actor

Frankie Muniz may be the only actor who has been nominated for an Emmy award and driven in a NASCAR event at Daytona. But if Muniz had been old enough to get a driver’s license before he moved to Hollywood, there may never have been a “Malcolm in the Middle.”

“When I’m in that race car and I put my visor down and I drive out of that pit lane, I feel like I’m exactly where I’m supposed to be,” he said. “That’s what I’m supposed to do and that’s what I’m doing.”

And acting?

“I don’t feel like I’m a good actor,” he said. “I know I can act. But when I look at good acting, I go ‘dang, I could never do that’.”

That’s not true, of course. Muniz, who started acting when he was 12, has been credited in 26 films and 37 TV shows, including the title role in “Malcolm in the Middle,” which earned him two Golden Globe nominations and one Emmy nod during its seven-year run on Fox.

But acting was a profession. Racing is a passion.

“Excitement and all the emotions. That’s what I love about racing,” he said. “The highs are so high and the lows are unbelievably low. It’s awesome.”

Muniz placed 28th in the NASCAR Craftsman Truck Series race at Indianapolis Raceway Park on Friday. He is 23rd among the 64 drivers listed in the series points standings, with his one top-10 finish coming in the season opener at Daytona.

Muniz, 39, isn’t the first actor to try racing. Paul Newman was a four-time SCCA national champion who finished second in the 24 Hours of Le Mans in 1979 while Patrick Dempsey (“Grey’s Anatomy,” “Can’t Buy Me Love”) has driven sports cars at Le Mans and in the Rolex 24 at Daytona, in addition to other series.

Frankie Muniz qualifies at Daytona International Speedway in February.

(Phelan M. Ebenhack / Associated Press)

But driving isn’t a side hustle for Muniz, who last October signed with North Carolina-based Reaume Brothers Racing to be the full-time driver of the team’s No. 33 Ford in the truck series. Muniz also raced twice last year in the NASCAR Xfinity Series.

“When I originally started racing, I was kind of at the height of my [acting] career. I had tons of offers to do movies and shows and all that,” said Muniz, who made his stock-car debut in the fall of 2021 in Bakersfield, then accepted an offer to drive full time in the ARCA Menards Series in 2023. “Very easily could have stayed in that business. But I wanted to give racing a try. And to compete at the top level, you have to put in the time and effort that professional race car drivers are doing, right? You can’t do it halfway.”

Muniz was into racing before he even thought about acting. Growing up in North Carolina, he remembers waking early on the weekend to watch IndyCar and NASCAR races on TV. No one else in his family shared his interest in motorsports, so when his parents divorced shortly after Muniz was discovered acting in a talent show at age 8, his mother moved to Burbank, where he made his film debut alongside Louis Gossett Jr. in 1997’s “To Dance With Olivia.”

Two years later he was cast as the gifted middle child of a dysfunctional working-class family in the successful sitcom “Malcolm in the Middle.” Motorsports continued to tug at him so after running in a few celebrity events, Muniz twice put his acting career on hold to race, first in 2007 — shortly after “Malcolm” ended after seven seasons and 151 episodes — when he started a three-season run in the open-wheel Atlantic Championship series.

Still, Muniz, who lives with his wife Paige and 4-year-old son Mauz in Scottsdale, Ariz., is dogged by criticism he is little more than a weekend warrior who is using his substantial Hollywood reputation and earnings to live out his racing fantasies.

“I don’t spend any of my money going racing,” he said. “I made a promise to my wife that I would not do that. So I can kill that rumor right there.”

But those whispers persist partly because Muniz hasn’t completely cut ties with acting. Because the truck series doesn’t run every weekend, racing 25 times between Valentine’s Day and Halloween, Muniz had time to tape a “Malcolm in the Middle” reunion miniseries that is scheduled to air on Disney+ in December.

He has also appeared in two other TV projects and two films since turning to racing full time. But his focus, he insists, is on driving.

“If I wanted to go racing for fun,” he said, “I would not be racing in the truck series. I’d be racing at my local track or I’d be racing some SCCA club events. I want to be one of the top drivers there are. I want to make it as high up in NASCAR as I can. And I’m doing everything I can to do that.”

Fame outside of racing can be a double-edged sword in the high-cost world of NASCAR. It can open doors to a ride and sponsorships others can’t get, but it can also cause jealousy in the garage, with drivers crediting that fame and not talent for a rival’s success. And Muniz isn’t the only rookie driver who has had to deal with that.

Toni Breidinger, who finished 27th in Friday’s race and is one place and eight points ahead of Muniz in the season standings with nine races left, is a model who has posed for Victoria’s Secret and been featured in the pages of Glamour, GQ and Sports Illustrated’s swimsuit edition. She’s also a good driver who has been going fast on a racetrack far longer than she’s been walking slowly down a catwalk.

Toni Breidinger prepares for NASCAR Craftsman Truck Series practice at Lucas Oil Indianapolis Raceway Park on Friday.

(Justin Casterline / Getty Images)

“I was definitely a racer before anything. That was definitely my passion,” said Breidinger, who started driving go-karts in Northern California when she was 9. “I’ve been lucky enough to be able to do modeling to help support that passion. But at the end of the day, I definitely consider myself a racer. That’s what I grew up doing and that’s the career I’ve always wanted do to.”

Still, she sees the two pursuits as being complementary. When Breidinger appears on a red carpet, as she did before this month’s ESPY Awards in Los Angeles, it helps her modeling career while at the same time giving the sponsors of her racing team — which includes 818 Tequila, Dave & Buster’s and the fashion brand Coach — added value.

“It’s all part of the business. It all goes back into my racing,” said Breidinger, 26, who is of German and Lebanese descent. “The side hustles, I like to call them. I don’t think that takes away from me being a race car driver.”

Breidinger, who won the USAC western asphalt midget series title as a teenager, raced in the ARCA Menards Series for five years before stepping up to truck series in 2021, making NASCAR history in 2023 when she finished 15th in her first race, the best-ever debut by a female driver. That helped her land a full-time ride this season with Tricon Garage, Toyota’s flagship team in the truck series.

Like Muniz, Breidinger sees the truck series, the third tier of NASCAR’s national racing series, as a steppingstone to a seat in a Cup car.

“I want to climb the national ladder. That’s what I’m here to do,” she said. “I wouldn’t be doing this if I didn’t have long-term plans and long-term goals. I’m a very competitive person, especially with myself.”

Kyle Larson, who climbed to the top of that ladder, running his first NASCAR national series race in a truck in 2012, then winning the 2021 Cup championship nine years later, said the path he took — and the one Muniz and Breidinger are following — is a well-worn one.

“Anybody racing in any of the three series has talent and ability enough to be there,” he said.

Funding, Larson said, and not talent and ability, often determines how fast a driver can make that climb and that might be a problem for Muniz since Josh Reaume, the owner of the small three-truck team Muniz drives for, has complained about the price of racing. It can cost more than $3.5 million a year to field one competitive truck in the 25-race series — and that cost is rising, threatening to price many out of the sport.

But having drivers like Muniz and Breidinger in NASCAR will help everyone in the series, Larson said, because it will bring in fans and sponsors that might not have been attracted to the sport otherwise.

“I just hope that he can get into a situation someday where you can really see his talent from being in a car or a truck that is better equipped to go run towards the front,” Larson said of Muniz. “You want to see him succeed because if he does succeed, it’s only going to do good things for our sport.”

And if it works out the way Muniz hopes, perhaps he’ll someday be the answer to another trivia question: Name the NASCAR champion who once worked in Hollywood.

For filmmaker Scott Mann, three dozen F-bombs had the makings of a million-dollar headache.

When Mann wrapped “Fall,” a 2022 thriller about two women stranded atop a 2,000-foot radio tower, he figured the hard part was over. Shot in the Mojave Desert on a $3-million budget, the film didn’t have money to burn and seemed on course. But Lionsgate wanted a PG-13 rating and, with 35 expletives, “Fall” was headed for an R. Reshoots would cost more than $1 million — far beyond what the production could afford.

In the past, a director might have taken out a second mortgage or thrown themselves at the mercy of the ratings board. Mann instead turned to AI.

A few years earlier, he had been dismayed by how a German dub of his 2015 thriller “Heist” flattened the performances, including a key scene with Robert De Niro, to match stiff, mistranslated dialogue. That frustration led Mann to co-found Flawless, an AI startup aimed at preserving the integrity of an actor’s performance across languages. As a proof of concept, he used the company’s tech to subtly reshape De Niro’s mouth movements and restore the emotional nuance of the original scene.

On “Fall,” Mann applied that same technology to clean up the profanity without reshoots, digitally modifying the actors’ mouths to match PG-13-friendly lines like “freaking” — at a fraction of the cost.

A series on how the AI revolution is reshaping the creative foundations of Hollywood — from storytelling and performance to production, labor and power.

As AI stirs both hype and anxiety in Hollywood, Mann understands why even such subtle digital tweaks can feel like a violation. That tension came to a head during the 2023 SAG-AFTRA strike, in which AI became the defining flash point in the fight over acting’s future.

“Ours is a rights-based industry,” says Mann, 45, who helped develop a digital rights management platform at Flawless to ensure performers approve any changes to their work. “It’s built on protecting human creativity, the contributions of actors, directors, editors, and if those rights aren’t protected, that value gets lost.”

Mann at his office in Santa Monica.

(Brian Feinzimer / For The Times)

Still, Mann doesn’t see AI as a threat so much as a misunderstood tool — one that, used carefully, can support the artists it’s accused of replacing. Flawless’ DeepEditor, for example, lets directors transfer facial expressions from one take to another, even when the camera angle or lighting changes, helping actors preserve their strongest moments without breaking continuity.

“Plenty of actors I’ve worked with have had that moment where they see what’s possible and realize, ‘Oh my God, this is so much better,’” Mann says. “It frees them up, takes off the pressure and helps them do a better job. Shutting AI out is naive and a way to end up on the wrong side of history. Done right, this will make the industry grow and thrive.”

AI isn’t hovering at the edges of acting anymore — it’s already on soundstages and in editing bays. Studios have used digital tools to de-age Harrison Ford in “Indiana Jones and the Dial of Destiny,” resurrect Peter Cushing’s Grand Moff Tarkin in “Rogue One” and clone Val Kilmer’s voice in “Top Gun: Maverick” after throat cancer left him unable to speak. The technology has reshaped faces, smoothed dialogue and fast-tracked everything from dubbing to reshoots. And its reach is growing: Studios can now revive long-dead stars, conjure stunt doubles who never get hurt and rewrite performances long after wrap.

But should they?

Actors outside Paramount Studios during a SAG-AFTRA solidarity rally in September 2023.

(Al Seib / For The Times)

As the tools grow more sophisticated, the threat to actors goes beyond creative disruption. In an industry where steady work is already elusive and the middle class of working actors is vanishing, AI raises the prospect of fewer jobs, lower pay and, in a dystopian twist, a future in which your disembodied face and voice might get work without you.

Background actors were among the first to sound the alarm during the 2023 strike, protesting studio proposals to scan them once and reuse their likenesses indefinitely. That scenario is already beginning to unfold: In China, a state-backed initiative will use AI to reimagine 100 kung fu classics, including films starring Jackie Chan and Bruce Lee, through animation and other digital enhancements. Lee’s estate said it was unaware of the project, raising questions about how these actors’ likenesses might be used, decades after filming.

If the soul of acting is a human presence, what remains when even that can be simulated?

“You want to feel breath — you want to feel life,” said actor and director Ethan Hawke during a panel at 2023’s Telluride Film Festival, where strike-era unease over AI was palpable. “When we see a great painting, we feel a human being’s blood, sweat and tears. That’s what we’re all looking for, that connection with the present moment. And AI can’t do that.”

Who’s in control?

Justine Bateman may seem like an unlikely crusader in Hollywood’s fight against AI. Launched to fame as Mallory Keaton on the 1980s sitcom “Family Ties,” she later became a filmmaker and earned a computer science degree from UCLA. Now, as founder of the advocacy group CREDO23, Bateman has become one of the industry’s fiercest voices urging filmmakers to reject AI-generated content and defend the integrity of human-made work. Loosely modeled on Dogme 95, CREDO23 offers a certification of films made without AI, using minimal VFX and union crews. It’s a pledge backed by a council including “Mad Men” creator Matthew Weiner, “The Handmaid’s Tale” director Reed Morano and actor Juliette Lewis.

The 2023 SAG-AFTRA contract set new guardrails: Studios must get actors’ consent to create or use digital replicas of their likenesses, and those replicas can’t generate new performances without a separate deal. Actors must also be compensated and credited when their digital likeness is used.

But to Bateman, a former SAG-AFTRA board member and negotiating committee rep, those protections are little more than sandbags against an inevitable AI flood: hard-won but already straining to keep the technology at bay.

“The allowances in the contract are pretty astounding,” Bateman says by phone, her voice tight with exasperation. “If you can picture the Teamsters allowing self-driving trucks in their contract — that’s on par with what SAG did. If you’re not making sure human roles are played by human actors, I’m not sure what the union is for.”

Justine Bateman, photographed by The Times in 2022.

(Jay L. Clendenin / Los Angeles Times)

To Bateman, the idea that AI expands access to filmmaking — a central tenet of its utopian sales pitch — is a dangerous myth, one that obscures deeper questions about authorship and the value of creative labor.

“Anyone can make a film — my last two, I shot on an iPhone,” Bateman says. “The idea that AI is ‘democratizing film’ doesn’t even make sense. What it really does is remove the barrier of skill. It lets people pretend they’re filmmakers when they’re not, by prompting software that wouldn’t even function without having stolen a hundred years of film and TV production made by real filmmakers.”

Bateman’s opposition to AI is rooted in a deep distrust of Silicon Valley’s expanding influence over the creative process and a belief that filmmaking should be driven by artists, not algorithms. “The tech bro business completely jumped the shark with generative AI,” she says. “Is it solving plastics in the ocean? Homelessness? L.A. traffic? Not that I’m aware of.”

She scoffs at the supposed efficiencies AI brings to the filmmaking process: “It’s like saying, whatever somebody enjoys — sex or an ice cream sundae — ‘Hey, now you can do it in a quarter of the time.’ OK, but then what do you think life is for?“

To Bateman, an actor’s voice, face, movements or even their choice of costume is not raw material to be reshaped but an expression of authorship. AI, in her view, erases those choices and the intent behind them. “I’m deeply against changing what the actor did,” she says. “It’s not right to have the actor doing things or saying things they didn’t do — or to alter their hair, makeup or clothes in postproduction using AI. The actor knows what they did.”

