relationship

When actor Cooper Hoffman pops up on a Zoom window for a joint interview, Andrew Barth Feldman practically bursts with joy.

“Oh my God,” Feldman exclaims. “Look at the buzz!”

The two friends, each in their own apartments in New York City, have not seen each other since Hoffman recently returned from Italy where he was shooting a role in Luca Guadagnino’s upcoming movie about the artificial intelligence company OpenAI, his hair styled in a severe, dark buzz cut.

The pair immediately launch into a spirited, rhythmic back-and-forth, playfully bouncing around ideas, making jokes and finishing each other’s sentences. It is similar to the nonstop banter between their duo in “Poetic License,” which has its world premiere at the Toronto International Film Festival tonight.

The first feature film directed by Maude Apatow, best known for her role on TV’s “Euphoria,” the film stars Apatow’s mother, Leslie Mann, as Liz, a woman who recently moved to a college town after her husband (Cliff “Method Man” Smith) joined the faculty there. Auditing a poetry class, Liz meets Ari (Hoffman) and Sam (Feldman), two awkward yet compellingly charming best friends who soon find themselves competing for her attention and affection.

Written by Raffi Donatich, the film is the first from Jewelbox Pictures, Apatow’s production company founded with her friend Olivia Rosenbloom, and comes into the festival still seeking distribution. (Keeping things in the family, the debuting director’s father, Judd Apatow, is a producer on the film as well.)

Via email, Maude Apatow spoke about the challenge of finding two actors who could not only play their individual roles, but also capture the speedy dynamic between them.

“A lot of the movie relies on the chemistry between Ari and Sam, so finding the perfect combo was massively important to me,” Apatow, 27, said. “After auditioning countless other boys, Andrew and Cooper were at the top of my list. … They were electric.”

Hoffman, 22, the son of late actor Philip Seymour Hoffman and director-producer Mimi O’Donnell, first burst to attention with his starring role in Paul Thomas Anderson’s 2021 “Licorice Pizza.” He can also be seen in the new Stephen King adaptation “The Long Walk,” which opens next week, and he has a role in Gregg Araki’s upcoming “I Want Your Sex.”

Feldman, 23, stepped into the title role of “Dear Evan Hansen” on Broadway at age 16, younger even than the adolescent title character. He also starred opposite Jennifer Lawrence in the 2023 comedy “No Hard Feelings,” in which his torchy showstopping performance of Hall & Oates’ bouncy ’80s “Maneater” has since racked up more than 18 million views on YouTube.

My conversation with the two actors took place on Labor Day. The following day Feldman began his nine-week run in the Tony-winning musical “Maybe Happy Ending.” Though playing the role of a robot, his casting, replacing the half-Filipino actor Darren Criss, sparked controversy and conversation around Asian representation on Broadway.

“It’s been the most vulnerable time of my whole entire life,” said Feldman of the response to his being cast in the show. “And I have much I want to say and for now the only place I really can is the show. I’m saying everything that I want to say, everything that I believe, I’m pouring my whole heart into the show itself. And I’m thankful that the conversation that’s been happening is happening. And I think this is my way of being part of it.”

“And one day we’ll have a much bigger conversation about it,” he adds, carefully. “But right now, I’m more excited to be talking about ‘Poetic License’ and anything would be reductive to the conversation to talk about it in this context. I don’t think it’s up to me to try to change any minds about it, only to do the best job I possibly can at uplifting this gorgeous, perfect story. Everything that I have to say for the time being is in the show. The show holds all of it.”

Feldman will miss three performances of the show over the weekend due to being in Toronto for the premiere of “Poetic License.”

Did the two of you meet making Jason Reitman’s “Saturday Night?”

Andrew Barth Feldman: Boy, did we.

Cooper Hoffman: We also got this job [“Poetic License”] on “Saturday Night.”

Feldman: So here’s the story. We’ve been preparing to tell it for so long. And this is what happened: We became really fast, really close friends on “Saturday Night” and that was a huge cast of a lot of people who are still huge parts of both of our lives. But we clicked really instantly.

And I was taping for this movie and Cooper was taping for this movie, and we both loved the script and, especially on that set, everyone was taping for all of the same things all of the time. So I got a call from my agent that they were asking me to chemistry-read with Cooper and since we were in the same place, might as well be convenient if we just do it in the same place on Zoom. Cooper was on his way to hanging out with me at Dylan O’Brien’s Airbnb. I was already there and Cooper’s on his way. So I called him, told him that this was happening. That’s how he found out that we were chemistry-reading together. And I think both of us said, “Oh, we got the job.” Like, that’s it. As soon as they see what we do when we’re alone together and how insane it is, we’ll have this job. And that’s how it happened.

Hoffman: It’s so true. We ended up running the lines with Dylan O’Brien playing — I don’t know why we keep using his full name — but Dylan playing Leslie Mann’s character. Dylan played Liz.

Feldman: He was really good. I was kind of hoping he would do it.

Andrew Barth Feldman, attending the London premiere of “No Hard Feelings” in 2023.

(John Phillips / Getty Images for Sony Pictures)

Why do you think the two of you just clicked like this?

Feldman: Why do you love who you love? I think there are a lot of real similarities to us. We both had losses of parents really early on in our lives. And that I think instantly brought us to a level of vulnerability with each other that we didn’t necessarily have with other people. But in terms of the candor and the rhythm that we have with each other, it’s just kind of feels like one of those universe once-in-a-lifetime things.

Hoffman: I would very much agree. It was one of those weird things where, as we had to play best friends, we were kind of figuring each other out. Andrew was always someone that I felt very comfortable talking to about things. We rarely would talk about the movie. It was much more about life and other things. And I feel very privileged to have shot this movie with Andrew, actually.

There is something really fresh about your dynamic. The best I can describe the movie is that it’s an adult coming of age rom-com of male friendship.

Hoffman: I would say that’s better than anything that we would say. To me, the thing is that I love a male friendship. I love a male friendship that almost feels like they’re dating, they’re one step away from being married. And what does that bring? What happens when you rely on someone so heavily?

Cooper Hoffman arrives at 2022’s Vanity Fair Oscar Party in Beverly Hills.

(Evan Agostini / Invision / AP)

Feldman: I feel like we both had relationships growing up that you’re basically zero degrees away from romance. It is a romantic relationship. And that is — or was, I guess? — formerly maybe more taboo. There are more expectations of masculinity around that. But I think especially in our generation and especially as people who have decided to do art with our lives, there’s really no taboo around it at all. And in fact, something to be really celebrated. It is kind of the healing factor for young men right now: male relationships that you can be really vulnerable in.

And besides being Sam and Ari’s relationship, it was — and is — Cooper’s and my relationship. We couldn’t shut up really. I mean, that’s important to note is that we never, ever stopped talking. We would be talking and talking and then somewhere during our conversation we would hear action be called and we would just keep talking until we found our way into the scene. Kind of the way we did the whole movie was just trying to tell as much truth as possible because we knew that our relationship was all that really needed to be there to make the relationship of the characters work.

Hoffman: I also just had a thought that this interview’s going to be so annoying to read because it’s literally just going to be me and Andrew complimenting each other for however long. You should have never put us on a call together.

Feldman: This is our first interview about this.

Cooper Hoffman in Paul Thomas Anderson’s 2021 movie “Licorice Pizza.”

(MGM/UA)

How did the two of you find working with Maude? On the one hand, this is her feature directing debut. On the other hand, she’s been on movie sets her whole life.

Feldman: She was really good. In all of those moments of improvisation and exploring, she was a massive collaborator in that. And was pushing both of us to places that I wouldn’t have gone initially, risky places in these scenes. Every time we would shoot something, we’d do it, go away and talk about it for 10 minutes and just be inventing and zip-zap-zopping across the three of us, and then just be like, OK, let’s go get another one. It was this really creative process that for me as a young person coming up in this industry, I haven’t really had permission to participate in up until working with somebody like Maude. She’s not too much older than us. We’re all coming at this as collaborators as opposed to hierarchically.

Hoffman: The thing with Maude is there was a real level playing field in which we were all figuring out this thing together. And Maude just has inherently very good instincts as a director. She was grounded and she knew what she wanted, but she was much more open for us to go, “Hey, we don’t know what this is. Can we figure this thing out?” And it was debatably the most collaborative set I’ve been on. Which was really great that Maude allowed for that space to happen.

Cooper, do you see your character here as an extension of what you were doing in “Licorice Pizza”? It’s this guy who outwardly has a lot of game, but then inwardly is struggling. Did it feel that way to you as you were performing the role?

Hoffman: No. And here’s the reason for that, I’m not opposed to that convo but I think a real fear of an actor is that you’re doing the same thing every time. And so I think I’m inherently going to jump to being like, “No, this is a completely different person.” And the thing is, I don’t think Ari has game. I never wanted to play it like that. I think he’s extremely confident, but, not to bring up Dylan O’Brien again but Dylan O’Brien used a very good metaphor, which is you’re like a duck. It’s calm on the surface, paddling vigorously underneath. And it does feel like that for Ari.

Andrew Barth Feldman with Jennifer Lawrence in a scene from “No Hard Feelings.”

(Macall Polay / Sony Pictures)

Andrew, you have your own background in musical theater, but you also had your rendition of “Maneater” in “No Hard Feelings.” Do people now always want you to do a number in a movie? Was there any discussion of you doing a number in this one?

Feldman: There was very briefly a discussion of me doing a number in this movie. I think I was talking to Raffi early on and she was like, “Oh my God, I had this idea, what if you actually sing this thing?” And I was like, I can’t do another one. Not right now. It’s too soon after “Maneater” and “Maneater” is still a really huge part of my life. I want to give that moment its moment.

