finale

Alone and engulfed in the darkness of a Madrid cinema, Javier Bardem watched Martin Scorsese’s 1991 psychological thriller “Cape Fear” after learning he’d be starring in an episodic reimagining of the crime saga for Apple TV — the series finale is now streaming.

He arranged the private screening to symbolically request Robert De Niro’s blessing to play the dangerously charismatic Max Cady, an ex-con parched for revenge against those who had a hand in his imprisonment. De Niro received an Oscar nomination for that role.

“It was my way of honoring the work he did back then and, at the same time, to detach myself from that performance and ask his permission to create my own take,” Bardem tells me in Spanish while sitting at a restaurant inside a Beverly Hills hotel.

His informal getup, a T-shirt and shorts, contrasts with the elegant environment primed for business lunches and ostentatious dinners. He exudes an easy-going air. A quintessential cool dad casually sipping on an iced Diet Coke as he shares anecdotes about his passion for acting.

Bardem, 57, agreed to play Cady because the version of the character that the show’s creator, Nick Antosca, envisioned was not only decidedly distinct from those embodied by De Niro and Robert Mitchum, the latter of whom starred in a 1962 film adaptation, but also tailored to him as a Spanish man.

Had it been a standard remake, Bardem would have passed. Still, like the films, the show also “drinks from the fountain” of John D. MacDonald’s 1957 novel “The Executioners.” What remains intact across all versions of Cady is a devilish sense of humor and a lack of self-importance. In any of his iterations, he has nothing to lose. That makes him lethal.

In “Cape Fear,” Bardem’s Max Cady is distinct from the versions of the character played by Robert De Niro and Robert Mitchum in earlier films.

(Apple)

The cerebral Cady that Bardem inhabits spent nearly two decades in prison convicted for his wife’s murder. When the discovery of new evidence results in Cady’s freedom, his new mission is to torment Anna (Amy Adams) and Tom Bowden (Patrick Wilson), the attorney and prosecutor on his case, who are now married and have two teenaged children.

Cady turns their lives into a trap of paranoia and, indeed, fear, while procuring plausible deniability to avoid consequences. It’s a malicious and relentless barrage of the mind.

“He’s a 2026 Max Cady. It’s a different way of approaching violation of privacy, and the intrusion of the characters’ psyches. The digital world has made everything very different now,” he explains. “We are hyper-aware of what is said and written about us. We are inundated with so much information that, at times, we can’t tell what is true and what is false.”

While in the 1991 film the audience is aware that De Niro’s Cady committed sexual crimes making him “an absolutely despicable character,” Bardem says this new version portrays a complex person who’s suffered at the hands of the American justice system.

“Here we understand that he was imprisoned for something he didn’t do. He may have done other things, but he says, ‘You turned me into this monster.’ It’s true. From that point on, a vengeful and destructive mindset developed,” Bardem says of his Cady.

The final episode shows the public unmasking of Cady, just before he learns he is responsible for his own son’s death. Bardem describes him as a “dying beast” who has lost control of the narrative that he so meticulously orchestrated to rebuild his image.

The character was written to account for the actor’s Spanish accent. This Cady grew up in Spain until he moved to North Carolina at 13 and learned English on the streets. Bardem worked with renowned dialect coach Tim Monich to infuse his speech with a hint of a Southern drawl, aware that his character didn’t have to sound like a native speaker.

“I’m not bilingual,” Bardem says. The statement is somewhat shocking, considering he’s worked in the U.S. for decades in numerous English-language productions.

“Acting in English is easier for me because the dialogue is set,” he says. “But when the time comes to improvise, I find it difficult. That still doesn’t come naturally to me in English.”

The Spanish actor says acting in English is easier for him but that improvising is more challenging.

(Erik Carter / For The Times)

There’s a freedom to working in English since words have less emotional significance, the Oscar-winner believes. “I can be more daring in English. I can say the words or verbalize the thoughts with much less inhibition, because I am not as emotionally attached,” he explains. “But when you speak in your mother tongue, your body tenses up a bit because you think, ‘I understand the full emotional spectrum of what I’m talking about.’ ”

At this stage in his lauded career, Bardem is interested only in roles that explore “contradictions with an underlying humanity.” He’s played one-dimensional parts in the past, but the cost of being away from his loved ones is too high.

The job has to measure up to the trade-off of precious time he’s surrendering.

The “Cape Fear” production structured the schedule for Bardem to work for two weeks followed by five or six days off, allowing him to travel back to his family, which includes his famous and just as in-demand wife, Penélope Cruz, and their two teenaged children, Leo, 15, and Luna, 13.

“Cape Fear” filmed in Atlanta and Savannah, Ga. That’s a long trip back to Spain but manageable and certainly worthwhile, he says. “One of the few things I ask for contractually is time with family, and that has always been respected; Penélope and I have always managed our projects in such a way that one of us is always present for our kids.”

