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AUSTIN, Texas — “The Sun Never Sets” is filmmaker Joe Swanberg’s 10th indie to premiere at SXSW but his first to play the event since 2017. The astonishing pace with which he made his early work — loose, idiosyncratic stories that were progenitors of the emergent style known as mumblecore — has slowed significantly, but also given way to a newfound maturity as both a person and an artist.

Introducing “The Sun Never Sets” at its world premiere on Friday night to a sold-out crowd at the Zach Theater, Swanberg called his latest “my favorite film I’ve ever made.” Shot on 35mm in Anchorage, the movie follows a 30-ish woman, Wendy (Dakota Fanning in a vibrant turn), torn between pursuing a fresh romance with a reckless old flame (Cory Michael Smith) or continuing on with the settled-in-his-ways divorced father of two (Jake Johnson) she’s been seeing for a few years.

Dakota Fanning in Joe Swanberg’s “The Sun Never Sets,” filmed in Alaska.

(SXSW)

“I guess this is what they tell you about getting older and doing this job longer,” said a thoughtful Swanberg in a video interview from his home in Chicago shortly before the South by Southwest festival. “You get better at it and you sort of mature and all of this.”

The film marks Swanberg’s fourth collaboration with Johnson, a partnership that goes back to 2013’s “Drinking Buddies.” (The actor partly financed the new project along with his brother.) Following completion of the third season of the Netflix anthology series “Easy” in 2019, for which he wrote and directed all the episodes, Swanberg was planning to take a break. A divorce and the pandemic caused that pause to grow even longer.

In the intervening years Swanberg produced a number of projects for other filmmakers, did some acting and opened a small video store in Chicago. Swanberg knew Anchorage-based producer Ashleigh Snead, who encouraged him to consider shooting something there. The scenic location would give Swanberg the opportunity to expand his visual style from his usual couches, bars and apartments of much of his work. (There still are a surprising number of scenes on couches and in bars.)

“Joe’s a real filmmaker,” says Johnson in a separate interview. “And I think sometimes he doesn’t get that credit because he can make movies with nothing. This is a real adult movie. This is a film about how complicated breakups are and how messy they get. And it’s in beautiful Alaska.”

Swanberg, center, on the set of “The Sun Never Sets.”

(SXSW)

Swanberg has now gone from someone making talky, provocative and at times controversial films about the lives of post-collegiate 20-somethings to exploring the nuances and specifics of being a 44-year-old divorced father of two still trying to figure out his place in the world. His original cohort of SXSW-affiliated filmmakers, many of whom also fell under the rubric of mumblecore — nobody much liked the name, but no one ever came up with anything better, so it stuck — included Greta Gerwig, Lena Dunham, Barry Jenkins, Ti West and others who have gone on to more conventional mainstream success.

But Swanberg doesn’t seem to feel left behind. Rather, he only sees doors opening.

“It’s gone so much better than I thought it was going to go for me,” he says. “I mean, when I was making these really tiny, sexually explicit 71-minute movies, I was like, I’m just grateful to be here. I can’t even believe these festivals are showing this work and it’s so cool that there’s a space for me in this ecosystem.

“And so to watch my friends go off to do these giant movies, to see Greta doing ‘Barbie’ and stuff like that, to me it just opens up the possibilities,” he adds. “Each time a friend of mine sets some new record or moves into some new space, I’m kind of like: Oh, that just opened up for all of us now.”

His earlier work often featured raw sex scenes, sometimes featuring Swanberg himself. From practically the start of his career, well predating the #MeToo-era reckoning that began in 2017, Swanberg weathered accusations that he was exploitative and manipulative of his female performers. His stepback from productivity coincided with a moment when his explorations of sexual power dynamics fell out of favor. It would be easy to interpret that Swanberg preemptively soft-canceled himself to avoid a broader scandal. He doesn’t see it that way.

“Certainly in Chicago, where I’ve spent the last five years, I’m not unwelcome places,” he says, drawing a distinction between himself and “people who lose jobs or are capital-C canceled. But also my work has always pushed those boundaries and always attracted some amount of positive and negative attention.”

Though “The Sun Never Sets” has numerous kissing scenes, it doesn’t go too much further than that.