What do you mean, that “Maneater” is still a big part of your life?

Feldman: People ask me to sing it all the time.

Hoffman: What do you mean? It’s a masterpiece. I watched it on a plane the other day. I cried. I literally cried. I love that scene so much. I love that movie so much.

Guys, thank you for your time. I can’t even imagine how this would’ve worked if I’d interviewed you separately.

Feldman: We wouldn’t have done it.

Cooper: I would’ve just talked about Andrew the whole time. By the way, if you would’ve gotten us in the room together, this interview would’ve never ended. It would’ve been physical bits. It would’ve been a whole thing.

Feldman: We talked on set so much about these moments — that we would get to eventually do press together and talk about the movie because we really were, from the beginning, giving one performance of these two characters together.

Nestle has fired its chief executive after just one year in the job because he failed to disclose a “romantic relationship” with a “direct subordinate”.

The Swiss food giant, which makes Kit Kat chocolate bars and Nespresso coffee capsules, said Laurent Freixe had been dismissed with “immediate effect” following an investigation led by Nestle’s chair and lead independent director.

The BBC understands the inquiry was triggered by a report made through the company’s whistleblowing channel.

Nestle chair Paul Bulcke said: “This was a necessary decision. Nestlé’s values and governance are strong foundations of our company. I thank Laurent for his years of service at Nestlé.”

The relationship was with an employee who is not on the executive board and the investigation began because it represented a conflict of interest, the BBC has learned.

As well as Mr Bulcke, independent director Pablo Isla oversaw the inquiry into Mr Freixe “with the support of independent outside counsel”.

The Financial Times has reported that concerns were raised about Mr Freixe’s relationship with an employee earlier this year and, after an internal investigation, the claims were found to be unsubstantiated.

After the complaints persisted, the newspaper reports that Nestle conducted another investigation with help from outside counsel after which the claims were upheld.

A spokesperson for Nestle said: “We acted at all times in line with best practice corporate governance.

“The external investigation was opened shortly after the initial internal investigation, and today’s decision shows that we are taking allegations and investigations seriously.”

Mr Freixe had been with Nestle for nearly 40 years but stepped up to the global chief executive role last September, replacing Mark Schneider.

Nestle confirmed that he will not receive an exit package.

The BBC has contacted Mr Freixe for comment.

Philipp Navratil, who has been with Nestle since 2001, has been appointed as Mr Freixe’s successor.

Mr Bulcke said the company was “not changing course on strategy and we will not lose pace on performance”.

Mr Bulcke is set to step down as chair next year and Mr Isla, the former boss of Zara-owner Inditex, has been proposed as his replacement.

Other companies have parted ways with their chief executives following investigations into their personal relationships with colleagues.

BP chief executive Bernard Looney, who led the oil giant for three years, quit after admitting he was not “fully transparent” initially.

Steve Easterbrook was fired by McDonald’s in 2019 after it found he had a consensual relationship with an employee.

But McDonald’s said a further investigation found that the British executive had three additional relationships with staff.

He initially received $105m (£77.5m) in a severance package which he later returned. In 2023, he was fined $400,000 by the US financial watchdog for misleading investors. He paid the penalty without admitting or denying the claims.

Additional reporting by Dearbail Jordan.

Sept. 1 (UPI) — Nestle, the world’s largest food and beverage company, on Monday fired CEO Laurent Freixe after disclosing a romantic relationship with a subordinate one year after he took over the Swiss company.

The public company, based in Vevey, announced Philipp Navratil, who headed the Nespresso coffee unit, as the immediate successor of Freize, 63.

The employee was not on the executive board, the BBC reported.

“The departure of Laurent Freixe follows an investigation into an undisclosed romantic relationship with a direct subordinate which breached Nestle’s Code of Business Conduct,” the company said in a news release. “In line with best practice corporate governance, the Board ordered an investigation overseen by Chairman Paul Bulcke and Lead Independent Director, Pablo Isla, with the support of independent outside counsel.”

Bulcke, who announced in June that he was stepping down next year, said: “This was a necessary decision. Nestle’s values and governance are strong foundations of our company. I thank Laurent for his years of service at Nestle.

“We are not changing course on strategy and we will not lose pace on performance.”

Nestle ousted his predecessor, Mark Schneider, last September.

Freixe joined the company in France in 1986 in marketing and sales. In 2007, he took over as head of operations in Europe.

Navratil, born in 1976, began his career with Nestle in 2001 as an internal auditor. He held various commercial roles in Central America, including leadership of the coffee and beverage business in Mexico.

He was named the leader of Nespresso in July 2024, and became a member of the company’s executive board on Jan. 1.

“Philipp is recognized for his impressive track record of achieving results in challenging environments,” Nulcke said. “Renowned for his dynamic presence, he inspires teams and leads with a collaborative, inclusive management style. The Board is confident that he will drive our growth plans forward and accelerate efficiency efforts.”

Nestle’s largest operation is in the United States with 36,000 employees. Nestle USA was named in 2024 as No. 30 of top workplaces by The Washington Post.

Worldwide there are 275,000 workers.

Nestle was founded in 1866 as the Anglo-Swiss Condensed Milk Co by Henri Nestle.

The company’s annual revenue in 2024 was 91.72 billion, a decrease of 1.75% in one year. The company’s net profit was 10.88 billion, a decrease of 2.9%.

Pepsi is the second-largest company in the world.

Nestle owns thousands of brands, including food and beverage products, pet care and nutrition. Some of them were acquired from other companies.

“Nestle’s makes the very best chocolate” was a TV advertising jingle for 10 years starting in 1955.

Beverages include Nescafe, Nespresso, Coffee-Mate, Milo, Perrier and S. Pellegrino.

Pet care products are Purina, Friskies, Fancy Feast and Tidy Cats.

Chocolate and confectionery are Kit Kat, Milky Bar, Smarties, Aero and Nestle Toll House.

Culinary, chilled and frozen food are DiGiorno, Stouffers and Hot Pockets, Lean Cuisine, Maggi, Thomy and Sweet Earth.

Dairy and ice creams are Carnation, Nido, Haagen-Daz, Dreyer’s/Edy’s.

Nutrition products are Gerber, Cerelac, Boost, Vital Proteins and Narue’s Bounty.

TELLURIDE, Colo.  — Jeremy Allen White asked all the questions any normal human being would ask when offered the chance to play Bruce Springsteen in “Springsteen: Deliver Me From Nowhere.” In theaters Oct. 24, it’s a movie that examines a slice of the rock legend’s career when he was battling depression and creating 1982’s incomparable exploration of alienation “Nebraska,” a record he didn’t know he was making when he recorded the songs on a primitive four-track tape machine in a rented New Jersey home. It turned out to be his favorite of all his albums.

Most of those questions could be boiled down to: Why me? White didn’t know how to play the guitar. He loves to sing but would never call himself a singer. And while he has a relationship with an audience, particularly those who have white-knuckled their way through his Emmy-winning work as Carmy, the talented and troubled chef on “The Bear,” he says it’s a far cry from the bond Springsteen has forged with his fan base for the past 50-plus years.

“The relationship a musician has with fans is so intimate,” White, 34, tells me the morning after the movie had its world premiere at the Telluride Film Festival. “You listen to him in the car, you go to see him live. He’s there in your ear and it’s just the two of you. You feel like you’re being spoken to. Bruce is so important to so many people. It was daunting. I didn’t want to disappoint.”

By the time we talked, though, White was well past any anxiety about disappointing, if only because he had the approval of the person who mattered the most: Springsteen himself.

“Jeremy tolerated me and I appreciated that,” Springsteen said at a festival Q&A, suggesting that his input on the movie was ongoing and significant — and also welcome. He noted that it was easy to sign off on director Scott Cooper’s vision for the movie, which, with its narrow focus on the deep dive of “Nebraska,” he called an “antibiopic.”

“And I’m old and I don’t give a f— what I do,” Springsteen added, laughing.

White and I are sitting in the sun outside his hotel, basking in the warmth the day after a steady rain. Wearing a battered Yankees cap, jeans, boots and a blue pullover, he’s sporting the casual uniform of the festival, if not the Boss himself. White asks if I mind if he lights an American Spirit. He reaches for his lighter. The premiere is over and his mood is light. We dive right in.

Jeremy Allen White in the movie “Springsteen: Deliver Me From Nowhere.”

(Macall Polay / 20th Century Studios)

Was there an immediate point of connection with Springsteen?
The more I talked with him, the more I learned. And at the point in his life we show in the movie, he was feeling so fraudulent. Not in his work, but as a human. He felt like he was being caught in a lie all the time. And I don’t want to speak for all actors, but I’ve certainly dealt with that kind of feeling.

It feels like there’s a line between your Springsteen and Carmy on “The Bear,” two men carrying generational trauma and emotional baggage they have no idea how to deal with. Do you see that?
For sure, you can draw that line. They’re cousins. And they’ve both got their art, something they feel confident about. What Bruce was feeling in his relationship with his father and the environment he grew up in, is he felt incredibly unsafe. And that made it difficult for him to trust people and form real connections. For a long time, the only connection he felt was in that three hours he spent on stage.

But then what do you do the rest of the time?
Absolutely. And I’m familiar with those feelings. But my home life as a child was more loving and supportive, so I had to do some creative work to find that tether to Bruce.

You mentioning Springsteen’s dad just popped a thought into my head. Is Carmy’s dad alive?
[Long exhale] We don’t know. That’s a decision that’s up to [showrunner] Chris [Storer].

It’s above your pay grade.
Well above.