While Bateman has been public and unwavering in her stance, many actors remain unsure whether to raise their voices. In the wake of the strikes, much of the conversation around AI has moved behind closed doors, leaving those who do speak out feeling at times exposed and alone.

Scarlett Johansson, who lent her smoky, hypnotic voice to the fictional AI in Spike Jonze’s Oscar-winning 2013 film “Her,” now finds herself in a uniquely uncomfortable position: She’s both a symbol of our collective fascination with artificial performance and a real-world example of what’s at stake when that line is crossed. Last year, she accused OpenAI of using a chatbot voice that sounded “eerily similar” to hers, months after she declined to license it. OpenAI denied the claim and pulled the voice, but the incident reignited concern over consent and control.

Johansson has long spoken out against the unauthorized use of her image, including her appearance in deepfake pornography, and has pushed for stronger safeguards against digital impersonation. To date, though, she is one of the few major stars to publicly push back against the creeping mimicry enabled by AI — and she’s frustrated that more haven’t joined her. “There has to be some agreed-upon set of boundaries in order for [AI] to not be detrimental,” she told Vanity Fair in May. “I wish more people in the public eye would support and speak out about that. I don’t know why that’s not the case.”

Lights, camera, replication

Ed Ulbrich, 60, a pioneering visual effects producer and co-founder of Digital Domain, has spent his career helping actors do the impossible, one pixel at a time.

In 2008’s “The Curious Case of Benjamin Button,” he led the team of more than 150 artists in building a fully digital version of Brad Pitt’s face so the actor could convincingly age in reverse — a two-year effort that earned Ulbrich and three colleagues an Oscar for visual effects and set a new benchmark for digital performance. (Nearly two decades later, the achievement is still impressive, although some scenes, especially those with Pitt’s aged face composited on a child’s body, now show their digital seams.) For 2010’s “Tron: Legacy,” Ulbrich helped digitally transform Jeff Bridges into his 1982 self using motion capture and CGI.

Working on last year’s “Here” — Robert Zemeckis’ technically daring drama starring Tom Hanks and Robin Wright as a couple whose lives play out across decades in a single New Jersey living room — showed Ulbrich just how far things have come. For someone who jokes he has “real estate in the uncanny valley,” it wasn’t just the AI-enabled realism that floored him. It was the immediacy. On set, AI wasn’t enhancing footage after the fact; it was visually reshaping the performance in real time.

Tom Hanks and Robin Wright in the movie “Here.”

(Sony Pictures Ent.)

“You look up and see 67-year-old Tom Hanks. You look down at the monitor — he’s 20, and it looks better than the best CGI,” Ulbrich says. “In my world, the human face is the holy grail. That is the most complicated thing you can do. And now it’s getting done in near real time before your eyes. The actor can come back and look at the monitor and get new ideas, because they’re seeing a different version of themselves: younger, older, as an alien or whatever.”

This kind of seamless AI-driven alteration marks a new frontier in postproduction. Modern AI systems can now “beautify” actors’ faces, like some would with a Instagram or Zoom filter: smooth out wrinkles, alter skin tone, sharpen jawlines, subtly nudge eye position to better match a desired gaze. What once required painstaking VFX can now be handled by fast, flexible AI tools, often with results invisible to audiences.

Once limited to only big-budget sci-fi and fantasy productions, this digital touch-up capability is expanding into rom-coms, prestige dramas, high-end TV and even some indie films. Dialogue can be rewritten and re-lipped in post. Facial expressions can be smoothed or swapped without reshoots. More and more, viewers may have no way of knowing what’s real and what’s been subtly adjusted.

“Here” was largely rejected by both audiences and critics, with some deeming its digitally de-aged performances more unsettling than moving. But Ulbrich says digitally enhanced performance is already well underway.

Talent agency CAA has built a vault of client scans, a kind of biometric asset library for future productions. Some stars now negotiate contracts that reduce their time on set, skipping hours in the makeup chair or performance-capture gear, knowing AI can fill in the gaps.

“Robert Downey, Brad Pitt, Will Smith — they’ve all been scanned many times,” says Ulbrich, who recently joined the AI-driven media company Moonvalley, which pitches itself as a more ethical, artist-centered player in the space. “If you’ve done a studio tentpole, you’ve been scanned.

“There is a lot of fear around AI and it’s founded,” he adds. “Unless you do something about it, you can just get run over. But there are people out there that are harnessing this. At this point, fighting AI is like fighting against electricity.”

While many in Hollywood wrestle with what AI means for the oldest component of moviemaking, others take a more pragmatic view, treating it as a tool to solve problems and keep productions on track. Jerry Bruckheimer, the powerhouse producer behind “Top Gun,” “Pirates of the Caribbean” and this summer’s “F1,” is among those embracing its utility.

“AI is not going anywhere and it’s only going to get more useful for people in our business,” he said in a recent interview with The Times.

He recalled one such moment during post-production on his new Brad Pitt–led Formula One drama, a logistical feat filmed during actual Formula One races across Europe and the Middle East, with a budget north of $200 million.

“Brad was in the wilds of New Zealand, and we had test screenings coming up,” Bruckheimer says. “We couldn’t get his voice to do some looping, so we used an app that could mimic Brad Pitt. I’m sure the union will come after me if you write that, but it wasn’t used in the movie because he became available.”

While he’s skeptical of AI’s ability to generate truly original ideas — “We’re always going to need writers,” he says — Bruckheimer, whose films have grossed more than $16 billion worldwide, sees AI as a powerful tool for global reach.

“They can take Brad’s voice from the movie and turn it into other languages so it’s actually his voice, rather than another actor,” he says. “If it’s not available yet, it will be.”

The debate over AI in performance flared earlier this year with “The Brutalist,” Brady Corbet’s award-winning drama about a Hungarian architect. After the film’s editor, Dávid Jancsó, revealed that AI voice-cloning software had been used to subtly modify the Hungarian accents of stars Adrien Brody and Felicity Jones, the backlash followed swiftly.

Some critics accused the film of using AI to smooth over performances while presenting itself as handcrafted, a move one viral post derided as trying to “cheap out without soul.” Corbet later clarified that AI was used sparingly, only to adjust vowel sounds, but the decision left some viewers uneasy — even as Brody went on to win the Oscar for lead actor.

If the controversy over “The Brutalist” struck some as a moral crisis, David Cronenberg found the whole thing overblown. Few filmmakers have probed the entanglement of flesh, identity and technology as relentlessly as the director of “Videodrome,” “The Fly” and last year’s “The Shrouds,” so he’s not particularly rattled by the rise of AI-assisted performances.

“All directors have always messed around with actors’ performances — that’s what editing is,” Cronenberg told The Times in April. “Filmmaking isn’t theater. It’s not sacred. We’ve been using versions of this for years. It’s another tool in the toolbox. And it’s not controlling you — you can choose not to use it.”

Long before digital tools, Cronenberg recalls adjusting actor John Lone’s vocal pitch in his 1993 film “M. Butterfly,” in which Lone played a Chinese opera singer and spy who presents as a woman to seduce a French diplomat. The director raised the pitch when the character appeared as a woman and lowered it when he didn’t — a subtle manipulation to reinforce the illusion.

David Cronenberg, photographed at his home in Toronto, Canada, in April.

(Kate Dockeray / For The Times)

Far from alarmed, Cronenberg is intrigued by AI’s creative potential as a way of reshaping authorship itself. With new platforms like OpenAI’s Sora and Google’s Veo 3 now capable of generating increasingly photorealistic clips from simple text prompts, an entire performance could conceivably be conjured from a writer’s keyboard.

“Suddenly you can write a scene — a woman is walking down the street, she looks like this, she’s wearing that, it’s raining, whatever — and AI can create a video for you,” Cronenberg says. “To me, this is all exciting. It absolutely can threaten all kinds of jobs and that has to be dealt with, but every technological advance has done that and we just have to adapt and figure it out.”

Ghosts in the frame

In the Hollywood of the late 1970s, there was no AI to tweak an actor’s face. So when “Star Wars” star Mark Hamill fractured his nose and left cheekbone in a serious car crash between shooting the first and second films, the solution was to tweak the story. The 1980 sequel “The Empire Strikes Back” opened with Luke Skywalker being attacked by a nine-foot-tall snow beast called a wampa on the ice planet Hoth, partly to account for the change in his appearance.

Decades later, when Hamill was invited to return as a younger version of himself in the 2020 Season 2 finale of “The Mandalorian,” the chance to show Luke “at the height of his powers was irresistible,” he says.

But the reality left him feeling oddly detached from the character that made him famous. Hamill shared the role with a younger body double, and digital de-aging tools recreated his face from decades earlier. The character’s voice, meanwhile, was synthesized using Respeecher, a neural network trained on old recordings of Hamill to mimic his speech from the original trilogy era.

“I didn’t have that much dialogue: ‘Are you Luke Skywalker?’ ‘I am,’” Hamill recalled in an interview with The Times earlier this year. “I don’t know what they do when they take it away, in terms of tweaking it and making your voice go up in pitch or whatever.”

When fans speculated online that he hadn’t participated at all, Hamill declined to correct the record.

“My agent said, ‘Do you want me to put out a statement or something?’” Hamill recalls. “I said, ‘Eh, people are going to say what they want to say.’ Maybe if you deny it, they say, ‘See? That proves it — he’s denying it.’”

A digitally de-aged Mark Hamill as the young Luke Skywalker in a 2020 episode of “The Mandalorian.”

(Lucasfilm Ltd.)

When Luke returned again in a 2022 episode of “The Book of Boba Fett,” the process was even more synthetic: Hamill was minimally involved on camera and the character was built almost entirely from digital parts: a de-aged face mapped onto a body double with an AI-generated voice delivering his lines. Hamill was credited and compensated, though the exact terms of the arrangement haven’t been made public.

The visual effect was notably improved from earlier efforts, thanks in part to a viral deepfake artist known as Shamook, whose YouTube video improving the VFX in “The Mandalorian” finale had racked up millions of views. He was soon hired by Industrial Light & Magic — a rare case of fan-made tech critique turning into a studio job.

“In essence, yes, I did participate,” Hamill says.

It’s one thing to be digitally altered while you’re still alive. It’s another to keep performing after you’re gone.

Before his death last year, James Earl Jones — whose resonant baritone helped define Darth Vader for generations — gave Lucasfilm permission to recreate his voice using AI. In a recent collaboration with Disney, Epic Games deployed that digital voice in Fortnite, allowing players to team up with Vader and hear new lines delivered in Jones’ unmistakable tones, scripted by Google’s Gemini AI.

In May, SAG-AFTRA later filed a labor charge, saying the use of Jones’ voice hadn’t been cleared with the union.

Last year’s “Alien: Romulus” sparked similar backlash over the digital resurrection of Ian Holm’s android character Ash nearly a decade after Holm’s death. Reconstructed using a blend of AI and archival footage, the scenes were slammed by some fans as a form of “digital necromancy.” For the film’s home video release, director Fede Álvarez quietly issued an alternate cut that relied more heavily on practical effects, including an animatronic head modeled from a preexisting cast of Holm’s face.

For Hollywood, AI allows nostalgia to become a renewable resource, endlessly reprocessed and resold. Familiar faces can be altered, repurposed and inserted into entirely new stories. The audience never has to say goodbye and the industry never has to take the risk of introducing someone new.

Hamill, for his part, seems ready to let go of Luke. After his final arc in 2017’s “The Last Jedi,” he says he feels a sense of closure.

“I don’t know the full impact AI will have but I find it very ominous,“ he says. “I’m fine. I had my time. Now the spotlight should be on the current and future actors and I hope they enjoy it as much as I did.”

Actors, not avatars

Actor and AI startup Wonder Dynamics co-founder Tye Sheridan, photographed by The Times in 2021.

(Michael Nagle / For The Times)

Actor Tye Sheridan knows how dark an AI future could get. After all, he starred in Steven Spielberg’s 2018 “Ready Player One,” a sci-fi thriller set inside a corporate-controlled world of digital avatars. But Sheridan isn’t trying to escape into that world — he’s trying to shape the one ahead.

With VFX supervisor Nikola Todorovic, Sheridan co-founded Wonder Dynamics in 2017 to explore how AI can expand what’s possible on screen. Their platform uses AI to insert digital characters into live-action scenes without green screens or motion-capture suits, making high-end VFX more accessible to low-budget filmmakers. Backed by Spielberg and “Avengers” co-director Joe Russo, Wonder Dynamics was acquired last year by Autodesk, the software firm behind many animation and design tools.

“Since the advent of the camera, technology has been pushing this industry forward,” Sheridan, 28, says on a video call. “AI is just another part of that path. It can make filmmaking more accessible, help discover new voices. Maybe the next James Cameron will find their way into the industry through some AI avenue. I think that’s really exciting.”

With production costs spiraling, Todorovic sees AI as a way to lower the barrier to entry and make riskier, more ambitious projects possible. “We really see AI going in that direction, where you can get those A24-grounded stories with Marvel visuals,” he says. “That’s what younger audiences are hungry for.”

The shift, Todorovic argues, could lead to more films overall and more opportunities for actors. “Maybe instead of 10,000 people making five movies, it’ll be 1,000 people making 50,” he says.

Still, Todorovic sees a threshold approaching, one where synthetic actors could, in theory, carry a film. “I do think technically it is going to get solved,” Todorovic says. “But the question remains — is that what we really want? Do we really want the top five movies of the year to star humans who don’t exist? I sure hope not.”

For him, the boundary isn’t just about realism. It’s about human truth.

“You can’t prompt a performance,” he says. “You can’t explain certain movements of the body and it’s very hard to describe emotions. Acting is all about reacting. That’s why when you make a movie, you do five takes — or 40. Because it’s hard to communicate.”

Sheridan, who has appeared in the “X-Men” franchise as well as smaller dramas like “The Card Counter” and “The Tender Bar,” understands that instinctively and personally. “I started acting in films when I was 11 years old,” he says. “I wouldn’t ever want to build something that put me out of a job. That’s the fun part — performing, exploring, discovering the nuances. That’s why we fall in love with certain artists: their unique sensibility, the way they do what no one else can.”

He knows that may sound contradictory coming from the co-founder of an AI company. That’s exactly why he believes it’s critical that artists, not Silicon Valley CEOs, are the ones shaping how the technology is used.

“We should be skeptical of AI and its bad uses,” he says. “It’s a tool that can be used for good or bad. How are we going to apply it to create more access and opportunity in this industry and have more voices heard? We’re focused on keeping the artist as an essential part of the process, not replacing them.”

For now, Sheridan lives inside that paradox, navigating a technology that could both elevate and imperil the stories he cares most about.