“I won’t do it,” Johnson says of more graphic scenes. “When I worked with Joe early on, I was like, ‘I love you, man — I’m not doing this.’”

For her part, Fanning had no reservations about working with Swanberg. He offered both Fanning and Smith the opportunity to work with an intimacy coordinator, but neither felt it was necessary.

“There was no planet where you’d ever be asked to do anything you were uncomfortable with,” Fanning says. “If there was ever a moment like, ‘I don’t want to do that,’ he’d be like, ‘Oh, then let’s not.’ There was a day where there was a scene and it was pouring rain outside. And we both looked at each other and he was like, ‘We’re not going to do it. The scene’s cut.’ He’s just open. And I just trusted him implicitly.”

Jake Johnson and Dakota Fanning in the movie “The Sun Never Sets.”

(SXSW)

Swanberg has long worked in an unusual style in which the script is essentially a detailed outline and the actors work to come up with their own dialogue during rehearsals. For “The Sun Never Sets,” Swanberg and Johnson developed the longest, most complete outline Swanberg has ever used, including some dialogue exchanges. Then the actors were allowed to make it their own.

Fanning recalled an early Zoom call with Swanberg and Johnson on which they explained the process.

“It’s still made like a real film,” Fanning says. “And Jake and Joe promised it’s not like we’re just flying by the seat of our pants: ‘You will know what to say, I promise.’ And then friends that know me asked, ‘Are you so nervous?’ And I was, but for some reason, I don’t know why, I just knew that it was going to be fine. And that just proved to be true.”

Even though it takes places in Anchorage, Swanberg calls “The Sun Never Sets” “extremely personal.”

“I was definitely writing a movie about a divorced mid-40s guy dating a younger person,” he says. “The questions of marriage and having children were sort of an amalgam of two real relationships that I merged into one onscreen.” He describes the material as “questions that I had and have about what my own relationships are going to look like post-divorce.”

That comes through in Fanning’s rich, layered performance, which might rank among the best of her already lengthy career. Swanberg’s style draws both an ease and an intensity from Fanning, who captures a woman at a pivotal moment of figuring out what she wants amid the emotional whirlwind she is going through. (At the film’s premiere, Fanning said, “I’ve never put so much of myself into a role before.”)

“I think the goal of Joe’s films, and I think at least my goal with this film, is trying to make everything feel real,” she says. “Things are just a mess some of the time.”

Dakota Fanning and Cory Michael Smith in “The Sun Never Sets.”

(SXSW)

Swanberg himself appears in a small role as the new husband of the ex-wife of Johnson’s character. And the characters of the two kids in the movie are named after the director’s own children. With a newfound maturity and emotional depth, Swanberg is continuing to make movies that are part diary, part generational markers.

“It’d be really cool in my 40s to make movies about characters in their 40s,” he says, “and in my 50s, 60s and 70s. It’d be neat to be making sexually explicit movies about 70-year-olds in their dating lives and sex lives and stuff. It’s really exciting to have movies about characters at this phase of their life, whether they’re finally settling down in their 40s or whether they’re getting out of relationships and reexamining their life. It’s where my head is at.”
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THE OSCARS is back for another year, and will see the crème de la crème of Hollywood clamouring to snatch one of those famous golden statues.

But despite the prestigious nature of the Academy Awards, they don’t always guarantee an A-list life forever in Tinseltown – as these past winners have found out…

Mo’Nique

Let’s kick off our look at forgotten Oscar winners with Mo’Nique, who claimed she was “blacklisted” after her win at the Academy Awards.

When she won the Oscar for Best Supporting Actress in 2010 for her performance in Precious it was her acceptance speech that got people talking, which began: “First, I would like to thank the Academy for showing that it can be about the performance and not the politics.”

Mo’Nique was referring to a fallout which started long before the Oscars.

It came when she refused to travel the world to promote the film – against the advisement of director Lee Daniels and producers Tyler Perry and Oprah Winfrey – despite the movie having “Oscar buzz”.

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Following this fallout, Mo’Nique declined to thank filmmaker Lee during her acceptance speech, leading to a HUGE Hollywood feud – during which the actress alleged that he had “blackballed” her from the industry.

And shortly after winning the coveted statue she practically vanished from Tinseltown.

