“The Devil Wears Prada 2” opens like a knockoff of itself, with sight gags calling back to the mean quips in the 2006 hit: near-identical teal belts, a gala hailing the less-than-innovative theme “Spring Florals” and a red carpet that’s actually cerulean. Those belts, if you’ll remember, were the trigger for Meryl Streep’s Oscar-nominated speech about how her imperious fashion magazine editor in chief Miranda Priestly creates trends that trickle down to the rest of us rabble.
That first film (I’ll go ahead and anoint it a classic) followed a dowdy college graduate, Andy (Anne Hathaway), pursuing a low-level position at Runway magazine — Vogue in everything but name — as a bridge to a serious reporting career. Woe, said bridge is guarded by three trolls: fellow assistant Emily (Emily Blunt), tastemaker Nigel (Stanley Tucci) and the devil herself, Streep’s silver-haired Miranda, whose saintly last name is an ironic joke. Miranda is a riff on Vogue’s former editor in chief Anna Wintour, who used to be irritated by her caricature but eventually came around. After all, she’s getting played by Meryl Freaking Streep.
The setting was glam, the struggle relatable. Andy’s transition from sensible boots to stilettos served as a metaphor for the effort — even discomfort — it takes to chase your dreams, however they might evolve. “The Devil Wears Prada” gets celebrated for her makeover, with even Andy’s clueless boyfriend, played by Adrian Grenier, accusing her of caring about her Runway job solely for the shoes. No, it was never about the shoes. It was about respecting the workaholic she saw in the mirror.
The sequel, from returning director David Frankel and screenwriter Aline Brosh McKenna, doesn’t find its own footing until it acknowledges that a Cinderella story about making it in journalism no longer fits. Gone are the days when Miranda and Nigel could casually tell their deep-pocketed publisher Irv (Tibor Feldman) that they’re junking a $300,000 photo shoot because it failed to reach their lofty standards. Likewise, Andy’s story starts when a magnate shutters her current job at a newspaper called the New York Vanguard, firing her and her colleagues for a $500-million tax write-off. (Cue the workers of at least one major Hollywood studio nodding in recognition.)
Hathaway’s Andy, smart and likable as ever, returns to a budget-slashed Runway as the features editor in charge of investigative pieces that online metrics reveal nobody reads — that is, until she breaks a celebrity engagement. Meanwhile, the internet has reduced Miranda to a meme. Her most recent viral scandal has gotten her animated into that Homer-Simpson-in-a-hedge GIF.
McKenna writes Miranda a self-aware scene where she acknowledges that her harsh reputation boosts her clout. Yet I wonder what Wintour will make of this diminished avatar pursuing the same promotion that she herself just claimed at Condé Nast as global head of content. After elevating custom couture to an art form, just the word “content” sounds like a demotion. Content is to prestige journalism what Shein is to Chanel.
Twenty years later, all of the money and power in publishing has been siphoned to the very, very rich. There seem to be as many billionaires in the script for “The Devil Wears Prada 2” as magazine assistants. Mighty Miranda must kowtow to the luxury brands and their ambassadors, whose sponsorship keeps Runway strutting, including the once-harried and humiliated Emily, who is now an executive at Dior. The tension is thicker than mink. The film franchise chooses to ignore original author Lauren Weisberger’s own 2013 follow-up novel “Revenge Wears Prada,” although I’d love to see a threequel that follows her lead and gives Blunt’s hilariously frosty Emily the center stage as she does in her third book, “When Life Gives You Lululemons.”
The storytelling is wonky, given the film’s competing needs to be Miranda-blunt about the modern magazine business while pairing marvelously with a glass of rosé. Instead of Paris, we’re now whisked to cameo-studded shindigs in the Hamptons and Milan, including a dinner party underneath Da Vinci’s mural of “The Last Supper.” (Not only is the painting’s topic apropos, Da Vinci himself butted heads with his wealthy patrons.) Much of the first half feels like we’re cooling our heels with the gang, waiting for a plot to start. There are a lot of idea threads that fray off and don’t go anywhere. Are we supposed to interpret anything from the fact that Miranda has succumbed to throwing a spring florals event — a theme she famously loathes — or are we just supposed to chuckle at the banner and move on? Also, no one in attendance is even wearing anything with flowers. Is the old gal slipping, or is the costume design?
