particle6, was not available for comment on Wednesday. But in a statement posted on Instagram following the backlash, Van der Velden stressed that Norwood is “a creative work — a piece of art.”
“I see AI not as a replacement for people, but as a new tool — a new paintbrush,” Van der Velden said. “Just as animation, puppetry, or CGI opened fresh possibilities without taking away from live acting, AI offers another way to imagine and build stories.”
SAG-AFTRA President Sean Astin disputed the claim.
He said in an interview with The Times that the material used to create Norwood was “improperly obtained” from SAG-AFTRA members’ work without permission, compensation or acknowledgment.
“It manipulates something that already exists, so the conceit that it isn’t harming actors — because it is its own new thing — ignores the fundamental truth that it is taking something that doesn’t belong to them,” Astin said.
“We want to allow our members to benefit from new technologies. … They need to give permission for it, and they need to be bargained with.”
Norwood has 44,000 followers on Instagram and is portrayed as an aspiring young actor based in London who enjoys shopping and iced coffee.
The social media page depicts Norwood in various scenes. In one, she’s armed and ready to battle a monster; in another, she’s running away from a collapsing building in a futuristic city.
At an industry panel in Zurich on Saturday, Van der Velden touted her creation.
“With Tilly, you know, when we first launched her, people were like, ‘That’s not going to happen,’” Van der Velden said. “And now, we’re going to announce which agency is going to be representing her in the next few months. It’s all changing and everyone is starting to see the light, fortunately.”
Talent agencies have represented digital characters used in ad campaigns. And seeing such avatars in the mainstream has become increasingly common — in 2024, Japanese digital character Hatsune Miku performed at Coachella and an AI model was featured in the August issue of Vogue magazine for L.A. brand Guess.
And some studios, including Lionsgate, have partnerships with AI startups to explore using the technology in areas such as storyboarding. Others, such as Netflix and Amazon MGM Studios, have series that use AI in visual effects.
Tech companies have argued that they should be able to train their AI models on content available online and bring up relevant information under the “fair use” doctrine, which allows for the limited reproduction of content without permission from the copyright holder.
But the proliferation of AI has also fueled concerns that AI companies are using copyrighted material to train their models without compensation or permission. Earlier this year, Disney, Universal and Warner Bros. Discovery sued AI companies over copyright infringement.
Some actors called for a boycott of any agents who decide to represent Norwood. “Read the room, how gross,” “In the Heights” actor Melissa Barrera wrote on Instagram.
“Our members reserve the right to not be in business with representatives who are operating in an unfair conflict of interest, who are operating in bad faith,” Astin said.
Celebrated for decades as Hollywood royalty, Jane Fonda could easily be living a comfortable life of extravagance and leisure.
Instead, the 87-year-old actor and Vietnam War-era provocateur is as likely to be seen knocking on voters’ doors in Phoenix on a balmy summer afternoon as sashaying down a red carpet at a glitzy movie premiere.
Politically active for more than a half-century, Fonda is now focusing her energy, celebrity, connections and resources on fighting climate change and combating the “existential crises” created by President Trump.
Calling fossil fuels a threat to humanity, Fonda created JanePAC, a political action committee that has spent millions on candidates at the forefront of that fight.
“Nature has always been in my bones, in my cells,” Fonda said in a recent interview, describing herself as an environmentalist since her tomboy youth. “And then, about 10 years ago … I started reading more, and I realized what we’re doing to the climate, which means what we’re doing to us, what we’re doing to the future, to our grandchildren and our children.
“Our existence is being challenged all because an industry, the fossil-fuel industry, wants to make more money,” she said. “I mean, I try to understand what, what must they think when they go to sleep at night? These men, they’re destroying everything.”
Rather than hosting fancy political fundraisers or headlining presidential campaign rallies, Fonda devotes her efforts to electing like-minded state legislators, city council members, utility board officials and candidates in other less flashy but critical races.
Fonda said her organization took its cue from successful GOP tactics.
“I hate to say this, but you know, in terms of playing the long game, the Republicans have been better than the Democrats,” she said. “They started to work down ballot, and they took over state legislatures. They took over governorships and mayors and city councils, boards of supervisors, and before we knew what had happened, they had power on the grassroots level.”
Fonda said her PAC selects candidates to back based on their climate-change record and viability. The beneficiaries include candidates running for state legislature and city council. Some of the races are often obscure, such as the Silver River Project board (an Arizona utility), the Port of Bellingham commission in Washington and the Lane Community College board in Oregon.
“Down ballot, if you come in, especially for primaries, you can really make a difference. You know, not all Democrats are the same,” she said. “We want candidates who have shown public courage in standing up to fossil fuels. We want candidates who can win. We’re not a protest PAC. We’re in it to win it.”
On Wednesday, Fonda announced that she is relaunching the Committee for the First Amendment, which was initially formed after the blacklisting of Hollywood actors, directors, screenwriters and others who were labeled communists or sympathizers by the House Un-American Activities Committee after World War II.
“The McCarthy Era ended when Americans from across the political spectrum finally came together and stood up for the principles in the Constitution against the forces of repression,” Fonda said. “Those forces have returned. And it is our turn to stand together in defense of our constitutional rights.”
The Trump administration has pressured media companies, law firms and universities to concede to its demands or face repercussions. The suspension of ABC’s late-night television host Jimmy Kimmel, which has been rescinded, is among the most prominent examples.
“The federal government is once again engaged in a coordinated campaign to silence critics in the government, the media, the judiciary, academia, and the entertainment industry,” Fonda said.
Since her birth, Fonda’s life has been infused by political activism.
Her father witnessed the lynching of a Black man during the 1919 Omaha race riots when he was 14, casting him into becoming a lifelong liberal.
Though such matters were not discussed at the dinner table, Fonda’s father raised money for Democratic candidates and starred in politically imbued films such as “The Grapes of Wrath,” about the exploitation of migrant workers during the Dust Bowl, and “12 Angry Men,” which focused on prejudice, groupthink and the importance of due process during the McCarthy era.
But his daughter Jane did not become politically active until her early 30s.
“Before then, I kind of led a life of ignorance, somewhat hedonistic,” she said. “Maybe deep down, I knew that once I know something, I can’t turn away.”
In “Prime Time,” Fonda’s 2011 memoir, she describes the final chapter of her life as a time of “coming to fruition rather than simply a period of marking time, or the absence of youth.”
“Unlike during childhood, Act III is a quiet ripening. It takes time and experience, and yes, perhaps the inevitable slowing down,” she wrote. “You have to learn to sort out what’s fundamentally important to you from what’s irrelevant.”
In 1972, Fonda appeared in Jean-Luc Godard’s film “Tout Va Bien,” about workers’ rights in the aftermath of widespread street protests in France four years earlier. It was her first role in a political movie and coincided with her off-screen move into activism.
Fonda’s most noteworthy and reviled political moment occurred the same year, when she was photographed by the North Vietnamese sitting atop an antiaircraft gun.
Actor and political activist Jane Fonda at a news conference in New York City on July 28, 1972. Fonda spoke about her trip to North Vietnam and interviews with American prisoners in Hanoi, Vietnam.
(Marty Lederhandler / Associated Press)
The images led to Fonda being tarred as “Hanoi Jane” and a traitor to the United States, which had deployed millions of American soldiers to Southeast Asia, many of whom never returned. Fonda says it is something she “will regret to my dying day.”
“It is possible that it was a setup, that the Vietnamese had it all planned,” Fonda wrote in 2011. “I will never know. But if they did, I can’t blame them. The buck stops here. If I was used, I allowed it to happen. It was my mistake.”
Fonda’s political beliefs have been a through line in her Hollywood career.
In 1979, she played a reporter in “The China Syndrome,” a film about a fictional meltdown at a nuclear power plant near Los Angeles. The movie’s theatrical release occurred less than two weeks before the worst nuclear accident in U.S. history at Three Mile Island in Pennsylvania.
The 1980 movie “9 to 5,” starring Fonda, Lily Tomlin and Dolly Parton, was a biting comedy that highlighted the treatment of women in the workplace and income inequality long before such issues were routinely discussed in workplaces.
Dolly Parton, left, Lily Tomlin and Jane Fonda are harassed office workers in the 1980 movie “9 to 5.”
(20th Century Fox)
Two years later, as home VCRs grew popular, Fonda created exercise videos that shattered sales records.
She urged women to “feel the burn,” and revenue from the videos funded the Campaign for Economic Democracy, a political action committee founded by Fonda and Hayden.
This year, Fonda offered signed copies to donors to JanePAC, which she created in 2022.
“I’m still in shock that those leg warmers and leotards caught on the way they did,” Fonda wrote to supporters in April. “If you’ve ever done one of my leg lifts, or even thought about doing one, now’s your chance to own a piece of that history.”
UCLA lecturer Jim Newton, a veteran Los Angeles Times political journalist and historian of the state’s politics, described Fonda as confrontational, controversial and unapologetic.
“She’s remarkable, utterly admirable, a principled person who has devoted her life to fighting for what she believes in,” said Newton, who quotes Fonda in his new book, “Here Beside the Rising Tide: Jerry Garcia, the Grateful Dead, and an American Awakening.”
Newton added that Fonda’s outspoken nature certainly harmed her career.
“I’m sure that there are directors, producers, whatnot, especially in the ‘70s and ‘80s, who passed on chances to work with her because of her politics,” he said. “And I’m sure she knew that, right? She did it. It’s not been without sacrifice. She’s true to herself, like very few people.”