The star has since reflected on being a victim of so-called “Oscarscurse” – where stars suffer bad luck in their career after winning an Academy Award.

Speaking to CNN in 2020, Mo’Nique said: “I believe winning that Oscar award, just as Hattie McDaniel, she said, ‘I felt like I was cursed instead of winning something that should be congratulated’.

“That award was something that I did not ask for, but because I didn’t respond the way people thought that I should have responded, as Lee Daniels said, I was blackballed.”

Mercedes Ruehl

At the 1992 Oscars, Mercedes Ruehl was having the time of her life after scooping the Best Supporting Actress gong.

Despite her movie The Fisher King being led by Hollywood heavyweights Robin Williams and Jeff Bridges, Mercedes was the one who took home that coveted gold statue.

But even though she won such a huge award, the movie roles failed to pour in after her night of glory and the actress “vanished” from Hollywood.

Reflecting on the “curse” of winning such a top prize, she told the HuffPost: “It’s hard to get a job after that.

“People think you want more money.”

Instead, Mercedes returned to the stage and went on to win a Tony award the same year as her Oscar – she has remained a fixture of Broadway ever since.

Harold Russell

Harold Russell’s Oscars tale is very different to the others.

The late star lost both his hands in World War II and had them replaced by hooks.

Harold had never acted before when he played the role of Homer Parrish in The Best Years of Our Lives in 1946.

He was cast after the director of the film saw him in Diary of a Sergeant, an Army film about rehabilitating war veterans.

Despite his lack of acting experience, Harold proved to be a huge hit in The Best of Our Lives, and he won not one, but TWO Oscars for his role.

At the 1947 Academy Awards he was awarded the Best Supporting Actor and a special Honorary Academy Award for bringing hope and courage to fellow veterans.

Harold was also the first non-professional actor to ever win an Oscar.

But despite all this glory, he took a step back from acting and didn’t appear in another film until 1980.

Instead, he decided to get a business degree and devoted his life to charity.

Speaking about why he didn’t continue his Hollywood career, he told the Los Angeles Times in 1996: “Wyler (the director) told me I should go back to college because there wasn’t much call for a guy with no hands in the motion picture industry.

“I figured he was right. [In the handful of roles I’ve taken since then,] I always play a disabled veteran.

“And this is what Wyler said, ‘After a while they’re going to run out of ideas’—and he was absolutely right. How many times can you play the same role?”

Harold died in 2002 at the age of 88.

Roberto Benigni

Next up we have Italian actor Roberto Benigni, whose double Oscar win in 1999 caused quite a reaction.

The star won two gongs for the foreign film La Vita è Bella (Life is Beautiful), taking home the statues for Best Actor and Best International Feature Film – as he directed the movie too.

The film was the first non-English speaking picture to win the Best Actor award.

But Roberto, who was up against Tom Hanks, Ian McKellen, Nick Nolte and Ed Norton for the award, faced a huge backlash for his “over the top” reaction to winning the coveted gong.

He was seen climbing over audience seats to accept the award, which was slammed as being “chaotic”.

Roberto was also criticised for his “disingenuous” acceptance speech, where he appeared to make light of winning such a huge award.

“This is a terrible mistake. I used up all my English!” he joked, upon being handed the award.

Despite his big win, the actor retreated back to his native-Italy to make films instead of in Hollywood.

Speaking about life as a two-time Oscar winner, Roberto once told The Guardian: “The most important thing is to continue to be yourself.

“The day after the Oscars, you have to get on with your life. To be honest and true to yourself. I could have made a small film and kept all the money from Life is Beautiful. Instead, I spent more money than I had on Pinocchio, a very risky film.”

The actor is referring to his 2002 movie Pinocchio, which was only released in Italy and received mixed reviews from critics, with one calling it “the worst movie ever made”.

Marcia Gay Harden

Marcia Gay Harden beat the odds to scoop the Best Supporting Actress award for Pollack in 2000.

The actress was up against massive stars including Judi Dench, Kate Hudson, Frances McDormand and Julie Walters, so her win was the HUGE surprise of the night that everyone was talking about.

Critics were also shocked that Marcia won the Oscar as she hadn’t been nominated for any other major award in the run-up to the ceremony.

Despite the actress’s huge win, her movie career stalled and she headed back to the small screen.