You’re really good at playing men who have trouble articulating their feelings, which puts a lot of weight on your shoulders to convey an interior life through close-ups. Do you like that kind of acting?
I do. You have to have an understanding. The camera knows. If you’re just staring at a wall and you don’t have anything going on, the camera will know. The audience will, too.

You do also get to rock out and sing “Born to Run” and “Born in the U.S.A.” How did your vocal chords feel afterward?
I spent an afternoon singing “Born in the U.S.A.” and I got a migraine and I lost my voice. I saw Bruce afterward and he asked, “What’d you do today.” And I said [affecting a hoarse voice], “Uh, I recorded ‘Born in the U.S.A.’” And he smiles and says, “Sounds about right.”

Most of your singing is the “Nebraska” songs, these delicate acoustic songs about despairing characters who have lost hope. Putting across their stories in these songs feels like its own imposing challenge.
I was so focused on just sounding like Bruce and my coach, Eric [Vetro], asks, “What are you singing about? What’s the story? Where’s Bruce coming from? Is he singing from his perspective? Is about his childhood? Is he playing a character?” All these questions that, for an actor, should be right at the front of mind. Because I was so anxious about sounding like him, I found myself blocked by the real thing, which was: How can I just sing the song as honestly as possible?

What song was the breakthrough?
“Mansion on the Hill.” Bruce listened to it and said, “You do sound like me. But it’s you singing the song.” And that gave me permission, not just in recording the music, but making a film where I could tell his story but not be afraid to bring myself to it.

Did you have a favorite song?
Probably “My Father’s House.” It seemed like a warning for me. There’s regret in it. What I heard is a song about a young man not wanting to regret that he didn’t reach out for his father, who he had a love and connection with earlier. There was an immediacy to it, which you then see with Bruce and his father in the film.

Did it make you want to call your dad?
I called him right after recording that song in Nashville. Like many fathers and sons, we have a loving relationship, but we’ve also gone through periods where things have been difficult and it was hard to communicate. Making this film and singing this song has given me another perspective. It also coincides with getting older and having children of my own.

I’m glad you made the call. You can’t have those conversations after a certain point.
That’s what I mean about the warning of that song.

You told me yesterday that you and Springsteen had a debate about “Reason to Believe.” What was the source of the disagreement?
It’s the last song on the album and Bruce says people confuse it as being hopeful. He says that’s not correct. The song is about a woman whose husband has left her and she stands at the end of the driveway every day, waiting for him to come home. And I hear that, and I think, “Oh, that’s real love. That’s romance. Someone’s gonna drive down that road at some point.”

Either that or this poor woman is just going to be walking up and down her driveway the rest of her life.
And no one’s gonna be there. It depends how your ear is on a song.

But you choose to believe.
I choose to walk to the end of the driveway. Absolutely.

Would you call yourself an optimist?
No. [Laughs] Not really.

“Nebraska” came out in 1982 and was informed by the idea that there was a growing divide between the wealthy and the poor and that what we think of as the American Dream was becoming more elusive. Where do you think the album sits more than four decades later?
People are angry. That’s what seems to define our country right now. Anger. And it doesn’t seem to be going away. The songs on “Nebraska” are still going to be speaking to us four decades from now. They’re timeless.

Jeremy Allen White in the movie “Springsteen: Deliver Me From Nowhere.”

(Macall Polay / 20th Century Studios)

Did your early dance background help you with the physicality of the role, the way he carries himself on stage or even just walking around?
For sure. Finding the way he holds his gravity was important. I put little lifts in the boots and that made my posture change, my legs a little longer. Wearing the pants up to here [he points to a spot above his hips], that gets your gravity in your belly button, where I’m crouched over all the time.

There’s a lot of scenes in diners where he’s sitting with one arm over the back of the booth …
… like he’s on his way out almost all the time. One foot in, one foot out.

Musician friends turned you on to “Nebraska” in your early 20s. What music were you listening to then?
My folks are a little older so I grew up listening to a lot of music that Bruce listened to — Sam Cooke, Otis Redding, the Beatles, the Stones, Aretha Franklin.

Your parents had a strong record collection.
Still do. And I grew up in in Brooklyn in the ’90s, so I got really heavy into hip-hop in my teenage years. I discovered Nas and Jay-Z and Big L and Wu-Tang. Tribe. De La Soul. And then I was around for an exciting time in the New York scene. I was young so I couldn’t really experience it, but the Strokes were coming out and LCD Soundsystem. I felt lucky to be close that stuff as it was happening.

The way you’re talking about all this, it feels like music is a fundamental part of your life.
Absolutely. I love that it’s always with you. I’ve taken a couple of cross-country trips, and I love putting on Motown. I go through periods where I listen to the same 20 songs for a couple of weeks. But then I’ve got thousands of “liked” songs. And the nice part about a long drive is you can shuffle that and it’s like you’re traveling in time. I love getting to visit past versions of myself through music.

Springsteen takes an eventful cross-country trip in the film. What’s your most memorable one?
I did one by myself when I was about 24. I thought I was going to give myself about two weeks to go from New York to L.A. The first week was great. I was enjoying my solitude, listening to a lot of music. Then when I hit Utah, I got incredibly lonely.

Did the landscapes get to you?
Maybe. I had a certain amount of anonymity, which I enjoy on a road trip. You don’t know anybody in these towns and that allows you to be whoever you want to be, passing through. I remember getting to Utah and just being desperate to see somebody who knew who I was. And I got a flat in St. George, Utah. It was a disaster. My phone had died. I didn’t have a spare. I was out on the side of the road trying to borrow somebody’s phone. I took that as a sign. After I got it repaired, I raced to have dinner with a friend, because I felt this this crazy loneliness.

Springsteen says everyone has their “genesis moment,” an experience that charts your path. His was watching Elvis Presley perform on “The Ed Sullivan Show” in 1956. What’s your genesis moment?
I had been dancing on stage but I didn’t act until I was 14 when I got up in front of a group in middle school. I had this great teacher, John McEneny, and he was having us do this improvisational exercise — two characters, one speaking, one quiet. And my friend, Yael, was playing a mother and I was playing her child who didn’t know how to speak yet. So I wasn’t speaking, like so much of my work [Laughs].

It’s Carmy’s genesis moment too.
Yes. And I remember feeling a presence. I had a hard time focusing as a child, a hard time being present. Still do. But I remember even in silence feeling so at ease and present. And of course I remember the eyes. And even without me doing anything or speaking, I felt attention, people waiting to see what I would do next. And I went, “Whoa.” I felt at peace. I felt present and people were interested. And I thought, “Let me follow this a little bit and see where we can go.”

There’s a scene in the movie, taken from real life, where Springsteen is flipping through the channels one night and stumbles upon Terrence Malick’s “Badlands,” a movie that ultimately influences “Nebraska.” With streaming, we don’t really have those serendipitous discoveries any more. Have you ever had a moment like that?
I can’t think of one. But “Badlands” was a favorite of my parents and they showed it to me when I was 13 or 14. Martin Sheen was cool as hell in that role, and I was so impressed with his commitment to that character. And Sissy Spacek conveys so much with so few words.

And like “Nebraska,” “Badlands” was difficult to make. There was a lot of pushback against Malick and what he was trying to do.
There was a lot of confusion going on. They weren’t on the same page. Like with Bruce, it took a lot of diligence on Terrence Malick’s part to realize his vision. It’s so beautiful when you hear about the process of making a film is so difficult, and then something so beautiful and perfect comes out.

Where do you like to see movies in L.A.?
I love the New Beverly. I saw “2001: A Space Odyssey” at the Egyptian not long ago. The Aero, if I’m on the Westside. I miss the Cinerama Dome and the Arclight. New movies, probably the Sunset 5. My favorite thing is go to a movie on a Tuesday at like one in the afternoon. You’re there by yourself. I like seeing movies by myself. Some people get out of a movie and like to start talking about it. I like getting out of a movie and being quiet for awhile.

Did you see “Weapons”? That was my favorite movie theater experience this summer.
I loved “Weapons.” And obviously, it’s a great horror film and funny at times and that ending is just crazy. But also I found myself very emotionally affected. To me the horror of the movie was about, from the child’s perspective, looking at all these adults who were totally incapable, whether it was due to addiction or narcissism.

Bringing this full circle, I’m watching this movie about kids feeling unsafe and I thought of the times in Bruce’s upbringing where he felt a similar way and how that made it so difficult to grow up and be trusting. That he ultimately got to that place is so beautiful. I hope people come away from watching this movie feeling that and, if they’re in a place that’s not so good, maybe thinking that connection can still be possible.

Welcome to Screen Gab, the newsletter for everyone who needs a mental health break from the Taylor Swift-Travis Kelce engagement vortex.

Three years after “The Terminal List” ended its first season, Prime Video’s prequel to the military-espionage thriller arrives. The debut season of the flagship series concluded with — spoiler alert! — Navy SEAL commander James Reece (Chris Pratt) discovering his closest ally, Ben Edwards (Taylor Kitsch) was involved in the ambush mission that led to the death of his platoon, as well as his wife and daughter. “The Terminal List: Dark Wolf” traces Ben’s journey from Navy SEAL to CIA operative. Creator and showrunner David DiGilio stopped by to discuss expanding the Jack Carr book universe and working with Kitsch.

Also in this week’s Screen Gab, our streaming recommendations are different types of nostalgia plays: Noah Hawley’s timely television prequel to the ‘Alien’ film franchise that is set on Earth, and “Gunsmoke,” the classic western that first hit TV screens 70 years ago and is finding new life in the streaming era.