Thanks to his award-winning turn as an unnerving killer in “No Country for Old Man” and the dapper cyberterrorist in “Skyfall,” audiences might associate Bardem with sinister characters (his Cady joins the ranks). And they are satisfying to portray, he says.

“It’s true that characters with that kind of darkness are very attractive to play,” he says. “The villain is always more compelling than the hero. The hero is perfectly upright. A good villain has many cracks, which is what makes him more human.”

Bardem on playing sinister characters like Max Cady: “The villain is always more compelling than the hero. The hero is perfectly upright. A good villain has many cracks, which is what makes him more human.”

(Apple)

In recent years, however, Bardem made a deliberate effort to work on projects that his children could watch, particularly when they were younger, namely the fantasy musical “Lyle, Lyle, Crocodile” and the live-action remake of “The Little Mermaid,” in which he played King Triton.

“I needed my children to see what I do,” he says. “They knew I’d leave home for two weeks and then come back, and I’d tell them about it and show them photos, but they hadn’t been able to watch any of my movies yet because they were geared more toward adults.”

Cruz and Bardem have always encouraged their children’s creative pursuits. It wouldn’t surprise them if they eventually pursue a life in the arts. “I don’t see them becoming scientists or lawyers, which makes sense. I don’t know if they will become ‘nepo babies’ or not, but we are conscious that children always feed on what their parents do,” Bardem says.

Every time either Bardem or Cruz gets an offer for a new role, the couple discuss it and then bring their kids into the conversation. It’s important, Bardem believes, that Leo and Luna know how fulfilling acting is for both of their parents.

“They know we feel immense gratitude for being able to make a living from our passion. And they understand that the way we try to live up to that gift is by doing our absolute best and giving it the full attention it deserves,” he says.

When they were younger, the kids weren’t interested in seeing their parents on screen, but that’s changed. “They have seen ‘The Invite’ three times. They love it. And they’ve watched ‘Volver’ and ‘Bandidas,’” he says. “They’ve watched me in ‘F1,’ and Leo is watching ‘Cape Fear.’ ”

In June, Bardem became part of Hollywood history when his hands and footprints were added to the entrance of TCL Chinese Theatre. The ceremony included directors Michael Mann and Denis Villeneuve and producer Jerry Bruckheimer.

“I missed my mother so much at that moment because there are so many footprints of classic actors and actresses there. I imagine my mother seeing my hands and feet next to Gary Cooper, who was one of the loves of her life,” he says.

In June, Bardem’s hands and footprints were added to the entrance of TCL Chinese Theatre: “I missed my mother so much at that moment because there are so many footprints of classic actors and actresses there.”

(Erik Carter / For The Times)

It felt surreal, Bardem says, to have Mann present at the event. They worked together on “Collateral” over two decades ago. “I was crazy about ‘Miami Vice’ in the ’80s,” Bardem says. The suit he wore in the photo shoot for this piece, he adds, reminded him of that emblematic series and film.

Bardem’s latest collaboration with Villeneuve, “Dune: Part Three” hits theaters in December. He recalls the joy of shooting the film’s opening sequence, a battle where the cast was covered in mud. It reminded him of childhood play. “Denis would laugh and say to me, ‘But why are you laughing?’ And I’d say, ‘This is what I used to do in the schoolyard, but now it’s for real. Now I look to my right, and I have 50 guys under my command,’ ” he says.

“I was lucky enough to shoot some scenes with Timothée [Chalamet]. I saw him playing a Paul who is very different from the Paul in the second film,” Bardem continues. “Years have passed, and Paul is now wielding power and is a victim of that power.”

Outspoken about the ongoing plight of Palestinians, Bardem wishes more people could apply the lessons they mine from fiction they consume to the world in turmoil.

“We root for the rebels in ‘Star Wars’ and want them to defeat Darth Vader, or we side with the Fremen in ‘Dune.’ We always take sides in fiction. Yet, when we witness oppression, abuse and the violation of the most fundamental rights by an oppressor in real life, we seem to struggle to stand with the oppressed,” Bardem explains. “That cannot be.”

Even while attending matches at the recent World Cup, where Spain won the title, the actor advocated for an end to the carnage. A viral video shows him engaging with a Palestinian man at a match. “Existence is resistance,” Bardem tells him. On social media he’s shared images of Lamine Yamal, one of his national team’s stars, waving the Palestinian flag.

“The impunity Israel enjoys regarding these crimes, both legally and in terms of international support, creates a profound sense of powerlessness,” he says.

Bardem admits he’s been asked, whether directly or indirectly, to tone down his vocal support. But he doesn’t fear backlash. On the contrary, he’s never felt more support from everyday people who share his mindset.

“If I’m so privileged to have a good life where I work doing what I love and can provide my family with stability and security, how could I not use that privilege to denounce those things that I think are wrong?”

