Riz Ahmed has created and stars in a marvelous new series, “Bait,” premiering Wednesday on Prime Video. There are no worms in it, though viral video plays a part, and fame — the pursuit of which is a subject — is a lure.
But what’s in a name? A comedy by any other name would be as funny — if it was funny, and this one very much is, in a way that’s crazy and serious and human, built around a character in crisis who refuses to believe his life is out of control and is so invested in putting up a front that he’s begun to believe his own lies. Almost. It’s a series in which hallucinations, dreams, magical realism and memories, which punctuate and interfere with the “normal” business of the story, all amount the same thing, and in which the style of the filming shifts with the action.
Ahmad plays Shah Latif, a British Pakistani actor, who, owing to the exertions of his faithful, often frustrated agent, Felicia (Weruche Opia), is improbably auditioning to be the next James Bond. But he repeatedly forgets his line when his scene partner, a girl with a gun, asks, “Tell me, when it’s just you all alone, how do you live with yourself? Do you even know who you are?” establishing a theme. (The line he can’t recall: “I don’t live with myself, I live with whoever you need me to be.” Spies and actors!)
Leaving the audition, he contrives to be photographed by one of the paparazzi lurking outside, sniffing for a Bond scoop; his picture is published, which creates a stir and some racist blowback, culminating in a package thrown through the front window of his parents’ home. (It is not a window that opens.) What’s inside the package I’ll leave for you to discover, but it will play a part through the rest of the show.
The recurring question of who will be the next James Bond generates a lot of pop cultural heat in our world; just type “next James Bond” into your search engine of choice. At one point, you may recall, Idris Elba was regularly bruited as a potential 007, which occasioned enough anti-Black reaction that he officially took himself out of the unofficial running. It may have been on Ahmed’s mind here — Shah claims high purpose for his Bondean aspirations, that he wants “to show them that this too is what British looks like.”
On the one hand, Shah has had enough of a career to have been made into a “limited edition collectible action figure,” starred in a well-regarded but underseen small film, played “the translator in ‘Homeland’ series seven” and earned a rising star award from some French festival; on the other, he is, professionally speaking, no Idris Elba — not a nobody, but not too many rungs above it. (He’s not Dev Patel, either, with whom he’s repeatedly confused.)
At the top of the second episode, Shah is seemingly being interviewed on a podcast, “Sir Chatwick Stewart, with me, Sir Patrick Stewart” — played by the man himself, whom we hear but never see — about his ambitions, though it’s soon clear that Stewart is a mental projection, an inner critic and inquisitor. He’ll stick around through the series, offering barbed commentary and something like support: “If I humiliate you, it’s to save you from the bigger humiliation of remaining as you are.”
As a protagonist continually getting in his own way, Shah is a classic sort of comic character. He creates opportunities only to squander them; finds himself voiceless after forcing himself onstage at a black-tie gala or in an underground club (he was once a politically provocative MC). After a newsworthy mishap, his agent advises him to lie low, which is impossible for him to do; there is no itch he won’t scratch, and no good advice he’ll actually follow. Apart from a rival actor (Himesh Patel) he’s a protagonist without antagonists, excepting himself. He’s insufficiently grateful to the people he owes, and insufficiently apologetic to those he’s wronged.
Shah’s self-involvement will be challenged by ex-girlfriend Yasmin (Ritu Arya), encountered first by accident, then sought out — a writer, she has published an op-ed headlined, “No, Shah Latif, We Don’t Need a Brown Bond” — in which she accuses him of “exchanging his political art for vanilla distraction.” His family, whom he neglects to visit for months, includes warm-hearted cousin Zulfi (Guz Khan), who has started a Muslim ride share company; a no-nonsense sister (Aasiya Shah) — the name of her character is rendered as “Q” on IMDb and elsewhere, but in the series itself she’s called Ainy — doting mother Tahira (Sheeba Chaddha); and his skeptical father, Parvez (Sajid Hasan), who has not been keeping his doctor appointments and asks Shah, “What do you even do? I watch TV all day — you’re never on it.”
Appropriate to a character who lives for being onscreen, “Bait” plays with the language of film — gritty procedural, a burst of Bollywood, romantic comedy — though not necessarily to the usual ends. Frame-filling titles identify the London neighborhoods where the action takes place — Wembley, Kentish Town, Brick Lane, Ladbroke Grove — as Paris, Moscow and Mexico City might appear in an international thriller. The series is at once satirical and celebratory; “Bait” feels abundant, both in its presentation of a culture, which has the ring of documentary truth, and as a beautifully realized work of art.
The award-winning series returns for its fifth and final season soon, with fans calling it ‘awesome’
The series stars Jean Smart as Deborah Vance(Image: HBO MAX)
Fans of the series are wishing it would never end.
Fans of comedy dramas are in for a delight as an acclaimed dark comedy is poised to return with a brand new season soon.
The series first premiered on HBO Max back in 2021 and it charts the journey of a stand-up comedian and her comedy writer as they grapple with the shifting dynamics of their partnership.
The popular comedy was renewed for a fifth and concluding season, set to air on April 9, and it features Jean Smart as Deborah Vance and Hannah Einbinder as Ava Daniels.