ICYMI

Must-read stories you might have missed

Olivia Colman, left, and Benedict Cumberbatch of “The Roses,” a remake of “The War of the Roses,” photographed in London in June.

(Jennifer McCord / For The Times)

Olivia Colman and Benedict Cumberbatch are a match made in heaven — or, in ‘The Roses,’ hell: They’ve known each other for years, but having the opportunity to spar in a savage new take on ‘The War of the Roses’ was too good for the longtime friends to pass up.

How Taylor Kitsch became Hollywood’s go-to actor (and veterans’ favorite) for military roles: The star of ‘The Terminal List: Dark Wolf’ discusses his new prequel series and how, with the help of military veterans, he learned to embody a Navy SEAL.

Telluride Film Festival returns with an eclectic mix of politics, auteur visions and the Boss: The 52nd edition blends star power and auteurs, with world premieres from Scott Cooper, Chloé Zhao and Edward Berger, plus new work from Yorgos Lanthimos and Noah Baumbach.

Inside romance queen Emily Henry’s literary empire and soon-to-be cinematic universe: The author has become the master of the contemporary romance novel, publishing six bestsellers since 2020. Now, five are being adapted into movies and shows.

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Recommendations from the film and TV experts at The Times

Sydney Chandler as Wendy in FX’s “Alien: Earth.”

(Patrick Brown / FX)

“Alien: Earth” (Hulu, Disney+)

Reimagining a nearly 50-year-old franchise like “Alien” isn’t for the faint of heart (or stomach). The iconic sci-fi horror saga has already spawned a tangled web of sequels, prequels and spin-offs of wildly varying quality. But Noah Hawley — who turned “Fargo” and “Legion” into bold, brainy extensions of their cinematic roots — brings a jolt of fresh, unnerving life to “Alien: Earth.” The horror is real, the xenomorphs still terrifying (and, yes, there are new critters too). But this isn’t just eight hours of people running from acid-blooded monsters. It’s a sprawling, idea-rich vision of a future ruled by tech oligopolies, where minds are uploaded into synthetic bodies and morality is outsourced to machines — a world as indebted to Ridley Scott’s “Blade Runner” as his original “Alien.” The monsters are back, but the deeper thrill is how Hawley keeps you thinking even as you’re bracing for the next kill. Now midway through its eight‑episode run, “Alien: Earth” doesn’t just extend a franchise. It reanimates it with a mind of its own and a brand-new set of fangs. — Josh Rottenberg

James Arness, Amanda Blake, Ken Curtis and Milburn Stone in “Gunsmoke.”

(CBS)

“Gunsmoke” (Peacock, Pluto TV)

I long for the simple times when my family and I would gather around the television to watch the latest episode of “Gunsmoke.” The drama that featured James Arness as no-nonsense Marshal Matt Dillon was a staple in millions of households throughout its 20-year run, which ended in 1975. In the streaming era, “Gunsmoke” is now sparking a lot of new heat, and has ranked at least twice among Nielsen’s top 10 list of most-streamed acquired series. Beginning Saturday, MeTV will kick off a month-long 70th anniversary salute to the drama, airing specially-themed weeks such as “Best Characters of Dodge City” and five made-for-TV movies. — Greg Braxton

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A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Ben Edwards (Taylor Kitsch), James Reece (Chris Pratt) in “The Terminal List: Dark Wolf.”

(Justin Lubin / Prime)

Taylor Kitsch rose to fame with his portrayal of brooding football player Tim Riggins on “Friday Night Lights,” but he’s spent a good portion of his career since then stepping into the military mindset — as my former colleague Michael Ordoña astutely unpacked in his profile of the actor. With “The Terminal List: Dark Wolf,” which further expands Jack Carr’s book universe, Kitsch reprises his role as Navy SEAL-turned-CIA operative Ben Edwards in Prime Video’s prequel to 2022’s Chris Pratt-led series. Premiering its first three episodes earlier this week, the series takes place five years before the events of the first season of “The Terminal List” and explores Ben’s origin story and his crisis of faith that eventually led to his betrayal of James Reece (Pratt). Showrunner David DiGilio stopped by Screen Gab recently to discuss why Ben is a worthwhile character for a spin-off, the story behind that AC/DC needle drop and more. — Yvonne Villarreal

What was it about the story of Ben Edwards that resonated with you and made you so passionate about wanting to explore his origin story?

Ben is an ever-evolving character. He was different in the book than he was in our scripts for Season 1 of “The Terminal List.” Then Taylor arrived and brought a whole new layer of empathy, complexity and danger to the role. Unlike Reece, who represents a light wolf character pulled into a dark place by a conspiracy, Ben Edwards is a man with innate darkness inside him. But he also values loyalty, brotherhood and freedom. And that dichotomy in a character means we can give Taylor a ton of great stuff to play. It makes Ben unpredictable. And we get to watch how Ben evolves from a leader in the SEAL Teams to a Black Side Operator who thinks he can use his dark wolf for good.

You had involvement from real veterans in the making of the series, including in the writing of the season. There are seven episodes and five were written by veterans. Walk me through finding the voices to join the room and how did that enrich discussion as you broke stories?

As we were making Season 1 of the flagship series, we made a commitment to military authenticity. The lived experience is what defines Jack Carr’s writing in the books, and we wanted to make sure it translated to the shows. During Season 1 of “The Terminal List,” two military veteran storytellers in particular — Max Adams, a former Army Ranger, and Jared Shaw, a former Navy SEAL — really stepped up our action and authenticity and our storytelling overall. When it came time for “Dark Wolf,” we elevated Max and Jared to executive producer[s]. And we were able to include Jack Carr in more of the writing and creating side of the show as well. But we didn’t stop there. We brought writer-producer Kenny Sheard — also a former SEAL — into the writers room and brought back Ray Mendoza — a former SEAL and technical advisor on Season 1 — to second unit direct. So, between Max, Jared, Kenny, Ray and Jack Carr himself, I don’t think you have a show that’s more committed to getting it right for the military veteran audience.

Is there a personal connection — for you or the veterans who worked on the show — behind the use of AC/DC’s “Hells Bells” to score the time jump in the first episode?

Interesting story. We were trying to use Led Zeppelin for that training montage in the pilot. The band is notoriously tricky to clear, but we made it to about the five yard line before it got denied. Sadly, we’d been temp-editing with that song for months and were all quite attached. So we now had to pivot … quickly. We found AC/DC’s “Hells Bells” by asking our military veteran storytellers for bands/songs that were big for them during deployments. AC/DC was near the top of the list, and the civilian side of our EP team had connections to the music as well. We tried three AC/DC songs for the sequence, and “Hells Bells” was a no-brainer. But, truly, a classic example of the adage “don’t fall in love with the temp.” We made this music selection way tougher than it needed to be!

Tell us a good story about Taylor Kitsch and his time on the inflatable boat.

I think the biggest thing we learned from putting Taylor on that boat in the pilot is that we weren’t in Kansas anymore. Meaning, Budapest production is very different than production in the U.S. In the States, you would have a full “marine unit” dedicated to getting a scene like that. Half a dozen camera boats and follow boats built specifically to capture that sequence. In Budapest, we were tying camera men down on the boat itself, and turning tourist river boats into parts of our armada. Boats could not keep up with those beastly gunship engines. Smaller boats got waked. We got the scene, and we got it safely. But after the ease of filming the flagship series in Los Angeles, I think that day told all of us that Budapest would be a city with unique production challenges. But I give a huge hat tip to the Budapest crew, because even on a day like that, they never complained. And I think having the cast and American crew together in a foreign city really helped bond us all into one big family.

What have you watched recently that you are recommending to everyone you know?

My last watch was probably while flying to and from South Africa and Toronto for the filming of “The Terminal List” Season 2. I downloaded and binged “Adolescence” [Netflix] and Season 2 of “Andor” [Disney+]. I’m surprised more folks don’t talk about “Andor.” It’s probably the most smartly-written show on streaming these days. A World War II resistance film wrapped up in incredible sci-fi visuals. And on “Adolescence,” the performances were incredible. But note to all, whatever you do, don’t watch that show’s finale in a crowded airport lounge in London. I was bawling.

What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?

Might not surprise folks to hear, but it’s either “Saving Private Ryan” [Prime Video, Pluto TV] or “Gladiator” [Prime Video, Paramount +]. Both movies capture the warrior’s ethos and sense of brotherhood that we strive for in the “Terminal List” shows. They also combine great action with big emotional character-driven scenes. Hollywood’s balance of VFX and character work was probably at its zenith right around the turn of the century. So I love to rewatch those films as a reminder of the balance I strive for in my writing, and for the balance we try to build into the Jack Carr Universe shows.

This summer, I read my way around Los Angeles and highly recommend the experience.

There were plenty of freshly published L.A. novels to dive into: My literary journey began in pre-Eaton fire Altadena (“Bug Hollow”) and ended in a run-down Hollywood mansion crawling with influencers (“If You’re Seeing This, It’s Meant for You”); other novels transported me to West Adams Heights post-World War II (“The Great Mann”), Laurel Canyon of the mid-’60s (“L.A. Women”), contemporary Glendale (“The Payback”) and, farthest afield, Salton Sea (“Salt Bones”). And while the novels varied greatly, each was engagingly local. The familiar L.A.-ness of narratives populated with malls, dreamers and celebrities real and fictionalized added to those books’ appeal, while others set in less familiar (to me) communities enriched my understanding of the area.

To help you choose your next L.A. literary adventure, we asked five authors to tell us why they set their latest novels in and around SoCal, along with their favorite local spots to visit.