Finally, things get going with a funeral — I won’t say whose, only that the death makes a fitting twist for an industry already getting the axe. Like Andy, I started writing for newspapers a few years after Craigslist decimated the classified page. My personal version of “The Devil Wears Prada” would be closer to a grindhouse flick. At least the Runway employees look killer at their own wake.
Twerpy MBAs force Miranda to fly coach. Of course you snicker — her character hasn’t gone past the first-class curtain since everyone onboard got served a hot meal and plenty of legroom. But there’s no schadenfreude watching her squeeze into a middle seat, no glee in her comeuppance. If Miranda Priestly can get thrown in steerage, we’re all screwed.
The movie is simultaneously more depressing than the original and more saccharine, with a repellent amount of affection between characters who should know better. Tucci’s endearingly steadfast Nigel is finally applauded for his years of service to Runway, and I was dismayed to find myself rolling my eyes at how corny the moment felt. Frankel and McKenna were geniuses to keep things callous on the first go-round, but they now add a romantic subplot between Andy and an Australian apartment contractor (Patrick Brammall) that detracts from the platonic workplace relationships — it’s fan service that I’m not sure fans actually want. Miranda, too, has found love again, and her new husband’s part is so small that I kept trying to convince myself that the actor couldn’t really be the great Kenneth Branagh..
Justin Theroux has a showier, funnier part as the billionaire Benji Barnes who, every time you see him, is holding court about another inane idea or giggling about how a civilization-destroying Pompeii disaster is on the horizon. Terrifyingly, he refers to “humans” in the third person, as if he no longer considers himself one of our species. Given the film’s interest in the figures gutting journalism and how his character’s ex-wife (Lucy Liu) refers to their marriage as being like “a rocket ship to a hall of mirrors,” he’s Jeff Bezos with a sprinkle of Elon Musk. It’s pointed timing, given that Bezos is sponsoring May’s Met Gala, wrapping the Wintour-chaired event in his brand like a giant cardboard box.
But enough about what “The Devil Wears Prada 2” has to say about the economy. How are the clothes? Aesthetically, I dug Andy and Miranda’s sleek menswear looks, lots of vests and blazers with panache. Narratively, their characters — a heroine and her nemesis — shouldn’t dress as though they could swap wardrobes. Then again, they’re here aligned as champions of art, beauty and the press, standing shoulder to shoulder in the all-but-hopeless fight to protect Runway from the philistines. The real devils wear Fitbits.
‘The Devil Wears Prada 2’
Rated: PG-13, for strong language and some suggestive references
Megan Thee Stallion’s Broadway run playing Zidler in “Moulin Rouge! The Musical” is ending weeks earlier than planned, and days after she announced a messy split from NBA star Klay Thompson.
The “Wanna Be” hitmaker is pulling out of her first Broadway run weeks sooner than anticipated. Megan announced the news on Instagram alongside a bandaged heart emoji and said she would step away from the production Friday rather than the originally slated May 17.
“Hotties, my last performance as Zidler in @moulinrougebway will be May 1,” she wrote. “It’s been such an honor to be part of thee Moulin Rouge family and I’ve met so many amazing people in this theater!
“Y’all work so hard and I have so much respect for the dedication, the stamina, the work ethic, the time and the effort y’all put into the work! I’m so grateful for the cast and crew that made this experience so meaningful. And to all the Hotties that showed up or planned to attend, thank you for supporting me during this incredible journey! I LOVE YALL . . . See you soon.”
The Grammy Award-winning rapper made history as the show’s first woman to portray the charismatic cabaret manager Zidler — the character’s full name is Harold Zidler. Broadway veteran Eric Anderson will step back into the role on May 19, but the actor who will cover the interim, from May 2 through 17, hasn’t been announced.
The wildly popular “Moulin Rouge! The Musical” was recently extended on Broadway, with its final performance set for Aug. 30 after a seven-year run.