HBO Max has just unveiled the trailer for the final season of Hacks, and within 24 hours it amassed over a million views.
Fans flocked to the YouTube comments to express their opinions, with one viewer exclaiming: “I never want it to end!!!”
Another commented: “I love when a series announces the final season, even though I adore Hacks, to end it’s inevitable, and to conclude with full control and a solid script is even better.”
A third chimed in: “I freaking love this show, I can’t wait for this final season.” Whilst a fourth enthused: “This is gonna be amazing!!!!!!”
A fifth declared: “Hands down, one of the best comedy series ever! Why does it have to end?”
Whilst numerous fans were disheartened that the series was drawing to a close, others were content that the show was concluding on its own terms.
One stated: “I’m so glad they’re going to be able to finish it knowing it’s the end.”
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Season five was confirmed to be the final season at the 2025 Emmy Awards, with star Hannah Einbinder revealing: “I think it will feel different.
“We’re going to start [filming] next week, and knowing it’s the last season is really bittersweet. But I think it’s right, you know?”
Einbinder expressed that it was the appropriate time to conclude the show, stating it’s crucial not to “overstay your welcome.
“I think it’s nice to do something as many times as it should be done,” she further commented. “Not overstay your welcome. Rip it and do it and laugh and cry.”
All four preceding seasons of Hacks have garnered critical praise and on the review aggregation website Rotten Tomatoes, the series as a whole boasts an impressive 99 per cent rating.
Comedians Jo Koy and Gabriel “Fluffy” Iglesias are used to delivering big laughs on large stages. But in the world of major L.A. venues, there’s big, there’s massive, and then there’s SoFi Stadium.
The show starring both comedians was billed as a record-breaking feat for stand-up when they sold out the 70,000-seater. Though the pressure to fill up the stadium was off, it still remained to be seen how the two comics would make their most dedicated fans laugh from more than a football field away. By that criteria, Saturday night was definitely a win.
Kicking off the early portion of the show at 7 p.m., fans were already filling the seats as opening acts from Iglesias’ camp, including Matt Golightly, Joey Guila, Alfred Robles, Martin Moreno (who celebrated his 58th birthday on stage) and ventriloquist funnyman Jeff Dunham got the crowd warmed up for about an hour before Iglesias took the stage first.
Comedians Jo Koy and Fluffy perform Saturday at SoFi Stadium.
(Christina House / Los Angeles Times)
It was almost 8 p.m. when Iglesias emerged following a video skit playing on the jumbo screens and the stadium’s massive halo scoreboard with his funny misadventures of a routine doughnut run at Randy’s Donuts that turned into the plot of “Sons of Anarchy” spinoff “Mayans M.C.” featuring lead actors Emilio Rivera, a.k.a. Miguel Golindo, and Clayton Cardenas, known for playing Angel Reyes. Reyes caused the first major eruption of noise in the crowd by pressing a detonation device that triggered columns of smoke that filled the stage as Fluffy made his entrance in a white flat cap and custom Los Angeles button-up to greet the sold-out stadium.
“Thank you for being here, all I have to say is we did it!” Iglesias proclaimed as the crowd cheered.
Pointing and waving to fans in the nosebleeds, he took time to embrace the moment that topped his previous triumph of performing at Dodger Stadium.
Fluffy takes the stage at SoFi Stadium in Inglewood.
(Christina House / Los Angeles Times)
Though the stage couldn’t have been bigger, both comedians used their ability to make a large event feel intimate by drawing the crowd in through storytelling and making them feel like they were part of a conversation. Iglesias set the tone of his set right away by telling us about the chisme (a.k.a. salacious gossip) surrounding his newly married stepson that weaved into stories about his travels all over the world including his controversial stop at the Riyadh Comedy Festival.
Iglesias also took a pause to relate one other historic fact about the two stadiums in L.A. he’s now been able to sell out.
Santino Villalovos of Tracy, Calif., shows his Fluffy tattoo during the Jo Koy and Fluffy show at SoFi Stadium.
(Christina House / Los Angeles Times)
“The two biggest shows in comedy were Dodger Stadium and SoFi Stadium. … And what did they both have in common? They both featured a Mexican,” he said.
Even though he thought about retiring as a comedian after filling up Dodger Stadium (twice) to film his special “Stadium Fluffy,” Iglesias said the SoFi show inspired him to keep pushing himself. And alongside Koy he knew they could do it.
Fans react to special guest Jamie Foxx during Jo Koy’s performance at SoFi Stadium in Inglewood on Saturday.
(Christina House / Los Angeles Times)
“Jo I know you’re in the back, thank you for trusting me man, we did it brother. And I’ll say it in front of an entire stadium, love you. Things like this for me is a huge deal because it inspired me and gave me another reason to keep doing what I love to do. And tomorrow I’m gonna be in the same situation I was after Dodger Stadium — what am I gonna do now? But until then I’m enjoy the hell outta tonight and I still have more stories to share with you.”
Fluffy’s most controversial (and true) bit of the night was breaking the news to his fans that his name is mentioned in the Epstein files, which sent collective shock through the stands.
“I’ve never been to the island, I’ve never been on the plane and I have never met Jeffrey Epstein,” he clarified.