His next acting gig? “The Housewife,” a psychological drama co-starring Naomi Watts and Michael Imperioli, in which he plays a 1960s New York Times reporter investigating a suspected Nazi hiding in Queens. No AI. No doubles. Just people pretending to be other people the old way, while it lasts.

One of the physicians who supplied ketamine to “Friends” star Matthew Perry appeared in a Los Angeles federal court Wednesday morning to plead guilty to multiple drug charges connected to the actor’s death.

Dr. Salvador Plasencia, known to Perry as “Dr. P.,” according to prosecutors, pleaded guilty to four felony counts of ketamine distribution. Plasencia, 43, supplied the drug to Perry through his live-in assistant, Kenneth Iwamasa, one of three defendants who pleaded guilty last year to their own connected charges.

“While Dr. Plasencia was not treating Mr. Perry at the time of his death, he hopes his case serves as a warning to other medical professionals and leads to stricter oversight and clear protocols for the rapidly growing at-home ketamine industry in order to prevent future tragedies like this one,” his lawyer, Karen L. Goldstein, said in a statement.

Goldstein said her client was “profoundly remorseful” for his role in supplying ketamine to Perry, who was vulnerable due to his history of addiction.

The doctor agreed in addition to the plea deal signed last month to give up his medical license within the next 30 to 45 days.

Plasencia faces up to 40 years in prison along with $2 million in fines. His voice was quiet during the hearing Wednesday, with Judge Sherilyn Peace Garnett asking him to speak up as he relinquished his right to a jury trial.

Perry, 54, who was found in his Pacific Palisades home’s hot tub in October 2023, died from the acute effects of ketamine. Authorities allege the actor’s final dose, injected by Iwamasa, was sourced from the “Ketamine Queen” Jasveen Sangha, who pleaded not guilty and has a trial date set for Aug. 19.

Plasencia dabbed his face repeatedly with a cloth as prosecutors read out the charges, detailing how he sold the drug to Perry for thousands of dollars, sometimes administering it in the back of cars in parking lots.

Plasencia will remain out on bail until his sentencing on Dec. 3 on request from his defense lawyer, who argued that he is one of the primary caretakers of a 2-year-old son.

His Calabasas urgent care clinic, which remains open, requires patients to sign waivers that explain the charges against him.

When Bill Cosby revolutionized television during the mid-1980s with “The Cosby Show,” the fictional Huxtables, the wealthy Black family at the center of the sitcom, were often referred to as “America’s family,” and riding the wave of that pop culture phenomenon was Malcolm-Jamal Warner.

The actor, who died Sunday at 54 in Costa Rica, charmed viewers of the NBC sitcom with his portrayal of Theodore “Theo” Huxtable, the middle child and only son of Cosby’s Cliff Huxtable. Theo was based on Bill Cosby’s son, Ennis William Cosby, who was a constant source of material in his comedy routines and the inspiration for many of the storylines involving Theo on the show. (And like Theo, Ennis, who died in 1997, was Cosby’s only son.)

The series would be the most notable highlight of his career, earning him an Emmy nomination in 1986 for supporting comedy actor. After “The Cosby Show,” Warner continued to work on various television series, including “The Resident” and “9-1-1.” He also dabbled in music and hosted a podcast exploring positives in Black culture titled “Not All Hood.”

But none of those endeavors matched the success of his “Cosby Show” profile.

The Huxtable children, played by Warner, Sabrina LeBeauf, Lisa Bonet, Tempestt Bledsoe and Keshia Knight Pulliam, were a key element of the series. As played by Warner, Theo was an engaging, fun-loving teen who also got into a variety of scrapes in the Huxtable household. He also struggled as a student.

The cast of “The Cosby Show,” clockwise from top left: Tempestt Bledsoe, Malcolm-Jamal Warner, Lisa Bonet, Phylicia Rashad, Keshia Knight Pulliam and Bill Cosby.

(NBC/NBCUniversal via Getty Images)

And while he would often frustrate his parents, the affection they had for him was palpable. The Huxtables were a family bonded by humor and love, as Dr. Huxtable and his wife, Clair (Phylicia Rashad), a lawyer, counseled their children how to be better people. Their interactions attracted millions of viewers each week.

In a 1992 New York Times interview, Cosby spoke of Ennis’ problems at school: “It bothered me that Ennis was not doing his schoolwork. I sat him down and said, ‘We’re going to talk, and I want you to say whatever is on your mind.’”

The dialogue became the basis for an episode in which Theo comes home with lackluster grades, explaining to his father that he was overwhelmed by the pressure to succeed.

Cosby’s family later learned when Ennis graduated from college that he was dyslexic. The discovery inspired the final episode of the series, in which Theo overcomes dyslexia and graduates from college. (Cliff Huxtable can’t get enough seats for the graduation ceremony.)

When “The Cosby Show” ended in 1992, some of the actors playing the Huxtable children had varying degrees of success. Bonet starred for one season on the “Cosby Show” spinoff, “A Different World,” and co-starred in the film “Angel Heart.” Bledsoe hosted a daytime talk show. Pulliam currently co-stars on “Tyler Perry’s House of Payne.”

Warner continued to work, finding some steady roles and making guest appearances on various shows over the course of his career.

He starred in 1992’s “Here and Now” on NBC as a psychology graduate student who helps run an inner-city Manhattan youth center. The comedy was canceled after one season.

His most successful venture was “Malcolm & Eddie,” which featured him and comedian Eddie Griffin as bar owners. That UPN comedy ended in 2000 after four seasons.

One of his last leading roles was in BET’s short-lived 2011 comedy “Reed Between the Lines,” in which he played an English teacher married to a psychologist (Tracee Ellis Ross).

Warner said in a Times interview that the show reflected his desire to continue the positive family values at the core of “The Cosby Show.”

“We were clear that there had not been a show like ‘Cosby’ since ‘Cosby,’” Warner said. “We are in no way looking to re-create that show, but we did want to re-create that universality and positive family values that ‘Cosby’ represented. Neither Tracee or I were interested in a ‘black show.’ We are telling family stories as opposed to black stories.”

The Mirror spoke exclusively with Hollyoaks’ Rex Gallagher actor Jonny Labey and Jacob Omari star Ethaniel Davy about the return of Clare Devine, their emotional storyline and what’s ahead

We got the lowdown on Hollyoaks villain Clare Devine from two co-stars working closely with actress Gemma Bissix currently on the Channel 4 soap.

Clare made her big return months ago, as part of a dark trafficking storyline involving other characters and some of the teenagers in the village. Clare’s sister Grace black and half-brother Rex Gallagher were also caught up in the drama, with us soon learning all about Rex’s past and backstory.

Speaking exclusively to The Mirror, Rex actor Jonny Labey praised the move to explore what Rex faced when he was younger, and how it shaped him – leading to him taking a criminal path. Jonny discussed how fans finally saw why he was the way he was, calling him “a product of his environment”.

He added how Rex’s “unexpected” romance with Ste Hay changed things, and gave Rex something to push for. That said, Jonny loves the drama his role brings, and was thrilled to get to work with co-star Gemma as she made her comeback.

READ MORE: Hollyoaks star hints at unexpected twist for Tom amid Clare and Grace drama

He wasn’t the only one as newcomer Ethaniel Davy, whose character Jacob Omari took centre stage in the sad trafficking plot, also shared how much he loved working with the soap icon. Jonny shared: “Another long-lost sister! It’s honestly the best working with Gemma.

“She is such a joy, she brings such a bouncy energy to set. She gets stuck in to storylines, she holds no prisoners, she’s just a ruthless and fantastic character. It really brings in that female power character to the show.”

Ethaniel agreed: “Gemma is so lovely. Clare can be sympathetic as well though. She’s not just pure evil, she has a soft side and a bit of a backstory, and she has another side to her. Sometimes she’s got the wrong intentions but for the right reasons.”

Actor Ethaniel was thrilled to rejoin the show recently, having first joined earlier in the year. He told us: “It’s definitely a new experience for me. It’s lovely, I’ve enjoyed it.

“It’s great and I am very grateful. We’ve just got to see how the storyline goes!” On the fans backing his character, he went on: “It was lovely because to get the role was a big thing, and then it was brilliant to keep going after a few months of not working.

“I got called back, and so getting good feedback was great to hear.” He also praised co-star Jonny for “showing him the ropes” and looking after him on set.

As for Jonny, he welcomed the changes to his character as fans have gotten to see a different side to him. He told us: “You have got this thing with Rex where he is a product of his environment and unfortunately, even since doing the storyline, the sex trafficking storyline, it’s way more common than people realise.

“It seems like such a wild storyline but it’s something that affects so many people in the UK, specifically the younger generation. It’s that passed-on trauma. I’m glad we’ve got to see these sides to Rex now.

“We can understand where it all comes form because when I first joined it was six months of arguments, fights and him being a villain. It was cool but he’s got a nice undertone now. The love interest with Ste has taken him by surprise.

“But it has shown him there is a way out from that life. I think that roundedness now is really beautiful to play. He still doesn’t back down easy and he’s not a push-around though. It is just a dream role honestly, to play a character like that. I have always wanted to play a troubled character with depth.”

His comments about Ste, and Rex turning his life around could be a hint at what’s ahead with a happy future. But with Rex currently in prison, will he find a way back to the village?

Hollyoaks is available to stream on Channel 4’s streaming service now, while it also airs Mondays to Wednesdays on E4 at 7PM. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .

Alan Tudyk was nearly 50 when he scored his first starring role in a TV series as the titular extraterrestrial Harry Vanderspeigle in Syfy’s “Resident Alien.” It’s not that he was underemployed or little known — he’s been celebrated in genre circles since “Firefly,” the 2002 single-season western-themed space opera in which he played the sweet, comical pilot of a spaceship captained by smuggler Mal, played by Nathan Fillion, with whom he has since been linked in the interested public mind, like Hope and Crosby, or Fey and Poehler. His own 2015 web series “Con Man” (currently available on Prime Video), based on his experiences at sci-fi conventions, in which he and Fillion play inverted versions of themselves, was funded by an enormously successful crowd-sourced campaign, which raised $3,156,178 from 46,992 backers; clearly the people love him.

You can’t exactly call “Resident Alien” career-making, given how much Tudyk has worked, going back to onscreen roles in the late 20th century and on stage in New York, but it has made him especially visible over a long period in a marvelous show in a part for which he seems to have been fashioned. He has, indeed, often been invisible, with a parallel career as a voice artist, beginning with small parts in “Ice Age” in 2002; since channeling Ed Wynn for King Candy in Disney’s 2012 “Wreck-It Ralph” (which won him an Annie Award), the studio has used him regularly, like a good luck charm. You can hear him in “Frozen” (Duke of Weselton), “Big Hero 6” (Alistair Krei), “Zootopia” (Duke Weaselton), “Moana” (Hei Hei), “Encanto” (Pico) and “Wish” (Valentino). He played the Joker on “Harley Quinn” and voices Optimus Prime in “Transformers: EarthSpark.” Performing motion capture and voice-over, he was Sonny the emotional android in “I, Robot” and the dry droid K-2SO in both “Rogue One: A Star Wars Story,” and again in “Andor.” (He’s a robot again in the new “Superman” film.) This is a partial, one could even say fractional, list. Among animation and sci-fi fans, being the well-informed sorts they are, Tudyk is known and honored for this body of work as well.

Alan Tudyk at his home in Los Angeles last year. The actor has been in a variety of roles onscreen, on stage and as a voice actor.

(Ethan Benavidez / For The Times)

“Resident Alien,” whose fourth season is underway on Syfy, USA and Peacock (earlier seasons are available on Netflix, which has raised the show’s profile considerably), is a small town comedy with apocalyptic overtones. It sees Tudyk’s alien, whose natural form is of a giant, big-eyed, noseless humanoid with octopus DNA, imperfectly disguised as the new local doctor, whom he kills in the first episode. (We will learn that the doctor was, in fact, an assassin, which makes it sort of … all right?) Learning English from reruns of “Law & Order,” the being now called Harry will preposterously succeed in his masquerade, and in doing so, join a community that will ultimately improve him. (By local standards, at least.) It’s a fish way, way out of water story, with the difference that the fish has been sent to kill all the Earth fish — I am being metaphorical, he isn’t actually out to kill fish — although he is now working to save them from a different, nastier race of alien.

Some actors play their first part and suddenly their name is everywhere; others slide into public consciousness slowly, through a side door — which may lead, after all, to a longer, more varied career. Tudyk has the quality of having arrived, despite having been there all along. Like many actors with a long CV, he might surprise you, turning up on old episodes of “Strangers With Candy,” “Frasier,” “Arrested Development” or “CSI: Crime Scene Investigation,” or repeatedly crying “Cramped!” in a scene from “Patch Adams,” or in the movies “Wonder Boys,” “Dodgeball: A True Underdog Tale” or “3:10 to Yuma.” You might say to yourself, or the person you’re watching with, “Hey, that’s Alan Tudyk.” (You might add, “He hasn’t aged a bit.”) It was “Suburgatory,” an underloved ABC sitcom from 2011, though not underloved by me, where he played the confused best friend of star Jeremy Sisto, that, combined with “Firefly,” cemented Tudyk in my mind as someone I would always be happy to see.

He’s handsome in a pleasant, ordinary way. If he’s not exactly Hollywood’s idea of a leading man, it only points up the limitations of that concept. His eyes are maybe a trifle close set, his lips a little thin. There’s a softness to him that feeds into or productively contrasts with his characters, depending on where they fall on the good-bad or calm-hysterical scales. (In the current season of “Resident Alien,” a shape-shifting giant praying mantis has taken over Harry’s human identity, and this evil twin performance, which somehow fools Harry’s friends, is as frightening as the fact that the mantis eats people’s heads.) It makes his robots relatable and roots his more flamboyant characters, like Mr. Nowhere, the villain in the first season of “Doom Patrol” — who comments on the series from outside the fourth wall, inhabiting a white void where he might be discovered sitting on a toilet and reading a review of the show he’s in — in something like naturalism.

Sara Tomko and Alan Tudyk in a scene from Season 4 of “Resident Alien.”

(USA Network / James Dittiger / USA Network)

As Harry, Tudyk is never really calm. Relaxed neither in voice nor body, he tucks his lips inside his mouth and stretches it into a variety of blobby shapes. The actor can seem to be puppeteering his own expressions, which, in a way Harry is, or splitting the difference between a real person and an animated cartoon, in the Chuck Jones/Tex Avery sense of the term, which is not to say Tudyk overplays; he just hits the right note of exaggeration. Harry often has the air of being impatient to leave a scene and get on with whatever business he’s decided is important.