Reflecting on being a victim of the “Oscar curse”, Marcia once told the LA Times: “It’s disastrous on a professional level.

“Suddenly the parts you’re offered and the money become smaller. There’s no logic to it.”

Mira Sorvino

Mira Sorvino

Fans of the quirky movie Romy and Michele’s High School Reunion may be surprised to know that the film’s co-leading actress, Mira Sorvino, actually won an Oscar before starring in the cult classic movie.

A few years before, the actress won a huge amount of praise when she played a prostitute in Woody Allen’s Mighty Aphrodite.

She wowed so much, she scooped the Academy Award for Best Supporting Actress in 1996 for the role.

Despite going on to star in Romy and Michele’s High School Reunion the following year, the movie roles after that failed to pour in and she has switched her focus to TV.

Marisa Tomei

Last but not least, we have Marisa Tomei.

It may come as a surprise to film fans to find out that the actress won an Oscar in 1993 – but that is nothing compared to what happened on the actual night.

Shockwaves went through the prestigious ceremony when the relatively-unknown actress at the time scooped the gong for Best Supporting Actress, beating veteran stars like Joan Plowright and Vanessa Redgrave.

But it didn’t stop there, as poor Marisa, who won the award for her role in My Cousin Vinny, faced rumours that she had been given the Oscar “by mistake”.

Vicious gossip began to circulate that suggested that presenter Jack Palance had misread the envelope and mistakenly given the Oscar to Marisa instead of “its rightful owner”, Vanessa.

However, the Academy addressed the conspiracy theory and denied that she had been given it by “mistake.”

Speaking about the cruel rumour, Marisa once said: “That was really hurtful at first.”

Despite the fall out from her Oscar three decades ago, she has been nominated for two more since.

These days Marisa is best known for playing Spider-Man‘s mum in the famous franchise.

AN unexpected Brit name has been thrown into the ring to play the next James Bond.

Bookmaker Coral has announced the surprising news about who is currently in the lead to scoop the iconic role.

It has been revealed that Jack O’Connell’s name is flying high after seeing support rise over the last 48 hours.

The SAS: Rogue Heroes star is a big contender to jump into James Bond‘s boots with odds to 8-1 (from 33-1).

“Jack O’Connell’s next James Bond odds have collapsed over the last couple of days, with the British actor now just single figures in our betting for the iconic role,” said Coral’s John Hill.

The new movie will be written by Oscar-nominated filmmaker Steven Knight – who was behind iconic TV show Peaky Blinders.

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Steven also wrote SAS: Rogue Heroes and worked with Jack on the feature.

The 28 Years Later actor has come a long way since his days in the Skins cast.

O’Connell has played a variety of roles since he starred in the TV teen drama as James Cook from 2009 to 2010 – and for the show’s final season in 2013.

Ever since Daniel Craig said goodbye to the role in 2021 release No Time To Die, the role of super spy 007 has been up for grabs, with speculation rife over who should take over. 

Coral stated the odds: 4-5 Callum Turner, 3-1 Aaron Taylor-Johnson, 3-1 Theo James, 6-1 Henry Cavill, 8-1 Jack O’Connell, 10-1 Anthony Boyle, 12-1 Harris Dickinson, 16-1 Jack Lowden, 16-1 James Norton.

Actors thought to be in the running to play Bond include Spider-Man star Tom Holland, 28, Bridget Jones hunk Leo Woodall, 28, SAS Rogue Heroes leading man Connor Swindells, 28, plus Hero Fiennes Tiffin, 27, and Kit Connor, 21. 

Irishman Paul Mescal, 29, is also said to be in the frame along with Wuthering Heights heart-throb Jacob Elordi, 27.

Among the other names rumoured to be in the frame included Aaron Taylor-Johnson, Callum Turner and Henry Cavill.

The Sun recently revealed the latest 007 adventure — spearheaded by new owners Amazon Prime Video — will start filming before the end of the year.

Work has already begun on assembling the crew with a view to starting filming late autumn into early winter.

Amazon has yet to confirm anything about the new Bond movie and there’s no hint as to what it will be called.

But if the cameras start to roll this year it means it could wrap in 2027 and be on our screens by 2028.

The franchise was snapped up by the streaming giants after 2021’s No Time To Die featured the death of the super-spy, played by Daniel Craig.