Fans light up SoFi Stadium during Fluffy’s set on Saturday.
(Christina House / Los Angeles Times)
The comedian said that according to reports in the Epstein files, the late convicted pedophile apparently tried to buy tickets to his show at an Improv in West Palm Beach, Fla., in 2014 but was told by his assistant via email that both his shows were sold out.
“Jeffrey Epstein, one of the most diabolical human beings to ever walk the face of the earth. Had the ability to connect with politicians, with influencers, with celebrities. He put people in very compromising positions. He got people on planes. He put people on islands. He was involved in trafficking. He was able to accomplish all these evil, crazy things, but at the end of the day, he still couldn’t get tickets to see my show,” Iglesias said.
Jo Koy reveals himself with the Jabbawockeez at SoFi Stadium.
(Christina House / Los Angeles Times)
After a brief intermission, things transitioned to Jo Koy’s portion of the show featuring warm-up sets from TikTok skitmaster King Bach and longtime friend and stand-up star Tiffany Haddish, who came to the stage looking ready for the red carpet with a flowing silk dress, hair blowing in the man-made wind to deliver her brand of high-energy stories about becoming a real estate tycoon in South-Central.
When it was Koy’s turn to enter the stadium, he slipped in undercover, dressed as one of the Jabbawockeez — the legendary masked hip-hop dance troupe that danced onstage to a medley of West Coast hip-hop dressed in red with acrobatic swagger. At the end of a brief routine, Koy unmasked himself as one of the dancers, eliciting cheers from the crowd as his son helped him change onstage into his regular attire, Dodgers hat and a jean jacket.
Jo Koy performs at SoFi Stadium in Inglewood on Saturday.
(Christina House / Los Angeles Times)
Always a man of the people, his set also reminded us that he’s also a man of the pets, specifically dogs, launching into a long bit that felt worthy of a slightly more adult version of a Pixar movie. But beyond jokes and stories, Koy kept coming back to the idea that laughter, more than fame, marketing or money, is what helped the comedians’ big plans for SoFi come together.
“This place is full, all the way to the top, people laughing and having a good time. I know there’s a lotta s— going happening in the world right now but guess what, we don’t wanna hear it right now. We came to have a good f— time. I’m not here to debate s—, everybody’s in here, everything they said wasn’t supposed to happen happened. Look around, every f— color of the rainbow is in SoFi Stadium tonight.”
Jamie Foxx, left, sings with Jo Koy at SoFi Stadium.
(Christina House / Los Angeles Times)
The vibe of the set was all about escaping the problems of everyday life. For most of the night that was taken care of by comedy. And sometimes that escapism was aided by the power of R&B. Twice during the night Koy shocked the crowd with special guest sing-alongs, first with Babyface coming out to serenade the crowd with a brief yet un-relenting hit fest he wrote and/or sang including “Can We Talk,” the ‘90s hit he wrote for Tevin Campbell, and the Boyz II Men anthems “I’ll Make Love to You” and “End of the Road.”
The second surprise came courtesy of Jamie Foxx, who popped out in shades and 10-gallon hat to sing the Ray Charles homage-driven hook of Kanye West’s “Gold Digger.”
Aside from any historic accolades, Saturday night was the culmination of a show that was a year in the making and a victory lap for the careers of two comics who’ve been in the game for decades. It was also a moment where comedy’s past met its stadium-size future in the L.A. comedy world. Though it’s hard to say when the next big comedian will have enough fans to fill a stadium in L.A., Saturday didn’t feel like it was the last time comedy fans will show up to fill SoFi for a pair of comedians who put in the work to make themselves a team worth rooting for.
A popular sitcom hailed as ‘comedy gold’ has apparently been renewed for another series
17:03, 23 Mar 2026Updated 17:04, 23 Mar 2026
Mammoth is apparently returning for a third series(Image: BBC/BBC Studios/Simon Ridgway)
A BBC series dubbed “cracking” and “comedy gold” by viewers is reportedly returning for a third series.
The sitcom about about a PE teacher from the 1970s getting a second chance at life started in 2024 and made a splash with viewers. According to The Sun, it is now set to return for a third run, with filming due to start in June.
Starring Mike Bubbins as Tony Mammoth and Car Share star Sian Gibson as his daughter, the series followed the teacher when his body was discovered frozen in time, after he was thought to have died in an avalanche during a school trip in 1979.
After being revived, he has to adapt to a world that has completely changed.
A previous BBC synopsis said: “In the Seventies he was a carefree Cardiff bachelor, teaching PE and generally living la vida loca. In 2024, he thought the world would still be his oyster, but Mammoth never really liked oysters, he was more of a pint and a packet of crisps sort of bloke. All he wanted was his old life back; the same job, the same clothes, the same car and the same soundtrack.”
Mammoth – set and filmed in Cardiff – started in 2024, and returned for its second series last year.
It was a hit with viewers, with one writing on Imdb.com that it was “a cracking comedy” that “feels remarkably relevant”, adding: “It is inoffensive yet sharp, poking fun at 1970s attitudes while highlighting the absurdities of modern life.”
“There were many genuine laugh out loud moments and some wonderful hillarious situations created by the writers,” said someone else.