A year after Fonda and Hayden divorced in 1990, she married CNN founder and philanthropist Ted Turner, who she once described as “my favorite ex-husband.” Though Fonda largely paused her acting career during their decade-long marriage, she remained politically active.
In 1995, Fonda founded a Georgia effort dedicated to reducing teenage pregnancy. Five years later, she launched the Jane Fonda Center for Reproductive Health at Emory University.
After Fonda and Turner divorced, she worked with Tomlin on raising the minimum wage in Michigan and then launched Fire Drill Fridays — acts of civil disobedience — with Greenpeace in 2019.
Jane Fonda speaks during a rally before a march from the U.S. Capitol to the White House as part of her “Fire Drill Fridays” rally protesting against climate change on Nov. 8, 2019.
(Alex Wong / Getty Images)
Fonda said she decided to create her political action committee after facing headwinds persuading Gov. Gavin Newsom to create setbacks for oil wells in 2020.
“He wasn’t moving on it, and somebody very high up in his campaign said to us, ‘You can have millions of people in your organization all over California, but you don’t have a big enough carrot or stick to move the governor. … You don’t have an electoral strategy,’” Fonda recalled. “Since we’ve started the PAC, it’s interesting how politicians deal with us differently. They know that we’ve got money. They know that we have tens of thousands of volunteers all over the country.”
Initially concentrated on climate change, JanePAC has expanded its focus since Trump was reelected in November.
“We’re facing two existential crises, climate and democracy, and it’s now or never for both,” Fonda said. “We can’t have a stable democracy with an unstable climate, and we can’t have a stable climate unless we have a democracy, And so we have to fight both together.”
Fonda’s PAC has raised more than $9 million since its creation through June 30, according to the Federal Election Commission.
In 2024, JanePAC supported 154 campaigns and won 96 of those races. The committee gave nearly $700,000 directly to campaigns and helped raise more than $1.1 million for their endorsed candidates and ballot measures. In 2025, they have endorsed 63 campaigns and plan to soon launch get-out-the-vote efforts in support of Proposition 50, Newsom’s ballot measure to redraw California’s congressional districts that will appear on the November ballot.
Arizona state Rep. Oscar De Los Santos, the minority leader in the state’s House of Representatives, recalled Fonda’s support during the 2024 election, not only for his reelection bid but also a broader effort to try to win Democratic control of the state Legislature.
In addition to raising $500,000 at a Phoenix event for candidates, De Los Santos recalled the actor spending days knocking on Arizona voters’ doors.
“It is a moral validator to have Jane Fonda support your campaigns, especially at a time when corporate interests have more money and more power than ever, having somebody in your corner who’s been on the right side of history for decades,” said De Los Santos, who represents a south Phoenix district deeply affected by environmental justice issues.
Voters are often stunned when Fonda shows up on their doorstep.
“I’ve had people walking out of their laundry room and dropping all the laundry,” Fonda said with a laugh.
But others don’t know who she is and Fonda doesn’t tell them.
Jane Fonda
(Christina House / Los Angeles Times)
“It’s amazing. You wouldn’t think that in just a few minutes on someone’s doorstep, you can really find out a lot,” Fonda said, recalling discovering her love of canvassing when she was married to Hayden.”I loved talking to people and finding out what they care about and what they’re scared of and what they’re angry about.”
Fonda does not walk in lockstep with the Democratic party. In 2023, she joined other climate-change activists protesting a big-money Joe Biden fundraiser. They argued that the then-president had strayed from the environmental promises he made when he ran for election, such as by approving a massive oil drilling project on the North Slope of Alaska.
Fonda said she supported Biden’s 2024 reelection despite disagreeing with some of his policies because of the threat she believed Trump poses.
“When you see what the choice was, of course you’re going to vote,” she said. “I get so mad at people who say, you know, ‘I don’t like him, so I’m not going to vote.’ [A] young person said to me, we already have fascism. They don’t know history. You know, we don’t teach civics anymore, so they don’t understand that what’s happening now is leading to fascism. I mean, this is real tyranny.”
But she also faulted Biden and then-Vice President Kamala Harris after she became the 2024 Democratic presidential nominee, as well as 2016 Democratic presidential nominee Hillary Clinton, for failing to speak to the economic pain being experienced by Americans who backed Trump.
“They’re not all MAGA,” she said.
Many were just angry and hurting, she said, because they couldn’t afford groceries or pay medical bills. Fonda believes many now have buyer’s remorse.
Fonda reflected on the parallels between the turmoil in the 1960s and today. In the interview, which took place before the killing of conservative activist Charlie Kirk, she argued that today’s political climate is more perilous.
“I’m not sure that what we have right now in the U.S. is a democracy,” she said. “It’s far graver. Far, far graver now than it was.”
Fonda said she remains driven, not by blind optimism, but by immersing herself in work that she believes makes a difference.
“This is what I’m going to be doing for the rest of my life,” she said.
As he manages his own amyotrophic lateral sclerosis, actor Eric Dane is also advocating for the continuation of the Accelerating Access to Critical Therapies for ALS Act, which is set to expire in 2026.
The actor, along with the nonprofit organization I AM ALS, spoke with U.S. Rep. Eric Swalwell (D-Dublin) on Tuesday about the importance of the legislation, which provides funding for research and gives patients early access to treatments.
“So often, it takes all this time for these people to be diagnosed. Well, then it precludes them from being a part of these clinical trials,” Dane told Swalwell. “That’s why ACT for ALS is so, so great, and it’s because it broadens the access for everybody.”
Since then, the “Euphoria” actor has changed his approach to fighting his condition.
During an interview with “Good Morning America” in June, Dane expressed anger at the thought of being taken from his two young daughters. He said he was mad that history might repeat itself, as his father died when the “Grey’s Anatomy” alumnus was 7.
Months later, his frustration has turned into a fight to see his daughters’ lives play out.
“I want to see [my daughters], you know, graduate college, and get married and maybe have grandkids,” Dane told Swalwell. “You know, I want to be there for all that. So I’m going to fight to the last breath on this one.”
In the video posted on TikTok by the representative, Dane speaks with a slight slur but his words echo his fight to live on.
About 5,000 people are newly diagnosed with ALS each year in the U.S., according to the National ALS Registry. It affects the nerve cells in the brain that control movement, which eventually leads to the loss of the ability to speak, move, swallow and breathe.
Times staff writers Christie D’Zurilla and Kaitlyn Huamanicontributed to this report.
Heartbreak doesn’t feel so good in a place like this. Longtime Hollywood power couple Nicole Kidman and Keith Urban have gone their separate ways, according to several reports.
The Oscar-winning actor and the country music star separated and have been living “apart since the beginning of the summer,” TMZ reported Monday. People also confirmed the stars’ split, with a source saying that that Kidman “has been fighting to save the marriage.”
Representatives for Kidman, 58, and Urban, 57, did not respond immediately Monday to requests for comment.
Beloved AMC Theatres spokesperson Kidman and Grammy winner Urban tied the knot in June 2006 and share two teenage daughters who have been under the actor’s care “since Keith has been gone,” TMZ reported. The “Blue Ain’t Your Color” musician has been on the road for his High and Alive world tour, which launched in May. After the American leg of the tour concludes in Nashville in October, he will bring his music overseas beginning March 2026.
Kidman celebrated 19 years of marriage to Urban on social media in June, sharing a black-and-white photo of them backstage. “Happy Anniversary Baby,” she captioned the tender Instagram photo. Urban, who did not post an anniversary photo to the grid, has mainly used his Instagram to promote his musical endeavors in recent months. In May, he shared photos of him and Kidman celebrating his win at the American Country Music Awards.
The Australian stars married in an intimate ceremony in Sydney. Kidman was previously married to “Mission: Impossible” action star Tom Cruise from 1990 to 2001. Kidman is Urban’s first wife.
It’s currently unclear whether the spouses will file for divorce.
A crowd crush at a campaign rally for popular actor-turned-politician Vijay has killed at least 39 people in Karur, in southern India’s Tamil Nadu state.
Welcome to Screen Gab, the newsletter for everyone who feels as cantankerous as Jackson Lamb by the end of the workweek.
The fifth season of “Slow Horses” premiered this week. And everyone’s favorite team of disgraced British spies are back to connect the dots of a new mysterious threat. Once an underrated gem, the spy thriller’s move into the awards spotlight has brought more attention to the critical darling. But in following the very British model of releasing six-episode seasons, the entertaining ride can feel fleeting — luckily, two more seasons are already in the works. Will Smith, the show’s head writer, who is stepping down after this current season, stopped by Guest Spot to talk about the sleeper hit.
Also in this week’s Screen Gab, our streaming recommendations include an Italian-set action-drama about a fixer at a luxury resort and a beloved baking competition series that always serves up a refreshing dose of wholesome goodness and showstopping sweet treats.
P.S.: Last week’s newsletter incorrectly stated that new episodes of ABC’s “High Potential” air on Wednesdays. They air on Tuesdays, and are available to stream on Hulu and Disney+ the next day. Don’t tell Morgan or she’ll add us to the murder board!
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Must-read stories you might have missed
Tim Curry, center, as Dr. Frank-N-Furter in 1975’s “The Rocky Horror Picture Show.”
How Beyond Fest became L.A.’s best film festival: An event that started off as a bluff has outgrown its genre roots to become a legitimate destination for rabid film fans, boasting rarities and prestige titles alike.