(Phoebe Lettice Thompson)

‘L.A. Women’

Ella Berman

The title of this retro novel telegraphs its setting while echoing an earlier work by Eve Babitz, a famous L.A. scenester who contributed to Movieline magazine when I worked there decades ago, though as a newcomer to the city I did not appreciate it then. Berman’s novel centers on two, rather than one, woman: A pair of frenemies — reminiscent of Joan Didion and Babitz — circle each other in the Laurel Canyon creative scene during the mid-’60s to early-’70s, navigating relationships with rock stars and visits to the Troubadour and Chateau Marmont as the free love vibe begins to sour.

Why L.A.? “This story couldn’t have been set anywhere other than Los Angeles,” says Berman. “The central relationships, conflict and emotional stakes are all a product of this beautiful city during this period of cultural upheaval.” To get the period details straight, she relied on a friend “who had lived in Hollywood since the late 1950s,” writing the first chapter from a hotel room in West Hollywood after lunch with her. “Later, I walked up to the Canyon Country Store immortalized by Jim Morrison in ‘Love Street’ and I felt a sense of wonder for the ghosts of the past.”

Fave hangout spots: “I love anywhere that feels like I’m time traveling so a classic margarita at Casa Vega, the eggplant parmigiana at Dan Tana’s, a show in the close-up gallery of the Magic Castle or a martini at Musso & Frank’s always deliver,” says Berman, who also loves to browse the Rose Bowl Flea Market for midcentury treasures and vintage band T-shirts.

‘The Payback’

Kashana Cauley

Once a Hollywood costume designer, Jada is working in an unspecified mall that seems suspiciously like the Glendale Galleria when Cauley’s novel begins, but that job doesn’t last either. Sticky fingered and bogged down with college debt, she ends up recording ASMR videos to make money while fleeing the debt police — until she and her pals come up with a scheme to erase their financial woes. The storyline will surely resonate among those saddled with their own college debt or just feeling pinched by rising costs at the grocery store.

Why Glendale? “I wanted my main character, Jada, to feel truly kicked out of Hollywood, as she is,” the writer with credits on “The Daily Show With Trevor Noah” explains. “So part of me was like, well, where’s the farthest place, vibe-wise, you can get from Hollywood, and still, in Jada’s case, feel very L.A., and the Glendale Galleria fit.” Cauley much prefers the Galleria to the Americana and says fellow transplant Jada feels the same.

Favorite spot: “These days I’ve been hanging out at Taqueria Frontera in Cypress Park because I’m unable to fight my massive addiction to their carne asada queso-taco. It’s perfect. The meat is tender and just the right amount of salty. The cheese is present without being overwhelming. It comes with a handsome scoop of quality guac and a charming green salsa,” she says. “But also the restaurant itself is a vibe. It feels more outdoor than indoor because of a big row of stools out front that’s alongside the kitchen. And it attracts a large, laid-back crowd that feels like a party.”

‘Salt Bones’

Jennifer Givhan

Far from L.A.’s suburban sprawl, a Salton Sea butcher is haunted by the disappearance of girls in a novel suffused in Latina and Indigenous cultures. The water that once sustained the community is horribly polluted and younger characters dream of escape; Mal, the mother of two daughters, is visited by a shapeshifter in her dreams. A book for fans of mysteries and magical realism, it illuminates the environmental hazards of agrifarming in Southern California.

Why Salton Sea? Growing up in the area, her mother warned her that the water was poisonous. “We could smell for ourselves the fish die-offs, the weeks-long stink of toxic algal blooms,” she says. Visiting later, Givhan heard from a friend that the Salton Sea was drying up and releasing toxic chemicals like arsenic from decades of pesticide runoff and “became increasingly concerned about the fate of the place that raised me.” When activists encountered apathy from Sacramento politicians, “I knew I had to tell this story,” she says. “My soapbox may have been slippery, but people tend to love murder mysteries. So I wrapped my heart in one.”

Fave SoCal spots: “Anything by the water; I love hanging out on the beach and eating tacos. As I write in all of my novels, the water haunts me,” Givhan observes. “Many of the pages of ‘Salt Bones’ were drafted while we were living in Chula Vista and making trips back to the Salton Sea and surrounding communities for research. I started this novel at Imperial Beach, where we couldn’t go into the water because of the sewage problem and the signs warning No Nadar! Then I moved to Coronado Beach. On the way onto the peninsula, we’d stop at a great little burrito place for breakfast burritos, and I’d haul my portable typewriter to a picnic bench, set it up with the ocean spread before me and start tapping away.”

‘If You’re Seeing This, It’s Meant for You’

Leigh Stein

Back in Hollywood, influencers have set up shop in a crumbling mansion with an infamous past, desperate to go viral; the owners of the property are looking for sponsorship money to pay for its repairs. In steps photographer turned entertainment journalist Dayna, who gets dumped on Reddit in humiliating fashion as the book opens. Stein’s novel, in case that description does not make clear, has much to say about Hollywood, social media and the creator economy; at its heart is a gothic horror story wrapped up in a mystery with satirical undertones.

Why Hollywood? “Like ‘Sunset Boulevard,’ my novel is about fears of aging and irrelevance in an industry that runs on youth and beauty,” Stein says. “I’m obsessed with how the creator economy is completely reshaping the media and entertainment industries.” The mansion is inspired by Frank Lloyd Wright’s Ennis House in Los Feliz, which has appeared in movies including “Blade Runner” and also has a troubled legacy. “The more research I did, the more it seemed cursed,” she says.

Fave L.A. haunts: “I’m originally from Chicago and I first fell in love with Los Angeles through Francesca Lia Block novels, where everything is magic and draped in curtains of bougainvillea,” the author says. “My ideal day in L.A. would be taking the Berendo Stairs to Griffith Park, checking out the staff recommendations at Skylight Books and going to Erewhon to get their spicy buffalo cauliflower and some overpriced adaptogenic beverage that promises to change my life.”

‘Loved One’

Aisha Muharrar

Less overtly L.A. than the rest of the novels on this list, “Loved One” unfolds in L.A. and London following the death of Gabe, a 29-year-old indie musician who was the first love of Julia, a UCLA law student who became a Hollywood jewelry designer. Eager to reclaim his prize possessions for her and Gabe’s mother’s sake, she meets Gabe’s girlfriend Elizabeth in England. Through a series of flashbacks, key moments in Julia’s relationship with Gabe — and her life in L.A. — are revealed.

Why L.A.? Muharrar initially resisted the idea of setting her book in L.A., but ultimately felt moving there would just be the logical next step for a musician like Gabe, who has “a passion and then, career-wise, it turns out L.A. is the best place to pursue it.” Julia, she notes, arrives in L.A. for school with one career goal in mind and then ends up doing something else.” In the end, “it’s just a place people live.”

Fave L.A. hangout spots: “I love the bookstores: Reparations Club, Chevalier’s, Skylight. And I also love Silver Lake Library. It closed in July for several months of renovations and won’t be open until 2026 and I am, no exaggeration, devastated,” she says. “Also: Above the Fold in Larchmont. Is it the last newsstand in L.A.? I think it might be.”

Editor’s note: The newsstand has since closed.

Taylor Swift and Travis Kelce are taking their love story to the next chapter.

The Grammy-winning “Love Story” pop icon and the Kansas City Chiefs tight end are engaged, the couple announced Tuesday in a joint Instagram post.

“Your English teacher and your gym teacher are getting married,” Swift captioned photos from the garden engagement.

Weeks before getting engaged, the pair hit another personal milestone: They finally finally appeared together on Kelce’s “New Heights” podcast, which he co-hosts with his brother, retired Philadelphia Eagles star Jason Kelce. The podcast was also where Travis Kelce took his shot at a romance with the singer-songwriter back in 2023.

During the “New Heights” episode, which marked Swift’s podcasting debut, she said her relationship with Kelce “is sort of what I’ve been writing songs about wanting to happen to me since I was a teenager.”

Swift also announced her upcoming album, “The Life of a Showgirl,” on the podcast.

With marriage on the horizon, it seems Swift and Kelce have come a long way since officially becoming an item in fall 2023. Their romance can be traced back to July 2023, when Kelce attended an Eras tour concert at Arrowhead Stadium, the Chiefs’ house. The NFL star managed to get a friendship bracelet with his phone number to Swift’s camp and the two eventually got in touch.

Their rumored romance quickly became commentary fodder for NFL broadcasts (sometimes to sports fans’ chagrin). Then things took a turn when Swift seemingly accepted Kelce’s personal invitation to a home game in September 2023 and was seen cheering for him in a private box alongside his mother, Donna Kelce. Soon enough, Swift became a staple in the Chiefs audience.

Swift and Kelce’s relationship dominated the news cycle and most coverage of the NFL season. Feeding into the obsession, both Swifties and sports fans on social media created memes, TikTok videos and other social media content dissecting nearly every detail of the couple’s interactions and public appearances.

From late 2023 to early 2024, their blooming relationship also proved to be a boon as Swift carried on with her blockbuster, career-spanning Eras tour and Kelce prepared for Super Bowl LVIII, where the Chiefs faced the San Fransisco 49ers. When the Chiefs won, Swift joined Kelce on the field, kissing and hugging her athlete boyfriend.

Swift and Kelce’s love didn’t just play out on the field. During a November 2023 show, Swift changed lyrics to her hit “Karma” to mention “the guy on the Chiefs, coming straight home to me,” sending fans and Kelce into a frenzy. Then in June 2024, as Swift‘s tour continued, Kelce joined his superstar girlfriend on stage in London.

When the 2024-25 NFL season began in September, Swift returned regularly to Arrowhead Stadium for Chiefs home games.