Another viewer remarked: “Bubbins is wonderfully understated as the titular star and delivers the punch lines with little fanfare but lots of laughs. The supporting cast is brilliant, but this is very much Bubbins show and plays it to perfection.”
“Love it, a much needed slice of comedy gold and well done to the BBC for backing it,” said another impressed viewer.
“The writing is so strong, when you sit down you just know you’re in for some happy, silly, uncomplicated good fun and it’s been great to watch the series develop.”
Rather than chasing sequels and reboots, Netflix is betting its 2026 film strategy on a massive investment in original storytelling and a renewed focus on the theatrical comedy.
Lin said that at Netflix, 2025’s slate was the “exact opposite,” where half of the films it released last year were based on original storytelling.
“We have a very healthy content budget. So if there’s a great movie out there, we’ll go out and either build it or acquire it,” Lin said.
Bela Bajaria, the company’s chief content officer, said the company isn’t too concerned with the theatrical element that other studios can offer when hunting for these original stories, as Netflix is a streaming-first company.
“We’ve always had competition. This isn’t really any different,” said Bajaria. “It’s to understand what the competition is, not head in the sand at all. [We have] to understand what the market is and continue to look ahead.”
It’s not just original ideas that Netflix is scouting; the streamer’s also looking to fill gaps in genres. In recent years, comedies have fallen out of favor with major studios — leaving room for streamers like Netflix to expand. This year, Netflix is looking to break through with upcoming comedy productions like Kevin Hart’s bachelor party-driven “72 Hours,” John Cena and Eric André’s buddy comedy “Little Brother” and Eva Longoria’s “Fifth Wheel,” which Lin describes as “our version of ‘Bridesmaids.’”
“We’re taking the chance, and we’re making the movies,” Lin said. “It’s what we’re delivering, I hope, [it’s] what audiences want and what they’re craving. There are a lot of genres that you just can’t find in theaters anymore. So, we’re making those kinds of movies.”
In addition to emphasizing comedies, there’s a lot of opportunity to develop young adult films, Lin said. Netflix has upcoming titles such as “Voicemails for Isabelle,” starring Zoey Deutch and Nick Robinson, and “Roommates,” with Sadie Sandler, to draw in younger movie watchers.
One genre in which Netflix doesn’t see much success is live musical adaptations, so it’s “not an area that I’m leaning into,” Lin said. He first joined the company in 2024 and has since green-lighted 88 films.
Netflix subscribers watch about seven movies a month, according to the streamer’s data. So, with the push for original stories, the streamer is hoping to meet its consumers’ demands.
The current strategy is to release up to four “event films” a year. For 2026, Netflix is looking at Greta Gerwig’s “Narnia” adaptation and David Fincher’s follow-up to “Once Upon a Time … in Hollywood” as its big hitters.
“It’s all very under wraps right now, but it’s something that I’m just so thrilled about because it was the book of my childhood. It was the book series that I loved, and I lived through, and I spent so much time imagining myself inside of Narnia,” Gerwig said in a video message during the Netflix event. “It’s been a joy and an honor to be the person who gets to imagine this universe.”
Gerwig’s “Narnia” is set to hit Imax this Thanksgiving and start streaming on Netflix come Christmas.
If you’re looking for something to watch that not only will make you laugh, but will also leave you on the edge of your seat with plot twists, TV fans recommend one particular four-series show
Alan Johnson Social News Reporter
10:33, 22 Mar 2026
TV fans recommend watching a four-series comedy that’s full of plot twists (stock)(Image: Getty)
Television viewers have been busy debating which programme has the “biggest plot twist” and it appears there’s one show that stands out from the rest. The question was posed in Reddit’s ‘Watchever’ community after a user looked for inspiration as to what shows they should check out next.
“What TV show had the biggest plot twist you never saw coming?” they asked. “What’s a TV show that completely shocked you with a plot twist you didn’t expect at all?” The Reddit user elaborated: “The kind that makes you pause and think, ‘Wait… what just happened?’ For many people, shows like Mr. Robot or Westworld had moments like that. Which one got you the most?”
It prompted several people to point out a four-series sitcom that first aired in 2016 and is currently available to stream on Netflix.
“This is as good of a place as any for my regular reminder for people who haven’t seen The Good Place to give it a try,” one person declared.
“The concept seems a little cheesy at first, until you realise that it’s actually about way more than what it seems like in the first season. And aside from the deeper philosophical stuff, it’s really f***ing funny.”
A second agreed, joking:“The Good Place… then The Good Place… then The Good Place again.”
A third fan suggested: “You need to go on the journey the characters go on. That’s the great thing about The Good Place; the show doesn’t give the characters the answers, they figure them out.
“And as a result it isn’t preachy about the philosophical stuff, even though the show definitely has a point that they wanted to get across about mortality.”
Whilst a fourth Reddit user praised: “It’s a sitcom structured like a mystery box drama, ending each episode with a cliffhanger. It’s easy to binge because of this. And unlike dramatic mystery box shows, the ending is amazing.”
However, a fifth who was sceptical at first confessed: “I didn’t watch The Good Place until it was on Netflix and from the first episode I thought something was off and kept looking for little hints here and there but never really anything that really stuck out on the first watch.
