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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.

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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.

This story includes spoilers for Episode 8 of “Daredevil: Born Again” Season 2.

By the end of “Daredevil: Born Again’s” first season, showrunner Dario Scardapane knew they were heading toward Matt Murdock’s big reveal in Season 2.

The second season finale of the Marvel series, out now on Disney+, sees Murdock (played by Charlie Cox) declare to the world that he’s the vigilante Daredevil.

“Coming in with Season 1, I wish I could say I knew exactly where we were going,” says Scardapane during a recent video call. “But I knew that moment in the courtroom where Daredevil outs himself, we were definitely heading towards that.”

Iain B. MacDonald, who directed Episodes 7 and 8, said that everybody involved understood that it “was going to be a super significant moment” while they were filming the scene.

“When that’s out, that’s out,” MacDonald says. “That moment clearly has a domino effect for the rest of the episode. … I’m super excited to just to see how that’s received by the fans … because as a director, you want to deal with big moments in what you direct, and that is, for me, one of them.”

A continuation of Netflix’s “Daredevil,” which initially concluded in 2018, “Born Again” has followed Wilson Fisk’s (Vincent D’Onofrio) rise from criminal kingpin to the supposedly reformed mayor of New York. Fisk’s authoritarian tactics and campaign targeting vigilantes pushes Daredevil underground to try to assemble allies in order to bring the Kingpin down.

Matt Murdock (Charlie Cox) returned to the courtroom to make his case.

(JoJo Whilden / Marvel)

Their much anticipated showdown occurs in a courtroom in the season finale during the trial of Karen Page (Deborah Ann Woll).

“Myself and my DP [director of photography], Jeffrey Waldron, looked at a lot of courtroom dramas, just to really think about how we can tell those courtroom stories really well, and do it creatively and imaginatively … and in the language of ‘Daredevil,’ ” said MacDonald. “It was a challenge, for sure, [but] I really, really enjoyed shooting them.”

While Murdock may have triumphed in the courtroom, his revelation has consequences as teased in the episode. Scardapane says those consequences will be explored in Season 3.

“That last scene in Season 2 tells you where we’re going,” says Scardapane. “If the question is, are we doing a specific comic book run that is beloved by all, including me, I think that it’s pretty obvious what we’re doing in that last scene.”

The fallout for Murdock, as seen in the episode, is his arrest and imprisonment. In the final moments of the finale, the Man Without Fear is shown getting locked up at Rikers Island. Murdock appears to have accepted his fate, but a glimmer of smile hints that this is not the end of his story.

“Charlie and I talked about [the scene], and we knew that we wanted to end on that close-up of his face,” MacDonald says. “He said we can do two things here, one which is like acceptance of circumstances, like he’s resigned. He has made the sacrifice of outing himself to the world about who he really is [and] he has put himself away in service of the greater good … as well as have that little moment of a hint of a smile to say, this is a beginning. This is a new adventure. This is a new challenge.”

In a conversation edited for clarity and length, Scardapane discussed Murdock and Fisk’s arcs in Season 2, “Daredevil: Born Again’s” timely political themes and what to expect in Season 3.

Karen Page (Deborah Ann Woll) and Matt Murdock (Charlie Cox) get a chance to celebrate in the “Daredevil: Born Again” Season 2 finale.

(JoJo Whilden / Marvel)

At what point did you know that what you were building toward in Season 2 would end with Matt Murdock in jail?

It’s kind of a process that snowballs. They had started before me. They were doing the Mayor Fisk run. It was much more procedural, much different tone. They did six episodes, and I came in, and we moved it more in line as a continuation of the Netflix series. When Fisk becomes the mayor of New York, you put the villain at a really, really elevated place. So, Season 1 was the rise of Fisk. Season 2 has got to be the rise of that which takes him down — the resistance.

That moment that Matt stands up in court and says, “I am Daredevil,” that’s like the record scratch. Everything has changed from this moment on. At the end of Season 1, beginning of Season 2, we knew we were heading toward that moment. That moment’s consequences, for Matt and for Fisk, are kind of the fodder for Season 3.

