East of Eden on Netflix’s creator Zoe Kazan follows in her grandfather’s footsteps who directed the 1955 film adaptation.
Hayley Anderson Screen Time TV Reporter
21:22, 01 Oct 2026
East of Eden: Florence Pugh stars in Netflix trailer
East of Eden is being hailed as a faithful and “captivating” watch with fans especially impressed by its leading lady.
John Steinbeck’s 1950s classic novel East of Eden has been resurrected once again but this time for Netflix fans, following the story of fierce Cathy Ames (played by Florence Pugh).
Set in the early 1900s, anti-heroine Cathy stops at nothing to get rich and in the process, drives a rift between two brothers that “ignites a saga that unfolds across two generations”.
The seven-part period drama was released in full today, Thursday, October 1, with fans quickly flocking to social media to share their thoughts. And it didn’t take long for users to make a major prediction about Florence Pugh’s future.
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With so many viewers impressed by the 30-year-old’s performance, fans believe she is in the running for an Emmy Award.
“Florence Pugh will definitely get an Emmy for East of Eden, she has out done herself by miles”, someone praised on X. A second agreed: “Just finished watching east of eden and the Emmy campaign for Florence Pugh starts right now.”
“Florence Pugh getting rave reviews for East Of Eden, oh we are sweeping the awards season all the way to that Emmy!”, a third exclaimed.
As another viewer remarked: “People were claiming that Florence Pugh is ruining her career with a Netflix show but the critics are raving about her and she’s most definitely getting an Emmy for this performance.”
Ahead of its release, Pugh opened up to Tudum about the challenges of creating an “epic adventure” for just seven episodes.
“As a performer, it was a really big step up into how I was going to approach this role and shooting this schedule because I had no time in between.
“I’m not only talking about heavy subject matter in the scenes, but the language is from a different era, which has a different rhythm.
“It meant that I had to approach this role in a way that I’d never done before.”
Earlier this summer, Akriila flew to Los Angeles and played two nights at the Roxy in West Hollywood. At 22, the Chilean singer-songwriter, most identifiable by her fire engine red tresses, is one of the most visionary newcomers in the latest wave of post-urbano Latin artists.
Fittingly, Akriila kick-started her career with a trap mixtape. The most-streamed tracks on her debut, 2024’s dazzling “Epistolares,” favor a progressive reggaeton vein. She also collaborated with Milo J on “Llora Llora” — a folksy lullaby off the Argentine rapper’s masterpiece “La Vida Era Más Corta.”
“Hot gays listen to Akriila” became a celebrated slogan on social media.
Turns out she was just getting started. Released Sept. 3, her latest album, “Lucy Miró al Mundo y Notó Que Está Girando” — its title a delicious riff on Beatles lore — eschews reggaeton altogether, in favor of a hallucinogenic collage of shoegaze, electronic glitch pop and South American roots sounds.
A guidepost of Chilean hyper-pop, it is also a heart-wrenching mash of tenderness and distortion. The lyrics describe the trauma of a recent transition, after she left her father’s home and ventured to live on her own — and though she’s now an established artist signed to Atlantic Records, her music is still aching and vulnerable.
“She is a reference point for all of us in contemporary music,” says producer Diego Raposo, a Dominican tastemaker who featured Akriila on his 2023 debut album. “I believe we’re witnessing something that we’ll probably never see again. Her music reminds me of Björk, Aphex Twin, even Shakira — but it’s also incredibly fresh and original.”
A few days before traveling to London for her inaugural European tour, Akriila spoke to De Los about the seduction of second verses, her obsession with ’90s dream pop and the growing pains of living alone.
This is such a dreamlike record. Was that intentional? I wanted it to feel not necessarily ethereal, but hazy, like you’re inside a bubble. I love the way my voice is processed, sharing the space with so many layers. It’s really cool when the vocals are part of a track instead of lying there in the center of the mix.
I was your age in the ’90s, and this album has a very strange emotional effect on me: It reminds me of what it felt like to be in my 20s, listening to dream pop for the first time. That makes perfect sense, and it connects with a favorite exercise of mine: Every week — ideally, every day — I listen to a full album from beginning to end. I started with new releases, but then set my sights on the classics.