Although Megan didn’t offer a reason for her departure, the move comes amid a recent health scare and some personal upheaval for the “Hot Girl Summer” chart topper.
On Saturday, the “Savage” rapper aired some dirty laundry on social media, writing in a since-expired Instagram story that her recent beau, Dallas Mavericks shooting guard Klay Thompson, didn’t know if he could be monogamous and had treated her horribly during their time together. “I need a REAL break after this one,” she wrote.
She followed the social media admission with a formal statement issued to People confirming that she and Thompson had split just months after they took their relationship public.
“I’ve made the decision to end my relationship with Klay,” Megan said in a statement. “Trust, fidelity and respect are non-negotiable for me in a relationship, and when those values are compromised, there’s no real path forward. I’m taking this time to prioritize myself and move ahead with peace and clarity.”
Like the milieu in which they’re set, prison movies can be terribly constricting. Often focusing on well-worn themes of masculinity, regret and redemption, they feature (and sometimes indulge) rough-hewn portrayals of tortured characters suffering through physical and emotional tumult. Inherently compelling but also a shade predictable, the genre promises a tantalizing glimpse at a terrifyingly macho world — one that most of us are fortunate not to know firsthand.
Cal McMau’s feature directorial debut hardly reinvents the formula, but it does remind audiences what remains so sturdy about the premise of an ordinary man trying to stay alive behind bars. And thanks to the latest impressive turn from rising star David Jonsson, “Wasteman” even finds a few new notes to play within a familiar stark melody.
Jonsson is Taylor, who has been serving 13 years in a U.K. prison for a drug deal that went tragically wrong, leading to an accidental death. Soft-spoken and overly accommodating, the young man mostly wants to avoid trouble, allowing himself to be bullied by cell-block thugs Paul (Alex Hassell) and Gaz (Corin Silva) while offering to cut their hair in exchange for the pills that fuel his addiction. Taylor has learned to go along to get along, existing in a zombie-like state from the perpetual high he chases.
But Taylor’s stasis is interrupted by the news that he may be granted early parole. (The overstuffed U.K. penal system needs to shed nonviolent prisoners to make room for dangerous offenders.) Longing to reconnect with his estranged teenage son Adam (Cole Martin), Taylor can see the light at the end of the tunnel — until the arrival of Dee, his new cellmate.
Played by a snarling, coiled Tom Blyth, Dee swaggers whereas Taylor shrinks. Seeing his new home as his kingdom, Dee quickly becomes the prison’s chief supplier of whatever you need — sneakers, candy, drugs — while ferociously asserting his dominance. (Early on, Dee slashes a fellow inmate’s face, recognizing him as someone who once ran with a rival crew.) Taylor adapts to the volatile situation as he always has, serving as the unthreatening beta, eventually earning Dee’s trust and friendship. Soon, Dee takes an interest in Taylor, ordering his lackeys on the outside to give Adam gifts that they claim are from his dad.
“Wasteman” introduces this odd-couple scenario and then waits for their fragile coexistence to rupture. Accustomed to being the prison’s top dogs, Paul and Gaz don’t take kindly to Dee invading their turf, resulting in an escalation of tension that puts Taylor’s parole at risk. But if much of “Wasteman” follows an expected trajectory, the film’s conception of Taylor proves thornier than anticipated.
Although probably best known for the HBO series “Industry,” Jonsson has demonstrated a dazzling range over a short period of time, including acing romantic dramas (“Rye Lane”) and dystopian thrillers (“The Long Walk”). But what unites his diverse roles is the sense of a sensitive, intelligent actor who constantly makes us wonder what he’s thinking.
Jonsson’s silences always seem to say so much and in “Wasteman” he capitalizes on his reserved demeanor and smaller frame to create a character who is much less frightening than those around him. Unlike Dee, he’s no hardened criminal, merely a guy who made one stupid mistake to financially support his child, and “Wasteman” initially encourages viewers to sympathize with this delicate soul who’s been thrown to the wolves.