There are comic book runs that I shall not name — although they’ve been named — that take that dilemma that Matt put himself in and go to really great places with it. Coming in with Season 1, I wish I could say I knew exactly where we were going. But I knew at the very beginning, that moment in the courtroom where Daredevil outs himself, we were definitely heading toward that.

It felt significant that Matt and Fisk’s big showdown this season happened in a courtroom.

The fun of Daredevil since the comics started is here you have a lawyer who really believes in the justice system who goes out and breaks bones at night. He’s a vigilante lawyer. That’s such a dichotomy. When the villain takes power, when the villain is the police — this situation, the villain is the Anti-Vigilante Task Force — the villain has now become the power structure of New York and has become the justice system. How does Matt fight back? He fights back as a vigilante until it gets to a crucial moment where Karen is pulled into this flawed justice system. Now there’s nowhere he could go. He’s put in this place where both his personas have to integrate, have to kind of collide, for him to beat Fisk. I think that Charlie’s performance in that courtroom scene is his best courtroom performance in any episode of “Daredevil” ever. Building to that moment of Fisk and Matt facing off in court, it was pretty important because all four of them are in court there: Wilson Fisk, Kingpin, Matt Murdock and Daredevil are all there in that scene.

Wilson Fisk’s (Vincent D’Onofrio) ambitions are thwarted in “Daredevil: Born Again” Season 2.

(JoJo Whilden / Marvel)

Fisk, the villain, ultimately loses this battle. Can you speak a bit about his arc this season?

One of the joys of this job is working with Vincent D’Onofrio, full stop. He’s done such a good job of humanizing a monster. I don’t write Fisk as a villain. I don’t think Vincent plays him as a villain. And that’s where the fun comes in.

Building up a man whose appetite, whose isolation, whose just general hunger to dominate, making that character and then giving him this one lifeline to humanity in Vanessa — that’s all calculated. We knew in Season 1 when Foggy was killed that Vanessa was going to be the cost for Fisk. The idea that Vanessa set up Foggy to die using Bullseye, and Bullseye ended up inadvertently killing Vanessa, that was 100% in the DNA from jump. Vanessa passed away in the comic books in two different ways, but that takes Fisk now into a place where, for me, all bets are off. I think that the Fisk that Vincent is playing in Episode 6, 7 and 8 and beyond are a different animal entirely. We just finished a very special episode that is pretty much all Fisk in this new incarnation and it was pretty exciting. Vincent’s in rare form in Season 3.

I understand that the Anti-Vigilante Task Force stuff was shot before the the story and imagery became extremely timely.

It’s really strange because there’s footage in the finale that’s intentionally supposed to reflect certain events. One of the things that I really wanted to do with this story, when you’re dealing with politics and everything, is we’re living in a time where these values of mutual respect, mutual listening, mutual live and let live … what I would say, democratic values are being thrown out the window when you’re dealing with the other side. If somebody doesn’t share your beliefs, it’s free game. And I’ve never really seen a time like that. So we took that story, where the mayor’s side has no quarter for the vigilante side and the vigilante side has no quarter for the mayor’s side. When they storm the rotunda, it looks very familiar. That is intentional. I’m not going to dodge that. Because it’s the idea that everybody sees themselves as a hero of this story, where they’re treating the people on the other side horribly. There’s no lesson there. It’s just the idea that when mobs get involved, when large groups of people get involved, the higher morals and higher sense of humanity falls apart.

You’ve mentioned that in writing and filming this show, you were looking at history. But what was it like when the present started mirroring what you already made based on the past?

The sequence in Episode 2, when the bodega is raided and people are dragged away by the Anti-Vigilante Task Force, that was filmed before Los Angeles, before Minnesota — before all of it. The whole thing got really strange in that the real world started to feel cartoony, and I don’t mean that in a positive way.

I think we were, as writers and directors, tapping into an unease and a malaise that’s just out there. Having it look exactly like things that then happened on the news, that was chilling. It was really hard to get my head around it. It was hard for the people involved, the directors, the fact that some of those sequences in our show, of people being dragged away and thrown into vans, looked exactly like what we were seeing on the news.

There have been other touch points, like the affinity some Task Force officers have for the Punisher logo, that crosses from the fictional into reality.