Though he’s given to explosive bursts of speech, as the character has developed, the humor he plays becomes more subtle and quiet, peppered with muttered comments and sotto voce asides he means to be heard. He is, as he likes to point out, the smartest and most powerful being around, but he has the emotional maturity of a child. At one point, having lost his alien powers, Harry was willing to sacrifice the entirety of his species to get them back.

Where once he had no emotions, now he is full of them. Last season, he was given a romance, with Heather (Edi Patterson), a bird person from outer space, which has continued into the current run; he is also a father, with a great affection — anomalous in his species — for his son, Bridget, an adorably fearsome little green creature. And he loves pie.

And that Tudyk himself seems genuinely nice — there are interviews with him up and down YouTube, and my friend David, who worked on “Firefly,” called him “kind, grateful and curious” — makes him easy to like, however likable a person he’s playing. That possibly shouldn’t matter when assessing an actor’s art, but it does anyway.

The makers behind Netflix’s hit drama “Adolescence,” knew their series about a 13-year-old boy accused of murdering a female classmate was something special.

And while creators and executive producers Stephen Graham and Jack Thorne were thrilled after learning that the U.K. drama received 13 Emmy nominations in the limited series category, they were even more gratified that the collective efforts of the cast and crew were being honored.

“There was just something magical that happened with this show, and it was the true definition of an ensemble,” said Graham during a video interview with Thorne. The duo were nominated for writing and producing the drama, and Graham was also nominated as lead actor for his portrayal of the devastated father of the teen suspect.

“My true gratitude is not the fact that we got 13 nominations. It’s the fact that every single person, every single player, every single part of the crew is being acknowledged for what we achieved as a collective,” Graham said. “What we do is not a game of golf. We managed this collective consciousness between us.”

The four-episode series became one of the buzziest dramas of the year, and was highly praised for its approach of filming each installment in a single camera shot.

Thorne said of the hoopla surrounding the series, “I think we got very lucky in capturing a particular time, place and mood. We also got lucky with all the people we worked with.”

Win or lose, plans are already being formed for an Emmy night celebration.

“Stephen just declared that we’re all going to the Emmys in a minibus,” Thorne said. “We’re all going to stand on the red carpet as one. That will be really special.”

The minibus passengers will include Owen Cooper, who played the young suspect, and Erin Doherty, who played a psychologist. The two, who were both nominated in supporting actor categories, starred in the drama’s third episode where their characters engaged in a tense battle of wills.

Cooper and Doherty discussed the show and their nominations in a separate video interview.

Congratulations on your nominations and amazing performances. Where were you when you got the news?

Cooper: I was in my living room and I put on the TV. Then I found it we got 13 nominations. It’s just crazy.

Doherty: To be fair, I avoided it. So I was waiting for my phone to ring. My agent told me, “I’ll ring you either way.” Then she started phoning me and I thought, “Oh, what, is this going to me?” And all those nominations came in. I’m so over the moon for the show.

Owen, you’re making history as the youngest Primetime Emmy nominee in a limited series .

Cooper: I heard about that the other day. It’s hard to even think about that stuff, to be honest. It’s crazy. I don’t even know how to put that into words, really.

Did both of you know at the time you were doing the third episode that you were creating something really special?

Cooper: Yes. We knew it would hit many homes, and that it would create conversations. We didn’t know it would get 13 nominations. That’s just the cherry on top. The success of the show has been mind-blowing.

Doherty: We knew everyone who was participating on and off the screen wanted to be a part of this, having the courage to address this subject matter. We knew the importance of the story. You never know if something like this is going to hit the way that this has.

Owen, what impressed you the most about Erin’s performance?

Cooper: The fact that she could just think of things to say off the spot. I would put attitude into the line and she would put even more attitude into it.

And Erin?

Doherty: I would say the exact same thing. Like he would start yawning and start throwing around different things. It felt like the most exciting game of tennis that I’ve been a part of. You don’t get that every day with actors who have been doing this for 40 years. Owen has the ability and skill and bravery. For him to throw himself into this environment, which is nerve-wracking, overwhelming and over-stimulating. To have the ability to stay centered and be present with each other is really rare. I’m so, so proud of him and that I got to be there for his first go, because he’s going to be doing this for years and years and years.

I know it’s early, but any thoughts on how you’ll feel on Emmy night?

Cooper: I don’t think I’ll be nervous. I don’t care if I win. I’ll just get there, eat nice food, meet a lot of people. And I’ll be in L.A. where the weather is nice. I’m not bothered by the result at the end of the day.

Doherty: We’ve won. The show got 13 nominations. We’re all going to be there. It’s just going to be the best night ever. We’re going to treat it like a big party.

The opening scene unfolds onto a bird’s-eye view of a sedan making its way down a stretch of unmarked highway, as Woody Harrelson’s unmistakable drawl is heard off-camera. “You ever wonder if this industry of ours is just chasing its own tail?” he asks.

Matthew McConaughey, in his equally distinctive cadence, shoots back, “No, I don’t wonder. Restrictions, regulations, nickel and diming productions, political lectures,” before the camera pans in for a close-up of the actors.

The sequence pays homage to the gritty, atmospheric crime drama “True Detective.” Indeed, it was directed by Nic Pizzolatto, the show’s creator.

Woody Harrelson and Matthew McConaughey have played major roles in the effort to increase Texas film incentives.

(Lester Cohen / WireImage)

In January, this four-minute video, “True to Texas,” was released as part of an unusual campaign by a coalition of A-list actors — Dennis Quaid, Renée Zellweger and Billy Bob Thornton make appearances — independent creatives and Lone Star Republicans to appeal to the Texas State Legislature.

The goal: to help bring increased film incentives to a state not known for its wholesale embrace of Hollywood or government subsidies — particularly for something like the arts.

Despite considerable push back among conservative lawmakers, the effort paid off. Last month Gov. Greg Abbott allowed the passage of an unprecedented bill boosting tax incentives for film production in the state to $300 million every two years — guaranteeing that funding for 10 years. The law goes into effect Sept. 1.

The aggressive bid to nab a slice of Hollywood furthers the ongoing rivalry between California and Texas. Several major Golden State-based companies including Tesla and Hewlett-Packard have relocated to the Lone Star State, lured by lower taxes and its business-friendly environment. It also comes as California is struggling to keep movie and TV production, having recently doubled its own tax incentive ceiling to compete with film subsidies in three dozen other states and abroad.

The new bill puts Texas in a position to become a major player among the growing list of global and regional filming hubs in an industry that has become increasingly unmoored from its historic Hollywood hometown.

“Texas now has a program that is going to be competitive,” said Fred Poston, the executive director of the Texas Media Production Alliance. “When you really take a close look at it, you realize this is a big deal. We have this new level of funding to start building more industry around it.”

The Texas bill is not only bigger and better, but found itself an unlikely champion in Republican Lt. Gov. Dan Patrick.

Texas Lt. Gov. Dan Patrick wants to make his state the world’s film capital.

(Eric Gay / Associated Press)

“We are not trying to make Texas the next Hollywood — we don’t like Hollywood. We want to export Texas values,” said Patrick in a campaign update. A staunch conservative who has relentlessly opposed legalized marijuana, gambling and abortion, Patrick has vowed “to make Texas the Film Capital of the World.”

The bill, which supports the Texas Moving Image Industry Incentive Fund (TMIIF) program, offers tiered grants up to 25% for projects spending $1.5 million in the state. Faith-based films and those that shoot in historic sites or employ a percentage of crew who are Texas-based military veterans can push grants up to 31%.

The governor’s office, through the film commission, has broad discretion over which projects receive funds and awards can be denied at any stage in the review process for material that portrays Texas negatively or contains “inappropriate” content.

Conservative backlash

Still, even with the bill’s Texas-style protectionist wrangling, its passage was far from assured.

Weeks before the Senate vote, there was hand-wringing among conservative lawmakers and others who opposed the bill on economic, moral and even biblical grounds. Critics took swipes at profanity-laced scripts and what they saw as inaccurate portrayals of the state’s oilmen on TV. Some viewed the grants as akin to taxpayer theft. Many shuddered at the thought that the bill would usher in the unholy influence of a debauched Hollywood on Texas.

“The Bible warns us of the consequences of the government wrongfully taking money from some and handing it out to others,” said the Texans for Fiscal Responsibility in one of several papers it published decrying the bill.

Republican State Rep. Brian Harrison called the bill “an abomination. And shame on everybody who voted for it.”

Harrison launched his own “Don’t Hollywood My Texas” crusade.

One of his followers, the Freedom Bard, a self-proclaimed “patriotic” lyricist, recorded an earworm of a protest anthem denouncing the bill with such lyrics as: “Keep your failed policies and your liberal BS.”

“This is big government liberal redistributive socialism,” Harrison told The Times, “The governor and lieutenant governor of the supposedly Republican-controlled state of Texas chose to keep property taxes billions of dollars higher so that you can subsidize a rich liberal Hollywood movie industry — how embarrassing.”

He plans to introduce legislation at a special hearing later this month to repeal the law.

The ‘Third Coast’

Despite the hostility toward Hollywood, Texas was once known as the film industry’s “Third Coast.”

Many of the westerns of the 1920s and ‘30s were filmed in the state.

Texas’ sweeping backdrops and larger-than-life characters have inspired some of the most celebrated movies and television shows, including the 1956 epic “Giant,” the 1974 slasher classic “The Texas Chainsaw Massacre,” the 1990 sleeper hit “Slacker” and the acclaimed small-town TV series “Friday Night Lights.”

The 1956 classic “Giant,” starring James Dean, was primarily shot in Texas.

(Warner Bros. / TCM)

The state’s cultural soil has nurtured a fertile creative community with filmmakers like Robert Rodriguez (“El Mariachi”), Wes Anderson (“Bottle Rocket”) and Richard Linklater (“Boyhood”).

By the early 2000s, however, neighboring states began chipping away.

“Texas had been highly competitive, we had all of these ingredients,” said Rebecca Campbell, CEO of the Austin Film Society. “Then all of a sudden, Texas stories were getting shot in New Mexico and Louisiana.”

In 2007, the state established its first program for film incentives, earmarking $20 million. Although the program expanded in later years, it became chronically underfunded, prompting the producers of “Fear the Walking Dead” in 2021 to relocate to Georgia after filming four seasons around Austin.

Linklater had to rework his 2024 romantic crime thriller “Hit Man” starring Glen Powell, originally set in Houston, when filming relocated to New Orleans because of a lack of available incentive funds.

Director Richard Linklater on the set of “Hit Man,” with Adria Arjona and Glen Powell.

(Brian Roedel / Netflix)

“We’re completely surrounded by states that have very active film incentive programs,” Linklater told the podcast “Friends on Film.” “They really support this industry, and you have to do that to compete.”

But a perceptible cultural and economic shift in the Texas landscape began to slowly take shape during the pandemic, when a wave of actors and filmmakers relocated to the state.

Filmmaker Nate Strayer, formerly of Los Angeles, moved to Austin in 2021 and later founded production company Stray Vista Studios.

“We started to realize that we could have an industry here where our stories aren’t being pulled away to other states,” said Strayer, whose company produced the “True to Texas” video.

Noah Hawley has made Austin, Texas, his base of operations.

(Justin Cook / For The Times)

Until the pandemic shut down Hollywood, “Fargo” series creator Noah Hawley flew every other week from his home in Texas to Los Angeles for meetings with his production company when he wasn’t shooting. When the pandemic ended, Hawley found he no longer needed to be based in Hollywood.

Last year he moved his company, 26 Keys, to Austin.

“My wife and I wanted to be a bigger part of our community in Texas,” he said. “What Austin provides for me is more of a local, handmade place.”

The ‘Sheridan effect’

The other wave to hit Texas’ film industry was Taylor Sheridan.

Taylor Sheridan films an episode of “Landman.”

(Emerson Miller / Paramount+)

The “Yellowstone” creator, who grew up in Fort Worth, began filming many of his hit television shows — including “1883” and “Landman” — across the state.

The productions brought in hundreds of millions of dollars to local businesses and a stream of tourists in what many began calling “the Sheridan Effect.”

Production of “1883” alone led to 13,325 booked hotel nights in Fort Worth, according to the city’s film commission.

Beyond the economic boom, Sheridan showed that Texas could tell its own stories and help seed larger ambitions.

In February 2023, Lt. Gov. Patrick had dinner with Sheridan.

Shortly afterward, Patrick described Sheridan as the “best screenwriter of our time and one of the best storytellers ever to make movies” and said, “My goal is for Taylor to move all of his TV and movie production to Texas.”

Soon, Sheridan had a multiplier effect.

The Wonder Project, the faith-based, family-oriented production company behind Amazon‘s “House of David,” was established by filmmaker Jon Erwin (“Jesus Revolution”) and former YouTube executive Kelly Merryman Hoogstraten in 2023 with more than $75 million from such investors as Jason Blum, Lionsgate and Leonard Leo, the wealthy conservative lawyer and Federalist Society co-chairman.

Two years ago, Hill Country Studios, a $267-million film and television studio, broke ground in San Marcos. The plans include 12 soundstages spanning 310,000 square feet, two back lots, a virtual production stage and 15 acres of outdoor production space.

Zachary Levi, the star of “Shazam!” and “Chuck,” is raising $40 million to develop his Wyldwood Studios in Bastrop east of Austin. Plans call for two 20,000-square-foot soundstages, along with a hotel, restaurants and homes.

Zachary Levi is planning to create a new kind of studio system in Texas.

(Chris Pizzello / Invision / AP)

“I really felt this … calling on my life to go and build what is essentially a new version in the lineage of United Artists,” he said. “That allows the artist to really take the power back, take their destiny back.”

But for all the activity, there was no getting around the math. If Texas did not pour resources into a substantial rebate program, it would continue to lose out.

The challenge was to convince the conservative Legislature that an incentive program was not simply a Hollywood handout.

Thus began a campaign in spring 2023 with Texas voices advocating for a strong film industry.

That May, “Good for Texas,” the video precursor to “True to Texas,” showcased Lone Star-born actors such as McConaughey, Quaid, Owen Wilson, Powell and others in support of increased incentives.

Filmmaker Chase Musslewhite, a sixth-generation Houstonian who was one of the video’s producers, said she was motivated to get involved when she lost funding for her first feature after her financier opted to shoot in Louisiana.

She joined forces with Grant Wood, a Midland native, who had studied film and ran a Dallas start-up, to launch the Media for Texas advocacy group.

“We wanted to help get the film community aligned and put forth one bill with one idea to make it as easy as possible for the Legislature to push for it,” Musslewhite said.