Gradually, though, Jonsson complicates our feelings about Taylor. Equally desperate to be freed and to keep getting high — essentially escaping one prison while remaining in another — he slowly reveals himself to have little in the way of principles or ethics. When Paul and Gaz confront Dee, Taylor’s response is so cowardly that it’s pathetic, suggesting a spinelessness that bedeviled him long before he wound up in jail. The film presents Taylor as a kindly spirit, which turns out to be little more than calculated self-preservation.
Within the confines of a fairly conventional prison drama, McMau dissects an anonymous nobody who discovers that, both in prison and in life, there are consequences for not taking sides. Despite Dee’s savagery, Blyth portrays Taylor’s cellmate as loyal and honest — someone who believes in a personal code of conduct. The movie’s bitterest irony is that, of the two men, it’s ultimately Dee who may be more honorable.
McMau’s attempts to amplify the story’s grim authenticity occasionally fall flat. (Inspired by footage shot by actual inmates with contraband cellphones, the first-time director incorporates stagey inserts meant to re-create these intimate, graphic images.) He’s on firmer footing exploring his two leads as they square off inside this smoldering crucible. Like Jonsson, Blyth hints at a whole universe inside his character simply by the way he quietly listens and observes. As Taylor’s parole looms, the stakes grow. By the time “Wasteman” reaches its ambiguous finale, our loyalties are far from clear-cut.
‘Wasteman’
Not rated
Running time: 1 hour, 30 minutes
Playing: Opens Friday, April 24 at Laemmle Monica Film Center
In the first of several significant flashbacks in “Over Your Dead Body,” Samara Weaving’s unhappy Lisa complains to a friend about a hunting trip her equally miserable husband Dan (Jason Segel) is taking her on. “You know how much I hate guns,” Lisa fumes. “So dangerous.” Turns out, she’s actually telling two lies, which is par for the course for this twisty yet underwhelming dark comedy that views marriage as both a hyperviolent blood sport and a battle to the death.
Based on Norwegian filmmaker Tommy Wirkola’s 2021 “The Trip,” “Over Your Dead Body” concerns a couple whose wedded bliss has faded along with their professional prospects. Dan directed a moderately successful sci-fi film several years ago but is now stuck shooting cheesy pop-up ads. Meanwhile, Lisa’s nascent acting career is flailing. As the movie begins, Dan conspicuously informs his production team that he and his wife are going hiking in the middle of nowhere — something, he insists, the risk-taking Lisa wants to do, despite how perilous that might be. What we soon realize is that he’s creating cover for his nefarious plan, which is to kill Lisa at his family’s forest cottage, making it look like she disappeared without a trace in the woods.
But director Jorma Taccone eventually reveals that it’s not just Dan who has murder on his mind. That first flashback rewinds to Lisa’s simultaneous scheming, claiming to those close to her that Dan longs to go hunting — when, in fact, she’s secretly brought a rifle so that the authorities will assume he accidentally shot himself. (Whatever fears she once harbored about firearms are, clearly, no longer an issue, if they ever were.) Dan is offended when he uncovers her plot: Why would she want to kill him? At least he’s justified, he believes, having caught Lisa in an affair with her scene partner.
More surprises are in store as Dan and Lisa engage in a deadly standoff in the cabin, only to discover that they’re not alone. Another flashback details how two convicted killers, Todd (Keith Jardine) and Pete (Timothy Olyphant), escaped from a local penitentiary with the help of Pete’s girlfriend, prison guard Allegra (Juliette Lewis), and are seeking refuge at the cottage. Suddenly, the feuding married couple must work together to stay alive.
One-third of the comedy troupe the Lonely Island, Taccone previously directed the big-screen adaptation of the “Saturday Night Live” sketch “MacGruber” and co-directed the endlessly rewatchable mockumentary “Popstar: Never Stop Never Stopping.” For “Over Your Dead Body,” he teams with producer David Leitch, whose 87North shingle specializes in R-rated action-comedies like “Nobody” and “Violent Night.” Taccone’s irreverent, slyly shocking style would seem a good match for a story in which the pain of romantic discontent is paired with myriad scenes in which a variety of weapons wreak grisly havoc, including lawnmowers, sports cars, gardening equipment and a sock with a pool ball in it.