The 10th season of “Love Is Blind” ventured to Ohio, yielded a record seven engaged couples and made structured cape blazers and the idea of daily Pilates classes feel like rage bait.

With the season over, and just two couples saying “I do,” the cast of the popular Netflix dating series came together for this week’s reunion special to share updates on their lives since the cameras went down — and to unpack the twists, turns and lies that played out over the season. The result was a reunion that finally provided (mostly) satisfying questions and answers about participants’ pasts and presents instead of dancing around topics.

Unable to budget the time for a trip to Cabo — or even Malibu — to process it all, TV editor Maira Garcia and I have brought our running “LIB” thread out of our Slack DMs to unpack our thoughts in this safe place.

Also in this week’s Screen Gab, our streaming recommendations include a spray-tan crime comedy and a Morgan Freeman-narrated mind trip about the rise and fall of dinosaurs. Plus, we tell you where you can stream the slate of best picture nominees ahead of this Sunday’s Academy Awards ceremony.

This is your cue to block off some “couch time” in your calendar this weekend.

— Yvonne Villarreal

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Recommendations from the film and TV experts at The Times

Will Forte as Martin and D’Arcy Carden as Vicki in a scene from “Sunny Nights.”

(Lisa Tomasetti / Hulu)

“Sunny Nights” (Hulu)

D’Arcy Carden fans, and I can’t imagine anyone who’s ever seen her work isn’t one, will be elated to find her at full force starring in this dark, sometimes violent Australian crime comedy alongside Will Forte, who, yes, has fans of his own. They play brother Martin (cautious) and sister Vicki (impulsive), who have traveled to Sydney to flog a tanning spray at a lifestyle convention, though Martin has an ulterior motive, to win back his wife, Joyce (Ra Chapman). What with one thing and another, they find themselves repeatedly in need of cash and mixed up with a panoply of criminals, some fairly sympathetic (former rugby star Willie Mason, excellent as former rugby star Terry; Jessica De Gouw as Susi), and others not at all (Rachel House as kingpin Mony, just out of the jug). All are trying to change their lives, or at least their business plan, including Joyce, a journalist stuck writing clickbait articles for an editor who doesn’t want to know, and Megan Wilding as Nova, an animal control worker who knows something important about an exploding crocodile. — Robert Lloyd

A still from “The Dinosaurs.”

(Netflix)

“The Dinosaurs” (Netflix)

This four-part series will have you mentioning the Carnian pluvial episode in every conversation. Aptly narrated by Morgan Freeman and executive produced by Steven Spielberg, the sweeping CGI-enhanced nature documentary traces the evolutionary history of dinosaurs, from their origins in the Triassic period to their extinction 66 million years ago. And it’s more proof that attention spans, no matter a person’s age, will always lock in for dinosaurs. Before morning, your Google search history will include terms like “Marasuchus,” “Vulcanodon,” “Heterodontosaurus” and that Carnian pluvial episode (a.k.a. the longest downpour in history, which lasted more than a million years). Prepare to have your perception of time forever altered. Still, it’s a surefire way to give your mental health a break from current events — though, for a certain generation, it may also unlock those “Land Before Time” memories. — Y.V.

Catch up

Everything you need to know about the film or TV series everyone’s talking about

Scenes from “One Battle After Another,” left, “Hamnet” and “Sinners.”

(Warner Bros. Pictures; Focus Features)

The 98th Academy Awards will broadcast Sunday at 4 p.m. Pacific. How many of the best picture nominees have you seen? Is it less than the number of think pieces you’ve read on Timothée Chalamet’s comments on ballet and opera? We’re here to help. If you’re feeling inspired to be a studious viewer ahead of film’s big night, here’s where you can stream the best picture nominees:

• “Bugonia” (Peacock): Directed by Yorgos Lanthimos, the surreal comedy thriller follows a paranoid bee keeper (Jesse Plemons) who kidnaps a pharmaceutical CEO (Emma Stone), convinced she is an alien responsible for destroying humanity. The film received four Oscar nominations.
• “F1” (Apple TV): From “Top Gun: Maverick” director Joseph Kosinski, the sports drama stars Brad Pitt as retired F1 driver Sonny Hayes, who agrees to compete in the globe’s most prestigious racing event to salvage his reputation and the failing team of his buddy. The film received four Oscar nominations.
• “Frankenstein” (Netflix): Guillermo del Toro’s adaptation of the classic horror tale transforms Jacob Elordi into the tragic monster, known here as The Creature, and features Oscar Isaac as its titular mad maker. The film received nine Oscar nominations.
• “Hamnet” (Peacock): Based on Maggie O’Farrell’s novel, Chloé Zhao’s historical drama explores the grief, love and strained marriage of William Shakespeare (Paul Mescal) and his wife, Agnes (Jessie Buckley). The film received eight Oscar nominations.
• “Marty Supreme” (Available to rent or buy on platforms like Prime Video and Apple TV): Directed and co-written by Josh Safdie, the film is loosely based on the life of American table tennis player Marty Reisman, here called Marty Mauser and played by Timothée Chalamet. It is expected to be released on HBO Max later this spring. The film received nine Oscar nominations.
• “One Battle After Another” (HBO Max): Paul Thomas Anderson’s satirical political thriller, a loose adaptation of Thomas Pynchon’s “Vineland,” follows a paranoid ex-revolutionary (Leonardo DiCaprio) trying to save his daughter when an old enemy (Sean Penn) resurfaces. The film received 13 Oscar nominations.
• “Sentimental Value” (Available to rent or buy on platforms like Prime Video and Apple TV): Joachim Trier’s Norwegian drama follows two sisters (played by Renate Reinsve and Inga Ibsdotter Lilleaas) as they reunite with their estranged filmmaker father (Stellan Skarsgard). The film received nine Oscar nominations. It is expected to be released on Hulu later this month.
• “Sinners” (HBO Max): Ryan Coogler’s gothic horror drama is set in 1932 Mississippi and follows twin brothers (played by Michael B. Jordan) who, trying to leave their troubled past behind them, return to their hometown to start anew — only to face new horrors. It became the most-nominated film in Academy Awards history with 16 total nominations.
• “The Secret Agent” (Hulu, Disney+): Directed by Kleber Mendonça Filho, the Brazilian historical political thriller stars Wagner Moura as a former professor fleeing persecution during the 1970s military dictatorship while trying to protect his son. The film received four Oscar nominations.
• “Train Dreams” (Netflix): Based on Denis Johnson’s 2011 novella of the same name, the film is an intimate birth-to-death portrait of a quiet railway laborer (Joel Edgerton) as he watches the world change around him. The film received four Oscar nominations.

Break down

Times staffers chew on the pop culture of the moment — love it, hate it or somewhere in between

It’s crazy to think that about six years ago, golden goblets, pods and “the experiment” were disparate ideas and objects that were on the precipice of infiltrating the culture. Now, you can’t think of one without the others. “Love Is Blind,” the reality dating show that tests the premise of whether singles can find love sight unseen and marry at the end, marked a milestone this year with its 10th season, filmed in Ohio.

While the series has produced a number of marriages and engagements, some have ended in breakups and divorce, as we saw on Wednesday’s Season 10 reunion. So while the answer to the question “Is love blind?” seems to be no, the series has nonetheless made for entertaining television for viewers who have made dissecting the people, fights and makeups a sport. Why are we so invested? Because it’s a reflection of where we are as a society when it comes to relationships and what we expect from partners emotionally, politically, physically and financially. With that in mind, Yvonne and I sat down with our golden goblets to unpack the Season 10 reunion. Here are five moments that stood out. — M.G.

Jordan and Amber are now divorced

Jordan Faeth and Amber Morrison were one of two couples to say “I do” at the altar. Morrison, a single mom, discussed with Faeth over the course of the show if he was ready to be a stepparent and where they would live, given that Morrison owned a home and her daughter was happy at her school. At the reunion, the couple revealed that they never moved in together and that they divorced after four months. Morrison talked about how her daughter was distraught after the breakup, leading to an emotional moment where Morrison ran offstage in tears. It raised an important question that fans have debated closely: Should parents be on the show? Seasons 6 and 9 also featured single parents, neither of whom made it to the altar. Given the compressed timeline of when people meet, become engaged and head to the altar, deciding whether marriage should include parenthood at the start adds another layer of complexity, not to mention how it could affect a child, who suddenly has a stranger in their life. The outcome wasn’t necessarily surprising, but it was sad.