Recommendations from the film and TV experts at The Times
Jordan Alexandra as Genny and Jesse Williams as Daniel De Luca in a scene from “Hotel Costeria.”
(Virginia Bettoja / Prime)
“Hotel Costiera” (Prime Video)
A charming Jesse Williams, the “Grey’s Anatomy” alum, plays Daniel De Luca, a sort of action concierge at a high-end boutique hotel on the Amalfi Coast in this easygoing mix of “The White Lotus” and a midcentury Continental adventure show, like “The Saint” or “The Protectors.” A long-arc plot involving the missing daughter (Amanda Campana) of Daniel’s hotelier boss (Tommaso Ragno) runs alongside episodic stories — the search for a missing guest, sourcing a flight-worthy coffin, stealing an important bracelet from a local crime figure — mixing mysteries with human interest and a lot of local color. (Williams speaks Italian with persuasive fluency.) Assisting Daniel in his investigations is a team of classic types — a beautiful yet brainy woman (Jordan Alexandra); a comical aristocrat (Sam Haygarth), like Bertie Wooster by way of Mr. Bean; and a rotund restaurateur Bigné (Antonio Gerardi), at whose trattoria they all hang out, plotting whatever needs to be plotted. It’s saying nothing against the rest of this pleasantly diverting series that these scenes are the heart of the show, and, yes, I would like a cappuccino, grazie. — Robert Lloyd
Paul Hollywood, left, Alison Hammond, Prue Leith and Noah Fielding in a promotional still from “The Great British Baking Show.”
(Mark Bourdillon / Channel 5 / Netflix)
“Great British Baking Show,” Collection 13 (Netflix)
September means the arrival of fall and another season of the best baking show on TV. Over the years, the series has stuck to a simple yet effective recipe of beautiful bakes, friendly competition and soothing voiceovers (thanks to Noel Fielding). This season’s contestants are just as talented and endearing as previous ones, but now that we’re three episodes in — and past the dreaded Bread Week — we’re down to nine bakers. Among them are Nataliia, a Ukrainian immigrant living in East Yorkshire; Iain, a short king and self-proclaimed “yeastie boy” from Belfast; and Jasmine, an ever-smiling 23-year-old medical student. In this week’s back-to-school-themed episode, the bakers’ challenges include making flapjacks (in the U.K., they’re like a granola bar) and school cake (a sponge with icing and sprinkles). They sound simple, but no recipe is what it seems on this show. And those low-stakes surprises and competition are precisely what makes “Baking Show” a balm for the soul right now. — Maira Garcia
Guest spot
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Rosalind Eleazar, left, Christopher Chung, Saskia Reeves, Aimee-Ffion Edwards and Jack Lowden in “Slow Horses.”
(Jack English / Apple TV+)
Do you ever look at your boss and feel both deep gratitude and disappointment because they’re not Jackson Lamb? There’s at least a new season of “Slow Horses” to vicariously experience the walking HR nightmare and his joyously rumpled, smelly and messy leadership style, as expertly portrayed by Gary Oldman. Based on Mick Herron’s “Slough House” novels, the espionage thriller/workplace dramedy centers on a misfit crew of MI5 outcasts — led by Lamb — who’ve blown their careers and now find themselves banished to Slough House, a dumping ground where the agency hopes they’ll be forgotten. The Apple TV+ series returned this week with its eponymous group of spies investigating a series of coordinated terror attacks that have struck London. A new episode will be released every Wednesday until the season finale on Oct. 29. In his last season as head writer, Will Smith stopped by Guest Spot to discuss his creative collaboration with Oldman, his pick for most the competent agent and the best show he’s seen in years. — Yvonne Villarreal
This once–sleeper hit has become such a force with critics and fans. Knowing Season 5 would be your last as head writer, did it feel any different writing this first episode? What was the most important decision you made in this season opener?
You just always want to make it the best it can be and you don’t want to repeat. You need to give the audience enough of what drew them to the show in the first place without making them think, “I’ve seen this,” and you need to give them enough that’s new without them going, “This isn’t the show any more.” The same goes for the cast, by the way; they have to feel their characters are moving on but in an organic way, that you’re acknowledging what went before and building on it. Luckily, that’s Mick’s approach with the books too. And it really helps having the same crew and returning director Saul Metzstein (from Season 3) — Saul and the camera team know what’s gone before and are continually finding new ways to shoot in our existing locations. A really obvious example of how we try to move things on but keep it all connected is Slough House itself. I know it’s a cliche, but it really is a character in the series; to me, it’s an embodiment of Lamb, it reflects so much about him, but it’s never the same. We establish it in Season 1, in Season 2 it’s a discomforting sweatbox, in Season 3 it’s full of boxes of files, which completely changes how people move around it. In Season 4 it’s shot to pieces, and in Season 5 we see the cheap repairs have been started and left. So I hope we’ve hit that same sweet spot with this series, that it gives you exactly what you want and then some things you didn’t know you wanted but feel totally in keeping with the show.
The episode opens with both a mass shooting and a fatal sniper shot in London. While it’s a sequence in the books and was written months ago, it could feel all too timely and provoking depending on the news cycle in which it’s being viewed. How do you decide what to show, how much is enough, what will engage and what will overwhelm?
This weighed quite heavily on us as we sadly knew that some horrific event could happen around the launch of the show that could affect how it was viewed. We actually had a version that cut out after he first opened fire, but felt that that didn’t go far enough. So we went and filmed a pickup where we stayed with the shooter and see his victims fall in the distance. We didn’t want the horror to be overwhelming, although being with him and his blank detachment in this version is disturbingly chilling. And then we took it as far as the assassin himself being killed out of nowhere. Which is a shock and a twist — what the hell is going on? The audience are confused in a good way. I hope by now they trust that all will be explained.
How involved is Gary in terms of script and character development? Can you give an example of a detail or moment over the run of the series that he advocated for or against that proved valuable to the story?
Gary is an incredibly generous and deferential collaborator. As I’ve said before, he’s not just one of the greatest actors of his generation, he’s also a hugely talented writer and director, and he’s completely respectful of myself and Saul Metzstein and the other directors. I think it helps that we’re very in tune creatively. Gary and I both have a love and respect for the source material, so he knows I’m not going to junk the book — we’re going to work on it and bring a version of it to life. The other brilliant thing about Gary is that he’s not intimidated by the fact that Lamb’s arc is all in the backstory. He absorbs and plays that, even if he doesn’t know the specifics. You just get the sense that Lamb has been through some bad stuff. Lamb is a cautionary tale, a smoking ruin; he’s not going to change now. The changes come to our perspective when we learn a little bit more about him and what he’s been through. The moment he was most involved in I can’t talk about in detail because it’s a spoiler. But it came from an idea his wife, Gisele, had. Gary and I then discussed the best version of it in story terms, and then we shot it twice as Saul had an even better idea as to how to make it land. We put an awful lot of thought into it, and actually it’s the one area where we do depart from the book (with Mick’s blessing). I’m very excited about it and what it can lead to in future series that I’m looking forward to watching as a fan.
If you were running the spies, who would you say is the most competent agent? And what have you learned about how to walk the line between keeping the “misfits and losers” bit believable but also allowing the Slow Horses to actually triumph in the end?
After Lamb, Catherine is the smartest agent in the building, although River is the most effective field agent. Catherine is not trained as a spy but has been around them most of her adult life. She’s incredibly bright and perceptive but lacks confidence. She’s often the person putting the pieces together but never gets the credit. I think Lamb wants her around for that reason, as well as the twisted mix of protecting her and goading her and having her as a living reminder of his own fallibility — they were both betrayed by Charles Partner (Catherine’s boss, Lamb’s friend and mentor) and Lamb had to execute him. I’m not saying Lamb was sunshine and light before that, I think he’s always been a hard-living cynic, but that really did break something in him. And yes, it’s a delicate balance maintaining the premise of the show — these people are useless yet every season they save the day but are still not allowed out of exile. I think the compromise and unfairness is what makes it believable. Although at some point I feel they either have to redeem themselves or accept that it’s fruitless and move on. But again, usually Mick will kill them off before they reach that crossroads.
In “Clown Town,” Herron’s latest installment in the book series, he references the language of the show. There’s a line — “It’s like explaining Denmark to a cat”— that feels like a direct reference to the Season 1 line, “It’s like explaining Norway to a dog.” As a writer, what’s it like to see the way he has acknowledged and tipped his hat to the show?
One of the things I’m proudest of is how much Mick and his readers love the show. Sometimes I think a line is Mick’s and it turns out to be mine or vice versa, and Mick has the same confusion. He’s also read out the opening scene of Season 4 at events and said he didn’t write it, but he would have done [it] if he’d thought of it. Knowing I’m in tune with him and his characters and stories has been absolutely wonderful because I started this and finish it as a huge fan of his work.
What have you watched recently that you are recommending to everyone you know?
“Lost Boys and Fairies” by Daf James on the BBC [available to stream on Britbox] is the best show I’ve seen in years. It’s about a gay couple going through the adoption process and is charming, tragic, playful, sad and uplifting. It’s so deftly written by Daf and wonderfully directed by James Kent and stars one of my favorite actors, Sion Daniel Young, whom “Slow Horses fans” will know as Douglas from Season 3.
What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?