The Sundays’ [1990 masterpiece] “Reading, Writing and Arithmetic” was the album that opened up the space mentally for what I wanted to do. I always say that I make alternative pop. I start with something that’s catchy and easily digestible, and then mix it with sounds that feel uncomfortable. As I was starting to work on this album, I listened to the Sundays, the Cardigans, and every single record that Prince ever made.
I can definitely feel the ’90s vibe in the closing track, “Lucy.” It’s gorgeous. That’s inspired by the Sundays’ “Gone,” and the drums sound like Cocteau Twins. I love the art of collage — stealing from different artists, but doing it my way. There are samples of PJ Harvey, Patti Smith, but also Rosalía. When I make videos, I’m always thinking of something that MTV would have played back in the day.
I keep thinking of this record as a concept album, even though the actual concept is more of a feeling than anything else. I totally get you. It’s not an album like the Who’s “Tommy” — an actual musical that takes the conceptual deal to another level. I feel we’ve forgotten the art of making albums now that we’re so focused on playlists and TikTok. I invest a lot of effort in making my albums conceptual, since I’m not into records that are random collections of tracks. “Epistolares” was all about sending letters and dedications. The deluxe version was more sentimental. This one is a concept album for sure. I could outline in detail why every moment of the record happens when it does.
The bridge on “Abrázame” is incredibly romantic. That bit really freaked me out in a good way. It was shorter at first, but then I asked [producer] Vinco to make it longer. Those guitars on the bridge are the most beautiful thing he’s ever done. The contradiction of “Abrázame” is that everyone kept telling me that it should continue going up and explode at the end, but I had already overused that device on “Epistolares.” So I did the opposite and gave it a happy ending. That ethereal, ambient thing at the end kills me.
Talking about songwriting devices, here’s a trademark Akriila move: A song may be moving forward, and suddenly there’s a fracture — everything breaks and decomposes. Why? I think I have ADHD and need things to be constantly changing. I’ve tried to make songs that are plain, but I just can’t do it. My favorite part of songwriting is working on the second verse. You’ve already presented the main idea and shown what the chorus is like. On the second verse you can change the beat or the lyrics, and do anything you like. [Producer] Clemente is just like me in that respect. Sometimes we take things to the limit, and then step back. It’s one of the great things about my creative team: We’re not married to the demos. We may do five versions of the same tune until it sounds right.
Your Chilean roots shine through on “Partedemipartedeti.” I listened to those folk bits and thought: Here’s someone who grew up listening to Los Jaivas and Inti-Illimani. When I first started obsessing about music, the stuff that I liked was all in Spanish. I listened to tons of records from Chile, Argentina and Mexico. “Carta a Mi Papá” is like a traditional balada from Chile. I stole those chords from “Quizás, Porque” by [Argentine supergroup] Sui Generis. I listened to a lot of Pescado Rabioso when I was a teen. My partner has a cassette deck in her car, and she’s always playing [Charly García’s] “Piano Bar.” I don’t identify only with Chilean music. It’s more of a música latinoamericana thing. I don’t think gringos are that good in the lyric writing department. Artists like Bandalos Chinos, Alex Anwandter and Zoé are really great composers.
Do you think you’re an old soul? People always tell me that [smiles]. We’re a team of three; I think Clemente is a really young soul. Vinco and I are the old ones.
Before making this record, you stopped living with your dad, moved to a place of your own, and experienced a time of profound loneliness. What does your father think of the finished album? He loves it. He is a musician himself, and it must have been hard for him when we started living apart. It was also difficult for me to get home and feel so lonely because there was no one waiting for me anymore. My dad still comes to my place once a week; he doesn’t want to bother me, so he leaves food in the reception area. It’s his way of making sure that I’m doing fine.
Did it make you doubt the veracity of the Rams’ championship claim?
Were you among the dummies who, as Davante Adams put it, were “freaking out”?
“You’re a fool if you think that that’s what it’s going to look like every single week,” a confident Adams said before putting on a cape and a show in the Rams’ 28-6 victory over the New York Giants on Monday at SoFi Stadium.
The 33-year-old receiver was confident because, for one, the Rams are never again going to fly 16 hours, hop off a plane and play NFL football.