Hunter Dobbins scattered six hits over six innings, JJ Wetherholt hit a home run in the sixth and the St. Louis Cardinals held on for a 1-0 victory over the Angels on Wednesday at Angel Stadium.

Dobbins, recalled from triple-A Memphis for Wednesday’s start, struck out five and walked none to help St. Louis snap a four-game losing streak and end the Angels’ three-game win streak.

Luis Gastelum threw a scoreless seventh, George Soriano had a 1-2-3 eighth and closer Riley O’Brien struck out Oswald Peraza with an 80-mph sweeper and Josh Lowe with a 98-mph sinker with two on in the ninth for his 26th save.

Dobbins (2-1) escaped a first-and-third, two-out jam in the second, a two-on, one-out jam in the third and a first-and-third, two-out jam in the fourth.

That inning ended with Cardinals third baseman Blaze Jordan reaching into the third-base dugout to snag Tyler Heineman’s popup.

Angels starter Reid Detmers (3-7), expected to be a top target of contenders looking to acquire starting pitching before the Aug. 3 trade deadline, blanked the Cardinals on one hit through five innings despite walking two to open the fifth.

The left-hander escaped the fifth with the help of third baseman Vaughn Grissom, who made a backhand diving stop of José Fermín’s grounder, scrambled to the bag for a forceout and threw to first to complete a double play.

Jordan struck out to end the inning.

But with one out in the sixth inning, Detmers (3-7) left a fastball up to Wetherholt, who lined his 15th homer of the season over the wall in center field to break the tie and knock Detmers out of the game.

Up next: Cardinals RHP Michael McGreevy (4-7, 2.92 ERA) will oppose Arizona RHP Brandon Pfaadt (4-1, 4.58 ERA) Thursday night in St. Louis. For the Angels, RHP Grayson Rodriguez (3-3, 8.23 ERA) will face Giants RHP Logan Webb (5-7, 3.87 ERA) Friday night in San Francisco.

The thrilling final season of The Bear has finally arrived, but one key player is tragically missing from the last night of service

The series paid tribute to one of his most iconic films.

**Warning – this article contains major spoilers for The Bear Season 5.**

The Bear’s last ever episode pays tribute to a major star who tragically was unable to return to film the final season.

FX’s popular comedy-drama, which streams on Disney+ worldwide, follows the talented yet chaotic team of a gourmet restaurant in Chicago, led by head chef Carmy Berzatto (played by Jeremy Allen White).

Season 4 of the hit series introduced business consultant Albert Schnur, who advised grill cook Ebraheim (Edwin Lee Gibson) with his plans to franchise the restaurant’s profitable sandwich window.

Albert was portrayed by actor and director Rob Reiner, who is best known for helming a string of major films in the 1980s and 90s, including Stand By Me, This Is Spinal Tap, Misery, When Harry Met Sally…, and A Few Good Men.

Reiner, 78, was tragically killed last December with his wife Michele, 70. Their son, Nick, was charged with two-counts of first-degree murder and is awaiting a preliminary hearing after pleading not guilty.

He does not appear physically in the final season of The Bear, but eagle-eyed viewers will have spotted a touching reference to both the character and one of Reiner’s most beloved films.

After Ebraheim gets the go-ahead from Carmy to franchise The Beef, he rings up Albert to let him know his plans.

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Disney+ has brought back its popular deal that lets new and returning customers join its Standard with Ads plan for £1.99 per month for four months.

This means members can stream hit shows like Andor, The Bear and Alien: Earth, plus countless titles from Star Wars and Marvel, for a fraction of the usual price.

Promising to send him over some documents, he asks if there is anything else he needs. Ebraheim pauses, smiles and replies: “As you wish.”

Movie buffs will immediately recognise the quote from one of Reiner’s most iconic films, The Princess Bride. In the classic fantasy adventure, farm boy Westley (Cary Elwes) often says this to Buttercup (Robin Wright), when he really means “I love you”.

The quote has stood the test of time as an admission of love and now stands as the perfect send-off to the cherished filmmaker who played such a memorable role in the series.

Viewers who noticed the tribute have taken to social media after it left them emotional, with one fan admitting: “ugh broke my f****** heart. you know rob would’ve played the f*** out of actually coaching ebra.”

“Damn near cried through every episode of the bear final season but then they F****** THREW IN ‘AS YOU WISH’,” another exclaimed with a tearful emoji.

Another emotional post read: “EBRA’S, ‘AS YOU WISH’. YOU GUYS CAN’T DO THIS TO ME [crying emoji] I LITERALLY JUST WATCHED PRINCESS BRIDE A FEW NIGHTS AGO. RIP ROB REINER”

Someone else said: “Finally watching S4 of the Bear (S5 coming out made me finally do so) and oh my god I am so depressed knowing Rob Reiner is no longer with us.”

The Bear Season 5 is available to stream on Disney+.