I will always watch Michael Mann’s “Heat” [Prime Video] whenever I chance upon it, and watch it by choice at least one a year. It’s perfect. But for true comfort, I return again and again to the Hal Roach-era comedies of Laurel and Hardy, which have brought me unlimited joy throughout my life.
Smack-dab in the middle of Hispanic Heritage Month, PBS will air the 38th Hispanic Heritage Awards tonight.
The show took place on Sept. 4 at the Warner Theatre in Washington, D.C., and honored a collection of musicians, artists, actors, journalists and business leaders.
This year’s honorees, selected by the Hispanic Heritage Foundation, included NPR’s “Alt. Latino” journalist Felix Contreras, stoner comic and Chicano art collector Cheech Marin, Puerto Rican pop music visionary Rauw Alejandro, Oscar-nominated actor and dancer Rosie Perez, Rizos Curls Chief Executive Julissa Prado and “Mexican Queen of Pop” Gloria Trevi.
Honoree Felix Contreras accepts the Journalism Award onstage during the 38th Hispanic Heritage Awards in Washington, D.C.
(Paul Morigi / Getty Images for Hispanic Heritage Foundation)
Contreras is one of the few journalists to ever receive the esteemed honor, though he was initially reticent to accept. “We learn early on that [journalists] are not supposed to be the story,” Contreras told The Times earlier this year.
Recently, Marin has moved on from a successful career making stoner comedy films and is now best known for his work as a collector of Chicano art. After being a lifelong gatherer of art, the Cheech Marin Center for Chicano Art & Culture of the Riverside Art Museum opened to the public in June 2022.
Rauw Alejandro, meanwhile, has innovated the Latin music scene with his experimental albums, such as 2022’s techno-infused psychedelic album, “Saturno”; his beachy follow-up, “Playa Saturno,” in 2023; and his 2024 ode to the 1970s New York City salsa scene, “Cosa Nuestra.”
Cheech Marin accepts the Arts Award onstage during the 38th Hispanic Heritage Awards.
(Paul Morigi / Getty Images for Hispanic Heritage Foundation)
Rosie Perez made a name for herself as a dancer on the TV show “In Living Color” and with starring roles in Spike Lee films before being nominated for an Oscar for 1993‘s “Fearless.”
Gloria Trevi is one of the most successful Latina artists of her time. She has garnered over 30 million sold albums and 7 billion combined streams, along with several top-selling albums and an induction into the Latin Music Songwriters Hall of Fame.
As the Rizos Curls co-founder and CEO, Prado is being honored, per the HHF, for “her personal journey of self-discovery into a nationally celebrated, multi-million-dollar business specializing in textured hair care.”
Gloria Trevi performs onstage at the 38th Hispanic Heritage Awards.
(Paul Morigi / Getty Images for Hispanic Heritage Foundation)
The ceremony was hosted by actor and writer Mayan Lopez, and viewers will be able to take in performances by Trevi, along with artists Daymé Arocena, DannyLux, Lisa Lisa and RaiNao.
The awards show was established in 1988 by the White House to honor cultural visionaries within the Latino community. Previous awardees include Bad Bunny, Anthony Quinn, Sonia Sotomayor, Linda Ronstadt, Los Tigres Del Norte, Gloria Estefan and Tito Puente, among others.
“Star Trek” legend William Shatner saw recent reports about his health as an opportunity to raise the flag about another matter.
The 94-year-old Hollywood veteran on Thursday urged his social media followers to be mindful of where they get their information, writing “don’t trust tabloids or AI!” He shared the cautionary message as he addressed reports that he was hospitalized Wednesday in Los Angeles.
The actor shared a meme of himself portraying Mark Twain in an episode of the Canadian series “Murdoch Mysteries” to his Instagram and X (formerly Twitter) accounts. “Rumors of my demise have been greatly exaggerated,” says the text over the photo, referencing a famous and famously misquoted line from the American literary icon.
Shatner also opened up about his health in his caption for the meme: “I over indulged. I thank you all for caring but I’m perfectly fine.”
TMZ reported Wednesday evening that the Emmy-winning actor — who famously originated the role of Capt. Kirk on the TV series that launched the “Star Trek” universe — was hospitalized “after suffering a medical emergency.” Shatner agent Harry Gold confirmed to the outlet that the star “experienced an issue with his blood sugar” while at his Los Angeles home and called emergency services “as a precaution.”
Gold confirmed in a statement shared Thursday that his client is “perfectly healthy,” echoing the “Boston Legal” and “T.J. Hooker” actor’s social media sentiments.
Shatner addressed his health after previously discussing his tinnitus. In a video for nonprofit Tinnitus Quest he said that his struggles with the condition — in which a person experiences ringing or other noises in one or both ears — began during his “Star Trek” days when he was “too close to the special effects explosion,” which left him with permanent tinnitus.
“Over the years, I’ve had many up and downs with my tinnitus, and I know from firsthand experience just how difficult it can get,” he said, later encouraging viewers to donate to the nonprofit.
All Creatures Great and Small’s Siegfried Farnon actor Samuel West has opened up about his role and feeling ‘slightly jealous’ of his co-star
Samuel West and his co-star Callum Woodhouse, who plays Tristan Farnon(Image: Channel 5)
The sixth series of All Creatures Great and Small is set to grace Channel 5 on Thursday 25 September at 9pm.
In anticipation of the new series, Samuel West, who portrays Siegfried Farnon, has shared insights into the upcoming season. The 59 year old actor has been bringing Siegfried to life since 2020.
Siegfried, the quirky proprietor of Skeldale House veterinary practice, shines in Channel 5’s rendition of All Creatures Great and Small.
This beloved family drama is inspired by the treasured writings of Yorkshire vet Alf Wight, who wrote about his experiences as a rural veterinarian under the pen name James Herriot.
The colourful personalities that inhabit the All Creatures books and their screen adaptations are drawn from real people, with Siegfried being based on Alf’s actual employer, Donald Sinclair, reports the Manchester Evening News.
Samuel, the actor behind Siegfried, has divulged details about series six and the animal escapades his character encounters.
He revealed: “We have our first Shire horse. That’s an amazing animal. I don’t know how it took us that long to get round to a Shire, but it was a beautiful, beautiful creature, and very well looked after. I had to get good at pulling up the hoof to look at it from the side.”
Samuel also confessed feeling ‘slightly jealous’ of his fellow cast member Callum Woodhouse, who plays Tristan Farnon.
He confessed: “I wish I had more to do with horses. When they said that Tristan was going to start looking at horses with me, it was the first time I felt slightly jealous.
“‘Let it be me! Siegfried is the one who’s good at horses! I’m the one who they asked for by name!’ But of course, you shouldn’t let me be comfortable in that – there are always new things to learn.”
He went on to say: “And there is such a thing as an aura around people. You meet it, and you can almost see it in people who are very calm or very disturbed – and animals certainly know it. Horses pick up on it immediately.
“So, working with them, I don’t know… I remember realising that our crew was so concentrated and so still and so talented that if I was doing a two-handed scene with a horse, and it was just me looking at the horse and waiting for a reaction, almost waiting for eye contact, or just sharing something that didn’t take words, I could probably wait there for a minute and nobody would say cut.
“And that’s an extraordinary feeling. It’s really good, because you’re filming something that’s invisible – something that’s happening between an animal that can’t speak and somebody else who is trying to read their thoughts, their feelings.
“But when we get it, we get it. We can see it. It’s like magnetism. It may not be visible, but we can sense that it’s there. I find that really exciting.
“It works with horses mostly, but you also get it with cows and obviously dogs and cats as well – but mostly with the larger animals.”
All Creatures Great and Small returns on Thursday 25 September at 9pm on Channel 5.
Welcome to Screen Gab, the newsletter for everyone who wasn’t expecting to hear this much about “Celebrity Family Feud” in 2025.
The talk around Hollywood on Wednesday — and beyond — has centered on late night after Walt Disney Co.-owned broadcaster ABC said it was suspending “Jimmy Kimmel Live!” indefinitely over the host’s remarks about right-wing activist Charlie Kirk and his accused killer. (Airing in its place so far? You guessed it, “Celebrity Family Feud.”) Let us help you get up to speed on the situation. Media reporters Stephen Battaglio and Meg James have an inside look behind the decision to bench Kimmel. The decision, of course, has rocked the late-night circuit, and Kimmel’s colleagues didn’t shy away from using their own platforms to address the matter — here’s what they had to say. And does Kimmel’s suspension have echoes to ABC’s firing of Roseanne Barr? Culture and representation reporter Greg Braxton explains the parallels and differences here. Our reporters were also at the demonstration that took place outside the El Capitan Entertainment Centre in Hollywood, where Kimmel tapes his show.
For the record:
3:09 p.m. Sept. 19, 2025An earlier version of this newsletter said ABC’s “High Potential” airs on Wednesdays. It airs on Tuesdays.
That wasn’t the only shocking news to hit Hollywood this week. Robert Redford, a generational movie star and titan of filmmaking, died Tuesday at the age of 89. If you haven’t already, take a moment to read our obituary that captures why he was one of Hollywood’s most influential figures. Film reporter Mark Olsen also dives into the legendary actor’s impact on independent cinema through the Sundance Institute. And members of the film team explain Redford’s legacy through 10 essential films.