“Now on the second watching… I have noticed a lot more.”
The comedy stars Kristen Bell as Eleanor Shellstrop, Ted Danson as Michael and William Jackson Harper as Chidi Anagonye.
Netflix’s synopsis states: “Due to an error, self-absorbed Eleanor Shellstrop arrives at the Good Place after her death. Determined to stay, she tries to become a better person.”
On IMDb, meanwhile, the show boasts a very impressive score of 8.2 out of 10 following 219,000 reviews.
Piglets is a British comedy that’s set in a police training college. The first series aired on ITV1 in July 2024, shortly before getting renewed for a follow-up instalment.
The series follows a newly-recruited group of six very different would-be cops, and the handful of key staff whose task it is to knock them into shape.
Sarah Parish and Mark Heap lead the cast as no-nonsense Superintendent Julie Spry and Superintendent Bob Weekes, whose job it is to oversee the training of the next batch of new recruits.
The new recruits include Steph (Callie Cooke), Leggo (Sam Pote), Geeta (Sukh Kaur Ojla), Afia (Halema Hussain), Dev (Abdul Sessay) and Paul (Jamie Bisping). The cast also features Rebecca Humphries as Head of Admin Melanie, as well as Ukweli Roach and Ricky Champ as police trainers Mike and Daz.
Despite pulling in 5.6 million views for its first six episodes, the show was at the centre of huge controversy shortly after its premiere.
The Police Federation of England and Wales described the comedy’s title – which is based on the slang term “pig” for police – as being “highly offensive” and “insulting”. Piglets also received several Ofcom complaints from frustrated viewers when it was broadcast.
Now, the show’s second season has landed on ITVX, with The Traitors favourite Maddy Smedley joining the cast.
Maddy took to her Instagram earlier this week to promote the new series, saying: “So apparently, ITV aren’t really promoting Piglets series two, so this is the advert for it.”
After explaining how fans can find the show on ITVX, the star added: “I worked my butt off on that show, so this is the advert now, like it or lump it. Let me know what you think of the show, and thanks for your time.”
Despite the controversy surrounding the programme, there are lots of viewers who have shared their praise since its release.
One person wrote on IMDb: “This show is an absolute riot. While it may not be for everyone, the hate this show gets is completely unjustified… It’s a simple comedy with funny characters that mesh together perfectly, combining to create one of my favourite shows from this year. I can’t recommend this show enough. I’d love to have more of this show to watch.”
Another added: “I thought this was absolutely brilliant, well written, funny and such a mixed bunch of characters who gel well together for this type of show. A much needed comedy show in today’s TV world!”
A third said: “Piglets has a lot of laughs and is a lot of fun. Yes, it’s silly, which is why it’s so good. Who doesn’t like laughing at silly jokes and puns and references??? It’s a classic comedy and we need more of this on TV.”
Kountry Wayne likens the dream he’s currently living to an old sitcom that has made the world laugh for decades. “I feel like I’m the new version of ‘Beverly Hillbillies,’” he says. “I’m in Hollywood — I’m here, but I’m still not here, so I just think that’s the most country thing about me.” To his point, the comedian born DeWayne Colley has definitely hit the big time after getting his start in comedy in 2014 (trying his skills as a rapper before that) by working on his stage craft and cooking up Southern-fried viral skits inspired by his small-town Georgia roots. Fast-forward 12 years and his growing empire includes independent movies (including his upcoming film “That’s Her,” which he financed himself), a flood of both dramatic and comedy-driven short skits featuring a wide range of actors, a debut Netflix special (2023’s “A Woman’s Prayer”) and now his latest hour, “Nostalgia,” premiering Monday on Prime Video.
By spending a new hour looking back at a bygone period, specifically the ’90s, when Wayne grew up, the 38-year-old comedian is bringing a fresh approach to the Def Comedy Jam era that he hopes resonates with comedy fans of his generation and younger fans who found him through TikTok and had no idea he even did stand-up. As someone whose comedy career has skyrocketed over the last several years, Wayne’s sights continue to be set toward future opportunities to bring relatable humor to the masses who have that country cousin who walks, talks and jokes just like him.
This interview has been edited for length and clarity.
What does the word “Nostalgia” mean to you?
A good feeling. It means bringing people together through laughter like the good old shows back in the day — “Saved by the Bell,” “Family Matters.” It just is that feeling, whatever that feeling was that we couldn’t put in a jar, I wanted to bring that in my special to just make everybody laugh and forget about the stuff that’s always gonna be here — bills and drama and violence. Just take a break, have fun, and take the breaks we used to take when we used to watch those TV shows in the ’90s.
By the shows you mentioned, I know we’re about the same age. We grew up with the same TV sitcoms and yet still valued being outside, which feels like a foreign concept today.
Yeah, it’s that feeling of all those movies. Man, “Clueless,” when I see that movie, to this day, I still got crushes on all [those girls]. I always wanted to go to the high school in “Saved by the Bell.” So I just want to give that feeling that I felt, because a lot of the new generation didn’t get to experience those shows and those feelings. So even for the younger generation, I want them to be able to experience that through my special.
What was small–town life in Millen, Ga., like for you as a funny kid growing up?