GUADALAJARA, México. — With first place in Group A secured after two wins in two matches, the Mexican national team heads into its final group stage match against Czechia on Wednesday at 6 p.m. on Fox and Telemundo without pressure and is preparing to play some of its reserves.

The situation is quite different for Czechia, which has just one point after losing 2-1 to South Korea and drawing 1-1 with South Africa. The European team needs a win against Mexico at Azteca Stadium in Mexico City to advance to the next round — either as the group runner-up or as one of the best third-place finishers.

“The Czechs are incredibly tough; they’re a very physically demanding team,” Mexico coach Javier Aguirre said. “We watched them in their two matches against their group opponents, and it’s not going to be easy.”

Aguirre will have to strategize with an eye toward what lies ahead in the next round, which is a single-elimination format. Mexican American midfielder Brian Gutiérrez enters this final group stage match with an accumulated yellow card, so Aguirre likely will not play him to avoid risking suspension for the round of 32 game. FIFA rules clear all cards after the group stage ends.

The match could mark the return of César Montes, who was sent off against South Africa and missed the South Korea game.Goalkeeper Guillermo “Memo” Ochoa, in his sixth World Cup, could see some playing time as a sort of tribute to his career, but Raúl Rangel had an extraordinary performance against South Korea, so it remains to be seen whether Ochoa will get playing time.

“Obviously, it would be something extraordinary; it would be really cool for Memo. He’s a legend in Mexico and on the national team. He’s always been a player willing to give his all for the national team,” Mexico forward Alexis Vega said. “In the end, I think [Aguirre] will make the decision. I believe that all 26 of us here will give it our all if given the opportunity. Whoever gets the chance will do their best.”

Erik Lira, Johan Vásquez, Jesús Gallardo and Roberto Alvarado are the Mexican players who have covered the most ground for the national team in both matches, making them candidates for rest. Gallardo has a strong replacement available in young AZ Alkmaar player Mateo Chávez.

Mexico’s Edson Álvarez clears the ball away from the goal during the first half against South Korea during a World Cup match.

(Ricardo Mazalan / Ap Photo/ricardo Mazalan)

Edson Álvarez, who had a strong performance against South Korea, is likely to start again.

Another player who could see action is Santi Giménez, the AC Milan forward, who has been recovering from an injury and played only 10 minutes against South Korea. Gilberto Mora, Mexico’s youngest World Cup player at age 17, could start the game.

“We have to treat the game against [Czechia] like a final. We know [Czechia] needs this win, but we’re preparing ourselves. Getting used to winning goes a long way,” Giménez said in an interview on Wednesday with TV Azteca.

Mexico does not yet know its opponent in the next round, which will be one of the best third-place finishers. Its opponent will not be determined until the eight best third-place teams that advance to the round of 32 are identified.

On the Czech side, coach Miroslav Koubek favors a disciplined and physical approach, with Patrik Schick and Adam Hložek leading the counterattack that will seek to capitalize on any Mexico mistakes.

“We know that Mexico is one of the best teams in our group, and it will be tough for us on their home turf. But we believe we can get a good result and finish the group stage on a high note,” said Michal Sadilek, a midfielder for the Czech team.

Since Czechia needs a win to advance, that suggests the team will attack more aggressively, which will be dangerous for the Mexico defense but will also leave more space for the home team to exploit the counterattack. Czechia has shown this World Cup it is particularly dangerous on set pieces.

Fellow Group A teams South Korea and South Africa will face off at the same time as the Mexico-Czechia match — 6 p.m. Thursday — in Monterrey. The South Koreans, with three points, are looking to secure second place and a round-of-32 game at SoFi Stadium, while South Africa needs a win to compete for a spot as the second-place finisher or a berth among the best third-place teams. A South Korean loss combined with a Czech victory over Mexico would knock LAFC’s Son Heung-min and his South Korea teammates out of the tournament.

An A-list actress has broken her silence on one of the most anticipated TV events of the next few years

One of the show’s A-list cast members has teased filming could start soon.

A critically acclaimed television drama watched by millions of fans globally will be returning for a third series, with fresh episodes anticipated to broadcast following an almost decade-long absence.

Big Little Lies first premiered on HBO in 2017, adapted from Liane Moriarty’s bestselling novel of the identical title and boasting Hollywood legends Reese Witherspoon, Laura Dern, Nicole Kidman, and Shailene Woodley amongst the cast.

A second series was swiftly commissioned and progressed the narrative with three-time Academy Award winner Meryl Streep joining the exceptional ensemble.

One IMDb user described it as “breathtaking” and “a masterpiece of art in every possible way”. Another audaciously declared: “It’s a big statement but this is possibly the best program on television, EVER!!”

Yet, despite the programme’s popularity and outstanding ratings, including an impressive 89 percent score on Rotten Tomatoes, there had been no developments regarding a third instalment until September last year, reports the Express.