But despite Segel and Weaver’s best efforts, they can’t make this bickering duo deliciously awful, the characters proving more grating than hilariously combustible. And when Pete and his cohorts arrive, they’re too broadly quirky to be either menacing or hysterical, although Olyphant’s long-suffering leader has some nice moments slowly processing how dumb Todd and Allegra are.
Other than one queasy homage to “Deliverance,” the film’s handling of the showdown between this drab married couple and the cartoonish criminals is rarely gripping. Instead, “Over Your Dead Body” delivers over-the-top fight sequences emphasizing grimaces and gross-out laughs. People aren’t simply shot in the head — the bullet transforms it into a gooey slab of meat. Fingers get sliced off, stakes are driven through hands and a foot is reduced to bloody tatters. Taccone handles all this with gleeful excessiveness but once you’ve seen one pulverized face, you’ve seen them all.
A droll irony is intended to unfold alongside the rising body count. Dan and Lisa embarked on this getaway to murder one another, but they’ll end up rekindling their love. To be sure, Segel and Weaving are much more winning once their characters start warming to one another. Still, the film feels like a missed opportunity for Weaving, who became a scream queen in the “Ready or Not” films. In those movies, as an unsuspecting bride thrust into a life-or-death situation, she appealingly balanced a convincing physical performance with an understated comedic streak, her beleaguered character enduring one absurdity after another.
Weaving finds herself in a somewhat similar role in “Over Your Dead Body” and this uneven action-comedy is anchored by her had-it-up-to-here performance, which provides a witty insight into marriage that the film otherwise ignores. It’s bad enough that Lisa has to deal with Dan’s insecurity — now she’s got to tangle with some dopey crooks? Women have to do everything in a relationship.
‘Over Your Dead Body’
Rating: R, for strong bloody violence, gore, sexual assault, pervasive language, and sexual content
Plucked from a previous life as a working actor, Richard Gadd experienced a disorienting whirlwind less than two years ago. “Baby Reindeer,” his painfully personal 2024 Netflix show, based on the sexual assault he survived, instantly opened the floodgates of fame for him.
“The show came out on Thursday, and by Sunday, I could barely walk anywhere without being recognized, without being stopped,” Gadd says while visiting The Times’ offices earlier this month. “That’s an adjustment because I always thought if anything like that ever happened, it would be a bit more of a gradual process. But it was overnight, so I didn’t have time to adjust.”
Now the winner of three Emmy Awards and a slew of other accolades for that series, which he starred in, wrote and served as showrunner, Gadd, 36, has already helmed a new emotionally ferocious show.
Probing the tropes of rigid masculinity, “Half Man,” premiering Thursday on HBO, chronicles the destructive bond between two men over several decades. Niall and Ruben — whose respective mothers are romantic partners — call themselves brothers but they couldn’t be more dissimilar.
Bullied at school, meek Niall (played by Mitchell Robertson in his youth and Jamie Bell in adulthood) lost his father as a young boy. He dreams of being a writer. Meanwhile, the insolent and hyper-confident Ruben (Stuart Campbell as a teen and Gadd as a grown-up) has been in trouble with the law from a tender age. Facing any conflict, he resorts to brutal violence. When Ruben takes Niall under his wing, the two become inseparable. But as the years and resentments pile on, their cancerous brotherhood threatens to obliterate them both.
“Half Man” follows the destructive bond between Ruben (Richard Gadd), left, and Niall (Jamie Bell) over several decades.
(Anne Binckebanck / HBO)
“Richard’s writing is really unique and really singular,” Bell says on a video call from England, where he’s currently shooting the “Peaky Blinders” sequel series and is sporting a shorter haircut. “He identifies that real gray area of humanity really well and he puts a voice to the most uncomfortable places that we go into or things that we think when we’re alone in the dark, when we think no one’s watching.”
Gadd wrote the first episode of what would become “Half Man” back in 2019, while he still was performing the live version of “Baby Reindeer,” which he turned into the series. At the time, he recalls, society at large was seriously engaging in conversations around toxic masculinity and sexual violence as the #MeToo movement gained strength.