I was so poor, it wasn’t nothing really funny. The town was so small — one [stop]light, the elementary school, high school, all in one school. You had to joke your way to make you think that you weren’t there. You kind of had to escape through jokes. So I just made people laugh wherever I was. No matter how serious the situation is, I can’t do anything about it. I might as well laugh. I remember the lights went off one time when we were eating cereal. I was like, “Mama, hey, come on. I can’t see — I can’t see the milk, the cereal, the bowl. And you’re telling me I need to do my work. I think you need to go to work.” In a small town, you had to laugh because there was nothing else, there was no opportunity.
“In a small town, you had to laugh because there was nothing else, there was no opportunity,” Kountry Wayne said about growing up in Millen, Ga.
(Christina House / Los Angeles Times)
You gravitated to music early in life, becoming a rapper before you did stand-up. What was it about performing that helped you forget about the troubles that were going on around you?
I always felt like I was onstage already, so by the time I actually got onstage, the lights never did nothing to me, or the fame and all of that. Because I’m just so thankful to be able to do stand-up and have people come and watch me do it. I never had time to really feel the fame and all of that. So I just think everything I went through in that small town helped me. Everything is a small town to me. Hollywood is still a small town to me, because whoever I know, that’s who I know; whoever I don’t know, I just don’t know ’em. Because in that small town, you were so far away from the big cities like Atlanta, New York, L.A. I was three hours from Atlanta [growing up], so I think that really helped me to get where I’m at today to do comedy the way I do it.
Just keep it “kountry.”
Yeah, keep it kountry. Man, oh, that’s the next [title of a new special].
What do you feel like is the most country aspect of you as someone who’s now a popular comedian?
My family — all my family around me. You come to my house. It’s an uncle, daddy, a sister, brother, kids everywhere. I feel like I’m the new version of “Beverly Hillbillies.” I’m in Hollywood, I’m here, but I’m still not here, so I just think that’s the most country thing about me. If you meet my family, you understand. They don’t say shrimp, we say “scrimps” or “o’er dere” [instead of] “over there.” With my accent, imagine it’s 10 times worse with my family. So I think I remind people that everybody in L.A., New York got a cousin somewhere in Mississippi, because a lot of us are from the South anyway. So I just think I remind people of simple, country people.
With the Southern flavor you bring to comedy, I kind of liken it to hip-hop, when it comes to the regional styles of different comics. How does that play into creating a special that brings the South to the world?
It’s crazy that you say that [you] think about hip-hop when I do that. I’m gonna be me so much that people who don’t know me are gonna be interested in me, because it’s different than everybody else. I feel like I’m a really country person with that Southern drawl or the way I talk. I talk like them uncles and all of that. So I just feel like it’s gonna make everybody feel at home. I didn’t try to switch it up. I’m gonna be me because I feel like, deep down, everybody knows [someone like] me somewhere. They’re gonna relate to me in some kind of way, and it feels safe because I’m being me. I’m not out there being fake, this how I talk. I’m a country boy. I’m not from the big city, and this is what I’m giving the world. And those who love it, I appreciate it. Those who don’t love it, I still love you.
“I think I remind people that everybody in L.A., New York got a cousin somewhere in Mississippi, because a lot of us are from the South anyway,” said Kountry Wayne.
(Christina House / Los Angeles Times)
Being a dad to 10 kids is something that’s been a part of your storyline in comedy and that people have gravitated to. How does your ability to survive and make it all work play into your comedy?
Child support would really make you very, very funny. It actually plays a lot into it, because if it wasn’t for those kids, I don’t think I’d stand out as much as I am. Because we’ve heard every joke, everybody’s been funny. Come on, man, we’ve seen Jim Carrey, we’ve seen Eddie Murphy, we’ve seen Dave Chappelle. Funny has already been done. So I think what helps me stand out is my story with my kids and my family. It’s funny, but it’s still OK. This is a different perspective than we see with all those kids, the mothers, you know, but he’s not with the mothers, but he’s there with the kids, and you take care of the mothers. It’s so much of a unique situation that I think that’s what makes it stand out.
Who’s your funniest kid?
[My daughter] Honest. Honest is the funniest person in my life. Her name’s Honest, but she lies — she makes up all these stories about what happened at school. [She’ll say,] “I got arrested today.” I’ll be like, “Honest, you did get arrested?” [She’ll say,] “Well, they was about to arrest me, but they didn’t.” She reminds me of me, but she is just a little bit more witty because she don’t got no trauma like I did. I come from poverty. She’s rich. She goes to this Christian school full of white people, and she thinks she’s a white baby now. The white girls have this clip they put on their hair. She bought her clip. Now her hair not floating like theirs. Her hair is definitely stiff. I’m like, “Honest, you don’t need that clip!” She’s in dancing. She don’t go to practice. When she goes to the dance recitals, it’s clear that she can’t dance and we always ask her, “Do you know the dance?” Every time she gets there, she says, “Yeah,” but she gets there and she’s always watching the other kids. She was the only one [who’s] off.
She is so funny. I put her in the skits. She says the wittiest things. She asked me one day — I got a lot of kids — and she said, “Daddy, which one of your kids you love the most?” She said, “Do you love all your kids?” I said, “Yeah, I love all of y’all.” She said, “Well, come here. Let me talk to you right quick.” She took me to a picture I had in my man cave, “She said, ‘Well, why all of us [not in the picture]?’”… She’s my comedian.