The inaugural series tracked young single mum Jane Chapman (played by Woodley), who relocates to the coastal city of Monterey, California with her troubled son, Ziggy (Iain Armitage). She quickly becomes entangled in the turbulent lives of a circle of affluent women, whose picture-perfect existence is torn apart by a catastrophic incident at their local school.

The second series picks up immediately in the wake of the events, with the women desperately attempting to conceal a murder, yet the appearance of one of their mothers-in-law (Streep) places them under an extraordinary amount of pressure. There’s only so much they can endure before things begin to unravel.

Now, series regular Woodley has verified reports that a third season is currently in development, though viewers should anticipate significant changes when the story resumes.

“I mean, what I know about it is that supposedly it is happening. That is what I know,” she told Deadline.

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When pushed for further details, the actress enthused, “Oh my gosh. I love my girls. That’s what makes it so special. We’re each other’s people”.

A production schedule has yet to be confirmed, meaning Big Little Lies’ third series may not emerge until late-2027 or 2028.

Nevertheless, Woodley did verify that the new instalment will acknowledge the considerable gap between series, hinting that the likes of Armitage and Kathryn Newton, who played Madeline’s (Witherspoon) daughter Abigail, could make a comeback.

“We love each other and we’re here for each other and, also, it’s a blast to play these characters,” she continued.

“I’m really excited about the third season, and for the opportunity that might exist in exploring who these ladies are 10 years later. We’re all 10 years older. The children are all 10 years older.

“They’re not really children anymore and most of them are adults now. So the prospect of that is very cool.”

Big Little Lies is available to stream on Sky, NOW, and HBO Max.

This article contains spoilers for the series finale of “Hacks.”

After five seasons and (thus far) 12 Emmys, “Hacks” has come to an end. The story of how Deborah Vance (Jean Smart), a 70-something comedian of the Joan Rivers type, and Ava Daniels (Hannah Einbinder), a prickly 20-something comedy writer, came together to resurrect both their careers was a roller coaster ride of intergenerational judgment, wins, setbacks, ruthless behavior, personal growth, power reclamation and much general hilarity.

Deborah sees Ava as entitled and self-righteous, Ava sees Deborah as washed-up and boring. Eventually, of course, they realize they are kindred spirits who do their best work together.

In Season 5, Deborah attempts yet another comeback. Having walked off her late-night show rather than fire Ava in Season 4, she is determined to rewrite her premature obituary by playing Madison Square Garden. When that too is snatched away, she pivots (with much difficulty and hilarity, including a show-stopping monologue by Laurie Metcalf’s tour manager Weed) to Central Park, where she is finally allowed a moment of glory, basking in the adulation of applauding thousands.

But that is not the end of “Hacks.” In the final episode, Deborah reveals she has cancer and rather than undergo treatment, she is choosing to “go out on top” with the aid of a Zurich clinic. She asks Ava to accompany her, after they take a girls trip to Paris. After an emotional meltdown, Ava agrees, hoping to persuade Deborah to change her mind. She does, but only after Deborah realizes that she cannot bear to walk away from the jokes she could write about dying. And so the show ends, with the two women walking arm in arm, first in Paris and then in Las Vegas, working on Deborah Vance’s final show.

Here, Times TV and culture critics Robert Lloyd and Mary McNamara discuss the ending, and legacy, of “Hacks.”

Deborah, left, decides she doesn’t want to get treatment for cancer despite Ava’s protests. Deborah changes her mind when she realizes she could write jokes about dying.

(HBO Max)

Mary McNamara: Hey there, Robert; are you as devastated as I am that we have no more “Hacks” to look forward to? The only solace I can find is the news that creators Lucia Aniello, Paul W. Downs and Jen Statsky are planning to release a DVD box set of the series. And the possibility that there could be a movie sequel — I for one want to see Deborah Vance’s death tour, especially since you know she’ll beat the odds and survive.

Seriously, though, sad as I am to contemplate life without “Hacks,” I am equally thrilled that the show so thoroughly stuck its landing. Finales are always a crap shoot and I appreciated how this season managed to show growth and cosmic justice while never tipping into treacle. I love that everyone ended on a win — including Marty! (Christopher McDonald) — and I didn’t even mind that suddenly Deborah had cancer (what?), was choosing assisted suicide (double what?) or that we were whisked to Paris (sure, I guess, why not?) because it made just enough narrative sense to set up Deborah’s decision to live because she just couldn’t leave good material on the table. “I may not have 30 years, but I do have one more hour,” may be the best line from a TV finale ever.

It is too easy to think of people like Deborah as clawing back their careers for fame, validation or money rather than a deep and essential love of their art. Having Deborah decide to prolong her life with chemo because she could not resist mining this final seam of comedic gold was a coup de grace.

What did you think?

