Odd

The first, or maybe the second thing to be said about “The Artist,” a six-part comedy written and directed by Aram Rappaport, is that it streams from the Network, a free ad-supported streaming service Rappaport created to release his previous series, “The Green Veil.” The first three episodes premiere Thursday; the concluding three are due at Christmastime.

The second, or maybe the first thing to say about it is that it comes pulling a tramload of heavy talent — including Mandy Patinkin, Janet McTeer, Danny Huston, Hank Azaria, Patty Lupone, Zachary Quinto — which begs for it to be taken seriously, though that might not be the best way to take it.

Set in 1906, peopled with ahistorical versions of historical figures, the series is set largely in and around the Rhode Island “country home” of Norman Henry (Patinkin), identified by a title card as “an eccentric robber baron,” and seemingly what we’d call a venture capitalist today. (And one seemingly in need of capital.) Norman begins the series dead, carried out rolled in a carpet and set on fire like a Viking, before we skip back in time, meeting his wife, Marian (McTeer), who narrates from her journal and advises “the reader” that it is only on the final page that “you might be well enough equipped to tell fact from fiction, hero from villain.” I’ve seen only the first three episodes, so I have no idea, apart from where the story misrepresents its real-life characters. But that’s just poetic license and, of course, perfectly acceptable.

The staff, for no evident reason, apart perhaps from the house lacking “a working kitchen,” lives in tents on the front lawn. They’re called inside by bells, attached to cords running out the windows, labeled the Maid, the Ballerina, the Boxer, the Doctor. The ballerina, Lilith (Ana Mulvoy Ten), is a sort of protege to Henry; she believes he’ll arrange for her to dance “Coppelia” back home in Paris, the fool. (Their scenes together are creepy.) Sometimes we see her naked (though tastefully arranged) in a metal tub. Her dance instructor, Marius (David Pittu), is waspish, bitter and insulting. The boxer is a sparring partner for Marian, who works out her aggression in the ring. She’s told us that she loathes her husband, and he her (though he professes his love in a backhanded way).

Danny Huston plays Edgar Degas, the artist in the series’ title.

(The Network)

And then there’s the eponymous artist (Huston), eventually identified as Edgar Degas, real-life French Impressionist, who was not, in fact, literally stumbling around Rhode Island in 1906, and certainly not accepting a commission to paint French poodles. (So much French!) You are free to make the connection between the show’s ballerina and those he famously painted, and her nude in the tub with his masterpiece pastels of bathing women. But apart from bad eyesight, a hint of antisemitism and Huston muttering in French, there’s no substantial resemblance to the genuine article. Here, he seems half out of his mind, or half sober. He is quite concerned with getting paid, and I don’t blame him.

The news of the day is that another person from history, Thomas Edison (Azaria) is coming to the house, looking for an investor for his new invention, a Kinetophone, a peep show with sound, like a turn-of-the-century take on a virtual reality headset. (There was such a thing; it was not a success.) This sets up a long flashback in which we learn that Marian and Edison knew each other in college, and that he betrayed her. Next up are Evelyn Nesbit (Ever Anderson) and her mother (Jill Hennessy), who have booked it out of New York after Evelyn’s unstable husband, Harry K. Thaw (Clark Gregg), shot architect Stanford White in the rooftop restaurant of White’s Madison Square Garden. That happened.

It’s a loud show, with much shouting and some brief violence, which, in its suddenness, verges on slapstick, and some less brief violence which is not funny at all. There is a superfluity of gratuitous profanity; F words and the less usual C word fly about like bats at twilight, clutter up sentences, along with many rude sexual and anatomical imprecations. Most everyone is pent up, ready to pop. At the beginning of the series, setting the table for what’s to come, Marian declares, “This is not a story in the conventional sense”; it’s “a cautionary tale,” but “not a tale of murder. This is a story of rebirth,” presumably hers. There’s a feminist current to the narrative: The men are patronizing and possessive, the women — taken advantage of in more than one sense — find ways to accommodate, manipulate or fight them, while holding on to themselves.

One can see why Rappaport might have had trouble landing this series elsewhere, or preferred to avoid notes from above. Aesthetically and textually, it’s the sort of absurdist comedy that used to turn up in the late 1960s and early ‘70s, something like the works of Robert Downey Sr. or William Klein, or maybe an ambitious film student’s senior thesis, given a big budget and access to talent; in its very lack, or perhaps avoidance, of subtlety it feels very old-fashioned. I wouldn’t go so far as to call it bad, or for that matter good, but it seems to me the perfect realization of the creator’s idea, and there is something in that. And there are those three concluding episodes, which will bring in Lupone and Quinto, their characters yet unknown, and may move the needle one way or the other. In any case, it’s not something you see every day.