Also, the Rams are very good.
And anybody — or “everybody,” per Adams — who doubts these Rams, does so at their own peril.
Because this is a team with so many weapons they seem sometimes to almost forget about one of them — Adams.
Prime-time ’Tae, the six-time Pro Bowler, three-time All-Pro first-teamer and future Hall of Famer.
A 13th-year professional scorer who, on Monday, passed Art Monk (12,721) to enter the top 25 on the NFL’s all-time receiving yards list. Adams also passed Antonio Brown, Calvin Johnson, Brandon Marshall and Jimmy Smith (46) and tied Torry Holt and Michael Irvin (47) for the ninth-most games in NFL history with 100-plus receiving yards.
With star receiver Puka Nacua out nursing a hip injury, all eyes were on Adams — and hopefully you didn’t blink.
In Adams’ best game as a Ram, he caught eight passes for two touchdowns and 195 yards — 13 more than the Giants’ yardage total. And just 11 yards fewer than his career high.
Among his snags Monday was a leaping, two-handed grab off a sidearm sling from quarterback Matthew Stafford on the Rams’ second possession. Adams brought that down and sashayed in for a 31-yard touchdown that opened the scoring.
Then Stafford hit him in stride for a 64-yard monster gain on the Rams’ third drive, which set up Kyren Williams’ 10-yard touchdown reception.
Rams wide receiver Davante Adams, right, celebrates with wide receiver Xavier Smith after catching a touchdown pass in the first quarter Monday against the Giants.
(Allen J. Schaben / Los Angeles Times)
Stafford and Adams also had one of their patented over-the-shoulder touchdown connections in the corner of the end zone, which made it 21-3 in the third quarter.
“We’ve done that quite a few times on that route in particular,” Adams said, with a grin. “They did double-team it, but just tried to hide it a little too much. And if you’re going to double, you better get over there — because we’re going.”
And if you’re someone who thought the Rams play things too cool, well, Monday was too cool: “Our O-line did a great job protecting, to allow Matthew and Davante to have a bunch of cool connections,” coach Sean McVay said. “Anytime you go eight for 195, it’s a pretty special deal.”
Adams made high-degree-of-difficulty catches look elementary, like foregone conclusions. He was clinical, smooth with his body control.
“It’s a blessing, man,” Adams said. “Games like this. … I think you guys know what I’m capable of. I certainly do.”
But maybe Monday’s performance was a reminder not just of the Rams’ super-upside, but for the Rams themselves: As obvious a target as Nacua is, Adams remains a special talent. They ought to feed him more.
“He’s Wide Receiver 1 to me,” McVay said. “He ain’t a 2 … and I’m really happy for him. I thought he made some great plays, but you could see there’s a lot of trust that he and Matthew have. They were able to get a lot of work together this offseason, and it’s only going to continue to build.”
That investment in time and trust might have all been for naught had the Rams traded Adams — who previously was released by the New York Jets in March 2025 — when the Philadelphia Eagles were shopping A.J. Brown in the offseason.
The Rams didn’t hide that fact from Adams, McVay said: “I did want to acknowledge it. He’s a grown man, and I think he understood that this is a part of this business.”
And Adams didn’t take umbrage, he said at the start of training camp: “It’s just the way that this business goes … ultimately I’m still a Ram and I’m here and I’m happy to be here.”
Here, in L.A., still pursuing the elusive, ultimate goal — a Super Bowl title.
Rams wide receiver Davante Adams celebrates after catching a touchdown pass against the Giants.
(Allen J. Schaben / Los Angeles Times)
Last season, Adams lost in the NFC championship for the fifth time when the Rams were ousted 31-27 by the eventual Super Bowl-champion Seahawks.
And now, despite the debacle Down Under, the Rams remain the favorites to win the Super Bowl this year.
Monday’s victory — imperfect but convincing — reinforced those assumptions.
And proved Adams’ point.
“We’ve still got another level we can tap into,” he said. “This team, we got to the confidence level we’re at because of the work we put in. … We’re trying to be great and be a Super Bowl-caliber team, you gotta hold yourself to a high standard.
“This is definitely on track with what we’re capable of.”