Also in this week’s Screen Gab, Judy Reyes stops by Guest Spot to discuss her role as tough but compassionate Lt. Selena Soto in ABC’s hit “High Potential,” which returned for Season 2 this week, and how she’s feeling about reprising one of her most well-known characters, Carla Espinosa, in the upcoming “Scrubs” reboot. Plus, our streaming recommendations include a documentary telling the remarkable true story of four Colombian children who survived a plan crash and 40 days alone in the Amazon rainforest, and a Redford classic.
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Must-read stories you might have missed
Filmmaker Paul Thomas Anderson is poised to release his latest film, “One Battle After Another,” an action thriller starring Leonardo DiCaprio, Sean Penn, Benicio del Toro, Regina Hall, Teyana Taylor and Chase Infiniti.
Recommendations from the film and TV experts at The Times
A scene from “Lost in the Jungle.”
(National Geographic / Anit)
“Lost in the Jungle” (Disney+, Hulu)
If you haven’t canceled your Disney+ and/or Hulu subscriptions yet, I highly recommend this riveting, complex, exquisitely made documentary about the survival of, and search for, four Indigenous children in the Colombian jungle after the crash of a small plane that killed their mother and the pilot — and the fraught family history that brought them there. Proceeding with the force of a fairy tale, including an evil stepfather, incidentally helpful monkeys and confounding forest spirits, it on the one hand focuses on a resourceful 13-year-old who keeps three younger siblings, including a baby, alive in a dangerous world for 40 days, and on the other, the military and Indigenous searchers who learn to cooperate as they navigate weather, illness, “things that can’t be seen, not with human eyes” and a history of distrust marked by narco-guerillas, industrial exploitation and state neglect. Directors E. Chai Vasarhelyi, Jimmy Chin and Juan Camilo Cruz combine interviews with family members, searchers and soldiers, with footage from the forest and line animations illustrating the children’s experience into something suspenseful, strange and beautiful. — Robert Lloyd
Robert Redford, right, with Dustin Hoffman in a scene from “All The President’s Men.”
(Sunset Boulevard / Corbis via Getty Images)
“All the President’s Men” [VOD]
It’s stands as one of the most discerning and potent films ever made about the crucial and essential role of journalism as a public watchdog in holding political leaders accountable and protecting democracy. Based on the book by Bob Woodward and Carl Bernstein, the 1976 film chronicles the unearthing of the Watergate scandal, tracking the duo’s time as Washington Post reporters — with Robert Redford as Woodward and Dustin Hoffman as Bernstein — trying to pin down the connection between Robert Nixon’s reelection campaign and the burglary and wiretapping at the Democratic National Committee headquarters in the Watergate complex that ultimately brought down Nixon’s presidency. It plays as a deeply engrossing thriller, and every scene between Redford and Hoffman, as dogged journalists whose work became enormously consequential and a turning point in American history, is gripping to watch. It’s a fitting film to screen this week — to reflect alone on one of Redford’s most powerful performances. — Yvonne Villarreal
Guest spot
Judy Reyes in a scene from Season 2 of “High Potential”
(Jessica Perez / Disney)
A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching
Every genius needs a little structure and guidance to keep them on course. In “High Potential,” Morgan Gillory (Kaitlin Olson) is a single mom with an exceptional mind who works as a cleaner at the police department and finds her way into detective work after successfully examining some evidence during her shift. But putting her unique talent to effective use couldn’t have happened if Lt. Selena Soto, the head of the major crimes division played by Judy Reyes, didn’t see Morgan’s potential and nurture it.
The quirky crime procedural has been a breakout hit for ABC since its launch last year and it returned this week for its second season; new episodes air Tuesdays, and are available to stream on Hulu and Disney+ the next day. Here, Reyes discusses how Soto’s approach as a boss came into focus this season and how she’s feeling about revisiting “Scrubs” 15 years after the comedy ended its run. — Yvonne Villarreal
How has Selena Soto come into focus for you this season? And can you share an anecdote of a boss looking out for you — however small or big — that has stood out to you during your time in the industry?
I think Soto saw herself in Morgan: someone for whom truly being themselves takes a lot of risks. She can’t be anything else, and the expectations from the world create a lot of problems with others who can’t handle the burden of those being completely unique.
My first manager took a huge chance on me at the restaurant I worked in as a hostess for years in NYC. She and her husband were regulars, and her husband chatted me up one night, and when I confessed that I was an actor, he convinced his wife to take a meeting with me, and she convinced her associates to give me a chance, and the rest is history.
Morgan is a cleaner with an exceptional mind who found her way into detective work after examining some evidence during her shift at the police department. What’s a career you’d love to pivot to if given the chance?
I always wanted to be a gymnast. Or some kind of athlete … tennis! You asked …
You’ll be reprising your role as Carla in the new “Scrubs” series. What does this moment bring up for you? What intrigues you about revisiting this character 15 years later?
I’m filled with gratitude and appreciation. I recognize how in my youth I took for granted the adventure and opportunity. I’m moved by how much people love the show and Carla, and how much all of it mattered to fans in different stages of their lives. I’m overwhelmed with the gift of being part of a magical moment in TV, and to get to revisit it as adults with the same folks is exciting because Bill and the writers are so daring with their humor and drama. I just know Turk and Carla keep going strong in their marriage and continue in their friendship. I’m honored by what this character continues to mean to Latinos, especially in this time.
What have you watched recently that you are recommending to everyone you know?
I’ve watched “Hacks” [HBO Max] because I’m obsessed with Jean Smart. I’ve watched “The Summer I Turned Pretty” [Prime Video] because I need to connect to my teenager and it’s a fun love/hate watch. I watch “Abbott Elementary” [Hulu, Disney+, HBO Max] because it’s f— funny and you can’t go wrong with it; it reminds me of “Scrubs” [Peacock, Hulu, Disney+] in a lot of ways. I just started watching “Severance” and “Shrinking” [both Apple TV+]. “Severance” because it’s so original and “Shrinking” for the same reason; it also feels so familiar … and Harrison Ford and Jessica Williams.
What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?
“The Devil Wears Prada” [Hulu, Disney+], “Girls Trip” [Tubi, Prime Video], “Bridesmaids” [Netflix], “Love & Basketball” [VOD] [and] any of “The Matrix” movies [VOD].
Out in theaters Friday, ‘Brownsville Bred’ is an intimate portrait of the actor, writer and director as a young girl in 1980s New York.
When Elaine Del Valle was in the sixth grade, she starred in the lead role of Sandy in her school’s production of “Grease.”
Decades later, she would return to that same school in Brownsville, Brooklyn, to shoot scenes for her autobiographical film “Brownsville Bred” — which will debut in select theaters nationwide on Friday.
Tethered to the people and places that shaped her into the person she’s become, Del Valle, 54, has been working on this intensely personal project for over 16 years. Now a filmmaker, she began her entertainment career as an actor and later as a casting director.
Before reaching its final cinematic form, “Brownsville Bred” first had other iterations: a one-woman stage show, a novel, and a TV pilot doubling as a short film.
“I knew all along that I wanted to make ‘Brownsville Bred’ into something that people could see visually on screen, and that it could be shared more widely. But I never really had the resources,” she says from her home in New York during a recent video call.
The feature film fictionalizes Del Valle’s childhood and adolescence during the 1980s in the titular underprivileged Brooklyn neighborhood, where crime and drug use were just as quotidian as the sounds of salsa music and memorable family moments.
Central to this heartfelt coming-of-age story is Del Valle’s complicated relationship with her vivacious but troubled Puerto Rican father, a musician struggling with addiction who, after a stint in prison, returned to the island while she was still young.
For the scenes depicting Elaine (played as a teen by Nathalia Lares) visiting her father Manny (Javier Muñoz) in Puerto Rico, the writer-director chose to shoot on location in the town of Cataño where her father, the real-life Manny, was from. Bringing the film there reinforced Del Valle’s sense of belonging in her Boricua identity.
“People say to me, ‘Elaine, you’re so happy all the time. You’re so energetic, you’re so willing, what is that?’ And I would say, ‘I don’t know, that’s just me. And after filming in Puerto Rico, I feel strongly that it is part of the culture there, because I felt that in every single person that was on set with me.”
Still from Elaine Del Valle’s Brownsville Bred, opening Sept. 19, 2025.
(Benjamin Medina)
Growing up in a low-income community, Del Valle couldn’t fathom a path into the performing arts. She married at 18 years old and had a daughter not long after. Around that time, she attended an event put on by the Hispanic Organization of Latino Actors. There, she learned she needed headshots to start reaching out to agents and going out for roles.
“I knew that I wanted more out of life, and I would take my daughter with me in her baby carriage to auditions,” she recalls. A determined Del Valle quickly found success as a bilingual actor for commercials. Eventually, Del Valle also landed the voice role of Val the Octopus, a motherly figure in the now-beloved animated series “Dora the Explorer.”
In the late 2000s, as she studied acting at Carnegie Hall, she started writing down her most significant childhood memories encouraged by her instructor Wynn Handman. She wrote about 10,000 words before deciding to adapt the text into prose that she could speak out loud in front of an audience. Recounting her foundational experiences became a cathartic, healing process. That’s when “Brownsville Bred” took the form of a one-woman stage play.
In 2009, Del Valle started performing the inspirational account numerous times at schools and corporate events; by 2011, it was off-Broadway.
“The audience reception made me understand how important this story was, not just to me and my artistry and my ability to heal as a human, but also to other people who needed those things as well, and to see themselves reflected on screen,” she recalls.