Speaking of the skit-producing pipeline/network you‘ve developed over the last several years, how has that been instrumental to your comedy career, and also your career as sort of a producer in developing content?
I think that content helped me more [with] being known as a producer and a filmmaker and an actor. So I think it helped my acting career, the first part of my life, and all the skits helped my comedy because it was just me being funny, but the skits I put out now help people look at me more as a businessman, an entrepreneur and an actor. And it’s crazy, some people now even know me from the skits. And when they come to the [stand-up] show, they’re going to be shocked. A lot of my fans who met me when I started writing the storylines, when they see this [“Nostalgia”] special they’re like, “He never showed us that!” Because that person I am onstage, I don’t be that on social media anymore, so you have to go watch me on stand-up to give that energy that I give. But my Day 1 fans met that guy. These fans I’ve made over the last four or five years were probably equivalent to my Day 1 fans. It’s a large fan base but they don’t even know that I could [do] stand-up like that.
Comedian Kountry Wayne holds up his gold neck chain with his mom’s face on it.
(Christina House / Los Angeles Times)
That’s nostalgic in a way. I’m thinking of a TV dad like Bob Saget, who was so different when you saw him do stand-up. You’re like, “Wow, Danny Tanner is filthy!” That’s great that you can kind of separate the two personas. What do you feel is next for you in comedy?
To bring that to the big screen, for sure. All my talents and gifts that I worked on, in a way, [have] gotten better. I put the work in, I’m ready to show it on the screen. I think it’s happening organically, like the special [on] Amazon, that’s organic. I had one on Netflix now they wanted me to do one at Amazon, and I just want to show the world what I’ve been working on, and the time, energy I put into a broader scale … So I’m just excited, and I feel like a kid again, because I got so many responsibilities and kids I take care of. It took a while for me to get back to this point where I could just be an artist. Because I wanted to be an artist, but then I had a lot of kids, so I had to be a provider. But now I’m in a position where all that is handled, so I feel like a kid again when it comes to the art.
BRIDESMAIDS star Wendi McClendon-Covey has revealed why she was missing from the cast reunion at the Oscars saying “I look like a melted candle.”
Fifteen years after its debut, the film‘s main stars gathered onstage at the 2026 awards ceremony for a hilarious reunion.
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Wendi revealed she had undergone a neck lift surgery and was unable to attendCredit: Instagram/wendimclendoncoveyMelissa McCarthy, Rose Byrne, Maya Rudolph, Kristen Wiig and Ellie Kemper gathered onstage at the 2026 awards ceremony for a hilarious reunionCredit: ReutersWendi played Rita in the comedy sensation BridesmaidsCredit: Alamy
“So I had to skip the Academy Awards. No drama. Everything is fine.”
A snap showed her lying down with a bandage wrapped around her head.
Fans flocked to comment and one wrote: “Sending some healing energy your way!”
Another added: “Gorgeous before and after.”
A third said: “Love your transparency. F-yeah! Some people can embrace that candle look but others…h*** no. Either way is right as long as it makes you happy. Big healing love!”
While a fourth wrote: “You’re such a sweet, kind, hilarious legend, shine on my friend.”
During the Oscars reunion Kirsten joked: “I cannot believe that it’s been 15 years. Now we are not good with numbers, but we figured out backstage that means we shot this movie in 1883.”
Each of them was then handed a note and claimed it was signed by A-list audience members like Leonardo DiCaprio or Stellan Skarsgard, who spoke about their good looks.
Maya opened hers and said: “Oh, this is strange. Well, mine says, ‘First of all, you ladies look extremely beautiful tonight.’ Thank you. ‘You’re aging well.’ Signed, Stellan Skarsgård.”
Kirsten read a fake note from Benicio Del Toro which said “You guys have been talking for a long time. This bit could have been a lot shorter.
Who won on Hollywood’s biggest night?
One Battle After Another ran away with the night with six Oscars, while Sinners, which was nominated for a record-breaking 16 awards, came away with four. See the full winners list below:
Production Design: Frankenstein, Tamara Deverell and Shane Vieau
Sound: F1, Gareth John, Al Nelson, Gwendolyn Yates Whittle, Gary A. Rizzo and Juan Peralta
Visual Effects: Avatar: Fire and Ash, Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett
Casting: One Battle After Another, Cassandra Kulukundis
“This is really going on and on. You aren’t even talking about score. That’s all. Love ya lots, Benicio Del Toro. Or for those of you who refuse to learn Spanish, it’s Benedict of the Bull.”
Directed by Paul Feig, Bridesmaids was written by Kirsten Wiig and Annie Mumolo, who were nominated for Best Original Screenplay when the film was released in 2011.
The film gained cult status and went on to gross over $300 million worldwide.