Swift brought her Eras tour to an end in December 2024 and hosted a private wrap party to celebrate her musical marathon. As photos from the party went public, eagle-eyed fans noticed more than Swift, Kelce and their VIP attendees. Social media sleuths claimed photos of Swift’s hands had been Photoshopped to conceal the presence of an engagement ring, Page Six reported at the time.

The BBC is set to release a brand-new drama called The Guest, which follows the complex and dangerous friendship between two women.

At the end of last year, the BBC revealed a brand-new drama was in the pipeline called The Guest.

Now, the wait is nearly finished as the four-part series is scheduled to launch on September 1, with another BBC drama in the works to drop next year.

The programme centres on two women, a thriving business owner, Fran (portrayed by Eve Myles), and a woman she hires as her cleaner, Ria (Gabrielle Creevy).

As Ria rapidly develops an unlikely bond with Fran, she becomes captivated by her self-assurance and poise.

Yet, when an unforeseen incident takes a dramatic twist, their lives become entangled through perilous schemes and mutual secrets, reports Wales Online.

A synopsis hints: “What follows is a compelling and manipulative game of cat and mouse. But just who is playing who?”

Prior to the series launch, Reach Plc chatted to Eve and Gabrielle about their roles in the programme and why they think audiences are drawn to intense female bonds.

Eve, 47, remarked: “Because it’s complex, it’s not easy, it’s not actually an easy thing to talk about or to try and describe or explain, it’s about something very, very intoxicating. It’s about two women sharing something very important.

“Like myself and Gabby, Fran and Ria are also incredibly vulnerable, never mind the strengths you see from both of them, they both have great strengths, but they both have great weaknesses.”

Eve detailed the unlikely bond between Fran and Ria, explaining that their contrasting backgrounds add a layer of intrigue and mystery for some.

She further elaborated: “It’s not about a boss and a cleaner it’s about two women who share this part of their lives together, they share secrets together, they go through something very traumatic together then they’ve got to fix that, or not and what that does to them.

“They open up to each other when they don’t expect to, and that’s thrilling, that’s dynamic. There’s something really poignant and dangerous about these two women.”

Matthew Barry, the writer of The Guest, expressed his excitement about the project: “I’m beyond excited to be re-teaming with Nicola, Davina and the whole team at Quay Street Productions and the BBC to bring The Guest to life.

“As well as being an exciting thriller, at its core this is an examination of class, social mobility and the growing disparity between those at the top and bottom of our society.”

The Guest, will premiere on BBC One at 9:00 PM on Monday, September 1.

Welcome to Screen Gab, the newsletter for everyone who likes to plan ahead.

Schools are (mostly) back in session, and the threat of pumpkin spice has already made the marketing rounds — it’s still summer, but the fall scaries have crept in. As some of us try to process how we’re basically a sneeze away from 2026, there’s at least comfort in knowing there’s a promising slate of new films and TV shows to keep us entertained as we hurtle through time. For our special Fall Preview issue, The Times staff gathered to share our picks for the most anticipated movies and TV shows to watch this fall: from a Bruce Springsteen biopic to the movie version of Stephen King’s “The Running Man” and the “Wicked” sequel, here’s our list of 21 films to be excited about; meanwhile, the Jude Law-Jason Bateman-led “Black Rabbit,” the docuseries “Mr. Scorsese” and broadcast comedy “DMV” are among the 16 intriguing shows in our TV roundup.

(Sian Roper / For The Times)

But, hey, we get it if you’d rather not think about the future just yet. In fact, the theme of this week’s Screen Gab is all about traveling back in time. Our streaming recommendations include a documentary exploring the quirky style and misunderstood message of art-rock band Devo, and a reminder of 2003 HBO drama “Carnivale,” which starred Amy Madigan long before she was creeping us out with her chilling performance in “Weapons.” Plus, Matthew B. Roberts, the showrunner behind Starz’s expanding “Outlander” universe, discusses the new prequel series and the art of making love letters swoon-worthy.

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Recommendations from the film and TV experts at The Times

The members of Devo in director Chris Smith’s documentary about the band.

(Barry Schultz)

“Devo” (Netflix)

They are Devo, and this is a film about them. A pseudoscientific theme — “de-evolution” — taken from an old book — led to a band that led to a career. (And looking around, it’s hard to argue that civilization isn’t racing rapidly backward.) Chris Smith’s breezy film neatly recaps the group’s career, from their earliest performances, when they had long hair and were still in college — Kent State, where in 1970 the National Guard opened fire on student protesters, killing four — to MTV fame, to their finally running out of gas. Founders Mark Mothersbaugh and Gerald Casale offer good-humored, incisive commentary on the rise and fall of their satirical art project whose social criticism paled in the glare of big pop success — “Whip It,” you remember” — and the usual major-label misadventures. Smith floats his narrative on a river of ephemeral films that echo the spirit of the group’s own aesthetic. Brian Eno, David Bowie, Mick Jagger and Neil Young, who put them in his movie “Human Highway,” make anecdotal appearances. (The band has since gotten off the couch — they’ll be at the Hollywood Bowl Oct. 18-19 with the B-52’s as part of a “Cosmic De-Evolution” tour.) — Robert Lloyd

Clancy Brown and Amy Madigan in “Carnivale.”

(Doug Hyun / HBO)

“Carnivale” (HBO Max)

The huge success of the horror film “Weapons” has put a fresh spotlight on star Amy Madigan. Her sinister portrayal of the eccentric Aunt Gladys, a witch whose spells wreak havoc on the children and adults of a small community, is already sparking early awards buzz and is the latest in a gallery of distinctive performances in films such as “Field of Dreams,” “Streets of Fire” and “Places in the Heart,” to name a few. Madigan also was featured in “Carnivale,” which premiered in 2003 and ran for two seasons on HBO. In the eerie drama about a struggling carnival of freaks and outcasts that traveled around the Dust Bowl during the Depression, Madigan played Iris Crowe, the soft-spoken sister of the demonic Brother Justin Crowe (Clancy Brown). — Greg Braxton

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A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

A still from “Outlander: Blood of my Blood,” the prequel to the popular period drama, that features Jamie Roy as Brian Fraser and Harriet Slater as Ellen MacKenzie, the future parents of Jamie Fraser.

(Sanne Gault / Starz)

“Outlander” meets “How I Met Your Mother”? Not quite. But “Outlander: Blood of My Blood” is a prequel to Starz’s romance epic that focuses on the parents of both protagonists from the original series, Jamie Fraser and Claire Beauchamp. The series alternates between WWI-era Scotland and the Scottish Highlands of the 18th century, often intertwining, as it chronicles the courtship and obstacles faced by Jamie’s parents — Brian Fraser (Jamie Roy) and Ellen MacKenzie (Harriet Slater) — and Claire’s — Julia (Hermione Corfield) and Henry Beauchamp (Jeremy Irvine). Here, showrunner Matthew B. Roberts discusses the inspiration for the show’s swoon-worthy love letters and reveals which TV drama he recently watched that echoes themes explored in “Outlander” through a modern lens. — Yvonne Villarreal

What do you find intriguing about each couple’s story and what it telegraphs about Claire and Jamie’s connection and their attitudes on love?

With Brian and Ellen, it’s the rush of first love — all passion, risk and discovery, which foreshadows Jamie’s all-in devotion to Claire. With Henry and Julia, it’s the strength of a tested love — the daily choice to stay together. Both show that true love requires surrender and courage, the same foundation that Claire and Jamie build their lives on.

The original series has delved into the complexities of PTSD. How did what you’ve explored there, particularly as it relates to Claire and her experiences as a combat nurse, inform how you shaped Henry Beauchamp’s journey? Are there connections you wanted to draw between father and daughter?

War scars everyone differently. Henry’s wounds are visible, Claire’s more contained — but both live with that same survival instinct. Even though Henry leaves when she’s young, Claire inherits his resilience. That ability to keep going when the world tries to break you is in her DNA.

Love letters are a hallmark of the “Outlander” universe. And the correspondence between Claire’s parents, Henry and Julia, are a key narrative element in their quest to be reunited — the declarations within have to be top tier. Any interesting references or sources of inspiration?

The inspiration came from my father, who fell in love with someone online before ever seeing her face. He said, “It doesn’t matter, I already love her.” He did meet her, they married, and they stayed together until his passing. That experience taught me how love can bloom through words alone. That’s what we aim for with Henry and Julia’s letters — each one has to feel like a real step deeper into their hearts. Everyone in the room weighs in, but the test for me is always the same: Does it feel authentic, does it honor the magic of falling in love?

What have you watched recently that you are recommending to everyone you know?

I really don’t recommend shows or movies. Everyone has their own tastes. But I did recently watch “The Better Sister” [Prime Video]. It’s a sharp look at family — love, betrayal, loyalty — all the same themes we explore, but in a modern world with cellphones and social media. The technology changes, but the struggles don’t. Families still compete, hide secrets and fight for trust. [It has] some great acting.

What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?

When “Butch Cassidy and the Sundance Kid” [VOD] or “Fargo” [Tubi, MGM+] come on, I’m in — they just never get old. “Butch Cassidy” has that perfect mix of charm and tragedy; and “Fargo” is dark, funny and somehow still feels authentically real. For TV, my go-tos are “The Sopranos” [HBO Max] and “Seinfeld” [Netflix] — totally different, but both perfect at what they do. And true-crime shows are always in the mix. They are research. It’s the human condition on full display.

MOLLY-Mae Hague’s sister Zoe seems to have forgiven Tommy Fury as he recovers from his alcohol misuse.

Fans of the former Love Island couple saw how Zoe warned her younger sister from reuniting with Tommy after their split last year.