The Texas Film Commission painted a rosy picture, saying that for every dollar invested in the incentives, Texas received $4 of new money into the economy.

A pivotal moment arrived in late summer 2024. Media for Texas co-hosted a private screening of the film “Reagan,” starring Dennis Quaid, with Patrick at Austin’s Bullock Texas State History Museum. A number of state legislators attended.

Patrick took to the podium and announced his aim to “make Texas the media capital of the world,” Musslewhite recalled.

That was the push people needed, Musslewhite said.

Last October, Patrick convened a special hearing of the Senate Finance Committee, where a new bill for a robust film incentive was front and center.

Patrick marshaled McConaughey, Harrelson, Quaid and Sheridan to support him. Joining the effort was billionaire Ross Perot Jr.

Dennis Quaid, second from left, standing next to Lt. Gov. Dan Patrick, looking up, at the Houston Livestock Show and Rodeo in March, is one of the many prominent Texas-born Hollywood actors and filmmakers to rally around film incentives.

(Cassie Stricker / Houston Livestock Show and Rodeo)

During the hearing, a denim-clad Quaid voiced his support. “I, for one, feel that the world is beginning to turn right side up again and common sense prevails, and I’d like to see that reflected in our films and entertainment.”

When Sheridan spoke, he expressed regret that his 2016 film “Hell or High Water,” a story of two bank-robbing brothers trying to save their Texas family ranch, had to shoot in New Mexico because of its subsidies.

“No one will be here without the incentives,” the filmmaker said.

During the last stretch before the vote, McConaughey, in a cowboy hat, made a final overture to legislators in March.

“If we pass this bill, we are immediately at the bargaining table for shooting more films and TV and commercials in our state,” he said. “That is money that’s going to local Texas restaurants, hotels, coffee shops, dry cleaners, street rentals, home rentals ― even Woody’s barber,” in a nod to Harrelson, who was also in attendance.

The high-profile campaign worked. Two months later, the bill passed in the Senate with a 23-8 vote, and by June it had become law.

A slippery slope?

Nonetheless, concerns remain about the program.

For one, the bill, which emphasizes a positive portrayal of the state, does not specifically address whether a film or show that has themes such as abortion, gun control or LGBTQ+ characters will receive funding.

In 2010, then-Gov. Rick Perry’s administration yanked funding for the Robert Rodriguez film “Machete” over concerns that the movie portrayed Texas negatively.

Funding for Robert Rodriguez’s film “Machete” was denied over concerns it portrayed Texas negatively.

(Ryan Green / Netflix)

George Huang, professor of screenwriting at UCLA School of Theater, Film, and Television, cautioned this could be “a very slippery slope.”

“I understand that with incentives you don’t want to appear to fund controversial subjects,” he said. “But where do you draw the line on censorship? Who in the governor’s office is the arbiter of good taste?”

Many inside the Texas film community stress that these are still early days and believe the film office will ultimately take a case-by-case approach.

“I think that those fears are misplaced, because the opportunity for what Texas can provide to the country and to the world outweighs the risk,” Musslewhite said.

For now,the Texas film community is elated.

“Texans kind of warmed up to the idea that if an industry were to grow in Texas, it doesn’t have to look exactly like it looks in some of these other places,” Strayer said. “I think they came to realize that you can kind of write your own rules.”

And what’s more Texan than writing your own rules?

An extra in his 50s was arrested on the EastEnders set at Elstree Studios, Hertfordshire, on May 7 after a woman complained he had tried to forcibly kiss her while filming

An actor was arrested on the set of EastEnders following an alleged assault that left a woman “clearly very distressed”, reports say.

Cameras stopped rolling at Elstree Studios, Hertfordshire, on May 7 after a woman complained that a fellow extra, a man in his 50s, had tried to forcibly kiss her. Security stepped in to grab the man, which led to a scuffle before the actor was handed over to police.

According to reports, the man was arrested on suspicion of sexual assault of the woman and of common assault against another person, which is alleged to have happened while he was escorted away. He is said to have been released on bail while investigations continue.

Filming resumed after the incident. A source told The Sun that the incident was “dramatic” and “everyone was quite shaken by up by it all.” The witness said: “No one could quite believe what was happening.

“The main focus was the woman’s welfare, as she was clearly very distressed. Obviously, filming had to be stopped while the incident was dealt with by production managers and security.

“It got very heated when the man squared up to the security staff as they tried to calm things. Eventually, he was questioned and taken away by police.”

It is understood that the cameras didn’t capture footage of the alleged attack, but it’s not clear whether the scenes filmed on the day of the incident have been screened on TV yet. According to the publication, Adam Woodyatt, who plays Ian Beale in the BBC soap opera, was one of the stars filming at the time.

The source added that “everyone involved in the production, including the cast and crew, acted very responsibly in an extremely difficult situation.” Crew members were said to be grateful to bosses for the “professionalism and understanding” they showed in handling the incident.

Hertfordshire Police confirmed that a suspect in his 50s was “arrested on suspicion of common assault and sexual assault in relation to two victims.” The force added: “He is on police bail whilst enquiries continue.”

EastEnders said in a statement on Saturday: “While we would never comment on individuals, EastEnders has on-site security and well-established procedures in place to safeguard the safety and welfare of everyone who works on the show.”

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Derek Dixon, the actor who raised allegations of sexual harassment against Tyler Perry, has broken his silence after suing the producer and media mogul for $260 million last month.

In his first interview since filing the bombshell lawsuit in June, “The Oval” actor Dixon told the Hollywood Reporter, “I couldn’t just let [Perry] get away with this.”

Dixon alleged in his complaint that when he worked for Perry from January 2020 to June 2024, the multi-hyphenate entertainer “sustained a pattern of workplace sexual harassment, assault and retaliation,” according to court documents reviewed by The Times. Dixon briefly appeared in BET’s “Ruthless” before landing a role in Perry’s “The Oval,” appearing in 85 episodes from 2021 to 2025.

“Everyone deserves to go to work and do their job without their boss trying to have sex with them,” Dixon said to THR in a story published Thursday. “My goal is to help ensure that the next generation of actors and creatives don’t have to choose between their dreams and their dignity.”

Seeking a response from Perry, The Times was referred Friday to the initial statement from Perry’s attorney Matthew Boyd, which denies Dixon’s allegations.

“This is an individual who got close to Tyler Perry for what now appears to be nothing more than setting up a scam,” Boyd said in the statement. “But Tyler will not be shaken down and we are confident these fabricated claims of harassment will fail.”

Dixon recalled to the trade outlet how he initially came to work for Perry and further spoke on the producer’s allegedly incessant attempts to spark a sexual relationship with his employee. In his suit, Dixon describes sexually suggestive text messages Perry allegedly sent, including one where he asks the actor “What’s it going to take for you to have guiltless sex?”

More damning were the allegations of sexual assault Dixon raised against Perry in his lawsuit. The 46-page complaint detailed multiple incidents, including one at Perry’s guest house in Georgia when the producer pulled down Dixon’s underwear and groped his buttocks. Dixon’s complaint also alleged Perry sexually assaulted him during a previous stay at his guest house and during a meeting in the director’s trailer.

According to the lawsuit, Dixon refused Perry’s advances and walked a fine line, keeping his interactions with Perry professional but friendly enough to remain in his good graces. Recalling the alleged assault in the trailer, Dixon said it would seem Perry would back off and “say things like ‘We need to just be business.’”

“And I would think, ‘Great. Yes.’ Every time I thought it would stop,” he said.

Dixon claims in his lawsuit that Perry leveraged his standing in the entertainment industry — specifically his ability to bring the actor’s own TV series to life — “to create a coercive, sexually exploitative dynamic.” The suit also says Dixon “woke up” in June 2024 and realized Perry was never going to be serious about helping Dixon ”grow his career.”

The actor reported the alleged abuse he experienced to the Equal Employment Opportunity Commission. Though the lawsuit claims the complaint was not investigated, THR reports the case is pending. He told the magazine he felt compelled to sue Perry because “I was an employee, and he was my boss.”

He added: “For a long time, I convinced myself that it was part of the industry, or that somehow I had to accept it to keep working. But eventually, I couldn’t stay silent anymore.”

Since suing Perry, Dixon told THR he has received mixed reactions, including threats online and support from people who claim they experienced similar misconduct by Perry. He also said he decided to publicly accuse Perry as he feels attempts to settle matters privately “never result in the type of change necessary to protect victims.”

Despite going public with his allegations against Perry, Dixon said he fears that the producer “will be able to continue doing this without any major consequences.”

Welcome to Screen Gab, the newsletter for everyone who can’t stop watching their favorite fictional serial killer.

The “Dexter” universe expands this week with the arrival of another spinoff. And it brings Dexter Morgan, the titular antihero played by Michael C. Hall, back from the dead. “Dexter: Resurrection” picks up after the events of “Dexter: New Blood” — we promise, we’re not trying to start a drinking game here — where the serial killer vigilante was seemingly killed. In anticipation of the show’s Friday premiere, Greg Braxton, our certified “Dexter” expert, spoke with Hall about reviving the killer role — check it out here. And this week’s Guest Spot features David Zayas, Hall’s co-star who plays Angel Batista, discussing his return.

Also in this week’s Screen Gab, our streaming suggestions include a cozy crime comedy featuring an antiques expert heroine and another home improvement series from the Chip and Joanna Gaines factory.

ICYMI

Must-read stories you might have missed

“Girls” creator Lena Dunham, right, returns to TV with the Netflix rom-com series “Too Much,” led by “Hacks” breakout star Megan Stalter.

(The Tyler Twins / For The Times)

When Lena met Megan: How a DM blossomed into ‘Too Much’: Netflix’s “Too Much” isn’t a story about friendship or sex. It’s about love — Lena Dunham’s version, and she knew Megan Stalter had what it took to be the star.

Maggie Q brings the heat to cold cases in ‘Ballard,’ a ‘Bosch’ spinoff series: The actress, known for her action-heavy roles in “Nikita,” “Mission: Impossible III” and “Designated Survivor,” stars in “Ballard,” about a LAPD detective based on a popular character in Michael Connelly’s bestselling novels.

Up, up and … eh? A rebooted ‘Superman’ gives the Man of Steel a mind of marshmallow: Director James Gunn launches his DC Extended Universe with a high-energy Superman played by David Corenswet, joined by co-stars Nicholas Hoult and Rachel Brosnahan.

Commentary: Can ‘Love Island USA’ watch parties offer a guide for saving linear television?: You don’t have to love “Love Island USA” to appreciate that in this increasingly fractured time of TV viewership, it is drawing people together.

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Recommendations from the film and TV experts at The Times

Steve Edge as Dom and Sally Lindsay as Jean in a scene from Acorn TV’s “The Madame Blanc Mysteries.”

(Mark Cassar / AcornTV)

“The Madame Blanc Mysteries” (Acorn TV)

Back for a fourth season, this series set among British expatriates in the south of France (played by the island of Malta) is nominally a detective show — there’s always a crime to solve — but at heart it’s a small-town comedy more interested in the lives of its quirky repeating characters than in whodunit. Series co-creator Sally Lindsay stars as Jean White, an antiques expert regularly called upon by Police Chief André Caron (Alex Gaumond) to analyze some clue or give the history of vintage stolen goods. Completing her world are alliterative, spritely rich oldsters Judith and Jeremy (Sue Holderness and Robin Askwith); garage owner Gloria (Sue Vincent); taxi driver Dom (Steve Edge), whose long-simmering passion for Jean has at last come to a boil; and, excitingly, Tony Robinson, who was Baldrick on “Blackadder,” as Dom’s formerly larcenous Uncle Patrick, now running the local bar where all the characters inevitably wind up. As is the case with many such shows, it gets sillier as it goes on; but if you want serious, there are plenty of dark serials happy to take your time. This place is sunny. — Robert Lloyd

“Mini Reni” (HBO Max, Discovery+)

As someone who can spend an alarming amount of time watching Sunday-reset cleaning videos on TikTok as a way to convince myself it has motivating powers, I am always on the lookout for home improvement shows that have the same effect. In the series, shiplap queen Joanna Gaines ditches hubby Chip to tackle “quick” home makeovers. With each episode, she has about a week to transform three rooms — “There’s no demo day. We’re just using things like paint, trim, tile and furniture” to change a space, she assures us. It’s still an ambitious undertaking for the average person — I have towel hooks that I’ve needed to hang for months, so the thought of having secret doorways installed anywhere in my space is just not happening — but it feels just as good to believe you’re getting ideas for a project down the line. — Yvonne Villarreal

Guest spot

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

David Zayas as Angel Batista in “Dexter: Resurrection.”

(Zach Dilgard / Paramount+ with Showtime)

“Dexter: Resurrection,” the latest addition to the ever-expanding “Dexter” universe, makes good on its title. After being shot in the chest — by his son, no less — and pronounced dead in the 2021 series “Dexter: New Blood,” Dexter Morgan (Michael C. Hall), the forensics specialist who moonlighted as a serial killer vigilante, is now very much alive and well enough to deliver some more narrative intrigue in the series for Paramount+ with Showtime. While there are newcomers added to the mix, returning characters include Angel Batista (David Zayas), Dexter’s friend who is now a captain at the Miami Metro Police Department where they once worked together — and he’s on a mission to fill in questions about Dexter’s past. Zayas stopped by Guest Spot to talk about what to expect in the new sequel series and how his own experiences in law enforcement inform his onscreen roles. — Yvonne Villarreal

Fans had hoped for the long-teased face-off between Batista and Dexter in “Dexter: New Blood,” but it didn’t happen. “Dexter: Resurrection” provides that anticipated reunion. What can you tease about the dynamic that plays out between these characters?

The dynamic between Batista and Dexter is now a cautious cat-and-mouse game. Batista is also still in shock about the revelation that Dexter been alive all these years.

One would imagine that your own experiences in law enforcement have loosely inspired or informed at least one scenario in the police or detective roles you’ve played in your career. What’s interesting to you about getting to explore that other career dramatically and/or cinematically?

I always explore the human element and the circumstances of the scene regardless of the position the character holds. Having been a real police officer, it helps me break down certain characters that I have encountered in my previous career.

You’re back in the new season of “The Bear,” as the supportive husband of Tina, who is played by your real-life wife, Liza Colón-Zayas. Describe what one of the show’s intense workplace scenes would look like if it were set in the Zayas kitchen.

I think a scene in our kitchen would become intense. Liza would just kick me out. She calls the shots in the kitchen.

What have you watched recently that you’re recommending to everyone you know?