I’ve been wrestling with this since working on “The Punisher.” The map of what you do when you want to be an autocrat: You form a militia, you empower them beyond, you target a group that you want to make scapegoats, you round them up. When Charles Soule was doing the Mayor Fisk run in the comic books, that’s what he was thinking about. S—, Tony Gilroy did it in “Andor.” When you build any kind of story about an autocrat, it follows the same script. Weirdly, the script’s now playing out outside our door, and that’s become really hard to deal with. The funny thing about this show in these times is, no matter what I say, somebody’s gonna get all like, “Oh, they put politics in our comics” and “they’re trying to teach us a lesson.” Nobody’s trying to teach you a lesson. We’re just laying out a story about a guy who’s a criminal who becomes a mayor and a guy who’s a lawyer who tries to take him down. But does that have echoes in what’s going on outside our window? Yes, it does.

There is a sect of the audience that gets very vocal about the MCU getting ”too woke” or comic books and superheroes ”becoming political.”

One thing that just broke me when we started Season 3, I posted a picture of our writers room, and it’s just some of the best genre writers in the television business. I posted it [on Instagram] and I said “so stoked to get into it with these guys.” The first comment was, “Looks like a pretty woke room. Don’t ruin the show.” How does a room look woke? Oh, so you’re looking at the makeup of the people in that room, and you’re saying that that is something you don’t like? I can’t help you [with that]. I’ve just got to go into that room and write stories.

It’s also not like superhero comic books haven’t had storylines about marginalized communities or interrogating people in power.

Guys, comic books are political. They’ve always been political. The first graphic novel that ever won a Pulitzer Prize was “Maus.”

Jessica Jones (Krysten Ritter) gets in on the action.

(JoJo Whilden / Marvel)

I think I’ve waited long enough to ask about Luke Cage, played by Mike Colter, showing up in the finale. How did all of that come together?

One of the things that I’ve said a bunch about this show is we lean into the idea that these characters have grown up. The time that has passed between the end of the Netflix shows and the beginning of this show, we acknowledge and we lean into. Their lives have matured. As anybody knows, in the comics, Luke and Jessica had a child, Danielle. Now for me, as a writer, that’s just great story. We have a family of two very interesting people who were made iconic by the performances of Krysten Ritter and Mike Colter. What does that little family look like moving forward? So that tease at the end has seeds for acres and acres of stories. There’s a world that I’m super interested in, that a lot of the characters from the Netflix shows live in, that I’d love to see go forward. A lot of that’s out of my hands. But Mike and Jessica and that family are important to these stories.

Can you say anything more about what Luke has been up to since audiences last saw him?

Luke went to do some work for Mr. Charles. That’s a little bit of an Easter egg, a storyline that will play out in the future. Mr. Charles’s interest in alternatively abled people, or people who can do special things, that interest has long tentacles. It touched Luke and Jessica. It touches Bullseye at the end of the season, and that moves forward.

I think everybody’s been curious since Charlie Cox’s return. Matt’s back. Now Jessica and Luke are back. Are we going to see all of the Netflix era heroes assembled?

The best way I can answer that question is that we take comic book runs, fan desires and unfinished business. On “Punisher,” we were planning for a Season 3. I know [“Daredevil” showrunner] Erik Oleson was getting ready to work on a Season 4. That all ended very abruptly. None of the shows really got an ending that brought it all together. I wouldn’t say that “Defenders” was an ending that brought it all together. There’s so much unfinished business in those Netflix shows. We definitely, definitely knew from way back, how the ending of the Mayor Fisk rise and fall, where that was going to go next. And it’s funny because I’m talking to you as we’re trying to end where it goes next, and we’re thinking about, “OK, now what happens after that?”

I’m just going to throw it out there that I’d like to see Misty Knight and Colleen Wing back also.

[Jessica Henwick, who plays] Colleen has already said that she is not in Season 3, and that’s a real sad thing for us. It was not for lack of trying. I want to do Daughters of the Dragon, come on! That was teed up in “The Defenders.”

I wish I could be more forthright, but I have to save some some secrets for Season 3. But I do believe that we set a launching pad at the end of Season 2 that takes us into some pretty fun places that we’re in right now, and I gotta go finish that.

Wu Yize and Mark Allen produced a session of spellbinding snooker and finished locked at 11-11 to perfectly set up the final session of their World Championship semi-final at the Crucible Theatre.