It was thanks to one of those performances that Del Valle got offered a job as a casting director. Her credentials: “I had been to every casting office in New York as an actor.”
To support her intention of one day turning this personal narrative into a film, Del Valle decided to turn it into a book so that she could own it as an intellectual property. These days, that’s become common practice in Hollywood: turn the story into a book, so that the screenplay is no longer an original creation, but an adaptation of an intellectual property.
The audiobook version of the tome, published in 2020, was narrated by Del Valle herself.
Del Valle first stepped behind the camera when she couldn’t find a director to helm her 2013 web series “Reasons Y I’m Single.” She had written the project, cast the actors, scouted locations and was ready to serve as producer — but in the end, “by default,” as she says, she had to direct it.
“That is where I really found my passion to work with actors and to get them to where I thought that they could get to,” she explains. “I do like directing more than acting, because I still get to act,” she says. “I am a scene partner as a director.”
Director Elaine Del Valle poses with her brother, Benjamin Medina, who also worked on set.
The road to finally bring “Brownsville Bred” to the screen was in motion when Del Valle received funding from WarnerMedia OneFifty, an artist development initiative, to produce a pilot that could serve as proof of concept for an episodic series. With that grant, the filmmaker would shoot the first 15 minutes of narrative, which played at multiple festivals as a short piece.
Del Valle’s experience as a casting director proved an advantage when she needed to cast the young woman who would play her in most of the film. Her search came down to two finalists, and ultimately Lares reminded her more closely of who she was at that age.
“The other girl is who I wanted to be when I was growing up, because she was so cool and tough,” Del Valle says. “And Nathalia was actually who I was growing up, which was very vulnerable.”
Muñoz, in turn, convinced Del Valle he could play Manny because of his musicality and talent for singing, qualities her father had. It was an Instagram video of Muñoz singing inside an empty New York subway car that solidified her belief in the actor. That Muñoz is an HIV activist also made him an ideal candidate, since Del Valle’s father lost his life to AIDS.
For the most part, reliving some of the most painful experiences of her early years while shooting didn’t affect Del Valle. Yet, she still needed to tap into her lived experience to guide the actors as they navigated this fiction constructed from her former reality.
“Leaning into the emotion a lot of the times was for them, always healing, but definitely for them, so that they can feel secure in the choices they were making to honor my story,” she says. “Sometimes they needed that more than I did. But every time I shared with them I was able to grow from that experience as well, to give them what they needed, but also feel it.”
Film still from the movie ‘Brownsville Bred,’ directed by Elaine Del Valle.
To produce the rest of the film, Del Valle invested her own savings, and utilized any cost-effective opportunity. At a party, she met the owner of a disheveled building in Queens, and asked if she could film there before they renovated it. On the corner near that building she found a Latino-owned pizzeria, and after explaining the significance of the story, the owner let her shoot there. She was cleverly frugal to bring it to fruition.
Through all the transformations from one medium to the next, the unchangeable essence of “Brownsville Bred” is “showing the contradictions in who we are, because so many times Latinos are seen as one dimensional,” Del Valle thinks. “This very much shows the layers of who made me who I am. I am urban, I am American, I am Latina, I’m Puerto Rican, I’m a daughter and a mother,” she adds.
“Brownsville Bred” ends with a quote by Del Valle for her father: “I made it mean something, Papa.” For the multihyphenate, the film is the culmination of a lifelong dream to honor him in all his complexity, both the joy and pain that they share in their time together.
“This film made his life mean something,” she says, barely holding back tears. “It made his experience mean something. It made his death mean something. I got to give him a legacy.”
Simultaneously, “Brownsville Bred” bears witness to what she overcame to accomplish this feat. “We all have our struggles and I’ve always believed that it is up to us to turn those struggles into triumph,” she explains. “We don’t have to wallow in the misery that people expect us to be wallowing in. We can use those obstacles and stand on them. And I did.”
Redford was a liberal activist and godfather for independent cinema under the name of one of his best-loved characters, the Sundance Kid.
Published On 16 Sep 202516 Sep 2025
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Robert Redford, the Oscar-winning actor, director and godfather for independent cinema as Sundance founder, has died at the age of 89.
Redford died “at his home at Sundance in the mountains of Utah – the place he loved, surrounded by those he loved,” publicist Cindi Berger said in a statement Tuesday.
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No cause of death was provided.
The iconic actor and director is best known for his acclaimed performances in All the President’s Men and Butch Cassidy and the Sundance Kid.
The tousled-haired and freckled heartthrob made his breakthrough alongside Paul Newman as the affable outlaw in the hippy Western “Butch Cassidy and the Sundance Kid” in 1969.
Redford made hearts beat faster in romantic roles such as “Out of Africa,” got political in “The Candidate” and “All the President’s Men” and skewered his golden-boy image in roles like the alcoholic ex-rodeo champ in “The Electric Horseman” and middle-aged millionaire who offers to buy sex in “Indecent Proposal.”
He never won the best actor Oscar, but his first outing as a director – the 1980 family drama “Ordinary People” – won Oscars for Best Picture and Best Director.
Despite their chemistry and long personal friendship, Redford was never to team up again with Newman, who died in 2008.
“Butch Cassidy” made blue-eyed Redford an overnight star but he never felt comfortable with celebrity or the male starlet image that persisted late into his 60s.
“People have been so busy relating to how I look, it’s a miracle I didn’t become a self-conscious blob of protoplasm. It’s not easy being Robert Redford,” he once told New York magazine.
His wavy blond hair and boyish grin made him the most desired of leading men, but he worked hard to transcend his looks – whether through his political advocacy, his willingness to take on unglamorous roles or his dedication to providing a platform for low-budget movies.
Intensely private, he bought land in remote Utah in the early 1970s for his family retreat and enjoyed a level of privacy unknown to most superstars. He was married for more than 25 years to his first wife, before their divorce in 1985. In 2009, he married for a second time, to German artist and longtime partner Sibylle Szaggars.
He used the millions he made to launch the Sundance Institute and Festival in the 1970s, promoting independent filmmaking long before small and quirky were fashionable. The festival has become one of the most influential independent film showcases in the world.
Redford used his star status to also quietly champion environmental causes such as the Natural Resources Defense Council and the National Wildlife Federation.
“Some people have analysis. I have Utah,” he once remarked.
Although he never showed an interest in entering politics, he often espoused a liberal viewpoint. In a 2017 interview, during the presidency of Donald Trump, he told Esquire magazine that “politics is in a very dark place right now” and that Trump should “quit for our benefit”.
In 2001, Redford won an honorary, or lifetime achievement, Oscar.
This article contains spoilers for the finale of Prime Video’s “The Girlfriend.”
After reading the pilot for “The Girlfriend,” Robin Wright could see how the entire series would unfold. She was initially approached to direct the first episode, but she was so entranced by the adaptation of Michelle Frances’ 2017 novel she came on board not just as a director, but as an executive producer.
And when it came to casting Laura, a fierce matriarch committed to protecting her son, Daniel, from his new girlfriend, everyone she pictured in the role was unavailable.
“My dream was Tilda Swinton,” Wright says, speaking from the Ham Yard Hotel in London alongside her co-star Olivia Cooke, whose Prime Video series premiered Wednesday. “The time crunch was getting narrower, so Jonathan Cavendish of Imaginarium [Productions] finally said, ‘Would you consider playing Laura? You know her so well.’ What interested me was expanding on each character and developing this show beyond the book, which was already very full and rich.”
Cooke was Wright’s first choice to play Cherry, Daniel’s working-class girlfriend, who may or may not have suspicious motives and a violent past. The actors hopped on a Zoom call at the end of 2023 and were immediately on the same page about the thriller series. Both were intrigued by the idea that each episode depicted the characters’ individual takes on the events, forcing viewers to frequently change their allegiance about who is right. Is Cherry deviously trying to push Laura aside for better access to Daniel, or is Laura paranoid and overbearing?
Laura (Robin Wright) is suspicious of Cherry and her motives. (Christopher Raphael / Prime)
“I was enticed by the dual perspectives and delving more into that reality because that is how we operate,” Wright says. “That is the human condition. You perceive [something] in a different way than I do. We’re all a hero of our own story and of our own perspective, but we could be the villain in someone else’s perspective. That’s what happens with Cherry and Laura. Jealousy turns into a power struggle.”
“It’s really fun to dial up the maliciousness and the duplicitous nature of a woman,” Cooke adds. “To play all these different sides and all these different faculties. And both our characters contain them all.”
“It was almost like having the variety pack of being a female,” Wright continues. “It’s easy for the viewer to go back and forth, where you’ll be in favor of this one and then not in favor. And it’s always rooted in true emotion. Wherever Laura or Cherry is coming from, that’s her truth. That’s her story.”
“You’ve always got to champion the characters you’re playing in order to play them honestly,” Cooke says. “I completely understood where Cherry was coming from. A lot of that is lack and fear and scarcity. Not having a parachute or a safety net, and having to constantly strive and move forward. She’s a survivor and she’s scrappy, and she will be the quickest and most ferocious to her own defense.”
The conflict between Laura and Cherry aggressively ratchets up over the course of six episodes. After a rock climbing accident that puts Daniel (Laurie Davidson) into a coma, Laura convinces Cherry that he’s died. Cherry later threatens Laura with a knife — or does she? Cooke says she loved “having the excuse to go f— feral.”