Vic and Christine: boring but perfect. More, please

The other couple to make it down the aisle was Vic St. John and Christine Hamilton, who hit it off from the get-go and seemed to exist in their own blissful bubble. According to Netflix production, the show only budgets for six couples to go on a trip after the reveal and engagement. But they continued to track them, with St. John and Hamilton spending time in Malibu instead, taping dispatches together and getting to know each other without the rest of the cast in proximity. Throughout the course of the show, you see their connection grow. Their mature and thoughtful conversations about being an interracial couple and potentially raising biracial children were exactly the type of discussions you would hope they’d have before proceeding down the aisle. It may not make for dramatic TV, but it was genuinely thrilling to see a couple so well-suited for each other continuing to thrive. And in an effort to make up for not getting to go to Cabo, Mexico, with everyone else, the show offered them a trip paid by … Turbo Tax? It was an odd product placement, but if they want to foot the bill for their honeymoon, no one’s complaining. As long as it’s somewhere tropical on a beach — and not Lake Erie.

Who took accountability?

Despite not making it to the altar on screen after the blazer cape breakup, Connor Spies and Bri McNees are still together. But the bigger record-scratch moment arrived later, when it was revealed that Devonta Anderson broke up with Brittany Wicker a few days after what he told her was a work trip but was actually a getaway to Austin, Texas, to attend a concert with McNees, Ashley Carpenter and Priyanka Grandhi. Wicker didn’t seem thrilled that she had to find out about the trip from Amber (who found out from Jordan, who can’t remember that he even knew about it). McNees didn’t like the implication that she may have broken “girl code” with the whole fiasco — but if all the women are as close as they say they are, why wouldn’t you check in about such an arrangement regardless of the relationship status? (It was weird, too, that Connor thought it was a girls’ trip.) And the fact that it was the same three women who listened to Chris Fusco talk poorly about his former fiancée Jess Barrett — giant sigh. During the reunion, after Barrett voiced her disappointment in her friends about that incident, Carpenter apologized for not doing more to defend her in the moment.

Meanwhile, Nick unleashed his best attempt to channel Andy Cohen and grilled Fusco about his highly questionable behavior and the backlash over his comments to Barrett about her body, specifically stating he usually dates women who do Pilates or workout daily, and for trying to make the moves on McNees. Fusco, mostly quiet and stone-faced (could it be the shame?), acknowledged he was not proud of the moments he watched back and apologized to Barrett. His seat mate, goalkeeper Alex Henderson, was also on the defense. The self-proclaimed nomad never fully seem to vibe with his fiancée, Carpenter. He admitted she’s not his usual type. She still maintained he wasn’t telling the whole truth about his job or dating history, and overall lifestyle. Throughout his segment, Henderson was noticeably irritated by the insinuation that his stories didn’t add up. But he did seem to enjoy being asked to describe his relationship with Carpenter as if it was a soccer match, prompting him to cite a Liverpool game that ended in a tie. Are you laughing too?

Can this be a TikTok?

To commemorate the milestone season, the audience for the reunion special consisted of 150 former participants of the series. And while the time spent getting life updates with some of them throughout the show felt less forced and time-consuming than reunions past, it still felt like an add-on better suited to live in a separate (shorter) special or as social media content. If we wanted an update on these people’s lives, we can find them on social media. A gender reveal courtesy of someone’s dead grandmother, as sweet and touching and lovely as that may for an expectant couple, is not the sort of jaw-dropping moment a show like this needs. And maybe the money saved — assuming production footed the bill for those flights — could have sent every couple to Cabo.

Did you hear? Nick Lachey is from Ohio, guys.

His constant mention of his hometown roots was unquestionably the biggest declaration of love in the 90-minute special. Sorry, Vanessa.

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Just in time for the Oscars, Tilly Norwood, and by extension her creator, Eline van der Velden, gave actors at every level an unexpected gift — the chance to breathe a little easier.

AI will not be replacing you any time soon.

On Tuesday, the AI phenomenon known as Tilly debuted a single and music video titled “Take the Lead.” In it, Tilly sings a self-celebratory, pro-AI anthem with the big-eyed feisty longing of an algorithm marked “Disney princess: Big song” while she wanders through increasingly fantastic self-affirming scenarios that scream “Plus ‘Barbie.’”