The film gained cult status and went on to gross over $300 million worldwideCredit: AlamyThe film was nominated for Best Original Screenplay when it was released in 2011Credit: AlamyMelissa McCarthy earned her first Oscar nomination for Best Supporting Actress in BridesmaidsCredit: Shutterstock EditorialEach of the cast members were handed a note and claimed it was signed by A-list audience membersCredit: Getty
In “Rooster,” a genial comedy premiering Sunday on HBO, Steve Carell, comfortable as an uncomfortable person, plays Greg Russo, the author of a best-selling series of books whose hero is named Rooster. He has come to leafy, fictional Ludlow College to give a reading, but also because it’s where his daughter, Katie (Charly Clive) teaches art history, and because it’s all over school that her husband, Archie (Phil Dunster), a history professor, has left her for Sunny (Lauren Tsai), a graduate student in neuroscience. He’s a concerned father.
“They are light; they are fun. The characters that you like have sex, the ones you don’t get shot in the face,” Greg tells poetry professor Dylan (Danielle Deadwyler) of the “beach read” books he writes, as she ushers him to an auditorium. Unlike his fictional alter ego, Greg is by his own account a self-conscious introvert, heightened by the fact that his ex-wife, Elizabeth (Connie Britton) — “a philanthropist, a pioneer in corporate gender equality and an accomplished CEO” whose name adorns the school’s new student center — left him five years earlier and he never moved on. Additionally, Greg likes nuts and cocoa, can toss a penny into a jar from across a room, and played minor league hockey, which will put him back on skates here.
College president Walter Mann (John C. McGinley) decides it would be “a feather in his cap” to hire a reluctant Greg, “a best-selling author that the parents have actually heard of,” as an artist-in-residence — a deal he makes impossible to refuse by agreeing to keep Katie on staff after she accidentally burns down Archie’s house. (She was only trying to burn his first edition of “War & Peace.”) It’s a role quite like the one McGinley played/plays on “Scrubs,” but more politic and better dressed, when dressed — he takes meetings in his backyard sauna.
And they’re off.
Poetry professor Dylan (Danielle Deadwyler) and author Greg (Steve Carell) become colleagues when Greg is named artist-in-residence.
(Katrina Marcinowski / HBO)
The series was created by Bill Lawrence (“Ted Lasso,”“Shrinking,”“Scrubs,”“Bad Monkey”) and frequent collaborator Matt Tarses, and as men of at least a certain age, the view is slanted from experience back toward innocence; students play a secondary, though not insignificant role in the story. There are some pro forma jokes about the sensitivities of the young, with Greg getting into not-very-hot water over misunderstood references to “white whale” and the Bangles’ “Walk Like an Egyptian.” (“Liberal arts college used to be havens for free thought, Greg,” says Walt. “When did you and I become the bad guys?”) Not that the olds are reliably smart about life — the ways in which they’re not power the series — but they have a better notion of where they’re stupid.
“No one must be humiliated,” Greg says to Archie, quoting Chekhov, as Archie goes off to talk to Katie. (The quote is in the animated opening titles as well, so you can take it as important.) But no one here is out to humiliate anyone, which is nasty and unkind and not at all the sort of humor Lawrence trades in. Of course, characters will be put into embarrassing positions, or embarrass themselves, embarrassment being the root of all comedy, or near enough. (There’s a good bit of slapstick knitted in.) And though we’re told that “there are real villains lurking around this place,” niceness reigns — at least through the six episodes, of 10, available to review — with the possible exception of Alan Ruck as the dean of English. (“There’s no way she wrote all these poems,” he says of Emily Dickinson.)
Though there are couples, and ex-couples and new couples, one doesn’t necessarily feel invested in their getting together, or staying together, or getting back together. Indeed, as in other Lawrence projects — which typically feature divorced or separated characters — romance is a sort of side dish, less the issue than whether people are managing to treat one another well. We knew Ted Lasso wasn’t going to get his wife back, but it wasn’t the point (nor was winning games, really); kindness was what mattered. Greg’s possibly pre-romantic friendship with Dylan is no more significant than his cross-generational friendship with a group of goofball students (led by Maximo Solas as Tommy); they treat each other as peers, while knowing they aren’t. He teaches them that peanut butter can make celery better, and they teach him that he’s cooler than he thinks.
Katie, who says she still loves Archie — who says he still loves her — will also call him “a run-of-the-mill narcissistic a— who sometimes smells like wildflowers.” (As for Sunny, practical and deadpan — that no one gets her jokes is a running joke — not even Archie can see what she sees in him, a problem you might have as well, but, as is true of most everyone here, we’re not meant to merely write him off. Funny secondary characters, who get some of the best business, notably include Rory Scovel as a cop who can’t keep track of his gun, Robby Hoffman as Sunny’s intense, anti-Archie roommate and Annie Mumolo (co-writer of “Bridesmaids”) as Walt’s arch assistant.
Old-but-not-that-old-fashioned, “Rooster” has a tinge of Gen X nostalgia, underscored by the ’80s college radio classics that line the soundtrack. (R.E.M.’s Michael Stipe co-wrote and sings the series’ theme, and Greg, drunk and in a mood, will kill a party getting the DJ to play “Everybody Hurts.” Directed by Jonathan Krisel (“Portlandia,” “Baskets”), it’s low stakes, soft-edged, humane, basically gentle, a little fantastic, a little farcical, well cast and well played in every instance — qualities I happen to like, and maybe you do, too.