Resuming at 7-7 on Saturday, the third session of the match was a complete contrast to their epic slugfest on Friday, that produced the longest frame ever played at the famous venue.

China’s Wu set the tone, opening with a sublime 142 and also constructing breaks of 76 and 121 to lead 10-8 at the mid-session interval.

However, Allen, who is attempting to become the first player from Northern Ireland to reach the final since Dennis Taylor in 1985, showed he had also thrown off the shackles of negativity.

The 40-year-old enjoyed a run of 56, and well-crafted breaks of 85 and 99 enabled him to draw level at 10-10.

Wu, 22, who defeated Lei Peifan, Mark Selby and Hossein Vafaei to reach the last four, responded with his third century of the day.

But as the tension increased, in what felt like an important concluding frame to the session, Wu was unable to capitalise after getting the first opportunity.

That allowed Allen, who could become the oldest first-time winner at the Crucible, to make a couple of useful contributions and ensure there was nothing to divide the pair.

They return to play the final session of their best-of-33 encounter at 19:00 BST on Saturday, with a possible 11 frames still to get through, as they attempt to set up a title match against John Higgins or Shaun Murphy.

SAN FRANCISCO — The Dodgers tout Yoshinobu Yamamoto as a Cy Young award contender, and every one of his starts has been a quality start, including the one he made here Tuesday.

The Dodgers talk up Shohei Ohtani as a Cy Young award contender, and Ohtani has given up one run all season. He pitched six shutout innings here Wednesday.

But the pitcher who delivered the best start of this series against the San Francisco Giants, and the one that stood tall between the Giants and what would have been a humiliating sweep, was Tyler Glasnow.

That was one storyline from an eventful afternoon at the ballpark and, for the Dodgers, a sorely needed 3-0 victory on a day they found themselves a new cleanup hitter, a new closer — and on a day a Giants player blasted a Dodgers player for making a “dirty” play.

Nothing like a little bad blood to breathe a little life into a languishing rivalry.

The cleanup hitter: Kyle Tucker, dropped from second to fourth in the lineup after his average had fallen to .233, ignited a two-run rally in the fourth inning with a double and delivered his first two-hit game in 17 days.

The closer: Tanner Scott, just as the Dodgers planned last year. After Glasnow pitched eight shutout innings and gave up one hit, Scott got the first save situation since the Dodgers lost closer Edwin Díaz to elbow surgery. Scott has a 0.84 ERA this season, including the perfect ninth inning he worked Thursday for the first of what might be quite a few saves this season.

The Dodgers (17-8), remember, signed him for $72 million as their closer last season, but he lost his job and did not pitch in the playoffs.

“It was terrible,” he said. “But I washed it away.”

The “dirty” play was the second of two acts in a sixth-inning drama.

On Tuesday, cameras caught Dodgers catcher Dalton Rushing muttering something after looking back at the Giants’ Jung Hoo Lee, who was in discomfort after an awkward slide at home plate. Rushing had tagged out Lee and was headed back to the dugout when he turned back to see Lee on the ground, then kept going.

Rushing did not play Wednesday. On Thursday, in his third plate appearance, Rushing was hit by a pitch from San Francisco starter Logan Webb.

Webb dodged a question about whether the pitch was a response to the thing that happened with Rushing and Lee.

“What thing with Jung Hoo?” Webb said. He simply described the pitch as “fastball, inside.”

Said Rushing: “I like getting on base. Whatever works. If it was intentional, I’ll take it. I’ll take what I deserve. I’ve cleared the air with all of that. I’ve made sure Jung Hoo is good and healthy.”

When the following batter, Hyeseong Kim, grounded to second baseman Luis Arraez, Rushing threw up his hands and slid away from the base to try and prevent shortstop Willy Adames from completing the double play.

The second-base umpire pointed at Rushing and awarded the Giants with the double play. The first-base umpire ruled the Giants had completed the double play anyway, since Adames’ throw beat Kim to first base.

“For me, that’s not good baseball,” Arraez said. “It’s dirty.”

Rushing said the slide was not his response to getting hit.

“I was taught that in college,” he said. “That’s kind of the way you go in, especially when you have a speedster like that with Hyeseong behind me. You’re not going four or five feet outside the bag. You stay within the body length and try to break up a double play. Nothing against any of those guys right there.”