“What’s fun about Laura’s perspective is Cherry seems completely unhinged and that there’s a real malevolent undertone to her behavior,” Cooke says. “But in Cherry’s perspective, it’s all coming from a place of just scrambling. She’s tried to put her best foot forward when she meets Laura for the first time and she’s tried to cover up her past a little bit by saying the odd white lie. And a mum sniffs that out immediately.”
“What’s fun about Laura’s perspective is Cherry seems completely unhinged and that there’s a real malevolent undertone to her behavior,” Olivia Cooke says. “But in Cherry’s perspective, it’s all coming from a place of just scrambling.”
(Jennifer McCord / For The Times)
Cooke describes Cherry as an “underdog trying to claw herself up.” “I want the audience to really be of two minds about her,” she says. “And women usually have to be so buttoned up.
“It’s always, ‘You can’t say that or don’t emote that,’” Wright chimes in. “This gave us an opportunity to do what a lot of women would like to say or do, but they can’t. You always have to be a diplomat. This was about being a human being. Women are very layered individuals. We can do 16 things at once. That’s why we can carry children for nine months and then raise them. I wanted to show all of those colors of a woman.”
The role gave Cooke the chance to showcase her range and expressiveness.
“Even just for my own personal life, it felt really cathartic to be able to be angry and be able to scream and be a person who wears their emotions so closely to the surface,” Cooke adds. “Cherry is effervescent. It’s always there waiting to come out. She’s so reactive. And I’m hypervigilant for the warning signs before I react. This was like a rage room.”
In the tumultuous finale, Laura drugs Daniel to keep him away from Cherry. After Cherry breaks into Laura’s house, the duo find themselves in a physical altercation in the basement swimming pool. An addled Daniel discovers them fighting and jumps in to protect Cherry, accidentally holding his mother under the water for too long. The immediate interpretation is that Laura dies at the hand of her son, which is what the actors shot on set in London last year.
“There was an aerial shot of mom dead in his arms,” Wright says. “It was beautiful. He was holding her and he looks at Cherry and mom was dead in his arms in the way I had held him in Spain. But the [producers] cut it out because it showed that she had died.”
Laurie Davidson, who plays Daniel, and Robin Wright in a scene from “The Girlfriend.”
(Christopher Raphael / Prime)
The decision to have Daniel accidentally kill (or not kill) Laura resulted from a “big discussion,” as Wright puts it. The obvious conclusion was to have Cherry purposefully murder Laura, but Wright pushed against that.
“I said, ‘It needs to be the son that kills his mother because he will never get out of her clutches when she’s alive,’” Wright says. “He’s going to be in the middle of this war zone for the rest of his life. When he comes down [to the pool], he’s in a stupor. He’s almost hallucinating. When he dives in the pool and he sees [Laura] trying to drown his girlfriend, he doesn’t know what’s happened prior to that moment, which is she’s tried to kill mom. He has no sense of time and space because he’s under the influence.”
Cooke says she didn’t play the scene as Cherry wanting Laura to die. “Maybe people will read it as that, but I didn’t,” Cooke says. “She knows it’s gone too far. That’s what I played in the moment, shouting at Daniel to snap out of it. But, you know, she did get the house.”
Shooting the pool altercation was a challenging day. Much of the series was filmed in a private house in London’s St. John’s Wood neighborhood, which had an actual swimming pool in the basement. Although the pool was supposedly heated, the actors didn’t experience any warmth.
“It was f— hard,” Wright recalls. “For me, it was like waterboarding. People think, ‘Oh, my God, so much fun to act in those scenes.’ No, it’s not. It’s really tough. We were all drowned rats and freezing cold.”
Still, Cooke says it was enjoyable to go to such intense limits emotionally.
“It’s fun being able to go to the very edge of your emotional capacity in a very safe, fun, embracing environment,” she says. “We wouldn’t have been able to do that in the pool, and be able to try and murder each other and then laugh, if it wasn’t built on trust and love. … These characters do very heightened, crazy stuff, but it’s still seeped in honesty and naturalism, which you need in order to go on this journey.”
Robin Wright recalls how difficult shooting the pool scene was: “For me, it was like waterboarding.” Nevertheless, Olivia Cooke says it was “fun being able to go to the very edge of your emotional capacity.”(Jennifer McCord / For The Times)
At the end of the finale, Cherry and Daniel move into Laura’s mansion with the blessing of Daniel’s father, Howard (Waleed Zuaiter). Daniel discovers a voicemail from Laura recounting how Cherry’s mother, Tracey (Karen Henthorn), warned of her daughter’s malicious motives. But while Daniel is clearly in trouble, Wright says you’re not necessarily meant to interpret it as Laura being completely out of the picture.
“We wanted to leave it a little bit open,” she says. “You see the pregnant family living in the Sanderson house and mommy’s gone. Could Laura still be alive? Did she really die? Has she just been shunned to the priory?”
Wright says they wanted to leave it to the audience to decide what happened.
“But Daniel is awakened,” she adds. “If Laura is alive, he could go back to her and say, ‘I now believe you and now I’m with a crazy woman and afraid she’s going to kill me in my sleep.’ There are many iterations where it can go if there is a Season 2.”
As of this interview, no announcement has been made about another season. Cooke, who also stars as Alicent Hightower in “House of the Dragon,” says she would have to get permission from HBO to be part of a concurrent episodic series. Plus, as Wright notes, it’s all about the algorithm. “You always have to wait and see if it’s a semi-success,” Wright says. She adds, turning to Cooke, “If there is a Season 2, I think you should kill the cat in Episode 1, gut it and wear it as a hat.”
For Wright, that’s part of the appeal of being an executive producer — she could brainstorm all the unhinged things that could happen between the characters. She loved coming up with story ideas and character backgrounds, and helping to sculpt the ending, which differs from the novel, was pure joy.
“This was my first opportunity to develop something from the ground up,” says Robin Wright, who executive produces and is a director on the series. “I took a bunch of personal stories, things that I’ve heard, and threw them in there.”
(Jennifer McCord / For The Times)
“This was my first opportunity to develop something from the ground up,” Wright says. “I took a bunch of personal stories, things that I’ve heard, and threw them in there. Like Laura kissing her son on the lips — that came from a friend of mine. And Laura spraying Cherry with her perfume in a shop and saying, ‘Daniel loves this,’ came from someone on set. Things were constantly percolating.”
Wright directed the first three episodes, setting the visual and thematic tone for the series, while Andrea Harkin took on the latter three. The actor says there was a real freedom on set, which was helped by the rehearsals the cast was able to do before filming. She made it a point to always give the actors their own take for each scene.
“Generally, I’d use the take where they went for a free-for-all,” she says. “You get locked in a box as actors. We all do. You pick a choice and you stick with that choice. But when you throw that out the window, the s— that comes out of actors is amazing. That’s what’s so beautiful about being able to direct and being an actor myself. I love watching how it evolves and the light that comes out of them and the emotion that’s brought to the surface.”
“I’ve never acted opposite my director before,” Cooke adds. “The chain of command was so short. Robin was acting with me, but also watching to see what I do and changing her performance to my reaction, which was amazing. It makes it very alive and kinetic.”
Ultimately, it’s up to the viewer to decide whether Laura or Cherry is the villain of “The Girlfriend.” And, as Wright says, it’s simply a matter of how you see things.
“You as the viewer get to decide: Is there a truth, or is it just subjective?” she says. “Because it is subjective for each of our perspectives and we own it. It happened the way you personally know it happened. But the truth lies somewhere in between.”
Julio Torres is always in search of the next challenge. The writer, comedian, actor and producer is adding the title of playwright to his ever-growing, multi-hyphenate list of occupations. Since his days as an Emmy-nominated writer for “Saturday Night Live,” Torres has written and starred in the Peabody Award-winning HBO Max original series “Los Espookys,” wrote and starred in the HBO Max original series “Fantasmas” and directed, wrote and starred in his first feature film, “Problemista,” co-starring Tilda Swinton.
For his latest venture, Torres made his way to the stage — admittedly not knowing exactly what goes on in the theater, but willing to take a shot with his first comedic play, “Color Theories.” In it, the audience gets a closer look at the eccentricities that frame his imaginative inner world.
As the son of a civil engineer and architect/fashion designer, Torres’ knack for world building comes as no surprise. In a recent feature for Architectural Digest, Torres opened the doors to his wonderland Brooklyn studio apartment, which contained escapist daydream corners and custom futuristic furniture made of glass, chromatic metals and mirrors, all cut and shaped into squiggles and sharp edges. With elements of retro-elegance and the ambiance of a playhouse, Torres’ vision is nostalgically absurdist and highly refined.
The same can be said about most of his work, including his vision for “Color Theories.” In order to bring his ever unpredictable vision to life, Torres teamed up with longtime scenic design collaborator Tommaso Ortino to create a fantastical surrealist stage for his live theatrical debut, which took place Sept. 3 at the Performance Space New York, located in downtown Manhattan.
Julio Torres performs in “Color Theories” at the Performance Space New York.
(Emilio Madrid)
Before Torres begins his performance, the audience is greeted by a giant book doused in bold, mostly primary colors, a grandfather clock with the numbers melted off its face à la Dalí and tall, blank scrolls. On top of the book lies a giant lipstick-stained wine glass, and an actor lying face down in a bubble-shaped, burgundy satin cloak — or, Drew Rollins playing the role of spilled wine. Rollins is accompanied by Nick Myers, who sits on the side of the stage dressed as a music box in silver foil and oversized pearls. They both play the roles of Torres’ stagehands and narrative helpers. Costumes were designed by Muriel Parra, best known for her work in “A Fantastic Woman” (2017), “Neruda” (2016) and “The Settlers” (2023).