“It wasn’t necessarily that I set out going, ‘Oh, I want to make a show about that,’” Gadd says. “It was more that something must have just drifted into my head thinking, ‘You take two men repressed in their current life, repressed in the modern world. And then you go all the way back to their childhood. You contextualize learned behavior; you contextualize trauma and things they learned that make them these repressed adults. And you bring a bit of context to, I suppose, difficult male behavior in the present.’”
As “Baby Reindeer” launched his career as a creator, Gadd put “Half Man” on ice for four years but couldn’t stop thinking about returning to it. “Even as I was coming to the end of ‘Baby Reindeer,’ I thought, ‘I’m really looking forward to getting back to that project,” he recalls. “The second ‘Baby Reindeer’ finished, I thought, ‘This is what I’m going to do now.’”
Sitting across from the mild-mannered Gadd, the magnitude of his transformation on screen for “Half Man” becomes even more impressive. Gadd comes off as thoughtful and emphatic, while Ruben, his physically imposing character, commands trepidation.
“The second ‘Baby Reindeer’ finished, I thought, ‘This is what I’m going to do now,’” Gadd says about working on “Half Man.”
(Ian Spanier / For The Times)
Watching Gadd as the rage-fueled Ruben, one might be surprised to learn he originally had no intention of acting in “Half Man.” After wearing multiple hats on “Baby Reindeer,” Gadd thought this time around he could get a purely external bird’s-eye view of a project as showrunner and writer of “Half Man.” But eventually people around him suggested he should be in front of the camera once again.
“My initial response was always, ‘That’s just so far away from anything I’ve done before. It’s so far away from me. Are people going to buy it?’” he recalls. “And behind every single fear-based thought was a worry of what people might think, which in my opinion, isn’t a good enough reason to not do something.”
Convinced audiences would struggle to see the guy from “Baby Reindeer” as this “hard man,” a U.K. term for tough and intimidating men, he had to physically morph. To inhabit a new body, Gadd underwent a strict exercise regimen, and most importantly, a new diet.
“I had a chef make these meals in England, fun enough, and send them up to Scotland where I was filming,” he recalls. “I’d eat them at specific times. You go through periods of fasting and through dehydration whenever you had your top off. There was a real science to it.”
And yet, though he at first worried he wouldn’t look big enough, Gadd refused to portray Ruben with a chiseled physique conceived for mere aesthetics.
“I didn’t want him to have a six pack, I wanted him to feel like a real person,” Gadd says. “Sometimes when you see someone on TV and they’re ripped, I almost don’t think that’s real strength. Someone like Ruben, they wear their life in their body, they’re heavy set. It’s not ripped. It’s bulky. It’s natural to him.”
Before he agreed to play the character, Gadd auditioned numerous actors for the part, but with all of them he felt they were too focused on his appearance as an imposing figure and not his inner turmoil. “Ruben is extremely sad as a person. He’s terribly broken and traumatized,” he says.
For the series, Gadd bulked up to become more physically imposing: “Someone like Ruben, they wear their life in their body, they’re heavy set. It’s not ripped. It’s bulky. It’s natural to him.”Richard Gadd in “Half Man.”(Anne Binckebanck / HBO)
When asked if he sees himself as Ruben, Gadd contemplates the question, debating whether it’s his “jetlagged brain” or ambivalence about finding some of Ruben within him.
“Do I see myself in Ruben?” After a pause, he concedes: “All of his behavior is a reaction to a deep traumatic happening in his life. I can relate to finding it extremely difficult to get past big traumatic events and coming to terms with them and coming to terms with yourself even as a result of them.”
With less hesitation, Bell, 40, acknowledges that he finds a certain kinship with his character. As a teenager, Bell flocked to people with a defiant edge. “I grew up without a father in an all-female household and I felt very naked as a child in terms of needing to be protected by someone who was dominant and aggressive,” he says. “I totally understand why Niall seeks solace in someone like him. No one will touch Ruben. There is a safety in that.”
Gadd says he doesn’t think about celebrities when searching for the actors. “I’m quite fame-averse when it comes to casting because I think sometimes it can get in the way,” he explains. “You can have a show, which starts up with all the best intentions, turn into a sort of acting vehicle for someone, or the discussion becomes about the actor doing this role.”