Season 4 of “The Bear” [Hulu]. The characters are so real and unapologetically flawed. It makes every moment of the show important and captivating.

What’s your go-to “comfort watch,” the film or TV show you return to again and again?

“The West Wing” [HBO Max]. It always gives me hope of how our political system should work for the people of this country.

A cause of death has been revealed for Aussie actor Julian McMahon, who played Dr. Doom in two “Fantastic Four” movies and Christian Troy in the TV drama “Nip/Tuck,” among other roles.

McMahon died of cancer, according to a statement from Kelly McMahon, his wife.

He had head and neck metastatic cancer, and he ultimately succumbed to lung metastasis, according to CNN, which obtained a cremation approval summary report from the medical examiner’s office in Pinellas County, Florida. An investigator with the office declined to confirm the details of the report in an after-hours call with The Times.

McMahon died July 2 at age 56. His remains have been cremated, the medical examiner’s report said.

“Julian loved life,” Kelly McMahon said in her statement. “He loved his family. He loved his friends. He loved his work, and he loved his fans. His deepest wish was to bring joy into as many lives as possible.”

A representative for the actor could not immediately be reached.

Those who worked with McMahon took to social media to mourn the loss of the actor.

Joely Richardson, who played the role of Julia McNamara on “Nip/Tuck,” shared a statement on Instagram following McMahon’s death.

“We worked together for many years, covering every possible storyline and then some,” said Richardson. “I remember the episode when we all had to age up with prosthetics — how we laughed then, and how it’s making me cry today … You lived a large life my friend, bravo.”

Alyssa Milano recounted her memories with McMahon on the set of “Charmed.” The pair’s characters — Phoebe Halliwell and Cole Turner — were married in the ’90s fantasy series.

“Julian was more than my TV husband,” Milano said on Facebook and Instagram. “He was a dear friend. The kind who checks in. The kind who remembers. The kind who shares. The kind who tells you the truth, even when it’s uncomfortable — but always with love.”

McMahon had many roles on his resume. One fan noted in an X comment that, no matter what part he played, his performance was captivating.

“Julian McMahon had that rare presence — magnetic, mysterious, unforgettable. Whether a villain or a hero, a conflicted soul or a charming friend, he pulled you in,” one user shared in an X comment.

“Julian McMahon’s legacy will live on,” another user shared in an X post. “Through Charmed, through Cole Turner. He raised many kids around the world he didn’t even know about.”

McMahon is survived by his wife, Kelly, and his 25-year-old daughter, Madison, according to People. He had Madison with his ex-wife, Brooke Burns, who played Jessie Owens in “Baywatch.” The two divorced in 2001.

Burns shared a picture of McMahon with their daughter on Instagram. The caption included only a broken heart emoji.

On Tuesday, McMahon’s family posted a picture of the smiling actor to his Instagram account.

“For all of those who loved Julian, thank you,” the caption read.

Mexican actor Manuel Masalva is on the road to recovery after contracting an aggressive bacterial infection in March that left him in a medically induced coma for weeks.

In his first social media post since the onset of his illness, the “Narcos: Mexico” actor updated his followers on his current health status via Instagram on Monday evening.

“I am healing. I want to profoundly thank you all for the support you have given me and continue to give me, in every sense, every one of you,” Masalva wrote. “This [process] has barely begun, there is much more left to go, but I feel blessed, strong, reborn and well-accompanied. … God has given me a new life.”

Masalva first felt the onset of an ailment when he arrived in Dubai in March, following a trip to the Philippines, revealing that he ended up spending 105 days in the Dubai hospital that first treated him for his prolonged illness.

The actor first arrived in the Middle East city on March 18, his manager Jaime Jaramillo Espinosa told The Times in April.

“[After] about two days in Dubai, Masalva began to feel internal discomfort and pain which increased by the day,” Jaramillo Espinosa said.

On March 26, Masalva underwent emergency surgery after doctors discovered the bacterial infection, which prevented him from traveling back to his home in Mexico. The following day, the infection reached his lungs and he had to be put into a medically induced coma.

Masalva thanked the Dubai hospital staff for their work and for the distinct culture that “overflowed with love and spirituality.”

“I don’t know if I really understand all of what’s going on or just a part of it, it’s been an eternity and there are still some parts missing, I just want to the strongest thanks that I can give to God, my family, my doctors and all those people that have supported me since the start of this process. I owe you all my life,” he wrote.

Masalva played the role of Ramón Arellano Félix in the Netflix drama series “Narcos: Mexico,” alongside Diego Luna, Bad Bunny and Scoot McNairy. He has also been featured on the telenovela “La Rosa de Guadalupe” and recently in the series “La Guzmán.”

Welcome to Screen Gab, the newsletter for everyone who needs something to watch while complaining about the annoying people shooting off fireworks well past the celebratory window.

In anticipation of the long holiday weekend, we’re forgoing the usual Screen Gab format this week to give you an extended list of home viewing recommendations that our pop culture experts at The Times plan to binge — or what they think you should binge. It’s an eclectic guide of new and old favorites, comforting and under-the radar picks — and there’s cats too!

Turn on

Recommendations from the film and TV experts at The Times

Michael B. Jordan in a scene from “Sinners.”

(Warner Bros. Pictures)

“Sinners” (Max, beginning Friday)

Anybody who has yet to see “Sinners”: It’s time. Ryan Coogler’s Mississippi-set period vampire horror film stars Michael B. Jordan as twin brothers who’ve come back to their hometown to open a new juke joint together. They bring their musically gifted cousin, played by Miles Caton, along for the ride. And it’s quite a ride! Audiences were so excited to see this original film that some people traveled across state lines just to catch it in Imax 70mm — in fact, the demand was so high, the genre-bending hit received a second run at these larger-than-life Imax 70mm theaters. Even a standard format showing at my local suburban multiplex was packed on a weeknight the first time I went to see it. So while my TV is a poor substitute for a movie theater, I’ll definitely be watching “Sinners” again this weekend. And in a step toward accessibility, at-home viewers have the option to watch a version with Black American Sign Language. — Tracy Brown

Andor (Diego Luna) in Season 2 of “Andor.”

(Des Willie / Lucasfilm Ltd.)

“Andor” (Disney+)

As a kid of the original “Star Wars” generation — a wide-eyed 5-year-old when “A New Hope” opened in 1977 — I often imagined what this galaxy might look like in a more grown-up light: complex, morally messy, beyond good and evil. “Andor” comes as close as anything — maybe a little too close. As compelling as its second season is, I’ve found myself needing to take it slow: In an age of endless conflict, deepening divides and the shadows of authoritarianism, it cuts deep. The season traces the brutal machinery of empire: propaganda, collaborators, betrayal and the looming massacre of civilians on Ghorman, a peaceful planet crushed for daring to protest. At the recent nationwide “No Kings” protests, some demonstrators carried “Andor”-inspired signs that read “We are the Ghor” and “The galaxy is watching.” Finishing it on the Fourth feels right — like binge-watching as an act of civic reflection. — Josh Rottenberg

A still from Netflix’s “Trainwreck: Poop Cruise.”

(Photo from Netflix)

“Trainwreck: Poop Cruise” (Netflix)

At a time when the headlines have you wondering — “Has everything gone to s—?” — we’re reminded of a 2014 maritime disaster where that sentiment very much applied. This installment of Netflix’s “Trainwreck” docuseries tells the tale of the infamous cruise ship disaster involving an engine fire on the Carnival Triumph that left 4,000 people aboard without electricity and plumbing. You can imagine where things go from there. If you always thought cruises were a terrible idea, this documentary will be validating. It’s a wild and bizarre 55 minutes that’ll forever change the way you look at lasagna. And it’ll make you ask an existential question you never thought to consider: Would you be this dramatic about pooping in red biohazard bags if you were stranded out at sea? — Yvonne Villarreal

Matt Bomer and Nathan Lane in Hulu’s “Mid-Century Modern.”

(Chris Haston / Disney)

“Mid-Century Modern” (Hulu)

Three gay men “of a certain age,” one of whom is named Bunny and played by Nathan Lane, move in together in Palm Springs under the gimlet eye of Bunny’s mother, played by the late, great Linda Lavin? Honestly, I couldn’t explain under oath why I haven’t watched this series yet. An increasingly rare multi-cam comedy filmed in front of a live audience, it promises the comfort of nostalgia — remember when you knew it was a comedy because you could hear people laughing? — and the bittersweet pleasures of lived-in lives. And though Bunny’s claim that he and his friends Jerry (Matt Bomer) and Arthur (Nathan Lee Graham) are all in the same boat life-cycle-wise (Bomer and Graham are, respectively, 22 and 13 years younger than Lane), well, “The Golden Girls” had a similar grouping and look how well that turned out. — Mary McNamara

Nathan Fielder in Season 2 of “The Rehearsal.”

(John P. Johnson / HBO)

“The Rehearsal” (Max)

Confession time: Whenever I’m preparing for an event that requires me to speak in front of a large crowd, I write it out, practice and keep the notes handy as I’m doing said activity. That’s what makes Nathan Fielder’s “The Rehearsal” refreshing — I’m not the only one who rehearses something — though he goes to some extremes with his stunts. The replica of Alligator Lounge in Season 1, which he creates so a man named Kor Skeete can reveal his education status to his trivia buddy, was nothing short of remarkable — I remember walking past the actual bar many times when I lived in Brooklyn. And the rest of the season was just as wild; one simulation has Fielder rehearsing to be a parent with Angela, a woman who is considering motherhood, leading to many awkward moments and conversations. Season 2 is no different, focusing on plane crashes and pilot communication, which sounds serious, but like the first season, Fielder takes many interesting tangents along the way. I’ll take a cue from our awards columnist Glenn Whipp, who wrote about the show, and not spoil the conclusion, but you’ll want to come along for the ride. — Maira Garcia

Crowd Scene at Live Aid on July 8, 1985, in London.

(FG/Bauer-Griffin / Getty Images)

Live Aid (YouTube)

July 13, 1985, was a formative day of TV for millions of Gen-Xers, sincerity and irony swirling on the biggest concert stage imaginable. Phil Collins made a stink about flying transatlantically on the Concorde so he could play both in London and, later that night, in Philadelphia. But even though he had the No. 1 album in the country (“No Jacket Required”), now he seems like the least significant presence there.

I’ve returned to many clips of the massive charity concert over the years (don’t blame me if this YouTube site becomes a rabbit hole) and this weekend feels like a good one to remind myself of hope and ’80s-style dreaminess. We stayed up late to watch Simon Le Bon and Duran Duran murder “A View to a Kill.” A reunited Led Zeppelin were somehow even worse. Bleary-eyed, I’d been awake since 3 a.m. watching early MTV transmissions from Australia, which held its own Live Aid-related concert, to catch INXS.

Return to the show for its two high points: Queen somehow condensed the whole of its grandeur into 21 unforgettable minutes. It’s been called the greatest live set in rock history, but that actually happened earlier in the day when U2 played the hypnotic “Bad” and Bono leapt into the crowd to hug a fan in danger of getting crushed, photographers circling them like it was a peace summit. It was everything I wanted pop to be. My band (average member age: 14) learned the song the next day. — Joshua Rothkopf

“Superman and the Mole Men,” released in 1951, starred George Reeves as the superhero from Krypton.

(LMPC via Getty Images)

“Superman and the Mole Men” (VOD)

How else can Superman rewind time without flying so fast he reverses the planet’s spin? By whisking fans back to his feature film debut in 1951’s “Superman and the Mole Men,” a kitschy adventure with an unexpectedly moving moral compass. This black-and-white indie launched George Reeves’ short and tragic career as the hero from Krypton. The producers considered it a teaser for his more famous TV series, “Adventures of Superman,” which was released the next year. The plot is simple: Clark Kent and Lois Lane trek to a rural oil town to investigate a well that’s drilled all the way to the center of the Earth. Small, hairy hominids emerge — but the twist is that Superman must protect these Mole Men from the prairie mob who want to shoot the outsiders on sight. It’s rousing to watch this classic defender of truth, justice and the American way bend guns, take bullets and huff: “I’m going to give you one last chance to stop acting like Nazi stormtroopers.” — Amy Nicholson

Damson Idris as Franklin Saint, left, and DeRay Davis as Peaches in FX’s “Snowfall.”

(Ray Mickshaw / FX)

“Snowfall” (FX on Hulu)

The race car epic “F1” is as hot as burning rubber at the box office, and is expected to bring in large crowds over the Fourth of July weekend as it re-establishes Brad Pitt as a top movie star. Pitt is joined in the winner’s circle by Damson Idris, who plays rookie driver Joshua Pearce. Idris’ star turn is a sharp departure from his portrayal of Franklin Saint, a ruthless drug kingpin in “Snowfall,” the FX drama streaming on Hulu about the rise of crack cocaine in South Los Angeles during the ‘80s. The series was one of the most popular shows in FX history, and was a vivid showcase for Idris, as Saint evolved from ambitious, charming entrepreneur to lethal thug. Although he was born in Peckham, London, Idris was cast in “Snowfall” by co-creator John Singleton, who believed that he could convincingly portray the demeanor of a youth growing up in the rough streets of South Los Angeles. When “Snowfall” completed its six-season run in 2023, the actor said in a Times interview that he was “obviously focused on movies. I want people to see me on the big screen.” — Greg Braxton

Emilia Schule stars as the titular French queen in “Marie Antoinette” on PBS.

(Caroline Dubois / Capa Drama / Canal Plus)

‘Marie Antoinette’ (PBS.org)

History’s punching bag and France’s last queen, Marie Antoinette, is reimagined as a wily, independent thinker in this inventive, lush and revisionist drama. Season 1 of “Marie Antoinette” opens in 1770, when at 14, she’s married to Louis Auguste, the Dauphin who later became King Louis XVI. The beauty of France and opulence of Versailles play a starring role though out the series, as does actor Emilia Schüle, who masterfully portrays the queen as she learns how to deal with the pressures of her role.

Released earlier this year, Season 2 finds the royal couple at the height of power but on the precipice of danger when France drops into alarming debt, the royal’s political enemies launch a misinformation war against the crown (thus the fabricated “Let Them Eat Cake!” line) and the starving masses are ready to revolt. Antoinette becomes a de facto leader when her meek husband crumbles under pressure. It’s a must for those who love a fresh takes on oft-trod chapters of history. — Lorraine Ali

A scene from “Nyaight of the Living Cat.”