Once the lights come down and the play begins, the whimsical characters crack open the giant book, revealing a stark contrast of blank pages. They proceed to open a flap where the comedian emerges, from the cushioned interior of his own creation. He begins by describing the abstract personalities of different letters of the alphabet, referring to them as staff with “wants, needs, hopes and dreams.” From there, he seamlessly transitions into the definition of the first color on the list: navy blue, which represents (American) bureaucracy, policing and control. Throughout the play, this “law and order” blue encroaches on the existence of every color selected by Torres.
Upon noticing that Torres is spending too much time discussing navy blue, his robotic buddy Bebo — also a recurring character in “Fantasmas” — pops out of the giant clock and serves as a colonel of time and color story order. (He also happens to be blue.)
What Torres dubs as “relaxed” green, “commercial-portrayals-of-joy” yellow, “lusty and ragey” red, “teenage” orange, “soft” beige and “mysterious” purple are all accompanied by playful examples of behaviors, objects and societal conditioning that represent each color. The operatic sound effects paired with each color were created by Lia Ouyang Rusli, who was tasked with the important role of not only composing the sounds for each color, but their respective emotions. Torres explained in a separate interview: “Green should also sound like we combined the sounds of yellow and blue, and so that’s fun.”
One of the most poignant moments of the play is during his green monologue, when Torres reminisces about the video store he grew up visiting in San Salvador. He unashamedly admits he never returned a movie on time, so the owner would bargain the late fee with him based on if the movie was requested during the days it was off the shelf or not.
“This was all working perfectly fine until Blockbuster came in and suddenly we were in a navy blue system,” he explains — with a nod to the U.S. influence on El Salvador, namely in the way American capitalism infringes on countries within reach of its empirical tentacles.
Immigration status is a recurring theme in much of Torres’ work. In his directorial debut, “Problemista,” Torres plays the protagonist Alejandro, who scrambles to find a work visa in 30 days after being fired from his job — and makes desperate attempts to earn quick cash in an effort to pay his legal fees. In “Color Theories,” Torres describes several run-ins with airport immigration authorities and the complications of traveling with a Salvadoran passport.
He recounts being turned away from entering Costa Rica because his passport was too wrinkled — and of being taken to an interrogation room for not knowing he needed a travel visa to enter the U.K. While detained, he noticed authorities had branded the interrogation area as a pseudo-mental wellness safe space — messaging that contradicted the reality of his experience.
Torres uses blue and red to exemplify his anti-capitalist stance by endearingly explaining how those with extreme wealth maneuver tax evasion, how governments allow and excuse war crimes, and how pervasive individualism prevents progress. “Color Theories” reaches its apex when Torres begins discussing the space between the shades black and white — neither representing good nor evil, but rather the known and the unknown.
Julio Torres’ new play “Color Theories” at Performance Space New York.
(Emilio Madrid)
It’s a beautiful way to take what have become very divisive points of view and create an atmosphere of shared humanity among the audience. From here, the colors that become the focal point are bright, airy mixes of pastels, which highlight the beauty in all of our differences and ranges of knowledge.
In just over an hour, Torres delivers a concise portrait of how he navigates and experiences the world in terms an elementary schoolchild can understand — which he jokes about by saying the play will be taken to schools across the U.S. His character development transitions from a justified frustration to the conclusion that humans behaving as though they know it all is the ultimate act of hubris.
“Color Theories” does not communicate as a pessimistic rant about the world but rather examines how government and institutions of power shape our society — and how that power complicates and often oppresses the everyday reality of the average person — by using humorous, universally relatable vantage points and lighthearted pop culture moments.
Actor Raymond Cruz was held in custody for five hours on Monday after a sudsy spat with three women in his Los Angeles neighborhood.
Cruz — who portrayed the drug lord Tuco Salamanca on “Breaking Bad” — was washing his car on the street in front of his Silver Lake-area home when another car with three female occupants parked inches away from him, said Raphael Berko, his agent with Media Artists Group.
Cruz asked the women, who appeared to be in their 30s, to move their car at least a foot away so it wouldn’t get wet, according to Berko.
“The women were very rude to him and said no,” Berko said, adding that ample parking was available elsewhere on the street.
Instead, the women took out their phones and started to record Cruz, Berko said.
The actor, who also played detective Julio Sanchez in “The Closer” and its spin-off series “Major Crimes,” became uncomfortable and turned around, hose in hand, to tell them to “stop recording,” Berko said.
In doing so, Berko says some water may have inadvertently splashed on the women. But the women — one of whom was the daughter of a housekeeper on the block — said Cruz intentionally sprayed them, and they called the police to report an alleged assault.
Cruz was handcuffed by the Los Angeles Police Department and taken into custody for five hours, but Berko said he and his client expect the case will be dropped.
Berko characterized the incident as a misunderstanding, and said Cruz doesn’t have a criminal record.
The actor has a court hearing scheduled for Oct. 1, but online records do not show any charges as of Tuesday afternoon.
Charlie Sheen wants to free himself from feeling like he’s being held hostage by his private life.
To shed that sensation, the “Wall Street” star decided to talk about his sexual past in his memoir, “The Book of Sheen,” which comes out Tuesday.
People from his past “had video things or whatever and had stuff over me,” the actor told Michael Strahan on “Good Morning America.” “So I was kind of held hostage, you know, and that’s just a bad feeling.”
Sheen talked Friday on the morning show about how his drug addiction led him to have sex with men — he called it “the other side of the menu” — and how he was forced to pay people to keep those sexual encounters out of the public eye.
Cherlie Sheen on his sexual encounters with men and feeling hostage by his private life.
He also hit on less salacious revelations like the connection between his stutter and his drinking. In the book, Sheen writes about masking his inability to pronounce certain words and sounds with drinking alcohol. “Drinking soften the edges,” he told Strahan. “It gave me freedom of speech.”
After joining the ABC show “Spin City” in 2000 and reading the script, he said, Sheen stopped hiding his speech impediment and asked for help.
“When in doubt, just be human enough to be vulnerable,” he told “GMA.”
Sheen also reveals in the book that some folks wanted to expose his HIV-positive diagnosis before he went public with it in 2015, according to People. Sheen said on “GMA” that finally revealing his diagnosis was a “tremendous relief.”
During the “GMA” interview, Strahan asked the actor if he had any regrets.
“I do,” Sheen said, “but there’s no value in them.”
A documentary about the actor’s life, “aka Charlie Sheen,” will premiere Wednesday on Netflix. Sheen, who has been sober for eight years, told People he decided to be vulnerable about his past because he wants to own his truth and his stories.
Actor Nicholas Braun, best known for his work in the hit HBO series “Succession,” began his Labor Day weekend with a run-in with New Hampshire law officials.
Moultonborough Police Chief Peter W. Beede announced in a Tuesday press release that officers arrested the 37-year-old actor Friday evening on suspicion of DUI-Impairment in the town of Moultonborough, N.H., about an hour north of the state’s capitol of Concord. Braun was also arrested on suspicion of driving at night without his headlights on.
The release did not share additional information about Braun’s arrest. Representatives for the actor did not immediately respond to The Times’ request for comment.
Braun was booked in Carroll County Jail and released on his own recognizance, according to TMZ. The outlet also reported that the actor will be arraigned Sept. 16.
In HBO’s “Succession,” Braun became a fan favorite for his portrayal of Cousin Greg, an outsider who manages to weasel his way into the core family’s business and the bid for aging media mogul Logan Roy’s (Brian Cox) multi-industry empire. He received three Primetime Emmy nominations for the role.
Braun is also known for his work in Disney flicks “Sky High,” “Princess Protection Program” and “Minutemen.” His credits include “The Perks of Being a Wallflower,” “Whiskey Tango Foxtrot,” “Zola” and “Saturday Night.”
Jesse Plemons is never one to chew scenery. Even when handed a role that edges on madness, he doesn’t go big. Instead, he goes deep, building tension quietly from the inside out. And in Yorgos Lanthimos’ uncategorizable, darkly comic sci-fi thriller, Plemons — reuniting with the director after playing three characters in last year’s “Kinds of Kindness” — delivers one of his most riveting performances yet. As Teddy, a rumpled, reclusive beekeeper convinced that a pharma CEO (Emma Stone) is an alien from the planet Andromeda, Plemons channels paranoia, grief and righteousness into something both absurd and unnervingly sincere. The “I do my own research” archetype could easily veer into “SNL” sketch territory but he plays it heartbreakingly straight, creating a chillingly familiar portrait of a man lost in an algorithmic maze of internet rabbit holes and desperate for clarity in a world that no longer makes sense. Teddy enlists his younger cousin Don (Aidan Delbis, an autistic first-time actor in a mesmerizing turn) to help him abduct Stone’s steely executive, drawing him into the mission in a misguided effort to protect him. Even as things spiral into chaos, Plemons (a 2022 supporting actor Oscar nominee for Jane Campion’s “The Power of the Dog”) roots the performance in a warped but recognizably human emotional logic. The result captures the anxious, conspiratorial spirit of 2025 with eerie precision, proving once again that Plemons doesn’t need to raise his voice to deliver a performance that speaks volumes. — Josh Rottenberg