That said, when the casting director on “Half Man” asked him about his “dream cast,” Gadd expressed Bell was the only one who would genuinely excite him. But could that happen? “In my head, I was still in pre-‘Baby Reindeer’ time where I thought, ‘Well, somebody like him is not going to be interested.’ And then I thought, ‘Well, he might be,’” Gadd says.
For his part, Bell found the “nihilism” in Niall, a man desperately running from his true self and living in Ruben’s shadow, an enticing and complex character to play. “[Niall] conceals himself in many different ways, and has a lot of self-loathing, but at the same time has all these ambitions and actually is incredibly egotistical and thinks that his way is the correct way, and that other people don’t understand that he is terminally unique,” Bell explains with a chuckle.
Bell, who plays Niall, says his character “conceals himself in many different ways, and has a lot of self-loathing, but at the same time has all these ambitions and actually is incredibly egotistical …”
(Anne Binckebanck / HBO)
Aside from a tight schedule to produce “Half Man,” the challenge for Bell was adjusting to the dramatic intensity that Gadd was after. “I wasn’t particularly prepared for that, therefore sometimes my reading of certain scenes I’d get wrong. We’d start scenes and Richard was like, ‘You are pitching it at like a six, and this is very much an 11,’” Bell recalls laughing. I was like, ‘Oh, OK.’ That took some modulating.”
In Gadd’s mind, Bell remains an “underrated” artist. A proud Scotsman, Gadd recalls loving Bell in the 2007 romantic dramedy “Hallam Foe,” where the British actor played Scottish. For “Half Man,” Gadd thought Bell could convey the pain that haunts Niall, even as his actions paint him less like Ruben’s victim and more like a vengeful participant in the chaos.
“There’s always something I find so vulnerable about Jamie and I knew that I was going to take Niall in some really big journeys where he was going to almost test the audience’s love for him,” Gadd says. That Niall finds Ruben so alluring is natural to Gadd, who believes the notion of a valiant male figure has been bred into everyone via fables and fairy tales.
Gadd adds that whether or not we like to admit it, we’re drawn to alpha male characters. “Because from an early age, we’ve been told they are always at the top of the social hierarchy. And as a result, we’ve always, as a society, answered to those kinds of people as some sort of leaders.”
And though he says he’s unfamiliar with the “manosphere,” the misogynistic and chauvinistic online community, Gadd doesn’t believe Ruben would fall for the gurus in those circles who claim to have the answers for young guys to become “real men.”
“Ruben carved his own masculinity. To give him credit, if that’s even something you can give him, those spaces wouldn’t hold any weight for him. He’s his own man,” Gad says. “He would never follow anyone on social media. He’s the person to be followed.”
Based on the tone of Gadd’s output thus far, it may come as a surprise that as a young person he dreamed of creating a show along the lines of the U.K.’s “The Office,” which he considers a “perfect piece of art.” The stories he is telling now better reflect his “neuroses” and the experiences he’s endured.
“My life just took a very dramatic turn, and my sensibilities weren’t workplace sitcoms anymore. When I grew up and I was doing comedy I thought, ‘I’ll write a sitcom one day and every character will be sort of funny in it,’” he says. “But my life just took a turn to the point where I needed my writing and my art darkened because what I went through was very dark.”
Humor is not entirely absent from “Half Man,” some of the characters’ reactions to their distressing realities earn a chuckle. Still, Gadd’s funny bone might also find an outlet in other people’s narratives. He was recently announced as part of the cast in Apple TV’s upcoming high-concept series “Husbands,” for which he already shot his scenes. Adapted from a bestselling novel of the same name, it stars Juno Temple as a woman who gets to experience life with a different partner every time she changes the light bulb in her attic.
“I’m very picky with stuff I take on. Because I love writing my own work so much, anything that takes me out on someone else’s show has to be very special. And this was very special,” Gadd says.
“Everything I do doesn’t have to be dark,” he adds with a soft smile.