ESPN is shifting its strategy on online sports gambling, ending its partnership with Penn Entertainment.

The companies announced Thursday they were terminating an agreement that offered ESPN equity in Penn, which operated the ESPN Bet sportsbook app. The app will no longer carry the familiar red ESPN logo. It will operate under a new name.

ESPN said it will partner with DraftKings, a leading sports betting company, which will provide odds and other gaming-related data for the Walt Disney Co. unit’s programs and its digital platforms. ESPN’s on-air staff will use DraftKings’ odds starting Dec. 1.

According to people familiar with the ESPN-Penn arrangement, the app simply didn’t reach its financial targets in the highly competitive business, which operates in the 31 states where online gambling is legal.

In 2023, Penn agreed to pay $1.5 billion in cash over the next 10 years for the rights to use the ESPN name on its app. As part of the deal, ESPN promoted the product across its programming and provided access to on-air talent. ESPN had the right to purchase up to 31.8 million shares of Penn stock for $500 million over the 10-year period.

“When we first announced our partnership with ESPN, both sides made it clear that we expected to compete for a podium position in the space,” said Jay Snowden, CEO and President of Penn Entertainment. “Although we made significant progress in improving our product offering and building a cohesive ecosystem with ESPN, we have mutually and amicably agreed to wind down our collaboration.”

The end of the deal comes shortly after an FBI investigation led to the arrest of Miami Heat player Terry Rozier, who allegedly pulled out of a game claiming injury to deliver a win on one of his prop bets.

ESPN’s decision is unrelated to the recent news, as the company has been in talks for months with DraftKings about a new partnership. But no longer having the ESPN name on a betting app will keep the brand out of the line of fire if the NBA case escalates.

Beginning in December, DraftKings will have its app exclusively integrated across ESPN’s platforms.

The companies said they will “collaborate to advance their shared commitment to responsible gaming, by dedicating prominent assets to educate, raise customer awareness and promote responsible play through campaigns and integrations.”

DraftKings will provide the betting tab within the ESPN app and its customers will receive special promotions for ESPN’s newly launched direct-to-consumer streaming product.

DraftKings operates in 28 states and in Washington, D.C., and Ontario, Canada, and has more than 10 million customers across its products.

Coronation Street fans believe Becky Swain may have bugged Carla Connor’s home in a bid to get dirt on her and split her and Lisa Swain up, with her intent on getting her family back

Viewers are concerned for Carla Connor on Coronation Street, with fears that Becky Swain is targeting her.

While it’s clear Becky is trying to oust ‘love rival’ Carla from her ex Lisa Swain’s life, in a bid to win her back, new scenes have teased she could be planning something sinister. A scene on Monday night left fans baffled, and alarmed after Becky made an odd comment.

Becky was winding Carla up, trying to tell her Lisa was still in love with her and that they would get back together. Carla very calmly made it clear to Becky that Lisa only had eyes for her, and they would stay together as Becky’s old life was gone.

It seems Becky is a little delusional though, smugly telling Carla that “it was all in the eyes” and that Lisa kissed her, even wearing a top she bought her years ago. Carla was stunned at just how wrong Becky was getting it all, reminding her that she and Lisa were together in their new home, and that Becky was her past.

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It’s then that Becky started making jibes at Carla’s own past, referencing stuff about her exes and her alcohol issues. It’s stuff Becky and even Lisa were not around for, and Becky shouldn’t really know about.

She is a police officer so perhaps she did some digging, but chances are she’s not allowed at the police station. Perhaps Betsy told her about the stuff, if she knows any of it.

Becky also made a comment in a different scene, this time to Lisa where she commented that if Carla wasn’t around, they’d be back together. The way Becky said it was almost the same as what Carla had said to Lisa prior.

It left fans wondering if Becky had bugged Carla’s house, and was listening into conversations. One fan posted online: “Oh so Becky’s bugged No.6 then… ‘if she wasn’t around…you don’t have to say it, it’s enough for me just to know’. HOW DO YOU KNOW?????

“And using that very specific wording that… the same that Carla used the night before?? That can’t just be coincidence?” Another fan agreed: “Ohhhh, you could be into something with this!!”

A third fan said: “Oh she has defo planted bugs 100% there is no way she said that line the exact way Carla said it as a coincidence.” A fourth fan added: “That is why we have the bedroom set? Scene of her watching them and listening in.”

The comments kept being repeated, with one fan said: “Exactly… How else would she know those words plus knowing full well Carla said this to Lisa, she heard it.” A final tweet said: “Wouldn’t be surprised.”

Coronation Street airs Mondays, Wednesdays and Fridays at 8pm on ITV1 and ITV X. * Follow Mirror Celebs and TV on TikTok , Snapchat , Instagram , Twitter , Facebook , YouTube and Threads .