Did Dodgers manager Dave Roberts believe Webb’s pitch was intentional?

“It probably was,” Roberts said. “For me, he [Rushing] said what he said. I don’t think he meant it too personally. But they see it, social media catches it, Webb is an old-school guy. He’s protecting his teammates. I’ve got no problem with it.”

Roberts said he saw nothing wrong with Rushing’s slide.

“I like that too,” Roberts said. “That’s baseball. They’re going to hit you. You know, Webb has got really good command. I get it. They’ll deny it. I like the way he went in hard. No problem. That’s nothing against Adames, but he went in hard and they turned a double play. That’s good baseball — good, hard-nosed baseball.”

And winning baseball, for a happy flight after a mediocre trip. The Dodgers concluded a 3-4 trip to Colorado and San Francisco, the teams projected to finish in the bottom two spots in the National League West. Up next: the Chicago Cubs, winners of nine consecutive games.

Glasnow faced one batter over the minimum over his eight innings. The one hit he allowed was a single. He struck out nine. His ERA is 2.45, with Yamamoto at 2.48.

Roberts said the combination of Glasnow’s evolving maturity — his ability to respond to setbacks and challenges — makes him a legitimate Cy Young candidate.

“Now, for me, he’s going to be in that conversation,” Roberts said. “And I think for me, that was the missing piece. You know you’re not going to feel great every outing. There’s going to be stress, there’s going to be things that you can’t control, and you got to be able to manage it. And I think now he’s equipped mentally to do that.”

There is one thing Glasnow has yet to accomplish. The Dodgers decided a season-high 105 pitches from an oft-injured pitcher was enough this early in the year.

However, this could have been his big chance: In 133 major league starts and 130 minor league starts, he never has pitched a complete game.

“That,” Glasnow said, “would be sick.”

The third season of Apple TV’s “Shrinking” concludes with Jimmy (Jason Segel) being, well, “Jimmy-ed.”

For three seasons, Jimmy, a therapist grieving the loss of his wife, has used unconventional methods —think taking someone with aggression issues to a boxing ring — to get through to his patients. In the last moments of “And That’s Our Time,” Jimmy’s mentor and fellow therapist Paul (Harrison Ford) turns that approach on its namesake, flying across the country to give Jimmy a much needed push to move forward with his life. “Jimmy needed permission and encouragement from someone to say, ‘All right, it’s time,’” Segel says. “This is the end of this story and it’s time to start a new one.”

In the scene, Paul finally tells Jimmy he’s like a son to him. “I found ourselves writing a conversation that if we were lucky enough to have a conversation like that with our own fathers, we’d be grateful,” executive producer Bill Lawrence says. “A lot of my shows have an element of mentorship in them. To see Jimmy’s mentor come through for him in the way that I would always hope he would meant a lot to me.”

Lawrence had always envisioned the three-season arc for Jimmy ending this way. But when they found out the comedy would be returning for a fourth season, he and his fellow executive producers were faced with a dilemma: End the season the way they would have the series or push their original ending out for one more season. After much discussion, they decided to stick the landing.

“It still felt right,” Lawrence says. “This particular story with these characters has been told and you should feel, in a good way, like it’s gonna be OK for Jimmy. Jason is so good at it, watching him play the agony of trying to get through it all and come out on the other side was my favorite kind of journey on the whole show.”

Segel spoke to The Envelope about filming this pivotal scene and bringing the third season to a close.

What did filming this final scene mean to you? To play this part of Jimmy’s journey coming to an end?

I’m always really interested in, “What is the dirty underneath? If we go one level deeper, what is the thing that the person is not saying?” This arc with Jimmy over the three seasons had been building up to Jimmy finally saying the actual thing, which is some version of, “Who’s gonna want me now?”

Paul answers that question by telling Jimmy that his scars are “evidence of a life well–lived.”

I had a therapist I was talking to about having to show up somewhere with people I knew from 25 years ago. I remember having a little bit of apprehension because I’ve had a twisty-turny life. I thought, “God, there’s so much to catch up on and I’m showing up covered in scars.” And this therapist said to me, just matter of fact, “What a shame it would be to show up anywhere at 45 years old not covered in scars.” And I went straight to Bill and [executive producer] Neil [Goldman], this is a year ago, and I said, “This is what Harrison says to Jimmy at the end of this arc.” And we worked it in.