(Crunchyroll)

“Nyaight of the Living Cat” (Crunchyroll, starting Sunday)

If you’ve ever watched “The Last of Us” or “The Walking Dead” and thought “this would be so much better with cats,” “Nyaight of the Living Cat” is the show for you. The anime series is set in a world where a mysterious virus turns humans into cats after they come into contact with afflicted felines, making places like cat cafés the ultimate danger zones. I can’t say I’ve ever wondered about a cat version of a zombie apocalypse, but now that this show is on my radar, I can’t wait for its premiere. And considering “nya” is Japanese for “meow,” I am hoping the show will lean into cat-related puns as it traces the fallout of this catastrophic viral outbreak. — T.B.

Philip Michael Thomas as Det. Ricardo “Rico” Tubbs and Don Johnson as Det. James “Sonny” Crockett in a promo shot for “Miami Vice.”

(NBC / NBCUniversal via Getty Images)

“Miami Vice” (VOD)

Legend has it that NBC programming exec Brandon Tartikoff scrawled “MTV Cops” on a cocktail napkin, setting the template for what became “Miami Vice.” It’s not true, but it’s a good story. Watch the two-hour pilot episode and wait for the moment, near the end, when Phil Collins’ “In the Air Tonight” comes on while Crockett (Don Johnson) and Tubbs (Philip Michael Thomas) are driving the black Ferrari Daytona Spyder en route to take down a Colombian drug lord. The lighting, the editing, the integration of images and the music … yeah, it’s “MTV Cops.” But it’s “MTV Cops” made by Michael Mann, who, as executive producer, signed off on every aspect of the series in its first two seasons, using the show as a sandbox to hone techniques and themes that would show up in his 1986 crime thriller “Manhunter” and “Heat” and pretty much everything else he has done. My son once asked me what the Eighties were like. I played him Jan Hammer’s synth-laden “Miami Vice” theme. And, yes, with the pastels, the Wayfarers and contemporary music, it’s a Reagan-era time capsule. But those first two seasons are really timeless — thrilling, ambitious, outrageous to this day. Watch the pilot and then the two-parter “Calderone’s Return.” You’ll be hooked. — Glenn Whipp

Jason Schwartzman, left, Ted Danson, Zach Galifianakis in “Bored to Death.”

(HBO)

“Bored to Death” (Max)

Before streaming ate the world, I could measure my love for a series by whether I bought the seasons on video, and I am happy to say I am the proud owner of all three seasons of this excellent, quirky, nonjudgmental 2009 comedy, starring Jason Schwartzman, Zach Galifianakis and Ted Danson. Set against, of all things, the New York literary world, it features Schwartzman as writer Jonathan Ames — also the name of the series’ creator, adapting his own “long short story” into this fairy tale of Brooklyn — who, suffering after a breakup, fueled by an excess of Raymond Chandler, white wine and pot and unable to finish a second novel, advertises himself as an “unlicensed private detective.” Adventures follow, taking the very formal, very serious Jonathan into odd corners of the city and odder corners of humanity. With Galifianakis as best friend Ray, an angry comic book artist, and Danson as other best friend George, a hedonistic magazine publisher (and later restaurateur, publishing being even then what it is), rounding out television’s greatest three-way bromance. — Robert Lloyd

Michael Madsen, the actor who was a staple in numerous Quentin Tarantino films including “Kill Bill” and “Reservoir Dogs,” has died. He was 67

A spokesperson for the Los Angeles County Sheriff’s Department confirmed to The Times that deputies responded to the actor’s Malibu home Thursday morning and found him unresponsive. He was pronounced dead at 8:25 a.m. The spokesperson did not reveal a cause of death, adding that foul play is not suspected and Madsen seemingly died of natural causes.

This story is developing and will be updated.

ITV have reportedly made a huge move to sign up two actors with great ‘charisma’ to present a brand new gameshow to be aired on Saturday nights

TV fans are set for a real treat with ITV’s latest gameshow signings, according to reports. It’s suggested the channel is to welcome an “amazing duo on-screen” to front a new gameshow.

Claims suggest the top secret new Saturday evening show is set to air next year. And at the helm is said to be Rivals duo Danny Dyer and Emily Atack.

The former EastEnders man, 47, and star of The Inbetweeners, 35, will reportedly start filming to project later this year. It comes after their successful performance on Disney+’s Rivals.

The series, based on Jilly Cooper’s bonkbuster books, was well received by fans and saw the duo roundly praised for their roles. Now, a source has claimed it’s this accoladed that had the ITV bosses clamouring to sign the duo.

Speaking to the Sun, a source said: “Bosses have been impressed with Danny and Emily’s charisma on Rivals and thought they’d make an amazing duo on-screen to freshen up their entertainment talent.

“They’re an unlikely pair but have appeared on a few panel shows together and have plenty of fun energy that is perfect for the tone that ITV want to set. Producers are keen to trial new presenting partnerships to get people talking, and both Emily and Danny have huge appeal.”

And they added: “ITV is constantly trying to create the next big show and duo. It’s about getting the chemistry just right.”

It continues Danny’s huge life turnaround. The actor has been open about his previous struggles in recent years. He revealed the moment of clarity to make a change to his life after he was “slowly killing himself” as he was “off his head” after the National TV Awards.

Looking back at his plight with interviewer Louis Theroux, Danny said previously he knew he was “destroying himself” and his career. And he admitted that at the time he was on EastEnders playing Mick Carter, but he would head into rehab in Cape Town in 2016.

He said: “I had a moment of clarity where I had been on it all night after the NTAs. I think I’d won and that’s always on like a Tuesday or something and I had to go to work. There’s another thing with EastEnders, is that they go, yeah, come celebrate NTAs, but you are up at seven in the morning. So anyway, I’d just overdone it again and I just could not work out how to get my jeans on.

“I was just sitting on my ensuite toilet trying to work out what leg goes in what, and I don’t why. I’ve sort of had many of them moments over the years of me being completely off my head.

” But that one really resonated with me. It was more because I looked up, my wife was just watching me and she looked shattered and she looked ill.”

As he continued to open up about the moment, he then revealed he made the decision to go to rehab in Cape Town after this awards show after-party at his house.

Dad-of-three Danny also previously told the BBC receiving a letter from his daughter Dani while at a rehab facility in 2016 was what convinced him to continue his treatment.

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Marlee Matlin has a word tattooed on each of her wrists. On the left is “perseverance,” on the right is “warrior.”

“After 37 years, I’m still hustling,” she says by way of explanation in “Marlee Matlin: Not Alone Anymore.” Referring to the ink on her left wrist, she adds, “I look at this all the time. Every day.”

“Not Alone Anymore” is hardly the first celebrity documentary to salute its subject’s tenacity. But if the contours of this story are familiar — the rise, the fall, then the rise again of an Oscar winner — director Shoshannah Stern’s affectionate portrait is all the richer for the layers it reveals about both Matlin and the larger struggles of the Deaf community she embodies. The 59-year-old actor’s legacy may indeed be one of perseverance, but “Not Alone Anymore” touchingly details just how much more challenging her battles with addiction and sexual abuse have been than those of other famous people.

The film’s inventiveness starts with its opening frames, in which closed captioning describes the sounds that accompany the production companies’ logos: “[low humming],” “[dramatic, echoey flutters].” These descriptions occur throughout the documentary, as do subtitles for every talking head, including the Deaf participants. Obviously, these creative decisions allow Deaf and hard-of-hearing viewers to more easily experience “Not Alone Anymore.”

But it’s also a subtle acknowledgement of Matlin’s trailblazing work in the late 1980s, when she used her newfound fame to convince lawmakers to require televisions to include closed captioning — a groundbreaking development for a community who had been deprived of a fuller engagement with the media they were watching.

This wasn’t the only way in which Matlin has left her mark. In “Not Alone Anymore,” she breezily recounts how, at 19, she was plucked from relative obscurity to star in her first film, the 1986 adaptation of “Children of a Lesser God,” based on Mark Medoff’s acclaimed play, about a love affair between Sarah, a Deaf janitor, and James, a hearing teacher. Matlin won the Oscar, becoming the first Deaf actor to do so. (Nearly 40 years later, she remains the youngest lead actress recipient.) At the time, her victory was hailed not just as a coronation of a promising talent but also a triumph for the Deaf, who too often feel marginalized and underestimated. But, as the documentary reveals, real progress would prove trickier to achieve.

Matlin and Stern, who is also a Deaf actor, have been friends for decades, and their interviews are mostly conducted sitting together on a couch, the conversations exuding the cozy intimacy of old chums chatting. Making her directorial debut, Stern deftly draws out her subject. Audiences will learn about Matlin’s past history of drug abuse and her fraught romantic relationship with her “Lesser God” costar William Hurt, whom she has accused of sexual and physical abuse. (Hurt died in 2022.)

But “Not Alone Anymore” gently probes the unique difficulties Matlin’s deafness created as she navigated those traumas. When she went to rehab, the facility was ill-equipped to treat a Deaf patient. And during a poignant discussion about Matlin’s sexual abuse, she explains growing up with no understanding of the phrase “domestic violence.”

“Deaf people only have their eyes to rely on for information,” she tells Stern. It’s an illuminating illustration of the dangers of what the Deaf community refers to as language deprivation.

Despite her Oscar win, Matlin would repeatedly have to advocate for herself in an industry seemingly uninterested in Deaf characters. Stern uses 2021’s best-picture-winning “CODA,” which costarred Matlin, as a happy ending of sorts for her film, without denying the ongoing movement for greater Deaf visibility. But if “Not Alone Anymore” can sometimes lean too heavily on uplifting sentiment, Matlin’s story possesses a bittersweet aftertaste.

As evidenced by Matlin’s years of striking, engaging performances, she is a winning presence in the documentary — funny, charming and open — even while we sense the lingering wounds from a difficult upbringing exacerbated by sexual abuse she endured in childhood. Beyond being a spokesperson for the Deaf, Matlin has also emerged as a voice for survivors, even when the world wasn’t receptive to what she had to say. “Not Alone Anymore” notes, with pointed irony, that Matlin published her candid memoir “I’ll Scream Later” in 2009, years before #MeToo, so her accusations against Hurt didn’t carry the same weight in the media as the ones that would later stop powerful predators such as Harvey Weinstein.

It was hardly the first time Matlin waited for society to catch up with her. When she first arrived in Hollywood, she couldn’t have possibly imagined how much of a warrior spirit she would need. “Not Alone Anymore” honors a woman who learned how to fight.

Actor Rick Hurst, best known as dim-witted Deputy Cletus Hogg on the TV show “The Dukes of Hazzard,” has died unexpectedly in Los Angeles. He was 79.

“It doesn’t seem right that Rick Hurst passed away this afternoon. When something so unexpected happens, it is ‘harder to process,’ as the current expression goes,” actor and politician Ben Jones, who played Cooter Davenport on “Hazzard,” wrote Thursday evening on the Facebook page for Cooter’s Place, a business themed to the show.

“I just this moment heard about the passing of dear Rick Hurst, a.k.a. Cletus Hogg,” co-star John Schneider, who played Bo Duke on “Hazzard,” wrote Thursday night on Facebook. “You were [a] remarkable force for humanity, sanity and comedy my friend. Heaven is a safer and more organized place with you in it. We’ll keep the race going and people laughing until we meet again! Love you.”

Hurst had been scheduled for fan meet-and-greet appearances July 3-7 at the Cooter’s in Pigeon Forge, Tenn., according to the website for the store and restaurant, which has three locations. Cooter’s called off the visit in a Facebook post early Thursday, saying the visit would be rescheduled due to “unforeseen circumstances.”

Born Jan. 1, 1946, in Houston and raised there, Hurst got started in acting quite early. “When I was 5 or 6, acting kind of tapped me on the shoulder — literally,” he said on a COVID-era podcast a few years back with pop culture enthusiast Scott Romine. Hurst said he was at a Houston Public Library location with his mom when a man tapped him on the shoulder and asked if he wanted to be in a commercial for the library system. He did the spot, he said, “and my pay was a chocolate soda.”

After high school in Houston, Hurst studied theater at Tulane University in New Orleans, then got a master’s in fine arts from Temple University in Philadelphia. All of his experience was on stage until he moved to Los Angeles. His first TV credit was for “Sanford and Son” in 1972 and his final credit was for “B My Guest,” a 2016 TV short.

In addition to working on the first five seasons of “The Dukes of Hazzard,” which ran from 1979 to 1985, Hurst appeared on myriad shows including “The Six Million Dollar Man,” “Little House on the Prairie,” “MASH,” “Baretta” and “227” and the miniseries “From Here to Eternity.”

Hurst said on that podcast that he “thanked God all the time” for the success of “The Dukes of Hazzard” and its fandom.

“The stunt guys were the heroes of the show,” he said, “and all of us in the cast knew that the first star on the show was the General Lee,” the orange 1969 Dodge Charger with a Confederate battle flag emblazoned on top, driven by characters Bo and Luke Duke, the latter played by Tom Wopat.

Hurst was married twice, first to acting coach Candace Kaniecki, mother of actor Ryan Hurst, and then to Shelly Weir, mother of Collin Hurst. Ryan Hurst is best known for his roles as Opie on “Sons of Anarchy” and Beta on “The Walking Dead.”

Welcome to Screen Gab, the newsletter for everyone who can’t stand the heat outside, but can tolerate it onscreen.

The eerie and bizarre story of John Orr, a Southern California arson investigator who authorities say moonlighted as a serial arsonist suspected of setting some 2,000 fires in the 1980s and 1990s, has been chronicled in the 2021 podcast “Firebug” and, earlier this year, received the deep-dive treatment from L.A. Times writer Christopher Goffard. Now, there’s a new Apple TV+ series, “Smoke,” loosely inspired by the true crime case. Author and screenwriter Dennis Lehane, who created the new drama, stopped by Guest Spot to discuss it.

Also in this week’s Screen Gab, TV critic Robert Lloyd reminds us that Bravo used to dabble in scripted programming, recommending “Odd Mom Out,” the short-lived comedy about a stay-at-home mother and her experiences navigating the bizarre and outrageous world of Manhattan’s elite; and film reporter Josh Rottenberg suggests finding time to watch a hybrid documentary-biopic film about the ‘90s indie band Pavement.

ICYMI

Must-read stories you might have missed

Jerry Bruckheimer, whose new movie “F1” hits screens this week, poses for a portrait in his Santa Monica office.

(Jason Armond / Los Angeles Times)

The movie business isn’t going to collapse. Jerry Bruckheimer explains why: Thirty-five years after “Days of Thunder,” the hard-charging “F1” producer is not slowing down: Bruckheimer talks fast cars, big-budget spectacle and the state of Hollywood.

‘My Mom Jayne’ led Mariska Hargitay to see her mother ‘like a superhero’: The “Law & Order: Special Victims Unit” actor created an emotional and revealing documentary about her mother, Jayne Mansfield, who died when Hargitay was just 3 years old.