Van der Velden was clearly trying to persuade actors to embrace the possibilities of AI but like Timothée Chalamet, who managed to prove that opera and ballet have many devoted fans by publicly suggesting the opposite, her attempt will likely backfire. The underlying message of the video, at least to performers, appears to be: Relax — AI hasn’t figured out how to lip sync properly, much less act.

It’s a bit of good news in a time of AI anxiety, some of which was Tilly-induced. Last year, Van der Velden, a Dutch actor and founder of the production company Particle6, debuted Tilly, via Instagram, as the “world’s first AI actress.” Around the time the account hit 50,000 followers, Van der Velden announced that several talent agents were interested in representing Tilly. Not Van der Velden, but Tilly Norwood, a “performer” who did not exist.

For a few minutes, Hollywood lost its collective mind. Not only were creators and performers facing a future in which their work, bodies and faces could be scanned and fed into an algorithm capable of imitating writing styles or creating images of actors doing things they never did (in a recent AI video, Tom Cruise and Brad Pitt duke it out on a war-torn rooftop), now some feared they would be competing for jobs with “actors” who could work 24 hours a day, required no health benefits and would never demand bowls of M&Ms with the green ones removed.

SAG-AFTRA, which had just ended a strike caused in part by concerns about AI, protested Tilly and the use of “stolen performances to put actors out of work.” Various actors were outraged and some called for the interested talent agencies to be identified. Even Emily Blunt was publicly disconcerted, begging Hollywood agencies to “please stop taking away our human connection.”

Van der Velden quickly responded, insisting that Tilly was “not a replacement for a human being, but a creative work — a piece of art … a new tool — a new paintbrush.”

Then, on Tuesday, “Tilly” released a music video that seems to argue the exact opposite.

In the video, which appears over the message “Can’t wait to go to the Oscars,” the computer-generated young woman trips through a montage of “famous person moments,” as Tilly insists that she is not a puppet but a star; she encourages all actors to embrace and use AI, to own their creativity and “be free.”

A note prefacing the video states that “18 real humans” were involved in its production (including Van der Velden who is the basis of the performance), who provide the subtext for Tilly warbling: “They say it’s not real, that it’s fake, but I’m a human, make no mistake.”

Whatever Van der Velden and her team hoped to achieve, one thing is very clear: Emily Blunt has nothing to fear from Tilly Norwood.

The questionable merits of the song, performance and production value aside, the video is the best argument yet for why AI “performers” are a limited threat. As Tilly walks the streets of London, poses for selfies, signs autographs, appears on talk shows, performs live in front of enormous audiences, interacts with photographers, we are reminded that Tilly could never do any of this. AI performances are, by their very nature, limited to a screen.

Instagram fame is a real thing and can be monetarily beneficial, just as animated and digitally enhanced characters can connect deeply with audiences. But beyond her ability to raise the spectre of wholly coded “performers” constructed from borrowed bits of humans (which, as anyone who has read or seen “Frankenstein” knows, never ends well), Tilly doesn’t appear to have anything like star power.

And to consider her as existing separate from her creators is like imagining that the ventriloquist dummy Charlie McCarthy could have a career, and an agent, separate from the real performer Edgar Bergen.

Though Charlie did have the advantage of being able to be seen live and in person.

Watching Tilly, one is reminded that the magic of actors is that they are human. Audiences are, after all, human too and whether facing a stage or a screen, we are captivated by certain performers’ ability to bring all manner of characters and stories alive, while also being, as Us Weekly says, “just like us.”

People with bodies that age and change, people who fall in love, get messy, say dumb things, say smart things, fall prey to illness and accidents, shop at Trader Joe’s, end up in court or trip when about to receive an Oscar.

Their faulty, glorious humanity allows them to connect to their art, but it also connects them to us. We may never get an Oscar or be able to masterfully deliver a Shakespeare soliloquy on a chat show, but we know what it’s like to trip or say something dumb or experience aging, illness or accident.

You can’t replace actors with algorithms, even if/when someone comes up with something more convincing than Tilly, because actors are not just about performances. They are people who are alive in the world and no amount of coding can replicate that.