Robert Lloyd: Hail, Mary. Reviewing the first-season finale, I wrote that the series was at heart a romantic comedy. And though many timely points were made along the way about artificial intelligence, the fate of late-night television and the awfulness of rich jerks who control media companies — Deborah’s Madison Square Garden show was undermined by the network head she named on national television in her resignation speech — the show asserted itself as a love story once again in the end. Where earlier seasons had depended on creating friction between Deborah and Ava, this one was mostly of concord, their only real clash being Deborah’s decision, introduced late in the season, to end her life (in a clean, posh way); her climactic change of heart spared us a medical tearjerker, but, believe me, I shed plenty of tears along the way. Unlike most seasons of “Hacks,” the fifth and final was orchestrated very much as a feel-good experience — “Ted Lasso” has nothing on it. A fairy tale, almost, as you point out, full of fairy-tale endings and plot points that were as good as magic. It could be contrived and improbable and old-fashioned in its triumphs snatched from the jaws of defeat, and I completely loved it.

Deborah Vance (Jean Smart) didn’t get the Madison Square Garden show she imagined, but she did get one at Central Park.

(HBO Max)

McNamara: The series had a lot to say about a lot of things (including vengeful power brokers/network executives) that feel particularly pointed now. But I deeply appreciated that while underlining the real obstacles Deborah and Ava faced, the writers showcased and explored how the bad choices each women had made, and defended, also contributed to their situations. Obviously having the great Jean Smart in the driver’s seat helped a lot — she revealed the woman beneath the diva even in Deborah’s most outrageous actions. The writers did not shy away from calling attention to the blatant sexism female comedians faced (and continue to face) or how the “woke” women of Ava’s generation are often able to see that kind of injustice more clearly.

It was, as you say, more rom-com than morality play, and rom-coms are often based on discovering that the differences that initially divide are too often based on, well, to put it in its original form, pride and prejudice. So while there was some hilarious and spot-on commentary about intergenerational miscommunication, there was also a clear message of how important it is for people with vastly different experiences to listen to, and learn from each other, which also feels incredibly important at this moment in time, especially given the show’s essential, and deeply human, respect for creative work. What motivated Deborah and Ava, and virtually every character in “Hacks” — agent Jimmy (Downs), his assistant Kayla (Megan Stalter) and later Randi (Robby Hoffman); Deborah’s staff, including Marcus (Carl Clemons Hopkins), Damien (Mark Indelicato) and Josefina (Rose Abdoo) — was a belief in the importance, and difficulty, of the creative process. It’s something that is rarely, if ever, the work of a single individual — as Deborah finally acknowledges at the opening of the Diva casino. Or as Laurie Metcalf’s Weed makes clear in her hilarious monologue before the Central Park gig.

1

2

1. Creativity isn’t the work of a single individual: Damien (Mark Indelicato), Marcus (Carl Clemons-Hopkins) and Deborah (Jean Smart) at work on the casino. (HBO Max) 2. Deborah’s crew at her Central Park show. (HBO Max)

Lloyd: In a way Deborah’s speech summed up what we’d already been seeing through an especially generous season that served as “Hacks’” tribute to itself and its people. It was a party to which most every significant and many minor characters were invited, including Metcalf and McDonald; Luenell as comedian Miss Loretta; Poppy Liu as Deborah’s personal blackjack dealer, Kiki; Jane Adams as Ava’s mother, Nina; J. Smith-Cameron as Deborah’s estranged sister, Kathy; and Kaitlin Olson as Deborah’s daughter, DJ, who finally got her mom to partner with her on “The Amazing Race” and was allowed to sell her detachable earrings on QVC.

Gifts were distributed widely, including a previously unseen interview with Deborah’s late husband and co-star, Frank (Peter Strauss), giving her credit for their success — credit he had previously accepted for himself — and thus removing a giant thorn that drove the early plot. These kind-hearted acts of closure were performed both for the benefit of these very real, made-up people, and for We the Viewers, who have made them our family. Declarations, or at least demonstrations of love, were abundant, not merely between Deborah and Ava, with the characters acting as our proxies, feeling what we want them to feel, and what we feel for them ourselves. (There are moments this year when Einbinder — whose brilliance Smart could seem to outshine, but who was never less than an equal partner — absolutely killed me, just in the tender way she gazed upon Deborah.) That’s why it’s so hard to let go of a show like this, even when we know it’s time to say goodbye. You can only stretch an arc so far before it breaks.

McNamara: You’re right, of course. But I still want to see the “Hacks” movie.

The Premier League season reaches its crescendo on Sunday with all 10 matches kicking off simultaneously in a final act packed with jeopardy at the bottom ⁠end of the table and nearer the top in a European race tangled in permutations.

The title has already been decided and four Champions League places have gone to league winners Arsenal, Manchester City, Manchester United and Aston Villa.

So attention now shifts to the ⁠final European berths – and a relegation scrap few would have predicted when the season kicked off.