What was the actual day of filming the scene like for you?

It was a difficult day. It was loud that day. There was a little bit of discombobulation on the street. There was construction and they couldn’t hold the cars right. It wasn’t the ideal environment for a scene like this where you would love to hear a pin drop. People were coming into the restaurant asking, “Are you guys open?” It almost felt like we were making a student film. And Harrison and I took a minute and we walked away from the set and we started running the scene, walking up and down the busy street to kind of acclimate ourselves. And I’m walking up and down the street with this man who I idolize and we are at that moment like equals and teammates. We have to go build this scene together. It is a real honor to have that dynamic with him.

Do you think it was important to have such a pivotal scene outdoors?

They’re a good reminder that the show takes place in the real world and that you’re like a representative of reality almost. I think that there’s something vulnerable about all that taking place outside. … There’s other patrons there. It’s surrounded by people, surrounded by life, and Paul is showing up and telling Jimmy, “It’s time to step into it. Look, it’s all around you.”

This season we met Jimmy’s father (played by Jeff Daniels), who never really connected with his son and, in a heartbreaking moment, chooses a fishing trip with his buddies over staying for Alice’s (Lukita Maxwell) high school graduation.

One of the things this show does really well is handle these situations honestly. Whether it’s Parkinson’s or loss or a complicated relationship with a family member. It’s not gonna magically change. None of it. And so the show is very much true to, “How do we get through it with each other?” That’s really the theme of the show. These issues are gonna be there. What are we gonna do with the realities of life? I think the reason they brought Jeff Daniels in is to highlight why Jimmy so desperately wants Paul’s affection. Where is this coming from? Bill is a genius in terms of setting something up in a previous episode so that there’s a payoff in the finale. I think that we understand suddenly how desperate Jimmy is to have somebody say, “You’re my son and I love you.” And he finally gets that at the end from Paul.

The other major event that happens in the finale is that Alice leaves for college.

To me, [Jimmy’s relationship with Alice] has been the heart of the show and the most important storyline. The show started out with Alice parenting a troubled child in her father. And that dynamic slowly, slowly, slowly shifted to being the right direction. Until finally he is able to see her off to college and she feels safe to leave him behind. He is the parent and she is the child and everything is the right size again. I think watching Lukita as an actor and a human being grow up over these past four years, it’s been really the joy of my career. When I met her, she called me Mr. Segel. I realized she grew up with my “Muppet” movie. I have the real honor of being more of a mentor than a contemporary to Lukita. To get to the point where I am being surprised and challenged and blown away and moved to tears in scenes with Lukita is like the coolest thing in the world.

Cobie Smulders and Jason Segel in “Shrinking.”

(Apple TV)

We see Jimmy sit down at the restaurant with his potential love interest Sofi (Cobie Smulders), but we don’t hear their conversation.

It originally ended with a hard cut to black. Then then they did this beautiful cinematic pullback. I think the most important line is, “Hello.”

As the scene ends, Paul tells Jimmy that he can either “stay stuck” or “go make new scars.” Paul advises Jimmy to “choose wisely” and then winks at Jimmy. It’s a subtle nod to the famous “choose wisely” scene from “Indiana Jones and the Last Crusade.”

Harrison is not so secretly one of the funnier people I know. He always knows exactly what he’s doing and we’ve had a few of those throughout the season, some little nods to Harrison’s body of work. It was a perfect way to end that scene. Paul slash Harrison is always just a little smarter than you. One of the great qualities that they have is they’re just a little bit ahead of you, which a great mentor should be, right?

Have you thought about how it will be to play Jimmy in the show’s fourth season now that this particular story arc has come to an end?

I think an equally interesting and complicated and fun area is someone deciding they’re ready to be happy. Because God knows it’s one thing in your house alone in front of the mirror [to say], “Now I’m gonna be happy.” And then you go out and in practice, it’s its own set of complications, right? And so, I’m actually really excited about that idea of someone saying, “OK, I’m ready to take it for a spin.” And then seeing that’s its own thing.