EastEnders fans were not expecting to see one character randomly head back to the BBC soap without warning during Monday’s episode of the BBC soap amid a scene with Ravi Gulati
11:01, 20 Apr 2026Updated 11:01, 20 Apr 2026
Fans got a surprise during Monday’s episode of EastEnders(Image: BBC)
Fans got a surprise during Monday’s episode of EastEnders as a character returned without warning after four years offscreen.
With the episode now up on BBCiPlayer ahead of it airing on BBC One on Monday evening, we saw Ravi Gulati faced with a blast from the past. The death of his ‘father’ Ranveer Gulati was revisited, as Ravi headed to hospital amid his mental health spiralling.
There, his nurse was none other than his ex and former stepmother Nina Gupta. Fans may recall Nina was having an affair with Ravi behind Ranveer’s back.
Around this time we saw Suki Panesar believe she had killed Ranveer after he sexually assaulted her. She attacked him in self-defence, and Ravi walked in and decided to help her cover up the crime.
It was soon apparent his ‘dad’ was still alive though, and Ravi killed him. Nina was helping Ravi trying to get Ranveer’s money, and she covered for Ravi for killing her husband too.
Now she’s back, treating Ravi in hospital where she addressed their past. Seeing him struggling, she said it was karma for what he did all those years ago.
Fans were divided over the return, as one fan posted on social media: “Now why did we need to bring Nina back. We didn’t need her the first time and she’s just proven why we didn’t need her this time.”
A second fan said: “I’m glad they bought back Nina for this episode cause even though this sl was triggered by the drugs and the spiking I think it reminds people that everything genuinely stems from Ranveer and Nish.” A third added: “Unexpected Nina in the bagging area!!!”
Another viewer said: “Seeing Nina return today took me by suprise but has equally left me convinced that Kheerat and/or Ash might return at some point. Kheerat took the fall for Ranveer’s death in the end and that showdown at the surgery beteeen Ash and Nina was brilliant.”
The reactions kept on coming too, with one fan saying: “Bringing back Nina Gupta wasn’t on my bingo card!” another confessed: “For some reason I thought Nina died lmao clearly not.”
A final comment read: “I was really divided about Nina. I think it’s really good when you bring back a past character to explore someone else’s past and I think this did that and reminded us of that time in Ravi’s life. But equally why was she acting like she wasn’t a ‘baddie’ style character then too?
“She was hardly innocent! I thought it was a good twist as we didn’t know it was going to happen and it was like oh hello, but at the same time I don’t know if it added much.”
Inside the ornate Bovard Auditorium, Larry David kept a full audience in stitches as he discussed the creation and legacy of his improv hit, “Curb Your Enthusiasm,” which concluded in 2024 after 12 seasons.
In a conversation with Lorraine Ali — who wrote “No Lessons Learned: The Making of Curb Your Enthusiasm,” which retraces the show’s long run with cast interviews, episode guides and behind-the-scenes material — David reflected on the separation between himself and the abrasive on-screen persona he adopted for more than two decades.
“I wish I was that Larry David,” he said.
David spoke about the outrageous audition process for “Curb,” wherein actors tried to navigate a brief written scenario without any dialogue to guide them as David lambasted them in character. Out of this process came iconic one-liners and beloved characters, such as Leon, played by J.B. Smoove.
“People bring out certain things, and when I would act with them, some of them would make me seem funny,” David said. “I go, ‘Oh, that’s good — let’s give him a part.’”
David cited “Palestinian Chicken” as one of his favorite episodes of the show. In the episode, David is caught between a delicious new Palestinian chicken restaurant, a Palestinian girlfriend and an outraged inner circle of Jewish friends.
He also spoke briefly about his upcoming episodic HBO series, “Life, Larry and the Pursuit of Happiness,” a historical spoof that will retrace United States history for the country’s 250th founding anniversary. The series will premiere on Aug. 7.
“A lot of wigs, costumes, beards — fake beards,” David said. “Nothing worse than fake beards.”
The controversial ending of “Seinfeld,” which David co-wrote with comedian Jerry Seinfeld, was polarizing among fans when it was released, David said. After a recent rewatch, however, David said he thought it was “pretty good,” to a round of applause from the audience.
Near the end of the panel, an audience member asked a question some definitely had on their mind: Will “Seinfeld” ever get a reunion?