There is also a good number of big-name farewells. Al Jazeera Sport looks at the five biggest talking points on the final day.

When will Arsenal lift the Premier League trophy?

Arsenal’s first Premier League title in 22 years will result in a trophy lift after the game at Crystal Palace on Sunday.

The Gunners’ victory was confirmed on Tuesday when Manchester City failed to win at Bournemouth – a result that would have kept the title in the balance on the final day.

Arsenal manager Mikel Arteta admitted ahead of the trip to Palace that he did not even watch City’s match, instead opting to set up a barbeque in his garden for his family.

His son, Gabriel, part of the Arsenal youth set-up, relayed news of the team’s first title since 2004.

“I was supposed to be at Colney (the training ground), watching the game with the boys and certain staff because that’s what they wanted – but I couldn’t,” Arteta said.

“I think 20 minutes later, before the game, I had to leave. I couldn’t bring the energy that I wanted, and ultimately it was their moment as well to watch it together, to be themselves and just see what the outcome would be.

“My oldest son opened the garden door, he started to run towards me, he started to cry, he gave me a hug and said: ‘We are champions, daddy’.”

Arteta added that winning the trophy after six-and-a-half years at the helm was “one of the best feelings that I have ever had”.

An emotion that will be amplified when the trophy is eventually lifted at Selhurst Park, and elevated even further should his side beat Paris Saint-Germain in the Champions League final in Budapest on May 30.

“We’re going to prepare for that game with the intention to win and write a new story in the club’s history,” said Arteta.

Who can be relegated on the final day of the Premier League?

The drama is stark and simple at the bottom: one of the two London clubs will go down – Tottenham Hotspur or West Ham.

Spurs are in the better position, 17th on 38 points, two ahead of West Ham who are 18th and in the third relegation spot. Only one combination of results ‌sends Spurs down: defeat at home to Everton plus a victory for West Ham who host Leeds.

“When you fight for the relegation, you have to stay inside of the league until the last minute of the last game of the season,” Spurs manager Roberto de Zerbi said. “We have to stay alive. It is a big day for us.

“The most important is to keep the dignity, to keep the pride, to go on holiday like this (head up) and not like this (head down).”

Victory for West Ham is essential and even that may not suffice, with their inferior goal difference leaving them reliant on help ⁠from Everton in north London.

Which Premier League clubs can qualify for Europe?

The other major storyline is the battle for the ⁠final one or two Champions League places.

Liverpool are in pole position as they host Brentford, knowing a point will be enough to secure fifth. Bournemouth, who clinched some form of European qualification with their 1-1 draw against Man City on Tuesday, are three points back, but well behind Liverpool in goal difference.

Bournemouth’s ⁠surge has been one of the stories of the season. They arrive at Nottingham Forest’s City Ground on a 17-game unbeaten run, their consistency propelling them into sixth and firmly into the ⁠European picture.

The stakes may extend beyond a single Champions League slot. Aston ⁠Villa’s Europa League triumph on Wednesday has created the possibility of a sixth English entrant into next season’s competition, but only if Villa finish fifth in the league. That would require a Liverpool win in what will be talisman Mohamed Salah’s final appearance as a Red at Anfield, and a Villa loss at City, which ‌is expected to be an emotional farewell to manager Pep Guardiola after a trophy-laden decade with the club.

If Villa finish fourth, the extended route closes and sixth drops into the Europa League, the continent’s second-most prestigious club competition. Brighton & Hove Albion, ‌who ‌host Manchester United, remain the most realistic side capable of breaking into sixth – they are three points behind Bournemouth in seventh – while a broader group, including Chelsea, Brentford and Sunderland, are chasing Europa League and Conference League spots in a congested mid-table fight.

Will Salah have a Premier League farewell for Liverpool?

Mohamed Salah will say goodbye to Liverpool on Sunday, but in what manner remains unclear after manager Arne Slot wouldn’t commit to the Egypt star playing against Brentford at Anfield.

Salah, one of the club’s greatest-ever scorers, forced the question with his public criticism of Liverpool’s style of play after a 4-2 loss to Aston Villa last Friday. He called for a return to the “heavy metal attacking” that struck fear in opponents.

The outburst – Salah’s second public rift with Slot this season – adds extra drama as the team is also trying to secure Champions League qualification.

Slot was asked on Friday if Salah will definitely be involved against Brentford.

“I never say anything about team selection,” Slot responded. “It would be a surprise to you if I did this right now, I think”.

In March, 33-year-old Salah announced he’d be leaving at the end of the season after reaching an agreement with the club to end his contract one year early.

Salah’s production has dipped in his ninth year at Anfield to such an extent that he was dropped for a stretch of games late last year — leading to the winger telling reporters that the club “has thrown me under the bus”.

Why is Pep Guardiola leaving Manchester City?