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Molly-Mae gave people a raw view into her split from the boxer, and the reasons behind it in her Amazon Prime docuseries Behind It All.

The influencer explained Tommy’s alcohol use played a big role in their split, and Zoe is seen warning Molly-Mae from getting back together with him in a tense exchange.

But the famous couple have rekindled their romance and continue to parent their daughter Bambi, two, together.

Now, it seems Zoe and Tommy’s relationship has improved after Molly-Mae showed them working out in the same gym with Bambi in tow.

She took to her Instagram stories to film Zoe showing her niece how to do a burpee on the gym floor.

In Molly-Mae’s next story, Tommy is running on a treadmill as Bambi looks on sceptically.

“I think she may feel the same about the gym as I do,” she captioned a close-up photo of Bambi’s face.

The three adults then went for a stroll in the town they were in, where Zoe and Bambi watched a local artist do some painting and the Tommy held his daughter on his shoulders.

Tommy and Molly-Mae recently confirmed they were an item again after splitting last August.

They are now working hard to put past cheating allegations and Tommy’s alcohol-fuelled partying problems behind them.

Molly-Mae recently opened up to fans about the real reason Tommy doesn’t appear frequently on her vlog – like he used to prior to their split.

The influencer addressed criticism levelled at Tommy by some fans who accused him of being an absent dad.

In hurtful comments, they claimed that Molly’s sister Zoe, 28, is more of a father figure due to her regular appearance in the videos.

Ex Love Island star Molly explained: “I’ve seen so many comments saying ‘Zoe is more the dad’ I only vlog when I am not with Tommy, I am with Tommy literally 80 per ceent of the week and he is with Bambi the majority of the week.

Molly-Mae Hague and Tommy Fury – Reunion Clues

MOLLY-Mae Hague and Tommy Fury are on holiday in Dubai after splitting in August. Yet have they dropped clues about their reunion before?

“But I vlog when we are here and he is at his because it’s just something that I am not ready to like open up with yet and like flinging the camera around like when we’re a family.

“I just think like we’re not there yet and still figuring out life and living situations. I’m not ready to vlog like we used to.”

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EX-England footie ace Andy Carroll has revealed he is back with girlfriend Lou Teasdale after a stormy split — and vowed to cut down on booze to save their relationship.

Opening up about his feelings for stylist Lou in an exclusive interview with the Sun on Sunday, Andy said: “I love Lou and I love her family. We row like any couple.”

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The pair have been dating since his split last summer from ex-wife and former Towie star Billi Mucklow, 37. They are currently divorcing.

The 36-year-old former Premier League star said: “Things have been difficult for me and I’m going through a divorce.

“Some of our rows have been about alcohol, as Lou has been teetotal for 14 years and I have a beer or wine at dinner and a drink after the game, but it’s not a problem in my life.

“I’m a professional footballer and that’s not the case. I play sport every single day so my level of fitness is really good. I play football every day so I’m fit.”

The Sun revealed on Wednesday the couple had split, with Andy unfollowing celebrity make-up artist Lou, 41, on social media.

But now he has told The Sun on Sunday that after a misunderstanding in Spain, he and Lou have patched things up.

Former Liverpool and Newcastle striker Andy, who now plays for non-league Dagenham & Redbridge FC, said: “We’re better off together and we’re trying to work through our difficulties.”

In June, we reported Carroll was twice quizzed by police over bust-ups with Lou during a break on Greek party island Mykonos.

He was questioned about rows with her at a packed beachside restaurant and then at their hotel.

He was taken to the police station after the second incident.

Speaking about the restaurant incident now, Andy — pictured with Lou, above, as he signed for his new club last month — insisted: “There was no alcohol involved. We argued about me having three coffees in the morning. She was worried I was addicted to coffee and it went from there.”

A joint statement from them at the time said: “Whilst having a private dinner in a restaurant on a quiet holiday in Mykonos, we had a heated discussion of the sort that most couples have had on occasion.

“It quickly became apparent to the police that there was no reason for them to be there.”

It added: “As far as we are concerned, the situation has been blown out of all proportion by an interested member of the public.

“No one was arrested and no one was charged with anything.

“We are very happy, in love and looking forward to our future together and we are disappointed that a private disagreement has become a public matter.”

I don’t want to be with Lou anymore… she gives me ultimatums about everything

What Andy told us last week

Andy returned to England last month, having left French fourth-tier side Bordeaux to play for Dagenham & Redbridge and to be close to his children, who live in Essex.

He said: “I just want to focus on my kids. They’re more important than anything. I’m loving life back in England.

“Obviously when I was working in France, I was there alone, and I was out with the lads a lot. Now I’m back home with the kids and it’s just a different way of life.”

Last September, the Sun on Sunday reported Andy and Billi, who have three children, were divorcing after two years of marriage.

The couple started dating in 2013, soon after he joined West Ham.
And he popped the question during a romantic holiday in Rome in 2014.

That year Billi said: “He is one of the most genuine and caring people I have ever met.”

Gateshead-born Carroll, who has two children from a previous relationship, has often been in the news over his romps, brawls and court cases.

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He said meeting Billi turned his life around.

Carroll’s boyhood dreams came true when he began his professional football career with Newcastle United in 2006.

The big centre-forward was soon a hit with Toon fans, following in the footsteps of another local idol Alan Shearer.

In 2009-10, Carroll scored 17 goals in 39 games, and 11 in nine games the following season.

In 2011, he earned a £35million transfer to Liverpool, a then record fee for a British player.

At his peak he was picked for England in nine games between 2010-2012, including scoring against Sweden at Euro 2012.

I love Lou and I love her family, we row like any couple

What he told us this week

He was sold by Liverpool to West Ham but struggled with a series of injuries.

His career saw him moving on to a succession of clubs including back to Newcastle, later to Reading and then West Brom.

Carroll’s career, although full of ups and downs, has brought him enormous sums of money.

In May 2019, he was listed as the 14th wealthiest sports person aged 30 or under in The Sunday Times Rich List.

His fortune at the time was said to have increased to £19million.

Aug. 16 (UPI) — New Orleans Mayor Latoya Cantrell is facing federal wire fraud and conspiracy charges after being indicted this week along with a former member of her security detail.

Cantrell and retired New Orleans Police Department officer Jeffrey Vappie were both indicted for conspiracy to commit wire fraud and other charges after Vappie was allegedly paid for official duty while the two were engaged in “personal activities,” according to a statement issued by the Justice Department.

Authorities contend the two began a relationship in 2021, during which time Vappie was paid as an on-duty member of Cantrell’s personal security team. Vappie retired in 2004.

“They embarked on a scheme to defraud the City of New Orleans and NOPD by exploiting Vappie’s job and Cantrell’s authority as Mayor to have the City and NOPD pay Vappie’s salary and expenses during times Vappie claimed to be on duty but when the was actually engaged in personal activities, often with Cantrell,” the Justice Department indictment reads.

The allegations contend Vappie and Cantrell’s activities extended to out-of-state trips. Cantrell allegedly shifted policy and started bringing members of her Executive Protection Unit on the out-of-state trips around five months after Vappie joined the EPU.

“Cantrell said she would ‘make it happen’ to have Vappie accompany her on a three-day trip to Washington, D.C., a trip that they both agreed that they ‘needed,'” the Justice Department statement reads.

The City of New Orleans was billed over $70,000 on Vappie’s behalf for the three-day trip.

The couple also allegedly used a city-owned apartment during their relationship.

Cantrell was elected in 2018 after serving as a Member of the New Orleans City Council, making her the first female mayor in the city’s history.

Cantrell has not commented publicly on the allegations.

Police say the pair tried to hide the affair and have recovered thousands of texts and pictures from the What’sApp messaging platform.

Both are charged with conspiracy to commit wire fraud and conspiracy to obstruct justice. Vappie also faces twelve counts of wire fraud. Cantrell is also named in six of the latter charges.

Additionally, Vappie is charged with making a false statement to the FBI, while Cantrell faces two counts of making a false declaration before a grand jury.

Welcome to Screen Gab, the newsletter for everyone who struggles with setting boundaries in any type of relationship.

That sound you hear is the lingering sigh of relief — or is it sadness? Confusion? The frustration over what could have been? — as “And Just Like That” completed its last sprint in heels this week. The “Sex and the City” sequel concluded its three-season run with a Thanksgiving from hell and an epilogue for Carrie, Charlotte, Miranda, Lisa and Seema that will surely generate plenty of TikTok analysis to occupy us all weekend. The decision to end the series was surprising, sure, but hardly shocking — even if it still feels like a fever dream that’s not quite over. Our crew of dedicated watchers unpacked some of what they’re feeling — grab a slice of pie, pull up a chair and join the attempt to process it all. It’s a safe place.

But don’t fret, there are some other peeps you can add to your friend group to help ease the loss. Rose Byrne and Seth Rogen prove that men and women can be strictly (incredibly co-dependent) friends in Apple TV+’s “Platonic.” The comedy returned earlier this month for its second season, and creators Francesca Delbanco and Nicholas Stoller dropped by Guest Spot to discuss the challenges of making opposite-sex friendship more compelling than a romance, plus the story behind the perfectly pathetic pet name they have Rogen’s character saying all season.

Also in this week’s Screen Gab, our streaming recommendations include a crime drama that sees a “Clueless” star enter her sleuth era? That’s right, TV critic Robert Lloyd tells you about a new Acorn series that stars Alicia Silverstone as an L.A. divorce lawyer who hightails it to Ireland after receiving a mysterious message from her estranged father. If you’re in the camp of people who prefer shows with a lighter touch on death, culture columnist Mary McNamara drops in to suggest an old-fashioned workplace/fish-out-of-water comedy set in the world of probate law — Huh, you say? Trust us! It’s funny!