‘The Bear’: Apologies and reconciliations lift the mood in Season 4: The latest season of ‘The Bear’ shows Carmy and the crew reacting to various obstacles, including a negative restaurant review, but everyone’s on the road to happiness.

‘Countdown’ makes Los Angeles a prominent character — and it’s in danger: The Prime Video action series follows a task force consisting of members from various law enforcement agencies that are brought together after the murder of a Department of Homeland Security agent. But it’s Los Angeles that is in serious danger.

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Recommendations from the film and TV experts at The Times

Jill Kargman as Jill and Andy Buckley as Andy in “Odd Mom Out.”

(Barbara Nitke / Bravo )

“Odd Mom Out” (Peacock)

In my review of the new season of “The Bear” this week, I neglected to mention Abby Elliott, who plays Sugar, the level-headed sister of Jeremy Allen White’s Carmy (or to mention Sugar’s new baby, the most adorable infant I have ever seen on screen); ironically, it was because, laboring to express how great she is in it, I had set that bit aside — as it turned out, permanently. Happily, I was already planning to use this space to recommend her earlier series, Jill Kargman’s very funny “Odd Mom Out,” Bravo’s brief experiment (2015-17) in scripted comedy, giving me this chance to self-correct. In “Mom,” whose three seasons stream on Peacock, Kargman, a very talented amateur, stars as a version of herself in a series based on her 2007 book “Momzillas,” about competitive parenting among Upper East Side New Yorkers, a war her boho-punk mother of three character declines to enter. (She is what most of us would call rich, but not obscenely so, and has good values.) Elliott, in a whimsical comic turn, plays Brooke, the pregnant and thin wife (later ex-wife) of her brother-in-law, whose charities include providing “prophylactic gastric bypasses for at-risk kids with morbidly obese parents” and sending bouncy castles to Africa. — Robert Lloyd

Stephen Malkmus in “Pavements.”

(Utopia)

“Pavements” (available on various VOD platforms)

If you were young and vaguely disaffected in the ’90s, Pavement was either your favorite band or the band your favorite band wanted to be — a group whose slanted (and enchanted) songs defined slacker cool, mixing lo-fi chaos, shaggy pop hooks and a shrugging disinterest in “career, career, career,” as they put it in their semi-hit “Cut Your Hair.” So it’s only fitting that Alex Ross Perry’s drolly funny anti-rock-doc ditches the usual mythology-building formula in favor of something far weirder. Blending real tour footage, a faux biopic, a tongue-in-cheek jukebox musical and a museum filled with half-fake relics, the film is part tribute, part Gen X time capsule, part absurdist prank. “Stranger Things” star Joe Keery is the film’s unexpected MVP, playing himself with deadpan commitment as he fixates on nailing lead singer Stephen Malkmus’ Stockton accent — right down to requesting a photo of his tongue for research. By the end, “Pavements” becomes both a joke about the band’s legacy and a surprisingly sincere celebration of it. — Josh Rottenberg

Guest spot

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

Taron Egerton in Apple TV+’s “Smoke.”

(Apple TV+)

He spent his days as a fire captain and arson investigator in Southern California, but authorities say John Orr lived a secret life as a prolific arsonist responsible for a string of fires that terrorized the region in the ‘80s and ‘90s. An unpublished novel he wrote, “Points of Origin,” detailed an arson spree that mirrored real-life incidents and helped authorities secure enough evidence to arrest him. The firefighting veteran was eventually convicted on 20 counts of arson and 4 counts of murder and is serving life in prison. Orr continues to maintain his innocence. This true story, chronicled in the 2021 podcast “Firebug,” is the basis for Apple TV+’s new nine-episode crime drama “Smoke.” Created by Dennis Lehane (“Black Bird”), the series follows arson investigator Dave Gudsen (Taron Egerton) and Detective Michelle Calderone (Jurnee Smollett) as they pursue two serial arsonists. The first two episodes are available to stream, with the remaining seven releasing weekly every Friday until Aug. 15. Lehane stopped by Guest Spot to discuss the show’s gnarly fire sequences and getting Radiohead frontman Thom Yorke to provide the show’s theme song. — Yvonne Villarreal

You’ve authored several well-known novels, including “Gone, Baby, Gone,” “Mystic River” and “Shutter Island,” and you’re familiar with exploring moral ambiguity. What stood out to you when you first listened to “Firebug”? And what about it made it a story you wanted to tell for the screen?

What really stood out for me with “Firebug” was John Orr’s myopic duality. He clung to the identity of a hero arson investigator even as he was running around lighting up Glendale and surrounding areas, resulting in several deaths. On top of that, he was writing a book about an arson investigator chasing a serial arsonist. And the book was quite bad. I found that kinda delicious. I was also intrigued by his methods for setting the fires and was taken by the fact that he’d once nearly died in a fire when he mistook his reflection for another firefighter and ran deeper into a burning house.

Everything else in the show is pure fiction. I didn’t want to tell a story about John Orr in 1980s California; I wanted to tell a story about our culture now, about people who feel so unmoored they’d rather cling to the fiction of themselves over the fact.

Tell me about the planning and work that went into crafting the fire sequences in the series — how you decided when to use special effects or real fire, and the precautions that needed to be in place for the latter. And is there a fire sequence in the series that stands out for you?

The moments that stand out most are the first fire — Dave’s dream — and the last — the sawmill fire. The first of these was 100% real. It was shot on a burn stage with pipes blasting flame all around the room as Taron — not a stunt man — walked through it. It looks so impressive because a) we planned really hard; and b) Sam McCurdy, our director of photography, is a painter with light and reflection. Our sawmill fire and the subsequent car ride thru the burning forest was the opposite — it was predominantly CGI, but we’d realized by then that the key was to shoot as much real fire as we could (which, in this case, wasn’t terribly much), so the CGI wizards had real flame to compare their work to.

How did you get Thom Yorke to write a song (“Dialing In”) for the show’s theme?

Our music supervisor, Mary Ramos, had heard that Thom was a fan of “Black Bird” [Lehane’s previous Apple TV+ series that also starred Egerton and featured much of the same creative team]. We reached out to see if he had any interest in writing a song for our credit sequence. And he actually called us back. He and I spoke about the underlying themes of the show and he read a bunch of the scripts. Then he went off and wrote the song. He sent it back to us and someone, I think it was Mary, said, “Now you have to give him notes.” And I was like, Um … no, no, I don’t. He’s Thom Yorke. Giving him notes on music would be like telling Scorsese where to put the camera. I passed along this note:”Thank you.”

What have you watched recently that you’re recommending to everyone you know? (Please explain)

“Dept. Q” [Netflix]. Scott Frank, as always, crushes it as both a writer and a director. It’s got one of the best pilots I’ve ever seen, and the cast, led by Matthew Goode and Kate Dickie, is impeccable. It’s so rich in character and atmosphere that I wanted to fly to Edinburgh to simply hang out with every character after I finished watching.

What’s your go-to comfort watch, the film or TV show you return to again and again? (Please explain)

“Midnight Run” [Netflix] is my cinematic chicken soup for the soul. It’s smart, hilarious, infinitely quotable, sports one of the greatest casts ever assembled, and it’s non-stop, breakneck fun from the first shot to the last. I’ve probably seen it 30 times.

Warning: This article discusses spoilers for the twisty new horror film “Barbarian.” If you haven’t seen it yet, check out our nonspoilery review here and more with the cast and director here.

That one-word title looms large over “Barbarian,” one of the most delightfully twisted horror films of 2022, in which a woman named Tess (Georgina Campbell) stumbles into a nightmare when she finds her rental house already occupied by a stranger.

It’s a roller-coaster horror ride filled with suspense, scares, surprising laughs and some of the most delicious cinematic twists since last year’s “Malignant.”

What Tess discovers in the basement leads her into a labyrinth of unimaginable horrors — some closer than you might think. But who’s the real monster in filmmaker Zach Cregger’s Airbnb-of-horrors solo feature debut?

Bill Skarsgard stars in “Barbarian.”

(20th Century Studios)

The nice guy and the meet-cute from hell

At first, signs point to said handsome stranger, Keith (“It” star Bill Skarsgard, also an executive producer, cannily playing off his Pennywise persona), who turns up the charm to get Tess to lower her guard and spend the night, else brave the storm outside. After a few nice gestures and good conversation, she ignores her instincts and says yes — even as Cregger’s script and Skarsgard’s delivery create a sizzling ambiguity around Keith’s motivations.

“My only note to Bill [Skarsgard] was, ‘Don’t lean into creepy. Lean into nice,’” Cregger said. “The nicer you are and the more disarming and friendly and appealing and nonthreatening that you behave, the more the audience is going to be convinced that you’re bad.”

Inspired in part by security expert Gavin de Becker’s book “The Gift of Fear,” “Barbarian” conjures a minefield of misogynist red flags for its heroine to navigate even before she crosses paths with shouting local Andre (Jaymes Butler), sitcom actor AJ (Justin Long) and a violent tunnel dweller known as the Mother (played expressively by Matthew Patrick Davis).

“[Keith] insists on bringing her luggage in, he makes her tea that she said she didn’t want, he says, ‘Pretty name,’” said Cregger. “These are not appropriate things to be doing in this situation. But he’s not aware of it, because he thinks he’s being nice.”

Is there something more sinister about Keith that Tess can’t see? Does it have anything to do with the doors that open and close in the middle of the night? The question hangs in the air as Tess makes a series of chilling discoveries in the basement, where a hidden door leads to a shadowy hallway and a secret room where very bad things have clearly occurred.

Beyond lies yet another door leading to the subterranean lair of the film’s apparent titular monster — the volatile Mother.

A creepy basement, or bonus square footage? Hidden rooms lead to unexpected terrors in “Barbarian.”

(20th Century Studios)

The mother under the stairs

“She was described as being 7 feet tall, naked, her face looking like it was the product of inbreeding, and having an impossible strength,” said Davis, the 6-foot-8-inch actor and musician behind the most surprising character in “Barbarian.” He was cast after a Zoom audition in which he stripped to his underwear and mimicked biting the head off a rat with a pickle he found in his fridge.

“I was very aware that this could be funny in the right way or the wrong way,” Davis said of his “Barbarian” performance. “When you’re in it, you have no idea how it’s going to be perceived. You’re aware that it’s a big swing and that it is bonkers and that, you know, you’re sitting there naked in Bulgaria with boobs taped to your chest. Are people going to buy this?”

Before filming began last summer, he received advice from legendary creature performer Doug Jones, including the fine line between physical expression and nonverbal overacting and another handy pro tip: Get prescription creature contacts made, else risk biting it while chasing your co-stars through those dark tunnels.

But Mother’s backstory is also the film’s most tragic. To inform her emotional state, Davis studied profiles of feral children and adults, diving deep into “a dark, disturbing YouTube rabbit hole” of research. As he sat in a chair for three hours getting into prosthetics and makeup each day, he watched the videos to prepare.

“It opened me up to the reality of the lives of people that have been deeply abused, raised in cages, raised like animals, kept in the dark and never spoken to in their formative years,” he said. “It allowed me to have empathy for this character. This is not just a scary character for scariness’ sake. If you’ve seen the movie, you know that she’s a victim.”

“I think that she’s the most empathetic character in the movie. She has never had a chance,” echoes Cregger, who also credits Davis with inspiring him to write certain gestures into Mother’s well-worn maternity VHS tape, which come full circle in the film’s bittersweet final scene. “And Matthew plays it with such tenderness.”

The sins of the father

After introducing Mother, the textbook horror movie monster we expect, Cregger challenges us throughout the film to reconsider who the actual barbarian of the story is. First seen in a Reagan-era flashback, Frank (Richard Brake, who starred recently in Amazon’s “Bingo Hell” and killed Bruce Wayne’s parents in “Batman Begins”) is her inverse — an average suburban family man on the outside and a true monster within.

Borrowing from serial killer films “Angst” (1983) and “Elephant” (both Gus Van Sant’s 2003 feature and the 1983 Alan Clark short of the same name), Cregger builds unease as the camera follows Frank to the store, where he stocks up on a suspicious grocery list, and as he stalks a young woman to her home.

It is revealed that he has kidnapped, raped and impregnated several women in the secret chambers beneath his house without repercussions for decades, and that Mother is the daughter of another of his victims, born into miserable captivity.

But it’s telling that it’s not Tess who learns Frank’s horrible truth in the film. Instead, it’s AJ (Long, playing deftly against type) whoruns from Mother to a section of the tunnels where even she dares not follow.

Justin Long stars as AJ, the owner of the rental house, in “Barbarian.”

(20th Century Studios)

Enter the Hollywood actor

Introduced cruising carefree down Pacific Coast Highway singing along to Donovan’s “Riki Tiki Tavi,” the narcissistic Hollywood star has recently stepped into his own version of a nightmare: an accusation of sexual assault that threatens to unravel his successful career.

“Because I’m an actor, and I know the world of actors very well, I was writing from an amalgam of people in my life,” Cregger said of conceiving the character of AJ. “I was trying to think of, ‘What’s this guy’s horror movie?’ Before he gets into the real horror movie — what’s the horror movie that he thinks he’s in? The collapse of your career and reputation due to your own bad behavior. This guy thinks his world is ending.”

AJ, who at first appears to be a ridiculous comedic figure, is revealed to be arguably the scariest character in the film. In Detroit to liquidate his rental home to cover his impending legal fees, he is the embodiment of male privilege and casual misogyny, his puffed-up bravado masking an inherent cowardice and refusal to take accountability for his actions. (Although not explicitly addressed in the film, Cregger says he deliberately wrote the men of “Barbarian” to be white males.)

When AJ discovers the ailing Frank and judges him by his brutal crimes, the audience is invited to wonder: Just how different is he from the monster staring back at him?

Frank, at least, seems to know he can’t escape what he’s done. AJ’s brief moment of clarity reverts to gaslighting self-preservation as he commits one final heinous act, attempting to hide his true nature behind a well-practiced nice guy veneer — a quality Long borrowed from watching men deliver empty apologies on “The Bachelorette.”

“There’s a glimmer of accountability,” said Long, “and I just love that Zach refuses to take the conventional way out.”

As for Tess, it’s her innate sense of empathy — the one that repeatedly sends her toward danger to help others, at her own peril — that helps her understand Mother before she sets them both free. “She’s someone that is used to traumatic situations and is able to understand how to survive in this situation,” said Campbell. “By the end of the film, I feel like she gets her own agency and is able to get out of the pattern she found herself in again and again and again.”