“Don’t ask me the reasons I’m leaving. There is no reason, but ⁠deep inside, I know it’s my time,” Guardiola said in a statement when confirming what City fans had been fearing.

The club’s most successful manager is leaving, bringing to a close a trophy-laden, 10-year spell in which he established City as one of the major forces in Europe and changed the face of English football.

Guardiola, who had a further year left on his City contract, will take charge of his final game in the Premier League against Aston Villa on Sunday.

“Nothing is eternal, if it was, I would be here. Eternal will be the feeling, the people, the memories, the love I have for my Manchester City,” Guardiola added.

“We worked. We suffered. We fought. And we did things our own way. Our way.”

City said Guardiola would take up a role as global ambassador.

Enzo Maresca – the former Chelsea manager who was previously assistant to Guardiola at City – is the favourite to take on the daunting task of filling Guardiola’s shoes after a decade of unprecedented dominance.

Since joining City in the summer of 2016, Guardiola led the Abu Dhabi-backed team to six Premier League titles and the Champions League for the first time in 2023.

He won 17 major trophies in all, including the domestic double this season of the English League Cup and the FA Cup. He has won 35 major titles across his coaching career including his time at Barcelona and Bayern Munich.

The roar erupting from the capacity audience inside the Ed Sullivan Theater when Stephen Colbert stepped on the stage of his “Late Show” for the last time made it clear that they did not want him to say goodbye.

Colbert took his final bow as his beloved late-night show came to an end Thursday. The episode was so crammed with top celebrities who showed up to share a last moment with the comedian that it extended several minutes beyond its usual one-hour run time.

Before the official start, Colbert addressed the audience as he thanked the staff, calling the show “The Joy Machine”: “We call it the Joy Machine because to do this many shows, it has to be a machine. But the thing is, if you choose to do it with joy, it doesn’t hurt as much when your fingers get caught in the gears, and I cannot adequately explain to you what the people who work here have done for each other, and how much we mean to each other.”

In his opening monologue, Colbert downplayed the event‘s status, rolling a series of jokes about news stories in New York and New Jersey. But he was repeatedly interrupted by audience members Bryan Cranston, Paul Rudd and Tim Meadows who all became irritated when Colbert informed each of them that they would not be his last guest.

When the show’s supposed scheduled last guest, Pope Leo XIV, refused to leave his dressing room, Paul McCartney popped on stage to a rapturous ovation. The legendary musician presented Colbert with a framed photo of The Beatles when they appeared on Sullivan’s show in 1964.

The only subtle reference to President Trump came when McCartney relayed a story how the Beatles, before their Sullivan appearance, got their faces covered with bright orange makeup. “That’s pretty popular in certain circles these days,” Colbert quipped.

The episode marked the finale of Colbert’s 11-year run on CBS’ late-night show, which he has been counting down since July of last year, when CBS said it was canceling the show because of financial difficulties. “The Late Show” franchise, which Colbert inherited in 2015 from David Letterman, was the top-ranked late-night show, but it faced challenges due to dramatic declines in viewership and a drop in advertising revenue.

However, industry observers also contended the move was tied to Colbert’s relentless criticism of Trump. The decision was announced after Paramount, the parent company of CBS, had settled a lawsuit filed by Trump over a “60 Minutes” interview with then-Vice President Kamala Harris. The company agreed to pay $16 million to settle the suit, which came as Paramount was attempting to get regulatory approval for its merger with Skydance Media, which Colbert called “a big fat bribe.” Trump made no secret of his disdain for Colbert and other late-night hosts who have skewered him and his administration over the years.

Colbert, his guests and others continued to blast Trump in this final week. In his introduction Wednesday of his performance of “Streets of Minneapolis,” Bruce Springsteen said: “I’m here in support tonight for Stephen, because you’re the first guy in America who has lost his show because we got a president who can’t take a joke.”

And Jimmy Kimmel on his ABC late-night series said Wednesday, “I will be watching tomorrow night. I hope that those of you who watch will also tune in to CBS for the last time. Don’t ever watch it again.”

In a tribute to Colbert, Kimmel, another target of Trump, and NBC‘s “Tonight Show” host Jimmy Fallon said their respective shows would not air new episodes during Colbert’s finale.

But the overall vibe on “The Late Show” this week has centered on celebration and spotlighting the show’s comedic formula. Several celebrities who have a special connection with the show made appearances, including Jon Stewart from “The Daily Show” and filmmaker Steven Spielberg.

In one of the more arguably iconic sequences, David Byrne and his band — all attired in bright blue uniforms — appeared Tuesday to perform the Talking Heads anthem “Burning Down the House.” Colbert joined in at the end, dancing in his matching blue outfit.

The “Late Show” time slot will be occupied starting Friday by Byron Allen and his “Comics Unleashed” syndicated show. CBS executives have said they hope to develop a new original late-night series in the future.