ICYMI

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(Ariana Drehsler / For The Times)

Daniel Dae Kim hopes ‘Butterfly’ can be the ‘KPop Demon Hunters’ of spy thrillers: The actor discusses bridging Korean and American culture on his new show, how “inclusive” isn’t a bad word and good allyship in action.

Developing ‘Alien: Earth’ was all about building suspense — and getting classic ‘Alien’ lore just right for TV: Noah Hawley leaned into the ‘Alien’ franchise’s retro-futurism when making ‘Alien: Earth,’ adding Peter Pan mythology and Easter eggs.

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Turn on

Recommendations from the film and TV experts at The Times

Alicia Silverstone as Fiona Sharpe in Acorn’s “Irish Blood.”

(Szymon Lazewski / Acorn TV)

“Irish Blood” (Acorn)

Alicia Silverstone stars as Fiona Murphy, an American divorce lawyer — no husband for her! — whose unsuspected past comes calling in form of a photograph mailed from Ireland, showing a picture of a locker with a phone number written on the backside. Not being me, she calls it right away and so begins a dark treasure hunt that brings her to Wicklow, Ireland, where she discovers the father (Jason O’Mara in flashbacks) who left on her 10th birthday was living, and is now dead, under possibly suspicious circumstances. She also discovers a briefcase full of clues; family she didn’t know she had; an inherited house; potential romance with the local owner of a boxing gym (Leonardo Taiwo); and a quirky policewoman (Ruth Codd), excited to help when Fiona is mysteriously attacked. As in many, or most, stories in which a city person travels to the country — “I Know Where I’m Going” or “Local Hero,” just to be Celtic about it — Fiona will experience a feeling of renewal, notwithstanding the threat of death. The mystery keeps you guessing, the characters are appealing, and Silverstone gives a lovely, lived-in performance. — Robert Lloyd

“Fisk” (Netflix, Season 3 premieres Wednesday)

I can’t say I was looking for a comedy that revolved around Australian probate law, but one found me and now I’m hooked. Co-created by and starring Australian comedian Kitty Flanagan, “Fisk” is an old-fashioned workplace/fish-out-of-water comedy that follows recently divorced Helen Tudor-Fisk (Flanagan), who has fled the shining lights of Sydney for the more sedate Melbourne where her father, a retired Supreme Court justice, lives. And she needs a job. After a disastrous interview with a legal recruitment firm — Fisk only wears brown, has no references and “is not a people person” — she lands at Gruber & Gruber, a small firm dealing mostly with wills. Ray Gruber (Marty Sheargold), an easily distracted schlub, is thrilled to hire the daughter of a Supreme Court justice; his sister Roz (Julia Zemiro), a woman so tightly wound she controls the key to the firm’s one restroom, is not. But Roz has been suspended; hence the need for Helen. Misanthropic and quietly contentious, Helen has little patience for client hand-holding, social niceties and, well, patience; but, as time inevitably tells, she is a good lawyer and her heart is not nearly as hard as she wants everyone to believe it is.

With a revolving cast of clients, and the requisite Gen Z assistant (here played to great effect by Aaron Chen), “Fisk” is a deceptively small show — “The Office” seems hectic and flashy by comparison — but it deftly mines the mundane and often quiet absurdities of life to laugh-out-loud effect. Flanagan, too, plays it close to the vest (or in this case, an over-large brown suit), making Helen the queen of the raised eyebrow and muttered aside. She is neither savior nor saint — many of her problems are of her own making — but anyone who has ever wondered why ordering a smoothie, or renting an Airbnb, or having a straight-forward conversation about just about anything has to be so complicated these days will find a “but that makes no sense” advocate in “Fisk.” — Mary McNamara

Guest spot

A weekly chat with actors, writers, directors and more about what they’re working on — and what they’re watching

Rose Byrne and Seth Rogen in Season 2 of Apple TV+’s “Platonic.”

(Katrina Marcinowski / Apple TV+)

In “Platonic,” the only will-they/won’t-they tension is about whether two longtime friends with co-dependency issues can avoid a breakup of their friendship. The Apple TV+ series stars Seth Rogen and Rose Byrne as formerly estranged besties who, in the first season, rekindled their friendship at pivotal junctures in their lives — Sylvia (Byrne) is a married mother of three children who feels unfulfilled, while Will (Rogen) is a middle-aged hipster and brewer going through a divorce — and help each other in their quest to get back on track. The series returned earlier this month with Will experiencing cold feet at the prospect of marrying his fiancée (and boss), while Sylvia, who is helping to plan the ceremony, gets caught in the crosshairs just as she must contend with developing sore spots in her own marriage. Creators Delbanco and Stoller stopped by Guest Spot to discuss how platonic friendships can be love stories, too, and the story behind this season’s embarrassing pet name.

What is the challenge in depicting a platonic friendship between people of the opposite sex when viewers enjoy character shipping? How do you make “just friends” something to root for?

Stoller: It’s definitely a challenge to break story as almost all TV show plots involve either sex or murder. But the funniest comedies explore human relationships honestly. Our artistic project with “Platonic” is to delve into the complications and rewards of male-female friendships. We think anyone who’s ever had this kind of friendship will find the show relatable. While “Platonic” is a hang-out show, we also are invested in the show having a strong story drive. We think we have figured out series arcs for our characters that go deep on midlife and hopefully will make you laugh out loud.

Delbanco: In a way, platonic friendships are love stories too — not exactly the same kind of love stories, of course, but they do have certain similar preoccupations: Can we survive our disagreements? Are we ultimately good for each other or not? Is our relationship going to last through all of the phases of our lives as we change and grow? Ultimately, we’re hoping we can make viewers feel the same degree of investment in “will they make it” as friends that we’re all accustomed to feeling in rom-coms. It’s definitely a creative challenge, but we all know how important friendships are to our overall emotional health, so it stands to reason that they deserve some exploration onscreen too.

This season provides an opportunity to explore the intimidation factor of a new significant other experiencing the Sylvia-Will dynamic. How did that make you think about Will’s fiancée, Jenna [Rachel Rosenbloom]?

Stoller: We originally conceived of “Platonic” as an anthology series where we were going to explore a different platonic friendship each season. While shooting the first season, we had such a great time making it that we asked Seth and Rose if they wanted to do more of the show together, and luckily for us they said yes. The Jenna character had been created to give Will a happy ending. We knew that to make more episodes of the show we would have to give Will a new conflict. We knew that Sylvia needed to understand Will in a way Jenna just didn’t. But we also wanted Jenna to be a legitimate partner for Will. So in the Season 2 writers’ room, we reconceived Jenna to just be operating at a slightly different wavelength than both Will and Sylvia. We worked with Rachel Rosenbloom, who plays Jenna and is super funny, to figure out a character that was just a little out of step with both Will and Sylvia.

Delbanco: We really wanted to write Jenna as a human, relatable character rather than a one-dimensional “lame girlfriend” type of comedy villain, because at its core, the insecurity that Jenna feels about Sylvia is a feeling most of us have had before: Who is this woman my boyfriend/fiancé/husband spends so much time with, and how can I be sure he isn’t actually in love with her? Likewise, we didn’t want Jenna to be someone Sylvia could easily dismiss: In many ways she’s good for Will, and intimidating in her own right. There have been so many amazing comedies about introducing a significant other to your parents, and your family, but there’s a lot of great dramatic tension to mine when new love interests collide with old friends.

What is the backstory with the “penguini” pet name? What were other iterations before you landed on that one?

Stoller: We just tried to think of the most embarrassing thing that Will would have to say in front of Sylvia. And so “penguini” was born. Hilariously, one of our locations where we shot this season turned out to be right next to a restaurant called Caffe Pinguini.

Delbanco: It made us laugh so hard to imagine Seth having to use a private baby-talk, lovey-dovey voice — it just doesn’t suit his character, and it’s so mortifying to be overheard in that mode. It felt like a strong way to announce that something new was going on with him this season.

What have you watched recently that you are recommending to everyone you know?

Stoller: I just watched the Billy Joel documentary [“Billy Joel: And So It Goes,” HBO Max]. I’ve always been a fan of his, but the documentary uncovers a lot of pain and history I was unaware of. It made me revisit his music and understand it in a whole new light. I also just saw the film “Sorry, Baby” [VOD], which is hilarious, beautifully-shot, moving and even, at times, slightly scary.

Delbanco: I recently finished the second season of “Wolf Hall” [PBS.org], and I can’t stop thinking about it — I loved the novels and was floored that they were adapted for the screen with such incredible depth and power. The finale is still haunting me even though I watched it weeks ago. Main takeaway: I am so freaking glad I wasn’t born during the reign of Henry VIII.

What’s your go-to “comfort watch,” the movie or TV show you go back to again and again?

Stoller: I watch “Rushmore” [Hulu, Disney+], “When Harry Met Sally” [VOD] and “The Shining” [VOD] once a year. The endings of both “Rushmore” and “When Harry Met Sally” never fail to make me cry. Every time I watch “Rushmore,” I notice a new detail. And “The Shining” casts a hypnotic spell that makes me want to revisit the Overlook [Hotel] again and again.

Delbanco: I guess we’re an early Wes Anderson household, because “The Royal Tenenbaums” [Hulu, Disney+] is the movie I see on repeat when I close my eyes. It makes me laugh and also cry in all the right ways, and I love its desultory, romantic mood. I don’t think any scene has ever worked for me as well as Gwyneth Paltrow’s walk towards Luke Wilson when she gets off the bus. The bus station! Her fur coat! Nico! What could ever top it?

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